Transcripts
1. 1-1 Introduction : Welcome everyone to this Premier Pro Skill Share course. So I'm gonna quickly go over what we are going to be learning in this course. And then we can just jump right into it. So in this course, we're gonna start off with some introductions, some things that'll help you get started on the course. We're then going to go into the basics. This is going to be teaching you the basics of premier, how you can manipulate the effects. We're then going to move into some beginner affects, some really simple things, but very powerful things will start enhancing footage. There we're gonna start changing the field of footage just as one step farther than enhancements because we're now making the entire footage feel differently. We're gonna have some fun with some animations. We're gonna go over a couple of things to save time when you're editing. We're going to work on at transitions. Then do the audio, the other side of Premier, which is some audio effects between the really, really fun. We're going to end it with some advanced and then 3D effects. And then we're going to wrap up. And that point you're going to do your project, which is going to be based on using affects learned from these 11 sections together to create your own effect. So that is going to be the skill share Premier Pro effect course. I'm really excited for you guys to get started. So let's jump right in.
2. 1-2 Download Files: So for this course, there is going to be a file. You can download this not mandatory, you can use your own footage in the course, but if you would like to follow along with the exact footage that I am using. There is a link on my website, so this is my website. This isn't some side website that can be hacked and have spam or anything like that. This is my personal website and I have a downloaded link right here. So if you type this into your address bar, you'll be presented with this page right here. You go to the download button and you put in this password and you will be able to download all of the footage that I am using for this course for free to follow along with. So go ahead and do that if you'd like to follow along, pause the video right here, and then put it all information, download links, and then you can follow along with me. Or if you don't want to just grab some your own footage and all these facts can pretty much be accomplished with your own footage. So that works too.
3. 1-3 Let's Jump Right In: All right, everybody, welcome to the course. I wanted to just jump right in and show you something. Now, a quick disclaimer on this video. If you can't follow along right now, that is perfectly fine. Just watch me. If you want to see something cool, be created and Premier. Or you can follow along if you would like to create this yourself. As we get in the future, we're going to be starting with a more simple building blocks and this stuff that you will build a fall along with. So if you are an absolute beginner, don't worry, just sit back and watch with Premier can do. If you have a little bit of experience, go ahead and follow along with me. It's a fun thing to accomplish. And what we're accomplishing is essentially creating an effect within Premier by combining a whole bunch of things together. And with those things combined, what we're actually going to do is create an effect with no stock footage. So we're actually have generated our own entire clip within Premier Pro. And this is what we're creating. Essentially, it's going to be like we're passing a son or a big star in space and that's what we're creating. We've created the star field, who created the sun, moving, the movement of the camera. And overall we created a fun effect. So let's get started on this effect. First thing you need to do is create yourself a project. To do that, all you have to do is click New Project, or if it opens up on the default screen right here, like so, I'll save changes. Wait a second, and then if it opens up right here, what you wanna do is click on the new project button. Mine is this one right here. So I'm just gonna reopen up intro effect, but if you click the new project, you're ready to go. Then you need to go up to File New Sequence and go down to this HDTV folder right here. Go to ten ADP, 30 frames a second. That's the one I chose. If you want to match me exactly any of those ones, it works too because we're generating this effect, so it doesn't have to match footage. Once this is all opened up, we need to go into our project folder, which is right here. If, if any of this doesn't look the same, click up here to editing and window workspaces reset to save layout and it should reset it to generally this view right here. If you can't find anything, if you go to window and I say like open up the libraries. If you click on the library's, it'll actually highlight that area. But anyway, Mine is the project here. I'm actually going to move that to the very beginning. I like the project on the left here. Again, if you can't find that, it's just the projects and you can find it if you click it, it'll highlight it. And in here, we're gonna go ahead and I'm gonna create a new sequence as well so that we have the other effect preserved. Click OK. We're going to have this sequence three right here. I'm gonna name this to stars. And now we're good to go and opened it up over here. We're then going to take a black video and we're gonna go New Black video to get that. So there's bottom-right here, nu or up here, File New. And then down to black video, either those works. We're going to generate that New Black video. And we're gonna take it and we're going to drag it in. Now, I am going to drag it to the second spot on the timeline right here. With this, I'm then going to go into my effects. I'm gonna search for generate. And so video effects generate. There's a whole bunch of different things down here. And you see what we're gonna do is we're actually going to go to Generate and then grid and drag and drop that. My bad not grid, cell pattern, cell patterns or we're gonna put on here. So the effects tab has all of the effects within Premier. We're gonna go to the video effects that generate find the cell pattern and stick it on that black video we created. If this is really zoomed out and grab this little dot and just drag it on over and we can zoom this in a little bit. Now this effect is, we're actually gonna be using this to create the star is it's pretty crazy. What we do is we click on the cell pattern up here, in effect controls window. Again, all of this, if you're not following long or it's a little difficult to follow along. Just sit back and watch the effect. Don't get frustrated right now we're going to start way slower than this, but I want to show you the power of what this course is gonna be able to teach you. Anyway, go up to effect controls cell pattern. And we're gonna go to crystals HQ. With crystals HQ, we have these little crystals right here. We're going to take the contrast and we're actually going to take that and bring it down to about 60. We're gonna take the disperse and bring up to 1.50. And what that's gonna do is gonna make them a little more jagged, a little more random. We're gonna take the size, I'm going to bring that down to ten, and now they are small. The next step is we're going to take a, another effect and this is where it's fun. This is what the course is about is taking these effects and combining them, we're gonna get a brightness and contrast and put it on the video. We're gonna take it that contrast and want to go to 98. And so you see right now we've taken this and now we have this really bright star field. And so essentially what I'm doing here is just adding an effects into the effect controls. If you click on anything and drag it over here, it brings them to the top left. You can see I've cell pattern. And then beneath that the brightness and contrast might too. And all I've done is manipulate parameters to generate what I want to generate. The last step here is that we want to take this opacity and bring it down to 1%. Now, you can't see anything at the exact moment, but that's because we need to do something else. What we're going to need to do is we're gonna need to take another black video and drag it beneath. This is going to basically allow a layer for it to project onto. And so when the blackbody on beneath comes on, you now have a very good-looking star field going. The effect is almost over. Now what we have to do is create the Sun. To do that, we're gonna go to the black video. So we have three of these at this point, you wanna start renaming things. The middle one is going to be your stars. The bottom one is going to be, I'm right-clicking on this rename and we're going to name it. I got background. And then the top video up here is going to be renamed to sun. And now it looks a little better. And said a black Video, Black video, Black video with the sun. We're gonna go to effects and in generate, we're going to look for an effect called Lin's flare down here. Drag and drop that on. And now we have our lens flare, but we can't see what's behind us. Well, we're gonna take this blending mode right here. So we'll make sure you click on the top. Europe in effect controls, you're down to opacity blend mode. And we're gonna take that and go to screen. And what that's gonna do is gonna filter downwards so that we can see the stars again and the sun stays right there. So now all we have to do is little animation. And I'm gonna say this disclaimer one more time. If you're starting to fall behind and you know, it's not all click and right now that's perfectly fine. Just sit back and watch or keep rewatching it and trying it over and over. That's how you learn in effect. But we're gonna go up to the position of the sun, so we don't want this position that's gonna move the entire clip. We want the lens flare position. Go to the flare Center. And we're just gonna take this and move it over megawatt there. And then we're gonna click on the flair center, the little button right here, which toggles the animation. And we're just gonna move it over a little bit. Now, that problem is if we move it over right here, nothing happens. So what we need to do is we're going to move into the future. So let's go to ride around the anterior around seven seconds and just move it and over. Now if we go ahead and play this back, you're going to see that we have a moving son. The last thing that I did was I took the stars and I went to the top here, the motion. I went down to scale and I scaled it up to 120. Why they do this? Well, it allows me to move the stars as well. You see I have a little space on each side. So now you can take the Stars and started off on the left here. Let's go back to the beginning of the clip position. And we don't want it to move as much as this. The stars are really far away, so we just want a tiny movement over time. So we're gonna go here and we're gonna move maybe the stars that much. And now what we have is this almost 3d effect, where it looks like we have the star is moving in the background, but the sun in the foreground moving quicker. And you'll see that the dots disappear. That's because it's not fully rendering out. It's trying to play it back at, at full speed. To render it out, all you have to just click the Enter key and it will render all the read-out. I'll give you your final product. And there you have it. We now have a beautiful stars that was created entirely in Premier Pro. So like I said, at the very beginning, this is a decently complex effect. But look at what we've been able to do by combining the effects in Premier Pro. We're not just using them one-off, We have a lens flare going, we have the cell pattern going. We're using brightness and contrast. We're using just the black video to create a background and then we're animating at all and were able to create something really neat. And throughout the course that's going to be doing, we're gonna be using different effects to create things that are really, really neat and fun. So I cannot wait to get started with you guys. So lets, the next lecture, we're going to bring it all the way back. And we're going to start at the very beginning here, where me going over what all of these panels are, how they all work together. And we're gonna be slowly moving forward and building onto him, onto it until you're at this point. By the end of this course, you're going to be able to come back to this video and follow along and it's all going to make perfect sense. And that is an amazing thing. So let's get started.
4. 2-1 Basics Introduction: And everybody, let's dive into our effects. In this section, we're gonna be going over some very basic effects and some basics of Premiere Pro dissection will be slightly different than the rest of the sections. And there might be a little bit of a lecture here in there just so that you understand the grasp of Premiere Pro. But most of them will be effects that we can accomplish and things that you can actually see it happen on the screen. Really excited. So let's jump on it.
5. 2-2 Basics of Effect Controls: Alright, so let's get some building blocks ready before we start diving into all of the effects. The first building block I wanna go over is the effect controls. So that the effect controls essentially what we wanna do is find out how we can manipulate the effects that we're adding. So let's get started by just first-off building out our process. So go ahead and open up Premiere Pro. Get it to a screen that looks like this. So create yourself to project a blank project and then start from here. The next step is, let's make sure our windows are all exactly the same. So go up here to window, go to workspaces, and then click on the editing button. This will set you back to this. It should look basically identical to this. If you have a wide screen monitor that's gonna make it look different. If you have a really small monitor, a laptop, it'll make it look slightly different as well. But generally, all of your boxes should be exactly like this. In the bottom left, we're going to right-click on this and we're going to go to Import. Once we click on the import, we can then go into the different areas and find our footage. It's going to be in Unit one and then stock footage. And we're gonna go ahead and click on the walking to the window, click open on that, and then click this and just drag it on over to your timeline. You now have the ability to view your footage. If you click the spacebar, it'll play it back in real time. And then you can drag this to go forward and backwards. So let's go into our Effects tab right here. And we're going to drag on the color balance effect and the tint effect right here. And you're gonna see this going to turn it black and white. And then we're also going to have some more controls. Now, the effect controls, if we go up here to the top left, you'll see effect controls. We have motion, opacity, time remapping, color balance, tent, and then down here, volume, channel, volume and pan. Or we'll talk about these later on up here or the video ones, these three right here, a default. So the motion is essentially just going to be manipulating the video in this space. So we can move it right to left, up to down, and we can scale it in and out. We can rotate. It just allows us to basically move everything around. If we want to animate it, we can click on any of these buttons, will have lots of tutorials on how to do that later. A very good thing to know is this reset parameter. You click on that, it's going to reset to what the default value was. And so now you see it's exactly what it started out as. So play around with these and you'll see what they end up doing. The anchor point we'll talk about later as well. A lot of effects used the anchor point rather than the, the center. A quick test is if I move the anchor point up here, whenever I rotate it, it'll rotate on that point instead. So as you can already see, that would be very important for something, some sort of effect later on. Also, you've gotta make sure that the anchor point is whenever you reset it, it's going to reset it to wherever the anchor point is. So you gotta make sure that goes back to center if you're gonna manipulate that to get everything back here. Anyway, this is just the motion. Opacity is how see-through it as, so if we lower it down, whatever it's beneath it, we will see if we raise it all the way up, it becomes completely opaque, which means that it's going to be the star of the show. There's nothing behind it you're gonna see in this situation, we have a black screens. All it's really doing is fading into black. But in other situations, like if we put text or something, we wanted to be able to see what was behind this. We would lower the opacity on the text blending modes. We will also talk about at some point as they are important in how this footage will blend with the rest of the layers. Now, let's go to the effects that we added. So we went to our effects, we went to the color correction, we grabbed ourselves tent and then the color balance HLS, the color balance HLS. We have this ability to use the hue, lightness, and saturation for this test, what we're gonna do is we're going to manipulate the heel. Now you can see right here that because of the tent, the hue isn't doing anything. But if I click on this little button, the fx button, it'll turn that on and off and actually have a kind of a fun effect. Your, I can manipulate the hue so that for example, we can meet, I'll make the interior walls a little bit of a brownish color instead of the yellow color they have there. And that's actually everything sort of looks exactly the same. You might actually be looking at some, maybe some unintended greens and stuff coming into here. But that's one use of the effect. Now, what I wanted to highlight with these is that the order that these effects go in is very important. So for example, if I took this tent and dragged it up here, or let's actually drop it down right here. And let's go to this map to black or matte black to, let's just go ahead and make that a red color. You're going to see that there's a red color right here. Now, no matter what I do to the HEW up here, it's just going to make it different shades of red. We'd have no more control. It's now tinted to read. It processes from top to bottom. So the color balance was applied first and then the tent was applied after it. If I take the tent and drag it up here to the top. Now suddenly the hue can be, can move again because first we're taking the tent and we're making it a red piece of footage, then the q is actually taking that red and it's skewing it to whatever it wants. So just by ordering these differently, we now have two different effects. The color balanced on the top, it's just different shades of red, the color balance. And on the bottom we have different shades of really anything that we work with. So that is a very important part of the effect control panels up here is that it starts from top to bottom and there are different layers in here. So whatever effects are at the top is going to be applied than this one, than this one and this one and so on with however many effects you have. So if something isn't working right and makes sure your layers are in the proper order. Also, we wanna make sure that we understand that the effects themselves can be manipulated in different ways. For example, with the, you can cut things out, you can add things, you can animate them with all of this, we're gonna be talking about all of that throughout the course. But just know that there's a lot of manipulation you can do which has a single effect. And that's why it's very powerful to be learning about these effects throughout it. Because once you know all of them, you can combine them to create really anything you want in Adobe Premiere Pro. So the effects have.git control are, get very familiar with the effect controls up here, drag whatever you want and do it, play around with a couple of them. And then let's keep going and start talking about some of the other basics like adjustment layers and black videos and such.
6. 2-3 Black, Transparent, Adjustment: The next thing we need to talk about is the transparent video Adjustment layer and then the black video. Those are three really common layers that we add into our timeline to manipulate the effects and to manipulate our footage. So let's go ahead and create one of each. So if you go to the bottom left down here and you click on this button, or if you go up to File and then New, you have them all right here, you just wanna create yourself a transparent video. And then you wanna go ahead and create a black video and just click through the prompt l it saying it's how big do you want it? And then we can go ahead and create our adjustment layer. So what is the difference between all of us? Will the transparent video and the black videos share the property that they're an actual element within the timeline, meaning we can apply effects to it and it doesn't just funnel the effect down. This one is just a fully opaque black video, and this one is just a fully transparent, transparent video. Now the adjustment layer is special in that all the effects applied to it get applied downwards. Think of it like a master control. So if we had, for example, two of these rate here, and we wanted to apply the exact same effect to both of them. We would put an adjustment layer over the top, like so. And now whatever we applied it, this, we can get crazy with it. Let's go and go Color Correction back to our HLS and change the hue up. You'll see that the hue is the green over here as well as over here, where if we applied it to just the first one, we took this and instead of applying it to just malaria, applied it to the first one, and we changed it over. The second one does not have the effect, as you can see right there. So that is an important step right here is to make sure that we apply the effect to as, as much as we want and we don't just try to individual apply them. There's also held, for example, if we're like, oh, we don't actually want this color. We want it, you know, this color will, if we apply it, copy and pasted this effect in a 90 different ones, we have to change 90 different files where if we just created a single adjustment layer, we just changed the Adjustment Layer and everything changes behind it. Then it's also important to realize these two because some effects are going to change depending on how you apply them. Let me explain that. If I take a transparent video right here and I drag it out over this footage, and I go to our effects and we're going to search for an effect. There's a search bar right here. You can search for anything if you know it by name. Once you start learning by name, it's a very quick way to get to them. We're going to look for an effect called crop. So video effects transform crop. We're going to take crop and drop it onto the transparent video. Now if we drag the left side, you'll notice nothing happens. We're cropping the transparent video. No effects are being applied downwards. Now, if we go ahead and go into our basics here or the project video and let's go to the trends are the Adjustment Layer and drag that on top. Now if we take our effect called crop, drag it onto the adjustment layer. If we move the left, you'll see it actually cuts the video down here because it's cropping this video. Essentially crop is being applied to this which does nothing. And then it's going to be applied to the next one down here, which is our video. So it's cropping off the entire left side of our video because it's an adjustment layer. So that's something really important to understand with, with the difference between the Adjustment Layer and the transparent video is effects will be applied differently. Another sort of example that we can go with here is why would we use a black video when we have a transparent video, certain effects require it. If we go ahead and drag the transparent video in, and we go to our effects and we look for one in the video effects and it's in the generate the four-color gradient. First off, if we applied this to our regular footage, if we had this layer right here, it overtakes our regular footage so we lose some footage, so we don't want to do that. We need something to put it on. So if we drag it onto the black video rate here, you'll notice that it works, that the gradient is applied to this. And now we can manipulate it where if we drag it onto the transparent video, nothing happens because it needs that color in the background to actually manipulate something. So the transparent video actually it is incompatible with this effect. So that is why we would use a black video. And then we wanted to look good. All you have to do is go the blending mode and then use, for example, screen. And that essentially is going to just take the colors and blend it with the background. It, I believe it chooses the lightest and the darkest and blends those together, but we're going to talk about blending options later on anyway. Now we have the effect that we can apply where if we wanted to drag before color gradient on the bottom here, there's really nothing we can do to save that's all it is. It's just going to be the four colors right here and we don't have any footage anymore. So that's really the difference between these three. These three we're gonna be using a lot throughout the course. I just wanted to give you a good basis for them so you understand them when we drag and drop them in, we're going to be learning a lot of properties about them as we apply them to various effects. So yeah, transparent video, Adjustment Layer, Black video. They're going to be really, really helpful in using throughout the course to create certain effects.
7. 2-4 Get Your Effects Moving: So let's talk about masks and animation. This is essentially the basis for animating everything in Adobe Premiere Pro. So what we're going to be doing with this is essentially throughout this course as we create a facts, we wanna be able to control them over time. So you don't want to just have it as a single change to what? We don't want to just change the colour one time we went to go into the change and then come out of it. We want to locate it on one side or the other side of the clip. We want to be able to control it in both space and time, and that is what masked and animation allow us to do. So if we go into our brightness and contrast here, so we're gonna go into our affects, video effects, color correction, and then brightness and contrast. Drag that onto the left footage over here. And you'll see that right down here and brightness and contrast. We have the brightness rate here, which we can drag up and it makes it brighter, drag down, it makes it darker. And we also have the contrast which just makes them go back and forth. So let's say that we want to do something sort of analog artsy. We wanted to start off with normal contrasts. And as we get closer and closer and closer, we wanted to go and do really extreme, or let's do the opposite. Let's say we wanted to go really, really contrast at the beginning. And then once we make it to the window, we want it to be perfectly visible. So if we go ahead and start at the very beginning here and our set, our contrast to 100, we can begin an animation by going over here into the stopwatch, the toggle Animation button. If I go ahead and click on that right, like so, I can then drag this forward and find the space where I want it to be right here. And then I'm going to drag this contrast or I can just type it in by clicking on it to 0. And so now what we have is this transition over time. So you're gonna see as we play this back, it starts off looking like a really high contrast. And as we get closer and closer to the window, it then lights up to the original, kind of a cool effect here. Now let's say that we don't want this to be applied to the left or the right window, we just want it in the center window. We can create ourselves a mask rate here, brightness and contrast. We click this box and it's going to create a mask right in the center. If I drag this mask up the points so that I get a column here, all you have to do for this is just click on it. Whoops, not rotate it. Click on one of the points and you see I go left and right. If I click the Shift button afterwards, it locks it to like certain like 45-degree angles and stuff. So if I drag it up, it'll make a perfect line upwards. So I click, hold Shift, dragged down, click, make sure you click first, hold shift, drag down. And now we have just this column in the center with our masks. We have this thing called feathers, which is what, how much it's going to blend with the edges. So if I take this, I bring the feather way up. You'll see that it blends in with the edge is a whole lot more. We have the opacity so we can see how strong we want the effect to be applied. Then we have the expansion so we can expand it out from the line we drew or expanded in from the line we drew. So I'm going to expand it out a little bit, add a little bit more feather. And yeah, let's go with that. And so now let's go and animate through. And you're going to see that as we get closer, it'll slowly go back into normal. And we have this like interesting beginnings of an effect happening. We can also animate them ask paths or if we wanted to start at the left side, for example, if we click on the animate button here, we can go and click on it and maybe have it start. Maybe over here. And then over the course maybe halfway through, we'll have a sort of cycle onto the other side. Now we have this fun little moving across but also disappearing as you go across it. It almost looks like there's a shadow in the room which is kind of a cool effect if you wanted to keep it maybe at a lower contrast the whole time. For example, if we turned off the contrast animation and kept that 62.3, OK, it actually looks like there's a shadow that runs across the room. Might be good for a horror movie or something like that. But anyway, the basis of this is that we have the ability to create masks by using these buttons. This one allows you to draw. One, creates a square, creates a circle. We have the ability to animate that and with the ability to animate basically everything in Premier Pro and create amazing effects from those animations.
8. 2-5 Keyframe Manipulation: So let's talk about keyframe manipulation. Keyframes can actually be manipulated themselves and it gives us a greater sort of ability to change the motion over time. So let's grab brightness and contrast and just drop it back on here. We'll do a quick one. Say at the Contrast, what's actually the brightness? Let's delete those right here we'll go brightness is going to sort out 100. And then once we make it to the window, we're going to animate it down to, let's say negative 100. So there's a big change here, you can see it gets darker and darker, kind of a cool effect there like the light is what's doing something to the camera. And then as it adjusts, but we just went to negative here. And so you can see that it's a very linear motion. So what I mean by that is if this was a 0 and this was 100, it would essentially just go 1234567. You get to the middle, it's at 50, you get over here, it's at 75. It's very predictable. However, we can make this unpredictable. We can actually add a little bit of fun and flair to it. If we drop this down over here, you're going to see that we have these two menus. One of them over here is the motion and the bottom is the velocity. So you'll see that it has a velocity right here of negative 30 every second. So every second the brightness is going to be, is going to go down by 30 value points. In this situation. I mean, there's no real like unit for any of this, so I just call it a value 0.100 is the highest brightness, negative 100 is the lowest brightness. So it means every second we're gonna go down by 30. So if we go to 1 second in the film, Well, we're at exactly 7100 minus 30. So it's a very linear fashion as a formula for it. Now, we can actually manipulate this and kind of have some fun with it. So if we right-click on this, we can create these sort of auteur defined once like a Beziers, where would a busy air is gonna do? It is going to sort of rounded off. So if I grab this and I pull it over, you'll notice that now we have this sort of S curve here. So what we're going to have is c, the velocity down here, the velocity is going to increase. At some point we're going to be at almost one negative 120 for like that split second. And then it's going to come back down. And slowly gets slower and slower and slower over time. So we have this big change from 100 down to essentially 0 in the first, second. And then after that we go from 0 to 100 in the last, about five seconds. So we have the ability to create something that looks like this. Take a look at this. So you can see it as this quick adjustment and then slowly over time, it goes into the black. And we can actually, if you hold the Alt key, you can duplicate things. So let's duplicate this and just make this back into a linear one so we can watch them back to back here. So I'm going to bring this up to full screen and let's just take a look. So the first one, the brightness falls off really quick and then it slowly goes dark. The second one, the brightness slowly comes down over time. You'll notice that the brightness is about halfway, maybe three seconds into it while the brightness gets to that point right here at just the first step, right when that person's arm comes in, while in this one, you'll see that when that person's arm comes in, it's still really bright in here. So keyframe manipulation is important. It's something we're gonna be talking about throughout the course and we're actually gonna create effects using it. But understand that these are here. You don't have to do a linear change over time and you don't have to animate the change over time either. Like for example, you don't have to keep putting keyframes down here and make it go quick and then slow and quick. You can do it all from right here.
9. 3-1 Basics Introduction : Now that we've got a good foothold on Premiere Pro, let's go ahead and start tackling some beginner effects. Let's get started.
10. 3-2 Rotation in Premiere Pro: So the first effect we want to cover is a very, very simple effect. And all it is is how to rotate a video. So if we go here and we hit right-click and import, we can go unit to stock footage and then people walking. That's the one we're working with here. Drag and drop that in, and you'll see that it's over here. Now let's say that your sequence or our mind, your workspace looks a little bit different. Maybe it looks something like this, and you wanna get it back to default. You can always go up here to window. And then whoops, not that button. Always go up here to window and then workspaces and then reset to save layout. And all that's gonna do is it's going to reset everything back to the very beginning. And essentially the workspace was saved as well. If we click on, for example, graphics, you'll see that it adds a graphics panel over here. And if we do all of this again and we removed the graphics panel by closing it and we wanted to reset it back to what the graphics was. We go up to workspaces, reset and it's going to reset it to what it was, were working editing. So make sure you're clicked on editing up here. If this window has gone as well, you can always go up the window workspaces and click editing right there. We're going to click that. Someone's going to drag it over. And you'll notice that rotating a video is very, very simple. All you really have to do is just go down to motion and then rotation. And you have the ability to rotate the video. Now if you wanted to do some fun effect with the rotation, for example, you want it to spin. You can always animate this as well. So if we go and click on that and go up to, for example, five seconds and then rotate it. Maybe 23. Let's go three times. Now when we play it back, you'll see that there's actually an animation behind it. A little bit more of an advanced way to rotate is we don't have to use these controls. If we wanna do this to an effect, we can actually do that. So if we go to our effects and look for the video effects to store it, transform, and drag that on. You'll notice that we have all of the different things down here as well. One of them being rotation. Why would we want to do this? Well, transform can be applied to a Adjustment layer. So if we go up to how to rotate a video, click new Adjustment Layer, create that Adjustment Layer and put it over here. If you notice, if we rotate the adjustment layer, nothing happens beneath it. So what we need is the effect. So now we can actually go into our facts and look forward, transform, drag and drop that on the Adjustment Layer. And now when we rotate, you'll notice that the bottom rotates. So we can actually have footage that rotates wit over time. We can actually multiple pieces of footage rotates. So for example, if we created just a duplicate of this using the alt button. And then we do the transform rate here. And now all we have to do is we just click on the rotation animation and we move across the cut here and we keep it rotating. You'll notice that the rotation stays and right there, that little cut there, it changes. This is a way you can rotate everything. So that is just another way that you can add rotation. Like I said, rotation is a very, very simple effect in Premier Pro, but it's good because now you understand that as a transform as another way to add it. And we can actually do multiple different effects later on with this basic effect.
11. 3-3 Flip Footage in Premiere Pro: So let's talk about how to flip a video. We're back here at the main page. We're gonna go has edit, create ourselves a new project right here. Click on that. I'm in it too, then flipping video. And you'll see that we actually have different settings in here if we ever wanted to change those settings up. But for right now we're not going to touch them. Just know that they're here. Click OK to create a new project and then we're back to this window. Let's say again that for example, maybe the last time I closed that project panel and now I want to get it back as always, window workspaces reset and then also always look for the keyboard shortcuts. You can see that it's Alt Shift 0. You can click that pretty quickly with your fingers and you can start doing that to reset the workspace. So you don't always have to go up there and look for it. I'm going to right-click here. Click Import weren't gonna unit to stock footage and then cars driving. We're then going to take this and want to drag it over to this empty space. Now what are we doing when we create this? We're creating a timeline. What exactly happens though when we drag it over like so what happens is we create a timeline with the exact specification of the footage we add to it. So for example, this footage is 60 frames per second. The more frames per second, the smoother the motion, the more data there is. In this instance, we created 60 frames per second sequence. That's good if all of our footage is 60 frames per second. However, if we wanna export to a more cinematic quality, we 24 frames 29.97, then we actually need to create our own sequence and then drag footage into it. To do that, we just got File New and then sequence. And we can actually choose our presets here and change stuff around like for example, a 29.97 frames per second. So understand that I'm doing this drag and drop thing. But you can create your own so you don't have some, an unintended consequence like your frames per second being a little bit too high. And then if you add a 30 frames per second to it, it looks jittery, stuff like that. So I'm just gonna go ahead and do what I did before. And again, we're just touching on that right now. We're going to talk about that more later throughout the course. I'd like to introduce the topics early on. And then we're going to keep reinforcing. That's what this course is all about, is building blocks. Building blocks over building blocks. So now we're back to the car's driving. I'm going to click on this and we want to add an effect that's very, very simple. All its called is horizontal flip right here. If we drag that on over, you'll notice that the footage flips. What am I doing this for? Well, you can see that the left side of this car's driving is cars driving forward on the left and then backwards on the right. That suggests they drive on the left side of the road. Probably somewhere in UK, Europe, somewhere that drives on the left side of the road. What we want to do though, is we want the footage to look like it's driving on the right side of the road. Why would we want that? Well, let's say that we want to try to drop this into a foot piece of footage and make it look like it's somewhere in the Americas. So to do that, again, we need to make sure that we flip this footage. If we drag the horizontal flip over, we get just that, which is a quick drag and drop. It now looks like we're somewhere in the US. If of course you don't look at the license plates, it looks like you might be somewhere in the US and with a quick hit, it won't throw your viewer, audience off. It looks like we're driving on the right and they're driving back on the left. It's very easy to find Video FX transform horizontal, and we also have the vertical flip if we wanted to make it upside down like so. If we click on this and we go to the effect controls, you will see that the horizontal flip, all it has our waste a mascot. So if you wanted to create a mask, you can actually create sort of a mirror effect. If I take this and I drag it out to this center here, like so. You'll see that with a quick little button right there. We've actually created this sort of mirror effect because we're applying the flipped to one side and not the other. So it creates a, both the same information in opposite directions on each side anyway, and that is how you flip footage in Premier Pro.
12. 3-4 Adding Text: So now let's go over how to add in text. There's going to be advancing the course into a new area, which is the graphics. So we're gonna go ahead and hit Create or two here and then adding text. I'm going to go and right-click over here and click import. And I'm going to import my footage as normal. Now if you'll notice over here on the right, I have a new panel open. This is the essential graphics panel. I'm here because I'm in the graphics workspace. We are typically in the editing workspace, but I clicked on the graphics because we're actually using graphics as time. So having this open, it's helpful if you don't see this attentional graphics panel. You go to workspaces, go to graphics here, or you can just open it up individually by coming down to a central graphics and turning it on right there. And if we take our footage and Dragon over, you're going to see that it's just the same footage as last time. However, what we wanna do is add text. So we're gonna go over here to the tools or to look for the Type Tool. And we have two ways of creating text. The first is to draw a box. The good thing about a box is that it's going to make sure that you create text only in the area you want to create text. It's not ever going to get away from you. The bad thing about a box is that you'll see that it starts cutting things off. So we are no longer allowed to really just create whatever text we want. We have to try to fit it inside here and you'll see that we don't look at it properly. So we don't look at it properly. It cuts off and we can actually render something out that doesn't have the texts that we want. So if I delete this the second way to create texts, it's just the click. And then to type out your text and it will adjust if I click the Enter key, it'll go down another layer like so. So you can see that with this, it's very, very expandable. I can make it larger and smaller and the box is going to move with it. So depending on what you wanna do, you need you have two options to create your text. In our situation, we want that adjustability. So I'm going to click here and I'm gonna type, for example, London u, k. And then if I wanted to make it larger, I'll have to do is double-click here and drag this up a little bit. And you'll see that what we have is it's just a touch larger and now it looks pretty good over there in that corner. But why did it disappear? That's because what we've done is we've created a Graphics Layer. Essentially what that means is that this Graphics Layer was added here and then the effects for that Graphics Layer, or over here, it actually has two layers. We can add effects to it from the effects controls like anything in the effects panel. We can add over here like a normal piece of footage, or we can do the special graphics effects over on the right here and the essential graphics. If I click on this text, you will see that I have all of these effects and we'll cover these as the course goes on. Things like line height and the width between the spaces, the different texts that's all in here. And the size though, is really the one that you want to look at for right now. And then also maybe you want to look at something like changing the text up to a different one. Also, color, stroke, background and shadow at the bottom here. If we go to the fill, we can change the fill to anything we want like black, and you'll see that it changes the fill in there. If the stroke is the outline, you can see there's a white outline here. If I wanted to, for example, add a red one, I can do just that. We have a lot of different controls within here. Now if we create two different pieces of tax, so this is the second piece, right? Like so you'll notice that it all it does is it creates another layer in here, but it does not create another layer over here. This helps keep the timeline clean. If you want to add different effects, for example, anything in here to different texts layers, then you need to make sure that you're creating separate graphics layers. Otherwise, it's going to be applied to everything within this individual graphics layer. We can also sort of order these. So whichever ones on top is going to have the you'll see that it has the I don't know, I guess you would say the priority. So it's gonna look like it's on top of the other. You'll see if I drag it down. Now the second comes out and it looks like it's there in the London goes behind. So the order is really only relevant for that. You can also create groups and stuff to organize your, your layers up here. But that is the basics of how to add text. Note that the main parts of this is that you click the text view, drag it. It's going to be a set. You click it and type. It's going to be adjustable, it's going to be flexible. And then make sure that you look in the essential graphics panel because that's where a lot of your effects are going to be for manipulating the text within. Here. A quick prototype, by the way, is effect controls. You can also see the text is over here you have a couple of quick sort of things to do over here. You can use the size and the texts and all that over here in your effect control so you can adjust some of this stuff from two places, but a lot of the stuff like a lion and transform will only be in your central graphics panel. So now we've covered the basics of texts. In the next lecture, we'll actually be animating this text a little bit and maybe making it type in like a typewriter effect. So that'll be a neat sort of addition to what we've been doing. And we'll keep working on the essential graphics and typing.
13. 3-5 Typewriter Effect: So now let's discuss animating via text. So that's gonna be our next effects, how to animate text. So let's go ahead and first I'm going to go ahead and reset this and something more visible, just a white text. And then I'm going to undo the fill here. So now we just have this plain white text and let's say we wanted to animate it so that it comes in with an animation like it's being tight, like a typewriter effect. To do that, all we need to do is go to the text and then go to the left side over nor effect and trolls go to our text here, drop that down, and then look for our source text. You'll notice that we have the toggle Animation button over here. So in the last lecture we edited the tax on the right side. But whenever we want to do things like that, work with the time or wheel and to add effects to it, we need to look on the left side over here. And the effect controls so that we can actually go to the animations. So I'm going to first do is I'm going to click the toggle animation and I'm going to erase everything except the L and then go into move forward five frames. You can look the frames rate here. So you can see 12345. And you can see there's, we're now at the fifth frame. And I'm going to go in here and get to the end and then type in o. Go five more frames typing in. And this is a bit tedious, but it does create the animation. A quicker way to do this is if you hold the Shift button and then click forward, it goes ahead five while you do it. So this will save you a few clicks right there. D o n comma u k. So now what we have right here is the animation. So let's go ahead and just play this back. And you'll see that right there. It types out from beginning. And of course, if you move this forward a little bit, the reason you start with the L is because it's going to pop in with the L. So might as well have it start off with a letter so that the beginning of this is the actual beginning of the effect. And there we have it. Now we have a very nice animated text right here. And we can actually un-annotated out. So we've done the animation inward and we can just do the exact same things outwards. So maybe right about here, start the animation is still going. Now whenever you're doing an animation on the reverse side, what you want to make sure you do beforehand is go up to here and add another key frame rate before you begin. This is going to make sure that whatever happened rate here, this last key frame right there is going to maintain throughout it. Because if, if you start editing right here, it's actually going to try to basically change over time from here. Let's say you're changing the color or the size or something. And something is really large here and you wanted to start shrinking. Well, if you begin shrinking here, it's going to go from large and then slowly go to small as it gets here. So you want to lock in that large again so that you can begin animating it from that point onwards. So that's what we're doing. We're just making sure that we're locked in right there. We're going to move forward. Five, delete, five, delete, five, delete, delete. And you'll notice that a lot of stuff in Premier Pro is tedious. Editing can be a tedious thing. However, the TDS ness is what creates the neat effects. Now, again, with this, I could make it disappear, but I want them to just go with the, just end on the effects. So I'll just bring this back to here. Or actually I need to go I believe forward five. Let's see. So yeah. Okay, so I deleted that keyframe there. I think I hit controls either. So I wanna go forward five and then delete it right there so it sticks with the animation. So now we can just take a look right here and we have come in, go stays for about three or four seconds and then it undoes itself and then it's gone. So that is how you animate text. It's a great little thing and this is just one of the things you can animate. You could animate the color over time. You can animate, for example, changing the text to different things. There's lot of different fun effects that you can do with this, but this is the most basic way to animate your text.
14. 3-6 Color Ramp Effect: So now let's create a video overlay on our video and we'll go over a couple of new effects with that. So first off, I'm gonna go ahead and click import and I'm going to import the beach in our stock footage folder. I'm going to drag that over and just let it generate a sequence for me. Now you'll see we have this beautiful shot of this. What looks to be this girl sitting in front of a beach. But we want to change this style. This is looking a little bit like a cool sort of feeling to it. And instead of that, what we wanna do is want to make it feel a little bit more summary. So we're gonna go into here and we're gonna go click on the new item button and look for an adjustment layer. You can also go up to File New adjustment layer, but make sure that you have this box selected if you're clicked on, for example, the timeline and you go file new, you'll see that it's actually grayed out and you can't click on it. So you always have to have the project selected so it knows where to put the adjustment layer. So we're gonna go click on that new item button, a new adjustment layer, click OK, and then drag that on over an extended the length of our clip. We're then going to click on the Adjustment Layer, go to our effects. And we're going to search for an effect called and ramp. We can find that in the video effects if we go down to, I believe it is under generate and then ramp right down here. We're gonna take that and we're gonna drag and drop it onto the top footage, the Adjustment Layer. And now you're going to see that the bottom sort of disappears here. So what we wanna do is when a take the stark color, the ramp, the top color, and we want to change that to a red. So I'm gonna go like I'm gonna be a reddish orange somewhere in here, like right there. And the bottom of the ramp, I'm gonna make it more of a yellow, a nice bright yellow here. What we're doing is we're gonna be taking these colors and sort of blending them downwards. We're then going to look for the ramp shape. The ramp shape is fine. It's either linear or like a center sort of ball which can be cooled as well, but we want that linear. And then now we have this blend with original. So all we wanna do is we just want to blend this a little bit with the original. So in this situation, I'm gonna blend it may be 90%. Maybe 85% looks pretty good. And what we have here is now a quick sort of adjustment to it. And now it looks a little bit more summary. And of course we can mess with this more C If we add a stronger one, if that helps, We can also maybe add, for example, if we look for contrast, brightness and contrast, we can drag and drop that onto the Adjustment Layer and see after we add the ramp, let's see if we add a little bit of contrast to sort of bring the colors out, as you can see, it looks a little washed out, so we're going to try to bring some of that in. And then now let's make sure that we're on full here so we see the full effect of it's being rendered. And there we go. Just a quick sort of Button. We'd added an overlay to our footage and change the feeling of it just a little bit. You can see that here it's at cool, sort of it feels like maybe you're in Iceland or something, or when you turn this on, it feels just a little bit more summary. It fits that summer vibe like maybe at the very end of a summer day. And with overlays, we have the ability to sort of manipulate and change all sorts of things. And this is just a very basic ramp overlay. We could do a 1000 different effects on the Adjustment Layer and we'll be doing that throughout the course. But I wanted to introduce the idea of overlays and the idea of changing the footage with your overlays.
15. 3-7 Watermark Effect: Now let's go over how to create a watermark. So we've actually, I've already created a project, so we're going to jump into that one. I just want to show you that you can always jump into a project that is down here. So if you click on this Double-click, it'll open it up. As you see, h is a completely blank project, so there's nothing special about this. Just go ahead and create your own project. Get to the blank project and then follow along. Right-click on this. Go to Import, grab the beach scene from the import. Drag over, create your sequence. You're beginning steps. Now once we are here, it is time to create the watermark. The watermark is very easy to create and what it does is it allows you to share your footage without worry that someone's going to steal it and like maybe sell it behind your back because all you're doing is sharing a ruined version of your footage. It's not gonna be completely ruined where they can't see the stuff that's happening, but you could never put it into a full production. So let's first go to our text tool. We've used their textbook before, type here and then type the name of your company or your name or anything that you want right here. And so Adobe masses is my Online YouTube channel. So I'm just going to type that in. Let's say that I filmed this and I don't want anyone else to grab it. I'm going to then make this large M. You see that if we're clicked and here, it's only gonna make what you're highlighted, what you're currently hide out lighting larger. So we can go ahead and click and then highlight everything it keyboard shortcut is control a or on a Mac command a, that'll highlight all the text inside. I'm gonna just gonna make this bigger. And now I need to add a copyright code to the back. To do that, you can go online and look for the copyright code. All you have to do is a quick Google search for copyright code. And you'll see copyrights and symbol. And you can see it right here. And you just gotta find it highlighted right-click copy. And then you can paste it right here. Makes sure that the text of this thing that's selected. Actually I think I've got the file haste or edit paste right there and you can paste it. Now I always use keyboard shortcuts. That's why it took me a second. Find it. Control V is paste and Control C is copy. So you can use both of those for copy and pasting. Another way do that is the alt code, which involves you just holding the ALT button down. And then if you have a NUM pad, you type 0169 and release the ALT key, and it'll create the copyright code as well. Once you have this built, you're just going to position it where you want in here. And I'm gonna go ahead and add a black stroke to this. So I'm going to click the check mark button over here in the central graphics pain. And then I'm going to make it stroke just a little bit larger. Like so. And then basically this entire effect is going to be taking this, making sure it's dragged over the entire footage and then just grabbing its opacity and reducing it a little bit. So we're gonna grab the opacity and maybe make it want to start at the very base, something like 8, 9%. Maybe if you're really good footage or something and you don't want it 12-13 percent, something a little stronger, but you can see what this does is it waters the background. There's no way that anyone can remove this from a clip unless they have really advanced software. I think there is something out there that can actually sort of have that what it is. They can try to remove it, but even so it ruins it, it could never be used in anything, you know, very important. And of course, if you wanted to see it, you can always put it up in the sky. That's not going to change things. You can bring it down here. It just is wherever you want. And a fun thing you can actually do is if you download any inner like image off the internet or if you have a company symbol, all you have to do is just drag and drop that in. And you can reduce the opacity on that and make a assembled one as well. So that's how you create a watermark in Premier. Very simple effect. All it requires is just a text layer and then using a bit of the opacity to reduce it so that we can see through it.
16. 3-8 Rolling Text Effect: Let's create a really fun effect with what we've been doing, all the stuff that we've learned. It might not feel like we've really learned a whole bunch, but we have learned a lot about Premier Pro and we can combine them to create some more advanced sort of medium level effects. And this is going to be one of them. One of the effects that we use just a couple basic tools and we have the ability to create something really, really fun. So let's go ahead and do just that. So I'm gonna hit New Project and I'm going to be creating, it's gonna be eight text reveal. And you're going to see that what that is as we create it. So we're gonna do, is we do want to be in the graphics, the central graphics workspace here, going to right-click, I'm going to click Import. And now we're gonna go to sunset in our stock footage. Now grab that. I'm going to drop it over here. And you can see there's just a very beautiful looks like a drone shot over a sunset in kinda hard to tell where it is, maybe somewhere in the Mediterranean. That's kinda where we're just going to think of. I'm just going to think it's in somewhere like Greece. And so we're going to work with that notion. So I'm gonna go to Text right here. I'm going to click outwards and I'm going to write maybe Athens, Greece and then a year like 2020 or something like that. If I highlight this, I'm going to then make it a little bit larger. And that's about as large as it'll go for this piece. And then go here, well, it's as large as this thing will go. You can make it go larger. If you type in 500, there's just the bar only goes up to 400. So you have to type in numbers after that, a little pro tip there and drag that here and then maybe make the stroke like 20. Yeah, that looks pretty good. Now what we wanna do is we want to take this footage right here. I'm going to drag it out so that it's the entire length of the clip beneath it. And then going to hold the ALT key. Hold the ALT key, click and drag up, and that's going to duplicate it. Another way to do this is right-click, go to Copy. And then you've got to select V3 over here. So make sure there's unselected. Go to their beginning, right-click and click paste, which can be a little bit tricky to bring up. So just edit paste and it'll paste it right there. Keyboard shortcuts, Control C, then control V. And I'll do the exact same things. All we wanna do is when I create a duplicate, you can even just drag another one. Or actually you can't because it's the graphics layer. So you had to do one of those methods, control C, control V, hold Alt and drag up or just right-click copy, right-click paste. So now anyway we have the footage here. So these are exact duplicates of one another. What we wanna do is go to this bottom footage and bring the opacity down to something like maybe 17%. What we're doing down here is we're creating a guide layer. So we're actually going to rename this just so it's easy to see this our guide layer. When we reactivate the top, we're going to take this. We're going to delete off everything from that point onwards. And now you can see the guide layer. We're going to essentially do this one word at a time, but we wanna make sure that we line up the word so that it looks natural. So what we're gonna do is we're gonna create the app ends are going to copy and paste it in right Greece and then line it up with the bottom and then the 20-20. Once we're all done, we'll delete the guide layer. The effect that we're creating is to have the text come from bottom and then slide into view, but make it look really professional. Something you might see on like HGTV or some other sort of professional TV channel. To do this, we're first going to look for an effect called Crop. This as a new effect. It's in transform crop. It's very simple. All it does is it crops out the footage. I'm dragging it onto the Athens layer. So we're going to take this and we're going to go from the bottom. And you can see if I drag it all the way up, that it starts cropping out the layer here, what we wanna do is we want to position this somewhere like maybe right here, this is where the text is going to come from. So I'm gonna go down to maybe 28%. I'm just guessing here, we're got to adjust this a little bit to make sure. Then we're gonna go into the Athens layer. We're still in the Athens either crops up here at the top, I'm going to drop down, or I'm gonna go down the video motion. And then I'm going to use the position here. And you'll see that the problem is that the position right now is below. So we're going to actually take this and we're going to go up to the vector motion of it. And we're gonna use a position here. If we use the position of the video, it takes the entire video and moves it down, which means the crop goes with it. So as we drag down, Athens comes down and the crop, whatever ratio it is, Well maybe it's sitting here, it comes down with it. We want it to stay still. Seward is going to move this text itself. We removed the text and you'll see that it hits the crop right there. That's perfect. We're going to drag it right beneath. So right when it disappears right there, we're at the very beginning, our footage. We can we could go and maybe a little bit, maybe we want to start this at like 1 second. So we'll start the effect at 1 second. We're going to click on the position toggle animation. Now we want to move forward maybe, maybe 2.5th. So we're looking at about 20 frames here. I held the Shift button when I clicked, so that was 20 frames forward. And then I'm going to go ahead and just drag this all the way up. And I want to put it right back into where it was. So we're gonna go right here and line that up like so. And now you're gonna see that we have this sort of reveal. The extra rule is going to come up, but it looks a little bit clunky. It doesn't look full on that, I have that. So we can get this at real-time. It looks very basic. So the next thing we're gonna do is right-click on this keyframe. Temporal interpolation. We're going to easy out this one, right-click temporal interpolation. Easy n, this one. Remember when we talked about Keyframing population, well here's what we're gonna do. We're gonna see that the velocity of this is essentially going to increase as it comes up. So we have that, but we wanted a little bit about the opposite. So I'm gonna do is I'm gonna expand this a little bit. If you drag this inwards, it expands that out. And I'm going to take this and I want there to be a really strong velocity at the beginning. And then I'm gonna take this and drag it down. And then sort of just slide into place at the end right here. So now let's take a look at this. That, that looks a lot more professional. And I actually want to try to bring this all the way down, so it comes to a nice slow stop. There we go. That looks like I said, a lot more professional. It looks like something that anything would use. It has a very smooth sort of feel to it. And so now we've actually created something pretty fun. What we wanna do now is we just want to have the rest of this come in Greece and in the 2020 and we went to roll it in. That's why it's a rolling text. So we want the first one to come in and then right about here we're going to have the grease come in. Then write about, you know, when it's there, we're going to have the 20-20 come in. So let's figure out how far along the animation we are so we can get the timing's right. So we are one to five. So we wanted to the grease to start ten frames in front. So we're going to do what we did before. We're going to drag the Athens layer up. Except now we're going to click on it. And we're going to rename this to Greece. We're then going to take this layer and we're going to move it over. If we affect the text, we lose the animation that we created. We don't want to lose the animation that we created. So we're gonna do is we're gonna go down to the video motion and we're going to move it from there. Just going to drag it over and we're just going to line it up. So right about there. And when we rely on this up, we want to make sure we're at the beginning or at the end, my bad of the animation. So we just want to make sure that the, the ending of the animation is where it ends at our guide layer. And so now we have them both come up. We however, want to offset them a little bit. We can do that one of two ways. We can move the keyframes forward, or we can move the entire frame forward. I'm going to move the entire frame for it. So I can actually see it on my timeline. So I'm gonna make a cut here. Now this is the first time we made a cut in Premier Pro. Use the C key to change the Cut tool or you just click on the Cut tool up here, the eraser tool, and it'll create a cut within and basically just separate the footage out. You could also drag it forward. Now when you do this, if you start selecting things II and you had to hit the V key or go back to the selection tool. Just a way that you can edit different things. Now what I wanna do is I want to move this forward ten frames. So I'm gonna just go forward one. Make sure you out 1-10. Drag this over. And now we have the two sort of lining up. I actually think that I kinda want the Greece to come in just a little bit sooner. So maybe we're gonna go six frames. Let's see how that looks. Yeah, that's looking how I think the original effect should look. And now all we have to do is do this one more time and remember the timing signature. We changed it up. Sometimes you have to change the volume, make it I thought ten would look good. Six looks the best. So when we create the 20-20, we wanna make a six as well, meaning that we want to go to 112. So we're just gonna do the exact same thing one more time. I'm going to take this, I'm going to drag it up using the Alt key. I'm going to make sure that we're at the end of the transition here. Click on this, click on my text tool. Go to Greece, rename it to 20-20. Click on it. Make sure that works. Collected on the 20-20, not the tax motion, not the vector motion. We wanna go down to the video motion. Drag that position over, line it up with our guide layer. Now let's see how are at looking great. Click on it. So back to the selection tool. Make sure were lined up at the 106 and then now we want to go to the 112. Again, I'm looking at this rate here at The math is done right here. Lot of times I have a notebook and a pen and pencil right next to me and I just write this stuff down so that I can keep things looking good. It's all about the timing when you do stuff like this. If one of them seven frames, one of them's 13 frames, it's going to look off. So you just wanna get those correct. It's very simple math and it's just as where like the detail of the, you know, the I guess overall quality comes down to the little details. So now we're just going to take a look at this. And now we have a great little texts trivial coming to clean this up. And I don't wanna do is I want to go to the 1 second mark and I want to just drag this in. Now we have very easy to see timeline working here. We have Athens in Greece than 20-20 comes in. We can go ahead and delete our guide layer, or if you click this button, it just hide the guide layer. And let's play back our final effect. And there we have it. We have created ourselves a rolling text transition with, like I said, nothing really more than what you've already learned, which is five or so effects. And then we added in the crop effect for this to just give us a place to come in, but all just basic fundamentals combined, you can create a very professional looking graphic and introduce any point in the world or something with this professional graphic.
17. 3-9 Social Media Callout Effect: So now let's work off what we've been learning and create another fun effect called the social media call out, or social media call to action. Essentially it's going to be a little thing at the bottom that says, follow me at whatever your handle is. So let's go ahead and do that. I'm gonna go ahead and import anything really hear me at the beach or cars or one of these all it has to be some footage. I'm gonna go ahead and go at the beach on this one. Drag that over and create ourselves a composition. And then what you can see, the footage is ready to go. Now all we're gonna do is go down here, click on our text tool and we're gonna create texts like we did in the other tutorials. And it's just going to be something simple. Follow me. And then at whatever your symbol is right here, just follow me at Adobe Masters, a little bit large here. So I'm gonna take this and just drag it down maybe right about here. And then put that in place. And then now what we have to do is we need to import the Instagram symbol. I'm also gonna make sure that this is the duration of our footage of the bottom. We don't know how long the effects is going to be, so I'm gonna make it this and then we'll cut it down later. And so let's go back and import our footage off. I import Instagram right here. It's going to import it into a layer. And then if I drag and drop it on here, I can do all the manipulations, I can create the effect. However, we also want to cover something really, really important. And that is going to be how we can take this and save it for use over and over and over again. So let's go ahead and just take that, make it disappear. And then now what I'm gonna do is I'm going to click on this. It'll open up the essential graphics panel on the right here. And then I'm going to click the New Layer. And then we're going to say from file, click on Instagram and open. And you'll see that it actually imports and Nuan rate here and puts it right up here as well. And now it's actually a essential graphics layer. So you'll see that it's not a layer in here, it's just within our essential graphics layers. This is going to be very important later on whenever we tried to save it. Anyway, now that it's like this, we can go ahead and put it into position. I can just drag it down, make it a little bit smaller, and then fit it right over here in the corner. If you are having trouble getting over there, you can actually just bring this up to a 150% like So with this drop-down and distribute them over here and allow that to be easier. Another way also is to go into the effect controls, find it, and then use the position things over here to fine tune it. Rate here though looks good. So now we have basically the beginnings of this. This is the static version. Now it's time to animate it. So I'm gonna go into effect controls down to clip and Instagram. And what we wanna do is uncheck this uniform scale. So when it's checked, it scales up and down, like sell, it just scales naturally. What we want to do though, is we want to be able to scale the left from the right. So now when we uncheck this, we now have a horizontal scale right here. And essentially the scale at the top becomes the vertical scale. What we want is we want to take this and there are two ways to do it. We could have it come out like this, which is a cool effect, or we could have it come from left to right. But you see you that if we wanted it to come out from the left. It starts in the middle here. We don't want that. We want it to start at the left over here. So that's where the anchor point comes. And I talked about anchor point at the beginning of this lecture series. And the anchor point is very important for effects like this. So let's go ahead and just zoom the footage back in and let me show you how to move the anchor point. So this is the anchor point right here in the center. Wherever this is, the effects are going to center on. So when you rotate it, it rotates it around this, when you scale it, it scales it from this. So we just want to take that and we just want to drag it over here. Put it right about on the left, middle dot right here. Now when we do horizontal scale, it actually scales out from here, which makes it look really, really cool. So that is going to be, yep, that looks good. So now let's create our animation. We'll start at the very beginning. We'll click on the horizontal scale and remember the number 15.2 when it goes 0. And then we're gonna go forward about, let's say ten frames. And we're gonna do a little trick that lets things look a little bit more flashy, a little bit better, is instead of 15.2, we're gonna go to 16-point deal. Or maybe even a little bit more. We're going to stretch it out just a tad bit rate like that, and then go forward two more frames and bring it down to 15. What does this do? It creates a little bit of a pop, a fun little pop to the effect. And if we go to fit right here, we can see that it's looking good. What I'd actually do though, is as you make effect, sometimes you've got to work on the timing. This is a little bit faster or a little bit slow. So instead we're gonna go to about six seconds and do that back animation at six seconds. That, that looks a little bit better. And you can see that little pop just makes it a little bit, you know, sort of fun. Now with the texts, we're just going to animate that as well. So we're gonna go down here and find the text over here on the left. So that's the clip Instagram. This is the text. We want to hide that source texts and find the transform part of it. And then we're just gonna go to the opacity. We're gonna go to the very beginning. We're gonna start the opacity at 0%, and we just want to make it to the very end here, right there at that key frame at number eight and go up to 100%. And now we've created is a little sort of fade and pop effect. Now, you can also sort of time and a little bit like right when it starts to oversight, you could even have it fade and right there and just make it a quick fade-in. It almost looks like it's sort of flashed in there. So maybe we drag that out. And it's all about just fine tuning this and make it look good. Yeah, right there. I like that timing. So I went at let's see, it's framed. Well, it's actually in between frames. Let's drop it to frame three and then framed tin. So three and tens of A3 is 0%, 10 is 100%, and that looks like a good effect overall. So now all we have to do is just animate the backside to animate it out. And let's say we're gonna do that after five seconds. So we'll high fast forward rate here at about five seconds. Move forward. I'm checking the second right here, that's high. Drag it and I check, you could also check right there. And we're just going to reverse this. So we're going to take the position. Move to are not my bad, not the position. Delete that keyframe, go back to five. We're going to go into clip Instagram. We're gonna go to the horizontal scale, create one, go to Ford, and then go up to our other value, which was 19.2. So we're gonna go to frames forward, bring it up to 19.2, and then take six frames, 23456 to bring it back down to 0. And that's going to have it basically just do the reverse of the animation here, like that. And then we're also going to just do the exact same thing with the text and animate that back out. So we're gonna go to the capacity. How now here we want to try to make it as close to the beginning as we can. So let's see, it was how many frames across? Because we kinda went a little bit, 234567 frames. So we have a seven Frame animation starting at frame 123. So we want to do the reverse to that. We wanted to start fading out a little bit beforehand. Laid a keyframe there, 1234567, bringing opacity down. And that looks good. And you can manipulate as all the timings and stuff were just what I created. Have fun with this and create whatever you want. But the important thing is we have an animation in, wait five seconds, we have an animation out. So now that we have both of these created, all I need to do is just finish this off by trimming this down. So I'll grab this, I'll just trim it wherever my cursor is. And we have this 5 second clip right here. Now, here's the really, really fun part. Let's export this and make it so we can use it forever in the future. So if I go up here to graphics export as motion template and make sure you have this selected. The current motion template that you're working on. Click Export as motion template. It's going to find it. You can give it a name. I'm going to put it in a local Templates folder. And that sounds great. Or I could actually just put Instagram at Adobe masters. Click OK. It's going to do the whole export process. And now I can just delete this off all of our hard work. Go to the browse and search for Instagram. And you'll see right here we have Instagram at Adobe masters. So now I can drag and drop this anywhere in the footage. And I just have my little effect down here. So now every time I'm working on a production, all I have to do is just grab this and drop it in and run production if I want to create a social media call out, This is how you improve the times of YouTube videos and things like that. Because you don't have to create the affects every single time you create it, once, you save it as a motion template and then you just drag and drop it whenever you needed a and this is as many as you want. There's no limit to what you can do with this. It just going to keep creating them in the bottom left over there. And you can see, now what's cool about this is if you don't want it in the bottom left this time around, all you do is click on it. Go up to the the motion of the entire clip right there. And you can just drag it wherever you want. So you can just put it at the top. And what's cool is as long as you touched the motion of the entire layer itself or the entire like the footage itself, instead of like an individual tax or an individual clip, then the effect works with all of its animations anywhere you want. So that's how you create a social media cola and then make it salable.
18. 3-10 Working With Multiple Video Sizes Effect: So now let's go over a more of an informational video which is going to be sort of the abnormal of this whole series, is only going to be a few informational videos. This one's going to be on working with multiple video sizes. So let's just get started on that. If I go right here and import, I'm gonna wanna import 4K typing and then any of these other ones, or we can even import all of them and put them all into the editor right here. And now if we zoom this over a little bit, we can see that their sizes are actually different. So just find the video info. You see that the 4K and the sunset are both 4K. The car is driving and the people walking are 1080 P. What is this? Well, this is the amount of pixels that's in the video. This is CRISPR, it's clear, it's a bigger file. It takes stronger computers to work with, but it's sort of the way that media is going. Ten ADP is something that's been around for probably 20 or so years. It's HD quality. It's what most, Whenever they use the word High Definition, this is where they were kind of talking. Nowadays, we're getting up to 4K, which is basically four times the amount of pixels as HD. And then there's 8K, its probably gonna go to 1632 K as time goes on. But there are different sized videos. That creates an editing problem for us. Let's say that I take this ten ADP footage and I drag it in and I create a composition on it. Everything looked perfectly normal up here. But if I take the sunset and I drag that in, you'll notice that I'm very, very zoomed in. If I click on this and I grabbed the scale of the effect controls and I scale it back. You'll see how far away that it zoomed in. This rate here is about 51% where if I go 100, this is what it put it in. So these two are mismatched. The scale sizes are different. So what do we do in a situation like this? The most important thing to do is you want to scale down, meaning you want to choose whichever number is the lowest and work from that. If we had 720 P, then we probably want to work in our sequence from 720 p. Now, understand this also means that whenever we render the footage out, whenever we try to export and actually create the footage, it's going to be 720 p. It's not going to be 4K footage. However, if we're working with 720 P footage and we want to try to scale it up to 4K. It's going to look horrible. So that's why we scale down is because for Kc and scale down to 1080 and it can scale down in 720 and look perfectly fine. However, if we try to scale it up, we'll get a blur. We can see that very easily if we go in here and we create ourselves the 4K typing, you can see it looks good. It's, it's just a normal footage here. And now I try to drag in that cars again. Like so. You'll see how small it is and for it to even get inside of this, I'm going to have to scale this way up. And now you'll see that there's some, it looks blurry. It looks kinda like a bad YouTube video. Now instead of actually being clear, there's definitely some blur around the edges of some blocking. This rate here we have this line is no longer crisp down at the blurry parts are way more distorted than they used to be. It just looked a whole lot worse. So that's the first step is to make sure that you always scaled down and you always choose the lowest one. And if you don't want to drag it over, if you want to choose things, of course, you can always go File New and then sequence and build it from here. Just go to your settings and you can choose the frame rate and then the frame size right here as well. So then let's go back into this and let's say that we want this to happen automatically. What we can do that as well, we can drag in, for example, let's go back to our cars driving sequence right here. So this is the sequence. We open up the sequence and let's go ahead and drag in our 4K footage. Now instead of us having to do it, instead of us having to scale this down, where we can actually do is scale it automatically. And what we do here is we go to, we click on it. We go to clip Video Options and then either scale to frame size or set frame size. These are very different, but sort of important ways of how you want to do this. Scale to frame size is going to basically ignore. The scale over here is just going to fit it to whatever the frame is. Now, this is a little bit dangerous because we don't know if something is scaled up or down. The scale number over here still reflects 100. So what I like to do is I actually like to click on this, go to clip video options. And it's set to frame size and you'll see that it actually adjust the scale for us to see. The other one is I guess useful if you're thinking that you wanted to maybe make something go up from 100% to 125 and then back down. If you do this, suddenly the math gets a little more difficult. However, I'd like to know what's happening to my footage. If it's being scaled up, if this number of flexion or 182 or something like that. I know that that footage is probably blurry now and that I need to find a better way to do this. So I always like to use set to frame size and let me just make sure I'm saying that right. Its clip. Whoops. Not speeding duration. Clip. Video options. Yes. The set to frame size, the bottom option. So that's the one I typically like to use. Now then what if you have a whole bunch of footage and you don't want to have to right-click and do that every single time, we can actually do something else as well. And what we wanna do here is we need to make sure that nothing is important before we do this. So I'm just going to clear out the, the footage right here. We're gonna go to Edit Preferences and then down to media. Wait for that to come up. And you'll see that right here we have default media scaling. And what this is gonna do, it, it's going to scale all the media based off of the sequence that's being created that you're putting things onto. And so I'm gonna go here, I'm going to hit set to frame size. And then I'm going to click OK. And then now whenever I import the footage, it'll have this basically attribute that whenever I put it into a sequence, it's going to automatically set the frame size. You'll notice that I made a little mistake here and I deleted my timeline. Well, that's really easy. Workspaces reset to save layout back to where we were important. Gonna import all of them again, I'm holding the control key here and whoops, I dragged a little bit and actually copied everything. Mistakes happen while you're editing all the time. So let's go ahead and drag in our footage here. This one's ten ADP. And now watch when I drag in the 4K footage, it's automatically scaled and our scale is set right here. So now it's very, very easy to work with all of these different sizes. We have small, we can have large as long as we create our original sequence to the size that we want, we can drag anything that we want in and it's going to fit into our thing perfectly. The sun, which is also a 4K, looks perfect. And so that's how you work with multiple file sizes. In Premier Pro. It's not the hardest thing in the world, but there's a couple little tricks you need to know. And then it doesn't really matter what file size that you have. It's all really, really simple to work with and really fast to get editing.
19. 3-11 How to Render Videos: So let's go ahead and quickly mention how to export your video. So say this is your finished product right here and you want to export it out. We'll go up to File John into export and then media controller command ends a really quick way to get here. I used to do H.264 and that's because I work online depending on which codecs are installed in your computer, you may or may not have the H.264 range or the H.265. If not, I would recommend probably going with AVI that'll create a slightly larger file format, but it is a pretty good one. You don't wanna do uncompressed. Uncompressed is gonna make it ungodly. Huge is just going to be absolutely massive. But it is good if you have really high-quality footage and there are more steps to your production, you want to go ahead and render it out uncompressed so you don't lose quality everytime you render it out. But in this situation, I'm gonna stick with H.264. If I want to change the location, I click on people walking. And for example, I can choose anywhere to save it into and then give it a new name. All of this is essentially the presets here, so I can select the news is going to change everything down here. I usually just do match source high bit rate. That's gonna make it a pretty good compression for uploading online, which is going to further compress things. You can choose something else, like high-quality 4K, for example, would be a stronger one than the medium or the match sources. With these different settings on here, we can apply some post stuff with the video. We're able to change the width and the height than the frame rates and things like that. It's all usually set for you. Will, you can uncheck these and change them to however you want. For example, if you wanted a slightly better thing, you could do two passes and higher target bit rate and stuff like that, which might make it slightly better, but it also is going to definitely raise your estimated file size. Down here you see I've gone from 17 megabytes up to 85 megabytes. Just by affecting that, I do typically like to increase the maximum bit rate just a tiny bit. Just so if there is something that could be higher-quality, it allows it to be higher-quality instead of compressing it downwards. We also have the ability to change the audio in here, the sampling rate, 4800 hertz is usually a pretty good thing to go if there's not usually a lot of things as high-quality audio, back in the day, maybe this was more important, but nowadays you just kinda go with the highest quality audio because it isn't that big in terms of data. We have also things like use maximum render quality. It gets better quality scaling but increase the opcode time essentially is going to make it slightly CRISPR If you really zoomed into it. It's kind of negligible if you're watching it on any normal other platform. But if you're a lantern, like blow it up really large, this is kind of a good thing to turn on. Time interpolation. If you're slowing things down and speeding them up, you wanted to switch them depending on there. And over here you can just see what you're gonna be rendering out. You can cut this short or bring this up to change what exactly you're going to render out. If you only want to render like five seconds or something, then you can cut that down to render those only five seconds. You have two buttons down here, exports going to begin exporting immediately from here. You'd want to do this if you're just exploiting a single thing and you're not going to want to work or you're not going to want to do other exports, you click on this. It's going to basically lock up the program and it's gonna start rendering it out. And you just gotta wait till it's done. If you click the queue button, it's gonna send it to the Adobe Media Encoder, and it's gonna essentially put it in a big queue. You can then go and open up all your projects. Keep clicking this queue button I'm going to line up in Adobe Media Encoder. You click the Play button there and they'll render him out in sequence from there. A lot quicker to do. Basically to go to all of your different projects, open them all up, put them all in here, cuz let's say you have 30 of them and then click the render button and then go do something and they'll all render one after the other. You don't want to keep coming back and opening up new projects and export in them one at a time. You can go do it and your computer will do the work, you come back, they're all rendered out for you at the very end. Anyway, a quick overview here. If anyone has any specific questions on this, go ahead and ask them in the Questions section. Also, I would like some more focused area on here, but I don't know exactly what direction a lot of people want here, so ask them specific questions in here and I'll make some videos and try to go over some of the other settings in here.
20. 4-1 Enhancements Introduction: Now we've got some good beginner effects. Let's start manipulating the footage a little bit. Now we're gonna be going over enhancements and ways to make your footage look better or maybe just slightly bit different. It's a really fun set up tutorials in here and you're gonna learn a lot about Premier Pro.
21. 4-2 Lumetri Color Introduction: So let's go over enhancements. That's what this unit is going to be all about. It's enhancing your film. In the last unit, we were basically covering some fun effects and things to add on. However, I want to fine tune it down to only cover enhancements in this set of lectures. So what that means is we're gonna be doing things like color, correcting our footage, color grading our footage. We're gonna be adding different tones and enhancing the night footage, stuff like that throughout this, it's going to be a really fun section. You're going to see just how powerful Premiere Pro is. But before we do that, we need to understand what luma tricolor is. Luminary color is the inbuilt color correction and color grading suite in Premier Pro. It's very easy to get to. So let's go ahead and import some footage so I can talk through it. I'm gonna go to Unit three stock footage and grabbed the waterfall. Click OK, drag it over to create our sequence and we're ready to go. Now, I'm in the color workspace. So the color workspace is a different workspace. Remember, we started at editing, we worked into graphics a little bit now, or in the color workspace. That's going to open up right over here. The volumetric colour panel on your right luminary colour panel is going to have all of your affects ready to go. If you want to work with it differently, maybe you don't want this tab open or you want to overhear and the effect controls, you can do that too. Quick note if you don't see the geometry color and you want that it just under Window. And then down to luminary color. You click on that, it'll open up and you can drag it anywhere you want, if you want it over here. And the effect controls, all you do is search for the effect luminary color. You need to make it past the space and to see a lot of things jumped into the namespace here. So just control and in spacebar c, and you're into the elementary color, you drag and drop that on, and you'll see that it actually pops up over here. And all of those adjustments are over here. And a slightly more condensed fashion, but also in a fashion that allows animation. Anyway, let's get back to symmetry color on the right. This is where I'm going to be working with. And we're going to just briefly brush over all of these. And then as we move forward, we're going to cover them more in depth with different effects. Basic correction. This is the stuff to correct your film. Things like exposure, contrast highlights, shadows, whites, blacks. It's basically just taking how your film was filmed and trying to make it a little bit better. Maybe it was little underexpose, maybe you want a little more contrast. Maybe the highlights of the whites are really strong unum, bring those down. You can do all of that here. We're just sliding back and forth is really simple to do. And it's a quick way to correct your film. With creative, we have the ability to sort of start grading our film. We can actually choose, looks like you can see that right there. I just actually with a really nice filter. But we can choose the looks that we want. We can choose their intensity is faded films. We can change the tense of everything. We have a lot of fun in being able to do that is where you start grading curves, you get a little more in depth. You can actually choose a different color areas and apply effects to them using the curve right here. Fun way it like you create points and this is just sort of showing you how the points are gonna be affected throughout the color scape. So in this situation, we're actually taking the whites here and we're blacks and we're crushing them a little bit, sort of putting them, anything that was near black is now pure black. And then up here we're bringing up the highlights a little bit. It gives it a punchy vibe. Now if we go and drop the curves and we go to the color wheel, this is where you actually start like manipulating the different color spaces for the shadows, the highlights in the mid tone, you have the ability to change the colors in them. A fun thing that I like to do is if you grab the mid tones here, go just a little bit into the warmer side and then grab the shadows and go the opposite direction. You can actually very quickly create some fun stuff, as you can see right now, we have a fun filter being applied to this and it makes the footage so much more interesting than the basic footage. So you can actually turn it off over here. And you can see that this looks, I think, substantially better eye. It looks like you've actually put some work into it and it's edited footage. Take a quick look at that again. Yeah, so I love doing that, that little quick thing, adding a little contrast and then moving the mid tones and different directions. This of course, can be really anywhere in any direction that you want. Just gotta make them opposites. And you get some fun quick effects out of something like that. In the HSL secondary, this is hue saturation, luminance secondary. Essentially, we're gonna be able to choose colors and manipulate them. So you can choose the yellows and say you want them to be a little bit, or this is sort of the range are doing here. And you want to take that range and you want to make them, you know, a little bit redder. And then now with this, of course, you had to clean this up a little bit, but already it looks more like a fall day than it does a summer day, how it started. So that's something we're going to be working with. And then the vignette, the vignette is just the outside. Basically you can add a black or white vignette. A black one sort of focuses you inwards. Look at the middle of the footage instead of the outside of the footage. Good for if you want, if there's a lot of distracting stuff around the edges and you want the people to focus on the center. That's a good way to do it. The opposite way, really, the only thing I've seen that goes with this is you want something look happy and airy or like a dream sequence. You can go the opposite direction for the vignette. But that is luminary color workspace, really easy to get to, really easy to work with. And we're gonna be using that as well as combining it with different effects in Premier Pro to accomplish a whole bunch of different really fun tutorials and affects. And it's going to be really fun. So let's get started.
22. 4-3 Enhance Night Footage in Premiere Pro: So let's go over our first enhancement, which is going to be a fun little enhancement to night footage. So it's a little technique that you can use on night footage at. There's some lights in there to improve it and add a little bit of ambience. So that's what we're gonna do. Let's go ahead and import our night scene from unit three stock footage, open that up and put it on the clip. You'll see that this is a nice time-lapse shopping. I believe it's a downtown Nashville is what this is. But it's a very nice shot here, top to bottom. And you just have a lot of fun lights and change in action. And so that's what we're gonna be working with and we're making this look a little bit, I think better, a little bit more. I don't know, lively and the lights are going to carry a little bit more. So that's what we're gonna be doing. This is a fun effect to apply and it's not that hard at all. First thing what we gotta do is create ourselves a new adjustment layer. Click OK on that Adjustment layer, and then drag that onto the footage and then make it the length of the footage. Basically a typical way of applying and adjustment layer. Once it is the length of the footage rate here, we're gonna be doing a few effects to it. The first effect we're gonna be using is an effect called find edges. So we're going to look for it over here. In the effects. It's going to be under video stylized and then find edges. We're going to take that and drag it onto the Adjustment Layer. And you're gonna see we instantly get this crazy effect. So what's it doing? It's essentially highlighting in a dark color and then grabbing a little bit of the light in-between it. But it's highlighting in that dark color the edges of the film. How does it find this? We'll look for points of high contrast, high-contrast, and the world is what edges are. It's where the color quickly changes to a different colour lighting changes. So when the high contrast areas are shown here, all this little algorithm does, it finds all those and it highlights them in this color. Now when we click the invert button over here, this is when it becomes powerful because now you can see we basically have the original footage, but we have control over all of the little highlights of things. So if we're trying to affect the light, will, might as well grab the points where the light reflects the strongest read the edges of stuff. And so that's what we're gonna be using for this effect. You can see as we blend it with the original, that's the original as we come back, it just creates this strong effect here. And we're gonna take that and we're actually going to make it work for us. So the effect to do that is going to be the tent effect we've worked with this one before. It's under Video FX color correction. And then we're going to drag and drop that on. And now you're gonna see it creates this sort of black and white. And if we go forward, it actually makes a macro black and white actually looks really good here, but that's not our goal this time. Our goal is actually going to be to take this entire layer that we've created and to blend it downwards so that all we see is the changes with the white here. To do that, we're gonna go blending mode and then screen. Essentially what that's gonna do is it's going to grab all of the darker areas and divert downwards. So anything that's darker, the night scenes gonna take over, anything that's really light. We're going to have control over. And now you see we're pretty much back to the original footage like this. We're then going to take the white that we've manipulated. So the edges here and we're going to change their color. So in this situation, we're going to go to a maybe a deep purplish red somewhere right around there. And we're going to have now the original footage, but everything that has an edge is this purple color. This again, at our it's still looks too extreme. It doesn't look like an enhanced minute, looks like a very stylized fact, and it kinda looks worse than when we started. So this is where we're going to need our third effect to pull this off. And that's gonna be a blur. So we're actually going to look in video effects blur and sharpen and want to grab the camera br, blur. There are different blurs throughout here like Guassian and directional. Directional is fun if you wanted to really add a big effect. This it, what it does is it blurs in a certain direction. So you go like 90 degrees and then go up and down like that. And it kinda gives you a little bit of a Saturday Night Live intro vibe to it. But that's not the one we want to do for this particular effect. When a grab camera blur and drop that went on. And now you're going to see that the purple that we've added has actually sort of dissipated into a nice ambient glow. The blur is still, in my opinion, just a tad bit on the sharps are a little bit too blurry. I went a little bit more color on the edges. So I'm gonna go down to 0 and then bring it up to where I think it looks the best. And actually I'm wrong. I actually would like a little more blur. I like the 31 range here. Now what I also want to do is I want to blend this with the original little bit up here. So we're gonna take this and make it about 15%. That's going to blend the original colors and just a tad. And then we might want to take the opacity of the entire effects of the capacity is everything the Adjustment Layer is doing. When it take that and start at 0 and just drag it up until we get the field that we like. So I think just a nice soft glow, maybe around 72% looks the best. And so you can see this is what we've done so far. We've taken the footage, which is a sort of a great piece of footage, but we've enhanced it a little bit to add some more color and a little bit more vibrance to it. As you can see right there. Now the next step is we've covered the purples and the reds, the blues, the reds, we've covered that color sort of an accident it out a little bit, but there is a lot of yellow in here. So we can actually add the yellow into. What I'm gonna do is I'm gonna take this and I'm going to copy this layer upwards. Quickest way to do this is called the alt key and drag up. But if you want to do it in a different way, you can go ahead and just highlight this one. So you gotta unhighlight these. It always takes precedence of the highest number. So you need to make sure that only V3 is selected. And then we just click on the Adjustment or Control-C, Control-V. It'll copy and paste the layer up top. We're gonna go into this adjustment layer. So make sure you're on the top adjustment layer, not the bottom one. We're gonna go down into the camera blur. We're gonna delete the blur. So now we've got the strong central coloring again. We're then going to go into the map color and we're gonna make this maybe a deep orange or something that's similar to this yellow over here, so it gets slightly higher yellow color. Those are sort of looking the same. Maybe a touch on the brighter side and click OK. And now you can see we've got that still that purple glow in the center there, but we also have added a yellow to the top of it. This is way too strong. So what we're gonna do is we're gonna take this opacity and we're just going to add a little bit. We're talking like under 40% here. So 0, add just a little bit of passing AB, like maybe exactly at 40. And now what we've done is we've added a little bit of that yellow back into the scene to add or to make it fit a little bit better with the scene. If there were a whole bunch of green lights here, maybe we want to do that with green. If there are a whole bunch of any other color lights. That's sort of what we're gonna do with that secondary adjustment. So now with our first adjustment, we have created the ambient purple glow. And then our second Adjustment, we've, we've added a little bit of brightness and yellow to the scene to accent all the yellow car lights and the yellow signage. And so overall, this is the effect that we've come out with. We've taken this footage and we've made it look like a very lively night scene instead of just a typical night road. And this would be great for any sort of transition in a movie. Or if you're trying to set the scene, adding something like this just makes it look a little bit more fun, a little bit brighter, a little bit, maybe happier if, if there's like a romance seeing going on. I could see this being a really good introduction shot to it. Anyway. That is a fun little trick using three new effects, or I guess too, if you count the tint we've already covered, Find Edges and blur our great effects. You can add them together and create some really fun enhancements with them. But overall, that's what we've done is we've used just a couple of facts and we've actually enhance footage with it. Let's keep going and learn about some other effects that we can enhance. Footage width.
23. 4-4 Reduce Vignetting in Premiere Pro: The next enhancement we're gonna be working on is vignetting. So let's work on adding a vignette and then fixing a vignette. Why might we want to fix the vignette? Well, a lot of wide angle lenses can come distort the light near the edges and it'll create a vignette. So we want to be able to counteract this just a little bit to improve the overall quality of the footage. So let's go ahead and import R2, which is going to be vignette and no vignette. And the first one we're gonna work on is if the footage has added a vignette. So for example, let's say you film this and there's this darkening Vignette around the edges that we want to fix. Very simple to try to fix it. Just go into LU metric colors for your color, make sure you open up the geometry color panel, go down to vignette and then make your amount go the opposite direction. So try to add a little bit of light to the edges here. Now you don't wanna go overboard because you can actually add brightness that way. But if you need to, maybe you go overboard and you just touched the exposure down a bit to try to fix the footage. But you can obviously see there's a white sort of area around here. So we do want to bring that down and try to make it blend with the original while also fixing that darkening of the edges. So overall, this is probably a good place. You can actually check on and off the box to see it. So we've taken the dark and vignette and we've added just a little bit on it to try to counteract it. Like I said, it's not gonna be perfect, but I think it definitely recovers the film nicely and it adds that brightness that the entire shot had already had to it. So that's sort of an use case to go the opposite direction here. Now, if we want to add a vignette, we can grab the no vignette here. And you can see this is the original footage. I added a vignette and then export it so that we could work with it and I can show you how to fix it. This is the original footage without a vignette. If you wanna do Ativan yet, it's just a simple, you just gotta symmetry vignette and you just drag it the opposite direction, this direction here. And you'll add a little bit of a vignette to it. You don't wanna go too extreme. Lot of times like when you're editing, it kinda feels good to go extreme. It feels like, you know, makes it look really intense. But when you render it out and when you show it to people, it can look a little bit intense. So you just want to add a tiny bit. If you're trying to add a vignette, maybe somewhere around the one range, just a little focused inwards. You can see that it's jumping back and forth as we do this and we get the full button here. It'll help so you can actually see what you're doing instead of letting go and then the colors changing to something else. So with this we may wanna go, yeah, just fly around one, I think looks good. Dropped that back down so we can play it back at normal speed and we can see that it's looking pretty good right here. So it's very, very simple tutorial on how to do vignetting, but this is how you add it and how you can fix footage with vignetting.
24. 4-5 Enhance a Silhouette in Premiere Pro: So for our next enhancement, we're gonna be going over Adding a silhouette or really just enhancing a silhouette that was already shot. So let's import the footage so we can talk a little bit more about what I am trying to discuss here. So first off, let's go to Unit three, stock footage, silhouette, and import that footage, drag it on over to create ourselves a sequence. And you see we have the footed right here. Now this boy right here is what we call silhouetted. It means that he does not have a lot of detail or brightness to him. The background is what sort of is our detail? It's, it's what we're trying to look at. However, what we see here is an outline of something. Usually it's a person and it shows the person in the scene without actually showing the details of the person that's like a typical silhouette. Now, the problem with this silhouette is with most silhouette shot on a camera is to get that perfect black silhouette with a clear background is very difficult to do with the camera itself without a lot of lighting enhancements. So we can actually do that in Premier Pro pretty easily when that's all going to be doing today. We're gonna be using the blacks and then the curves to accomplish this with actually just a couple of clicks. So let's go and get started. Over here in the limit tree color, we're gonna go down to our curves. Remember, geometric color is also available on the effect controls on the left. By searching for limit tree color in your effects. Or just go to the color workspace, go down two curves, and then look at these curves right here. So I'm going to select my piece of footage, and this is going to be the luminaire luminance curve, which essentially is just like the lightness, the exposure of the footage. Now what we're going to do with this is what a take the bottom and bring it down and not affect the top. So this goes from darks, highlights, mid tones. And essentially what we're telling it to do is we either brighten them, lower them, or keep them where they're at. So if we took this top one and drag it all the way down, you see it's just taking out all of the brightness from here because we're taking the bright and we're bringing it down. Now as we get on further, we start to affect the entire composition. This is the original, this is where we're at. We go farther and farther and farther and farther. And if we go all the way to the bottom, then it's taken everything and it's put it down to black widow. Of course, don't wanna do that when I keep this up here, we're going to do though is take this bottom quadrant right here, and we wanna drag this down a little bit. This is going to be, our Blacks were going to be doing something that's called crushed the blacks essentially means you take the blacks and there's all these little different shades of black in here, shades of black to gray. And we're just taking those were saying No, everything from black to this certain shade of gray, we want to be pure black. And so if we take this and we drag it down like so, you're going to see that this has become almost pitch black. The opposite side of what we're gonna do here is we're going to grab this middle one. And we would just want to correct this a little bit. We want to bring this back to the center so we're not affecting so much of the rest of the footage. The closer we bring this here, we're actually going to kind of get this inverse effect where this, we're gonna get a little bit of brightness up here. But it shouldn't cause too much of a problem because right here is our highest highlight. And as long as this doesn't move above, it's not going to become blown out. So we're getting a pretty good curve here and we actually have a fun effect. We brightened up the background and we've really crushed the front, the foreground, with our silhouette. And we've actually enhance the silhouette and see what you see what this simple curve we've taken it from. If we go over here to our effect controls and then the effect on, off button, we've taken it from this, which now looks a little bit dull. It looks like a great shot, but it looks on enhanced. We click it and now we have this perfect silhouette of this boy here, which can fit a piece a whole lot better than the other one with all the detail. So that's how easy it is to affect it. Now, if you, for example, think that there's still a little bit too much detail, we can go into basic correction and dropped the black has a touch more. It's not going to really affect the rest of the footage. It will bring this dark side over here in a little bit. So we're going to have some sort of work with that if in the future, if we wanted to keep the detail over here or maybe we'd have to cut out certain sections and color crack different sections. But for a quick sort of fix here, if we bring this blacks down a little bit, it's just going to bring a little bit darkness here, but sort of destroy the rest of the detail in the silhouette. So that has really just how you enhance a silhouette in Premier Pro. It's pretty simple to do and it introduces you to the curves which are really fun because you can do things with like for example, the reds, where you do the exact same thing. You drag down the reds and you bring up the reds and the highlights, which sort of start to add purples and green. You can do the same thing, you know, maybe the opposite with the green. And suddenly you have this fun filter being applied to everything. Curves are really, really fun to mess with and this is a great introduction with them.
25. 4-6 Draw Attention to a Spot in Premiere Pro: Let's go over how to highlight an area in Premier Pro. So this is a fun fact and it's a great effect to use if you make, for example, YouTube videos or if you have footage that you want to show someone, but you want to highlight what's important about that footage. Not something you'd probably use in like a professional production, but in YouTube, the casual creation space, this is a great little technique to now. So what we're gonna be doing is highlighting this plane as it flies across. Do you know, sort of just direct us towards that we should be looking at the plane. Maybe something's going to happen. Maybe it has a little like an engine trouble or maybe it doesn't cool maneuver and we want to see that maneuver. This is a great way to show that off. So first thing we need to do is go to geometric color over here. Now we actually need it over on the left side so we can search for the effect and drag it in, or we can just go up and then back down. And essentially what that's gonna do is it's going to take that and then apply it over here. It's a quick way to get it over there. We're then going to elementary color. I'm going to click this circle button. Now with this where we just got to take these and just sort of make them the size of the plane, like so, and then drag it so that it pretty much centered. Then what we're gonna do is we're going to take this and we have a choice here. We can either invert this or not invert this. What that means is if I take the exposure, you see it just highlighting the center here. That can lead to sort of overexposing whatever we're looking at in here and it will actually make it a little worse off. So what we wanna do is we're gonna take the exposure and we went to drop it down, but we don't drop it down in the center. We want to drop it for the rest of the clip. To do that, we just go to exposure, we drop that first. So we're taking this from 1.4 or 0 to negative 1.4. We then go over to our mask and we take this button and click invert. And what that's saying is that we wanna apply this to everything except the mask. And so now you can see we've highlighted the thing that we want to see. Now the problem here is we're going to need to animate this. So if you can see at the very beginning here, it's not particularly centered. And of course, if we go over here, it's gonna come out of it. So we just gotta do some animation. Easy thing to do for that is go to luma tree, find your mask and then click on the animate button, go to the beginning of where you want it to start. Then when you click on the mask here though, the one it should come up, just Center the footage. And then I would say that with something like this, it doesn't need to be perfect. So we don't need to go frame by frame. I go about every second. So second at one rate here, we just move it again so that it's in the center. And this is tedious, but this is a lot of what production is, is just correcting things like this. There isn't really any smart enough program out there to do it 100% unless you're in like aftereffects and even then it's a little bit, you're going to have to do this where you're just manually adjusting things. I'm also holding the Shift button as I go forward to go five at a time. So I can just go second to second to second. And so this is what we just have to do is just as we go, it doesn't take too terribly long, would just keep recenter again. If the footage isn't moving a lot like this one isn't moving too terribly much. I could probably get away with two seconds. There may be a little bit were parts of it aren't actually centered where it should be. But again, if we're doing like a quick youtube video, it's not, does not need to be perfect in the latest. And if we're debating how many videos we can get out versus the slight quality change, then maybe it's smart to do it every two seconds. But we're almost done right here. And we are done. Okay, so now let's take a look at this. Click away, and then let's just play this footage back. I'll bring it up to big motion. And now you can see right there that because we've done this essentially every time we move it, it's going to be tracking that one place. So if we didn't want it to be moving back and forth like this, we could do it every single frame. But generally this is working pretty well. And it would definitely work for or the situation like if we wanted to point that this is what we're supposed to be looking at. Animation, all it's doing what the animation over here, whenever we do this is whenever we create this keyframe, here, we go 1 second forward, which I think it's 25 frames per second as this footage. Yes. So every Twenty-five frames, essentially, we've created ourselves and new waypoint, a new key frame for it to follow. So all it does is it just moves it from keyframe to keyframe. So before we are right here, and then at the 1 second mark, which is the next keyframe right here, we are just a little bit over, so it just generates all the movement in between there. Let's say it starts here at this cloud. I don't want it to move over here to this cloud, will essentially, it's going to take this, divide it by 25, gets how many frames are in-between edges going to do the, the motion for us. So we don't have to create 25 keyframes. It just adjusts and it moves over between them. And we've just done this the entire length through, and that's what allows it to track. Now, over here you can see that I've actually missed one between here. So we can check Y, we can go right there and yeah, I just missed a click there, so I just got to readjust it and it creates the one in there. That's a quick way to see your keyframes over here is if there's a space in there, you've probably missed it somewhere. And that was it little bit noticeable when we checked it out. And again, if you wanted to make sure that it was falling it even through those little camera movements, you could do it every single frame. But this is a very, very simple way to highlight some footage and to animate through that footage to keep the mask there and to keep your affect going, to draw the audience to where you want them to look.
26. 4-7 Blur a Face in Premiere Pro: So let's talk about how we can enhance what we did in the last tutorial. And the last tutorial, we highlighted a specific area, but we had to hand animate it. Well, you can actually use a bit of premier prose sort of processing power to help you with this. We're gonna be doing that today by blurring a face. So let's go ahead and import our video of people walking file. Drag that on over and you'll see that it is just a video of some people walking. Maybe it looks like it's in Europe somewhere. But what we're going to be doing is really trying to blur a face here. So let's go ahead and choose a face that went to blur. Let's say that we didn't get the permission for this guy right here. And we need to blur is faced throughout this production. Well, we can do that using Premier prose, actually inbuilt ability to track the face or to track relieve anything in motion. So to start this off, what we're gonna do is we're gonna go over here to effects, and we're going to look for an effect called camera blur. So we type that in. Maybe if you just type them blur, I'd probably get you there may be a little quicker, but camera blur is what we need to look for its owner Video FX, blurring, sharpen camera blur. We're gonna take that and drag it on. And you're gonna see it's gonna blow the whole thing. We don't want that. So we're going to click the little circle button here to create the mask like we did in the last one. And we're just going to try to center it on this person's face right here. Little bit smaller. And this, this technique is great if you do need to blur a phase because you have some B-roll footage and you know, you don't have someone's signature signed off on something. It's a great thing to know how to do. Okay, so now we have the blur going. I think that's a little bit harsher. Let's go maybe about 12. And that should be good enough for what we're trying to do here. Now, instead of actually going point by point by point, what we can do is we can click this track selected mask forward button. And what it's gonna do is it's going to try to track for us. So let's go ahead and click it. You're going to see it go into progress here. And we're just going to let it go for a little bit. This can take a little while, so we're gonna go for a little bit and see how it's doing. All right, I'm going to click the stop button right there. And you're gonna see that it tracked it pretty well up until this point, it lost that because it went behind the face. So that means all we have to do is just a little bit of adjustment. So we lost it maybe about here. It's already saved us a whole bunch. We're going to cut off anything in front of that credit keyframe. And then now we're just going to move forward until his head comes back in. Or we could even hide it right now so we can go here right when it goes behind. We can go ahead and just take this and maybe trim it real quick. Or it's not as, as, as the effect we want to do is when animate it. So we're gonna go with the mask opacity, go forward one frame and drag that down to 0. It'll make this disappear. Move forward till I see the face again right there. And then this is sort of a good technique to know, is now we're going to click the button for the inside. And so we've, we have, think of it like this. We have four points, we have a 100, and then we get to the inside portion and we immediately go down to 0. So that hides the effect. Now once we are going to start up the effect again, we need to drop a keyframe for 0 and then move forward one frame and then bring up a keyframe for 100. Now why do we have to do it like this? Well, if we just did, we dropped the Zero Rate here. Let's zoom in a little bit. If we dropped a 0 right here and then made this 1100, it's going to start adjusting between that. So it's going to be like 1015202530, all the way up to 100 here. We don't want that, we don't want to slowly fade back in. We want it to just be an on-off switch. So we go 100 and in the next frame, 000000, and then the next frame 100 to knock it back on. So then we're going to just go ahead and take the mass path. And when it reappears, we're going to have it center back on the face over here. And then maybe we might need to animate a path or two here. So I'm gonna go forward one key frame maybe, and then just keep it there. And we're gonna, it's gonna move it manually. And then with that we're going to hit the play button again. And so we're going to hit the play and we're going to let the progress go for a little while. And then we're gonna click stop and then see how it's doing. All right? And as you can see, it's gone off the edge here. And overall is doing a fantastic job as you can see. So now we have the blur going here and it's blurred out the rest of the face. And then right when it gets to the edge over here, we're going to need to manually touch it up again. So it gets to here. We just want it to continue off with his face. So we're going to animate just one or two more, go to frames forward, drag it off, and now we have our effects. Let's, let's play this back. So we click play. It's got face blurred all the way through, right? When it gets behind their we'd make it disappear. We haven't come back, it keeps going. And then we have it disappear. But it looks like we need to, so we animated it out. But there was some additional keyframes after that. So we just need to make sure that we believed those keyframe. So let's track this again. Okay, that's where we animated it out right there. So all these additional keyframes we don't need. We just need the one to animate outwards. We gotta make sure because it's going to draw a whole bunch of o if you try to manipulate in the middle, it's because going to jump to the next one and undo your work. So now let's play that back. And there it goes. Now it walks right off that and we've successfully blurred the face. So what we learned in this tutorial is essentially, we've done exactly what we did in the last one, what that whole mask thing, and then making a circle and tracking it. Except this time we use camera blur. And on top of that, we actually used Adobe Premier prose built-in algorithm to help us. As you can see, it's not perfect. It's you're still going to have to do manual adjustments. However, it's pretty good at what it does. As you can see, all we needed to do was sort of adjust at when it disappeared for a little while and then adjust it at the end. And it did the rest of these keyframes. I mean, it probably did up to 50-75, maybe a 125 keyframes for us, which helps us out a lot and it speeds up the entire process.
27. 4-8 Blur a Color in Premiere Pro: So let's talk about how we blur a color in Premier Pro. This is pretty fun. We're gonna learn some new effects with this. So let's go ahead and get started by importing are tall buildings. And let's say With our objective here, what we wanna do is we want to blur the highlights of this, the blue highlights. That's the objective that we're trying to do. So to do that, it's actually pretty simple. What we're gonna do is we're gonna go ahead and search for an effect. We're gonna be doing this two different ways when you're doing this manually. And then with a little bit of assistance with an effect where do the easy way first by going and searching for aid effect called channel blur, or to take channel blur. And we're going to drag it over to tall buildings. We're then going to take the blue blurriness. That's what we wanted to blur. And we're just gonna bring that whatnot, the alphabet, the blue blurriness. We're gonna bring that up a little bit and you're gonna see it's gonna yellow the edges here. So we're gonna go ahead and just undo that. And then we want to take this and go horizontal. And you're gonna see we get the sort of effect that we want. The highlights are blurring left and right a little bit. The problem is, is we've yellowed our footage out a whole lot and we've manipulated it in a way that we don't want to do. So instead, we're going to delete this off and we're going to start this from a different direction. We're going to duplicate this footage up and create a second identical layer. And we're just gonna do that entire process over again. Take the blue, bring it up to like 300, Repeat the edge pixels and only go horizontal. Now you see, of course the yellowness is still here. That's because we're essentially just did the exact same thing on the top and this is the only thing showing it doesn't matter if we hide or show the bottom layer. It's just the top layer here. So what we're gonna do is we're gonna change the Blending Mode to lighten. This is essentially going to take just the blurs that we've created and filter them down. So the bottom is the original footage and then the top is just the blurs. We're going to filter those, those blurs down and we're going to get the blur effect that we wanted without all that distortion. And you can see that we have a pretty neat little effect right here. Now, if we wanted to do this manually, we have that ability as well. Why would we want to do it manually? We just have a little bit more control over it. So let's set this back to normal and delete the channel. We're off the top layer. We're then going to go to RGB curves and we're gonna go search, or we're gonna go right here. And we're just going to drain the color out of everything that isn't blue. So the reds, we're gonna make that all zeros and the greens make it all zeros. And now you can see all we have selected is this blue footage. We're then going to take the blue and we want to select just the highlights so we can manipulate this even we're gonna drag the darks down and we're gonna bring the highlights up a little bit. And everything that's black is not going to be blurred. Everything that is this, basically the light blue is going to be blurred. So then we're gonna go to our effects and what to look for directional blur. Wanna take directional blur and we're going to drag it onto the top one. We're then going to take the direction, bring that up to 90, and then bring the broiler of length up. I don't know, we'll see how much we want to do just a little bit here. Now, of course, this is an unusable piece of footage. So what do we do? We do the exact same thing. We go here and we click lighten. And you're gonna see that what it's done is it's created the effect here, maybe a little bit more on the blur length, right? Like so. And we've specifically selected the highlights just a little bit more in this one, you can see we're just adding blur still on there, but the highlights are a little bit more selected and we're not blurring the low light blue like the sky like we were with the last one. So we have just a little bit more control and it creates the same general effect. But again, we have more control over all with it. So that's two ways to do the exact same effect. And we learned a whole lot. We learned about how the channel blur works. And we also learned how to use directional blur and the curves together to create this effect as well.
28. 4-9 Blur Highlights in Premiere Pro: Let's keep building on the blurs that we're learning and let's talk about blurring, the highlights, blurring the highlights of the essentially you are going to be pretty much the same process as blurring a colour. But in this situation, we're actually just going to blur the highlighted portions of the footage showing. In essence, this part should be blurred. The White on here should be blurred the top of that. And then of course, up here. So let's get started on this. I'm gonna go ahead and mute the bottom track here just so we don't have to listen to it if it does start playing. And then I'm going to do just duplicate this footage upwards. Again, I'm holding the ALT key to accomplish this. Or you can control C v by selecting v2 and pasting it right there. Once we have this second footage, we're going to do exactly what we've done in the past ones, where we're going to use luminary color instead of touching one of the colors, we're actually just going to try to grab the highlights like this. So we're going to bring this one down. And essentially what we wanna do is we want to just drag it so that we have only the highlight selected here. And depending on what highlights you want selected if you want like the mid tones as well, you can do sort of this 3 thing. It's going to try to offset you. So you've gotta kinda drag it in there. And so you can see that we've got the highlight selected and we've actually sort of blown up the highlights there a little bit. So I'm gonna try to bring those down some and just get it right around in there. And it's now what we have is just the very highlighted stuff selected here. Now, if I go up here and I go to lighten, it's going to look exactly like the bottom footage. I'm going to turn on and off the top. You can see that we've actually changed it just a little bit and we can actually go between screen enlightened to see which one works better here, obviously, screen is way too intense, so we wanna go with lightened. Now, this automatically makes it look a little bit worse. However, when we blur it, you're not even going to notice the change. So we're gonna go ahead and take the footage over here. We'll make sure you're on the selected on the top, go to your facts and we're gonna look for directional blur. I'm gonna grab directional blur, gonna slide that into the forest right here. We're going to increase the direction and 290 degrees to make it left and right. And we're going to increase the blur length here. And now you can see that what we've done is we are blurring the highlights and it's pretty intense. So actually what we can do is take this opacity and bring it down a little bit. Just bring it up a touch for the top here. Maybe a little more distance on here to get a little bit more of a feel, maybe a touch more on this. And now we have essentially created is this blur on the highlights you can see it doesn't really matter the color, just anything that's of that top sort of nature of color is being blurred. The whites, the yellows, and the browns. But essentially we've chosen the highlights and we've actually been able to blur them and it creates a fun little effect like so. If you wanted to create a different type of effect, you don't need to use directional blur. I just have used that in the past. You can use any blur that you would like to use or really you can do anything you want, the highlights, you have them selected, you have the choice of doing anything you want to them. Let's add a camera blur and see how that looks. As you can see, it adds a little bit of a sort of a dreamy look to it. We blurred the basically just blurred the highlights and remove the detail from only the highlight, which overall creates luggage for of a dreamy field to the piece that makes everything look really sort of smoothed over. And that's good if you're trying to create that sort of soap opera, a fact, or if you're trying to create a dream sequence or a point that's really happy in a film. This a really good thing to use here. It'll be a very subtle effect, but something that will work pretty well for whatever emotion you're trying to go for. Overall though that's how you blow the highlights, same sort of processes, last ones, but as you can see, once we learn one thing, we can build another thing onto it. We can build another thing onto it. And suddenly we know a whole bunch of facts with the tools that we know. In this case, we learned how to blur to begin with, then we learned how to blur colors, and now we move onto blurring highlights.
29. 5-1 Let's start Changing the Feeling: The next step after what we've just done, which is enhancements is now we're going to be furthering into manipulation. That means there would be changing the feeling of our footage. So we're gonna using affects that change things up a little bit. We're going to be taking footage and making it different or making it fit into our story instead of just having its own story. And that's a really powerful thing to do and Premier. So let's get started.
30. 5-2 Party Strobe Effect Premiere Pro: So now that we've learned some basics and premier prowess on basic effects, let's start advancing it. And what these are going to be combining different effects together to create more advanced and more realistic effects. Things that actually manipulate the footage and maybe changed the entire feeling of the footage. The first we're gonna be doing is the party strobe effect. Now, with these tutorials, before I didn't really introduce what we were doing. It you sort of work through it together. But with these, I'm going to introduce the end product and we're going to start over and then work our way there. I feel like this is a better way because you can actually see what the end product should be and then how the building blocks actually make it to that product. So what we're creating is essentially we have this piece of footage which is just a couple of people talking at a party. They're all looking at a phone. It looks like maybe a class year party if some people are a little dressed up there isn't like, you know, that's sort of DJ vibe there. What we want to do though, is we want to change the tone of this. Maybe we want this to be some B-roll footage of a party that we're trying to create a world. And so we want the world building aspect actually look like it's in a party. And to do that, sometimes we need to manipulate the B-roll. And in this situation, that's what we're trying to do. We're trying to create essentially this effect where it looks like we have some party lights going. And that's what we're gonna do in this tutorial. But later on in the series, we're gonna come back to this tutorial and I'm actually going to show you how to link up audio to this and make the entirety of this sort of a nice world-building experience. So we take this footage without any sound, with this sort of just very simple coloring. And we're going to then add this party DJ vibe to it and then add music to it. And we've completely changed the field of footage to make it sort of into a party. And again, that would be great for us if we're trying to create that element. We don't have the resources to create something like this by ourselves. So to get this effect started, we're gonna go ahead and just exit out of this and then create ourselves a new sequence, right? Like so by just dragging over, you can see it created an exact copy called party. So we're just going to rename that to party two. And then now what we're gonna do is we need to create a black video for this. So we're gonna go here. We're gonna go up to Black video, which is right there. Click OK, drag that on top and then make it as long as the footage, we're then gonna go into the effects and we're going to look for a effect called strobe light. This in-video affects stylize strobe light. We're then going to take strobe light, put it on black video, and you can see it just a typical strobe light, right? Like so. We want to blend this with the bottom footage. Otherwise, all we're gonna do is just get white or color or something here. We wanted to actually affect the footage beneath it. So we're gonna go to blending mode. And you can see that we've used things like lightening the back. That's not gonna do anything because lightened just takes the lightest parts of this and keeps them and that anything that is lighter and the bottom one it will take. So of course, this is a white blob, so we're not actually going to grab anything from below. If we lower the opacity of this, you can see that it essentially starts grabbing the elements from the bottom. But again lightens, not the one we want to do screen, not really either. We can reduce the opacity. It's exactly the same. The screen doesn't really work here either. So we don't want either of those. What we do want though is Color Dodge. And what Color Dodge is gonna do is it's going to essentially grab the bottom colors here. Now we need to blend this with the original a touch to see those. And we should have done that with lightning stuff. You can see that when we blend it with the original, We have a little highlight grabbed. And if we would do screen, it just is exactly like we were doing before, where we lower the opacity. But with Color Dodge, essentially what that means is going to be dodging the colour when it applies downwards. So as you can see, it's affecting the neutral highlights the most. And then things like a black dress or a tan dress don't really get affected that much. You can see the black here is almost unchanged, and that's how light works late bounces off of highly reflective surfaces and colors usually absorb light so they don't get affected. Now it goes off. It does actually look a little bit like a spotlight is going off. So the next thing we wanna do is let's affect the duration a little bit. Let's work with that. Now these are a little bit confusing. The stroke period in stroke duration, you would think that the strobe duration would be how long the strobe is on, and the period would be inbetween. But my experience, I find that that doesn't actually work. What I find is that this is how often the strobe turns on, and this is how long the strobe is on. Well, not actually the distance or the length of the stroke being on is this minus this. And that's a little confusing. I don't exactly know why they worked at that way, but let's just go over an example so I can actually give you some numbers. Let's say we want to make the strobe appear every 2.5th, so we can put 0.5. Oh, so now it's going to appear every 2.5th, but now nothing actually appears y. And that's because the strobe duration is the length of the stroke period, and therefore it doesn't actually turn on. So if we go to 0.40 here, now what we have is every 2.5th, it's going to appear for 0.1 seconds. How do we get the 0.1 seconds? We take this and we subtract this. So it's going to appear for 0.1 because 0.1 is 0.50 minus 0.4. Oh, it's a little tricky on the math. I know that I feel like they could rework this and make it a whole lot clearer on how this all operates. But this is the effect. And now you can see every 2.5th it turns on for 0.1 seconds. And you can see that it appears that the 0, and this is 25 frames a second. It appears at the, basically the halfway as is 2424 frames a second. So it appears again at 12 or 13. It's sometimes the math is a little bit different because of how frames work, but appears at the 13 turns off and right when I hit the 1 second appears again, the 13, it comes back on. And so you can see that the map is checking out and it stays on for about two or three frames and then it turns back off. For this though, we want to increase this a little bit. We want the strove to be a little bit less. So we don't want to be on as often because the light's usually are quick bursts in a real environment. And we also want this to be a bit quicker. So I'm going to probably bring this down to about point 3-0 and then maybe have it on for 0.5 seconds. So we're gonna do 0.25. Allen doing it's just calculating what is 0.5 out of this? 0.3 minus 0.5 gets you 0.25. A lot of math. And now it's, it's kinda weird in that regard, but here's what we get. So you can see that right here, this is the strobe going off. And now it's it's kinda hard to see because there are cameras being taken so you can't see it 100%. So let's go ahead and add some color to this. To add color, we need to do a couple of things. The first thing we're gonna do is we need is a search, HSL or HLS. My bad. If I can type here, and then it's in-video affects color correction, color balance. And dragged it onto black video. Once you have that on your effect controls, it'll be down here. What we wanna do is when a spin this hue to change the color over time, we don't want to manually change it. That's a lot of time. Whenever we can automate something we want to do that it removes the human error and it also saves a whole bunch of time in editing. So with this, if I spend this, nothing happens. Why? Because this you essentially spins the hue graphs. So if I bring this up, the color picker right here, if I spin this over here, this is what I'm doing when I spend that, that Hugh dial is all I'm doing is taking this and as I go forward, it just moves down here and chooses different colors. Then once it loops, it'll say one times right here and it just starts back up at the top, goes over it again. You can see right there hw is the h. But you also notice that if Ron White, does white ever change now and never change, it's not even a single time because this is maximum brightness. There's no color to actually change. Saying what the other three corners on blacks, the Blackstone change. So all we have to do is just set this to some color, does not matter what color you set it to. Just set it to some colors so that the q can take over. I'm gonna start it off at blue. I guess the only time this matters is if you did want to start it off at a different color, that's the only reason that you would change this. So we're going to start it off at Blue. Go down to Hugh. Click the animation button. Why are we doing this? We're creating an animation of the Hue over time. This is going to again do that automation process. I'm gonna go to ten seconds here to end the animation. And then I'm just going to revolve this by ten. Easiest way does is drag it up a little bit, have it sort of create this numbering sequence and then I can just type in 1010 by 0, like so. And it's gonna create ten rotations and then back to the original. And you can see it actually ends right there with that blue. And so essentially what it's gonna do is it's going to rotate through the hue every second. If you do something this perfect, you might get a color repetition happening like if, especially if your timing is perfectly in sync with that, like maybe every 2.5th, that means every 2.5th is gonna be the exact same color. That might work, but if you want to completely random, then definitely adjust this number two, not something that's linked up. Example we did ten seconds equals ten. If you want to be as to be random, make it eight, make it 15, and it'll change over time. But what we get is this is going to be a repetition of the same, basically colors in a pattern. And it changes the feel of this and it makes it more high-energy and it adds that sort of club feeling to it. Like instead of being at a sort of a fancy New Year's Eve party, it makes it feel like they're at a Friday night sort of party with a DJ and lights. Then later on, we can add some music to this and really complete it. But that is really just the tutorial here. If you want this to be stronger, if you want the beats to be stronger, blend it with the original less, so bring it to the left. And it'll make stronger effect. If you want it to be less strong, bring it to the right and it can be something subtle happening. If you wanted to feel stronger, like for example, this is very, very loose. If you want people to really see it, bring this up a bit. So 0.3 to bring that down, we just want the period between these a little longer, so it sticks around a little bit under, and that'll change the effect as well. But overall, that's the first sort of changed the field effect we have. It's a really neat effect because it's simple, but it changes the feel of the footage. We have now just manipulated this footage to fit with whatever we're working with. We've taken the stock footage and we've made it our own, and we've actually been able to use it and whatever production we want with our own flair and our own feeling with it. And that's the power for mirror and learning all the effects. So you can chain them together and create awesome effects.
31. 5-3 Comic Book Effect Pt 1: So let's go over a more advanced effect. And that's gonna be a fun effect because we're gonna be covering and over three different videos so that I can show you a different element in each video and it's all gonna come together to create a fun comic book effect is going to look a little something like this. So you can see we have the chopping motion that's not, you know, your computer or whatever playing it, slow it. We've created this choppy motion. We've separated some colors and added some imperfections. And then we've added like this checkerboard sort of overlay to make it look like there are dots on the production. And so that's what we're gonna be doing in the three steps. The first one's going to be this checkerboard overlay. Then we're gonna go into coloring and the RGB split right here. And then we're gonna go into the timing and making it all work with the choppiness. Let's get started with, like I said, a really, really fun effect. Let's do the checkerboard. So I'm back to what a beginning project would look like. So create yourself a new project and then just go ahead and import. We're going to import the jump into water footage, which is right here. I'll drag it over to create myself a new sequence. Now, I wanna go ahead and trim this down. So I'm gonna take this, I'm going to drag it over to zoom in. You can also hold the ALT key and spend the mouse wheel. If you have a mouse wheel on your mouse, that really speeds this up. But if you don't just grab the edge and just zoom in a bit, and we're just gonna go to About the 3 second or actually until this clip ends. So right there it ends at three, looks like 18. So I'm gonna go ahead and hit the C key or just go over here and click the razor tool, click. And it's going to create two separate piece of footage. Just click on the right one and then click the Delete key, or you can right-click and go up to clear to remove it. So now we have just our 3 second footage or in a zoom this back in a little bit to make it a little larger. And now we're ready to begin the effect. For this effect, we need an adjustment layer. So I'm gonna go over here. I'm going to click New adjustment layer, click OK with the settings, grab that, throw it on the top and we're just gonna fit it to the peace, like so I'm going to drag it up one more layer. And then now I'm gonna go into my effects. Marta look for an effect called checkerboard. It's under Video FX, generate checkerboard. Notice that anything under the generate column is what I would call destructive. And what I mean by that is if I drag it on, it destroys everything beneath it. So you've gotta be careful with these generated. You gotta make sure that you're layering them properly. Otherwise, it'll just overwrite everything and all you see is what you dropped on. But to fix that, what we're actually gonna do is go into the checkerboard, not opacity. Make sure under checkerboard blending mode, I'm going to click Overlay. And what that's gonna do is it's gonna create a fun sort of two-sided effect. The first one, it allows us to see our footage again, so that's a positive. The second one though, is that in any of the light areas you can see in the clouds here on his back right there, the checkerboard effect starts to disappear a little bit, and that makes it a little bit more dynamic. We like the dynamic nature of things. If you add a checkerboard over a piece of footage, people just see a checkerboard over a piece of footage. However, if you can make it a little more dynamic, it'll look like the effect you're trying to create. And that's what we're trying to do with this whole course, is learning the different effects to put together to sort of create these optical illusions that create all of these fun effects. So the first thing I'm gonna do now is I'm gonna go over here, checkerboard on a changes color to black. And you're going to see that sort of adds more punch to it, which I think just fits the overall comic book feel a little bit better. We're not going to size from AMA changes the width and height. This is allows us to control both the width and the height of the little boxes in there. And we can kinda now make this a little bit smaller. This step really depends on how big your footage is. If you have 4K footage, 168 is gonna look like little pin pricks. Where if you have this footage you can see it's actually still pretty noticeable as a checkerboard. So I'm just gonna lower this down to get a little bit different of an effect. Maybe I'm looking at 73, might be the way that we do this. That's a little small. So for maybe 8484 is looking pretty good. It's looking like we got some dots going. The next thing that I like to do with the checkerboard is again that dynamic nature. So I'm gonna do is I'm gonna create a square here. You can create a circle, you could draw your own polygon does not really matter. I'm going to then click invert, drag it over side here. And I'm going to take this, I'm just going to drag for, if you hold Shift key, it'll make it a straight line. That helps a lot. And I drag it over maybe halfway and then maybe we'll have like angle right here. So and then I'm gonna take the feather. I'm going to do this in a little bit. And what that's gonna do is it's going to add some of the checkers back in. And we just want like maybe you're like right like that. And so what this is doing is essentially creating this area of no checkers in the center here. And again, that's creating that dynamic nature with comic books, there are presented really fast, they had flaws. So we want to recreate those flaws though, better do the effect. And so now you see that we've added this sort of center thing, the highlights, it disappears in, and now overall it's looking pretty good. When you want to do this dynamic thing. It's actually kind of good to do it on whatever the focuses in this situation. It's these people jumping in. Move the dots a little bit over what we want to look at. That way, when they're looking at a person's face or they're reading a sign or something, they can actually read it and see the expression of the face. So if you're going to add that dynamic nature, try to add it to an interesting area of the film, sort of the main focus of the piece. Anyway, that is the first part, the checkerboard effect. Note that when you do this, your computer can run pretty slow with this effect. You may need to view at frame out of time or in the third video of this series, I'll show you how to view it faster by actually rendering and out and seeing the render p real. Anyway, that's the checkerboard effect on the next one, we're gonna go over the coloring and then an RGB split, which is one of my favorite things to do. And Premier.
32. 5-4 Comic Book Effect Pt 2: All right, so now let's go over the coloring and the RGB split. So what we're gonna do here is we actually wanna create a couple extra layers here. So I'm gonna take this, I'm just going to drag it up. And that's the easiest way to create a few layers in between. And you're gonna see why we need to do that in just a second. But first off, we need to add pasteurized to our video layer down here. So we're gonna go to effects and we're going to look for an effect called pasteurize. We're gonna take that pasteurized and we're going to drag it onto this effect rate here. We're then this clip. We're then going to take the level and we're gonna manipulate it. So what is posture eyes do? It's essentially condensing down the layers of color. So if you have like let's say Really, really high-quality flooded you have, you could have millions of shades of a certain color. What we want to reduce those because when you're printing, you have to reduce the amount of shades that you can create, especially for a low quality print like a comic book. So in this situation, we're going to take this and maybe go about 12. And you're going to see what it's gonna do is it's gonna create banding. Here. We're going to have a lot less shades of every single color and just going to reduce the quality of touch. We're then going to take this and we're going to duplicate this footage up two times. To do that, the easiest way, hold the ALT key, drag up, hold the ALT key and drag up. That's the simplest way and the book that you can do this, you can also unselect the V1 and you must select the two. Click on the bottom footage, hit control C, control V, and that'll copy and paste it. If you don't want to use keyboard shortcuts, I highly recommend you use keyboard shortcuts, by the way, at speeds of everything. But if you don't want to, you can click it like v3. Click on the footage, and then right-click on it. Copy, right-click or you can't right-click there. So you've gotta go File and then our edit, I think, yeah, edit, then paste. So like you see, you notice that's so much slower. You really wanna get those keyboard shortcuts, even though just the basics. A Control-C, Control-V to control C is always copy control V is always paste. And then holding the ALT key to drag up it changed it from a 3 second thing. Do you know a 22 a minute thing? And over the course of a day saves you 20-30 minutes of editing time. Anyway, back to the effect. I'm gonna go ahead and just turn off this top layer just so that we can see what we're doing outside of the checker box. So you can see we've had the pasteurize effect up being applied nicely. We're then going to select the bottom layer and we're gonna do something interesting here. Make sure you go to your Colors tab and you're over here on the loom at tree colour panel. So color, luminary color. If you wanted to do it on the left, you can just move this a little bit or dragged telemetry color over and look at the curves down here on the left. I'm going to use a big old right panel though. It's a little easier. We're then going to go in the RGB curves. I'm going to click on this bottom one, and then we're gonna click on the red dot right here. I'm gonna go to the edge here and TCS circle, not a plus a circle. Click, drag all the way down, make sure it goes all the way down like this. We're then going to go to the green, click, drag all the way down and we're not going to touch the blow. What did that do? It made the bottom layer completely just the blue channel. So all we see are the blues here. Well now we're gonna do, what are we going to do? The middle layer, what we're gonna do, the exact same thing, but we're going to select the red instead. How do we select the red? Well, we just drop out the green. We drop out the blue. Now all we have is the red. Well, we go into the last layer. What are we doing with this layer? Well, we're going to select the green instead. So we've selected the blue, we selected the red. Now we're going to select the green. Start at the blue, drag that down, go to the red, drag that down. And now we have the grain. So now you see we have green. Oops, we have blue and then red. And in green, we have all three layers. And now we want to combine these back together. So we're gonna go to the very top. We're gonna go blending mode. And in this blending mode we're gonna go screen. Then the middle, we're going to do the exact same thing. We're going to blend mode screen. So now we're right back where we started. Why did we go through all this effort to split it up if you're going to just, you know, go right back to where we started. Well, that's because now what we have is we actually have control over the three channels and where they are physically on the screen. If you wanted to, by the way, organize this a little bit better. You can actually go down here and make some labels or you can even rename this instead of this, we could make this like the blue layer. And then this one we can rename it to the, I believe the red layer, and then the top one is the green layer. Just so this is a little bit more of a visual presentation here. So we have green, red, and blue here. We have the three effects. We have the three different color channels. Now here's where the fun happens. They're only combined because they're all screened on top of each other. It's like laying layers of color on top of each other. Well, if we go to the top layer and we go to position, and we go like, let's say 637 instead of 640. So we're just making a small change here. You'll see that we actually move away a little bit. Let's make this a little more extreme so you see what we're doing, 630. And now you see we've actually split the layers. We have the green layer moving away and the red layer sort of sticking where it used to be and because they're all screened. And now we have this sort of fun effect being generated. Now we don't wanna do this too hard. As you can see, we sort of get this strong line over here. So what I usually do is I go to the second layer and I go in the opposite direction. So instead of going 0640, it'll get like 650. And now it sort of splits back and you have a layer on both of these sides. It just makes it look a little more realistic or at least a little more balanced. You can also zoom the footage into touch just to remove these lines. But overall, nicely, we have this sort of 3D effect. This is a little bit extreme now. So we're just gonna go back and instead of like the, we're gonna go 635 on this 1645 on this one. And now we have really the effect we want. We've split the, the colors a little bit and made it a little bit more imperfect and it's undergoing uniform. I'm gonna go 60-40, like to on this to make it sort of just a strong red split, but not as really strong green split. Why are we doing this? Comic books? Again, they're being produced fast. They were usually produced with one color at a time, like maybe a red stroke than a green stroke than a blue stroke or in print it was probably like cyan and magenta will anyway, when there are printed, if the page is slightly misaligned, it painted it just slightly outside of where it should be. And you created this sort of effect where you had these colors that were split. And so that's the effect that we've been able to recreate here. Now you'll see that we have this fun split effect. We had the checkerboard back on and we got ourselves a pretty good-looking comic book. We only have one more step here and that is manipulating the time to give it that choppy feel, which will make it feel like you're reading a comic book.
33. 5-5 Comic Book Effect Pt 3: So let's go over the final step here. And that's going to be to adjust the timing of all of this, to remove some frames and give it that choppy feel will to do this, we want to first nest the sequence. What do we do this nesting instead of just applying the effect directly? Well, it gets a little bit unorganized, a little bit choppy when you're trying to apply effects to an entire sequence and you're applying it to like an adjustment layer at the top or to individual layers, like multiple layers at a time. It gets a little bit hard because you're trying to apply to literally everything, but you're applying it in different spots. And to organize and actually find those effects. You'll maybe there's like 36 adjustment layers and you're trying to click through each one to see which one has the effect. Well, if the effect is supposed to be applied to the entirety of the production, why don't we apply it to the entirety. So to nested and it's gonna make sense when I actually show you what nesting is to nest it. The first thing I do is I want to find the sequence, which is this one right here. I'm just going to rename this to main sequence. And so what this is gonna do is it's going to basically make this the main layer here. So this is going to be the main sequence. Let me make sure I got that right. If we double-click on it, is that the novices the wrong one. This is the Preview on. So I'm gonna name this one main sequence. It's a little hard when you're trying to show and have at the same time. Okay, so now we've named it Main Sequence. And what's the main sequence? It's the one you put all the other sequences n. So if you had the movie like The Dark Knight, every single scene would have its own sequence and then the entirety of the movie would be a large main sequence that would only have basically just lines of first seen second scene, third scene. And so in this main sequence, I'm going to highlight everything in here. Gonna right-click on it. If you want to highlight everything quick, if you have a lot of layers, you don't want to drag, just click somewhere and hit control a. And it highlights literally everything. We're going to right-click. I'm going to hit nest. And, and now it's saying what do we want to name this new sequence? So I'm just gonna name it jumping scene. And you see that it's taken everything as condensed it down in this single layer called jumping seen. Now we haven't destroyed anything. What we've done is created a new sequence that we've moved at all over there. So if I double-click on this, you actually open up the new sequence and you can make your adjustments in here and then just jump back to the main sequence. So if you add multiples of these, you could in fact just jump in it and make edits, whatever you want, and then just jump back out to the main layer. It's a very good way to organize things, especially when they get complicated. It also gives us the ability to apply an effect to everything. So n5 overdue effects, I can actually go to pasteurize time, put it down on a jumping scene, and they go to Effect Controls. And then I can select the frame rate. And let's say we want to hit six here. And now it applies it to the entirety of the clip. As you can see, now, the playback is a little bit choppy, So let's talk about that. Like I said, I was going to, you have two ways to affect this. The first one is to drop the render quality to something like 1 fourth is gonna make it blurry when you come back, which in this situation you'd actually see we lose the entire checkerboard from that. But if you wanted to check something like timing, you can see that this is working well. However, if you wanted to see the clip and all of its glory, what you can actually do is you can pre-render. So in this situation, we have this red bar up here. That means that it isn't rendered yet. And we can't view it and full-time sort of view it and full-time. But we're gonna do is we just click the Enter key. And when you click the Enter key on your keyboard, you're actually rendering out the sequence here. All of these little frames that are read your rendering out and you're making greed, which essentially means that it's been rendered and we can view it in full time depending on how many frames you have. Like let's say that you have maybe an hour. It might take five hours to render that out. So you wanna make sure you're only rendering out what you want to see. And I'll show you how to do that in just a second as well. Anyway, it's rendered out and now we can see it in full quality. We can blow it out and we can just watch it and full quality and our comic book effect is done. It's looking great. Now let's say though that I wanted to see something I made a change between 12 seconds. I want to see the change that I made. Well, we can actually click a i and o keys on our keyboards to create an input and an output. You can also just mark in and mark out. So if I click I, it's going to create an AIA point end 0. And so what I've created here is like this little sub-sequence here. Let's go ahead and do jumping scene. And let's just go grab the checkerboard. You don't have to fall on this step. Just grabbed the checkerboard and I'm just gonna drag it up and make a change here. That way this whole thing needs to be re-rendered. Well, if you create this in and out point, if you click the Enter key, it's just going to render the in and out. So it can be really, really quick. Look, it only needs to render 23 frames, that 1 second of footage. And now you can see what the change is done really, really quick. Instead of having to render out maybe ten seconds, maybe an hour, maybe 30 minutes, you can render out little parts to see how you're doing. But overall, that is how you control the timing. The effect here was pasteurized time. It's very simple. All you do is you just select what frame rate you wants once you drop it on there, it started off at 24 frames per second. We said Let's go to 60 frames a second. That reduced, basically takes out every, so for every four frames it takes out three of them. It leaves only one there, which creates that choppy effect. But overall, the sort of tutorial was how to nest things and then how to get your rendering right so you can view things when you apply complex effects like this. Over although great job, the checkerboard effect, combined with all of this to create the comic book effect is a really fun set of effects are combined and it gives you a lot of power and Premier because you'll learn a lot of different things, had a stack effects and then how to put them together to create an overall effect. That is something that you could actually sell to someone, a skill that is very highly looked after. So let's keep going on with different tutorials and learning more and more about premiere.
34. 5-6 Heat Waves: We're going to build off the previous lecture here and we're actually going to create some heatwaves. So in the last lecture were used turbulent displaced to generate some underwater effects. Well, with this, we're gonna be doing is we're going to be creating these heat waves right here. As you can see. They go up right around here at the edge and you can see that they're not being applied to the foreground because heat waves don't do that. They're only being applied to that background area. So that's what we're gonna be doing today. The heat waves are really, really neat effect to make something look really, really hot. So let's get started on that. First off, we're gonna do is we're gonna go over to the, the project and import summer. It's going to be this one right here. I'm going to take that and just drag it on over. And you're gonna see it's this nice just River flowing, right? Like so what we're going to then do is go to the temperature and I'm just gonna make it a little bit warmer. If you're gonna have to heat waves, you should give it a warm feeling to sort of justify the heatwaves. The next thing we're gonna do is we're going to go in to the bottom here. We're gonna create ourselves and adjustment layer. Click OK, drag that adjustment layer on, and then just drag it out to the length of footage here. And then now what we're gonna do is go to our FX and look for that turbulent displace under Video Effects distort turbulent displace, drag and drop that on. And then we are going to see that it's doing the displacement like it has been in the past. We're going to go and do turbulent smoother for this one, we want to go with an amount that's slightly less, maybe somewhere around 20 and a size that's also slightly less. So maybe somewhere around 29 here. And let's just confirm with the old one here just to make sure we're recreating 2049. So yeah, we'll do 20 on the amount and 49 on the size to keep it consistent with the one I showed you. So 20 and then 49 right here. So what this is gonna do is gonna generate a heat wave on the entire thing. We don't wanna do that because heat waves only affect distance. You don't see heat waves. Or you know, if you hold your hand in front of your face, you see heat waves often in the distance as all the heat is moving the air and manipulating the light. So what we wanna do is we want to go ahead and mask this. Now at this point, this is 4K footage, so it gets very, very slow on my machine. So I'm gonna turn off turbulent displays while I build this mask, and then I'll turn it back on. We think like the four-point polygon. And I can drag this for point up here. And essentially what we're doing is we're just going to recreate the distance here. So it's sort of this is the infinity point that we're talking about. This is where the distance gets longer and longer is in this direction over here. So that's what we're gonna recreate. We're gonna try to just create a little box that has where the waves are going to come up and when add some feather here so that we don't have a line where there is a wave and a no wave on the other side. So we're going to add a little feather. Click on that. And you can see the dotted lines are sort of where the blending is going to happen. And so that looks good to me. So then we're going to turn on, or actually we can do the animation before. Again just to make it a little easier. We're gonna go the very beginning here. We're gonna go down to the displaced. We're gonna go for the offset this time. Click on the stopwatch, go about ten Ford and then we're gonna move it maybe doubles, maybe up to 2 thousand. Why are we doing it this way instead of evolution wise? Well, with this, what we get is the ability to sort of push it in a certain direction. Think of them like bubbles that you can push under the footage to distort it. So we have all these bubbles generated and we just want to push the bubbles up. This way. If we do the whole thing, then everything's going to randomize and it's gonna do this whole wavy pattern. And that's not how waves work there. Heatwave, so they're all rising up. So that's what we want to try to generate here with that offset nominee go and turn the turbulent displacement back on. And of course it's going to be really, really hard to see because it's going to take forever to load each frame. So I'm gonna click oh, to create an app point, click Enter and I'll come back. Once this is rendered out. Already, we have come back and let's take a look at how this is playing out here. As you can see right over here, we have just the nice basic ways and they look really realistic. There isn't a harsh line because we feathered the edge. So all it looks like is there just some heat waves in the corner over here? This is a very simple effect to pull off, and it is a great way to do a little bit of world-building and make something appear hot, even if it was recorded in, for example, the fall, as long as you've got the green colors over here, then you are fine. And you can go ahead and add some heat waves and it'll make it look like it's a really, really hot scene, but that is how you do the heat waves. I, it's just a different use of turbulent displace and it is a quick, easy way to do some world-building.
35. 5-7 VCR Lines: So the last effect is a little bit more complex. This one's gonna be a little bit simpler, but it will be a fun effect to pull off. So essentially what we make doing is creating a VCR line effect. You see it right there. Like if I play this back, it looks like a VCR that's slightly out of sync and the line is going down. This is sort of a good prerequisite to some of the stuff will be doing later on. We're going to try to create vintage footage. Anyway. This is the effector may creating, wherein we creating the VCR line effect. So let's go ahead and I just went in and import the jump into water footage again for this one, we're going to go into our effects and we're going to look for an effect called a wave warp now as it needs to apply to and adjustment layer. So I wanna go and generate a new adjustment layer. We should be pretty good at doing that by now, expand it out to the sequence, then go to our effects and look for video effects. Distort wave war were to take that. We're going to bring it in. And you'll notice that this right off the bat is a fun effect. It's got a lot of different features to it. And we're actually using this and we're gonna make the VCR line from this, which is pretty cool. We're gonna go to waive Time Warner, just go down to square and you're gonna see now we have that sort of square appearance. We're gonna take the wave height when it keep it at ten. The wave width though we're going to go up to maybe about 600. And that's going to create sort of these single lines coming through. Now it's going left to right. So let's go ahead and fix that by making the direction either 0 if you wanted it to go bottom to top or 180 if you wanted to go from top to bottom, i'm gonna go top to bottom. I think that one looks better. So we got this. Now you can see the effect, but you see these black bars are coming because it's literally taking the footage and chopping it and moving it to the left, taking the footage, chopping it, moving it to the right. We don't want those. So we're actually going to pin the edges using pinning all edges here. That's going to basically grab these here and the middle is going to be adjusted, but the edges aren't going to be affected. And so now we're actually get closer to the original effect that I showed you. The VCR line is coming through. Well, the next thing we're gonna do is we need to remove this speed is coming in too fast. So anywhere from 0.1 to 0.3 is realistic. So I'm gonna go about 0.2 here. And you'll see that the line is now coming through slowly right here. There's the line right there. This, I feel like 0.2 is the most realistic sort of VCR line that can come through. Yeah, I feel like, yeah, 0.2 is sort of where you want to be. If you want a little faster, 0.3, if you want it to be really slow than 0.1. And I love him that you pretty much have created the effect if you want it to be a stronger line like a really strong DC Anki see that's only moving over a little bit. You can adjust the wave height. That's what you do. So like instead of this, we can go like 20 and you'll see that it moves at most. So the effect becomes really, really pronounced when you do that. If you want the effect to be pronounced, That's a good thing to do is move that wave height. Also, these numbers are a little bit dependent on the quality of the footage down here. If it's 4K, you may need to make these numbers bigger or smaller. The directions gonna say the same, the wave speeds gonna stay the same, but the width and the height may need to be adjusted to actually make a difference. Like you could have these effects on a 4K footage and it might not actually look like it's doing anything at all. Anyway. That is how you create really, really simply a VCR line in Premier Pro. Like I said, this is a great building block to add other effects later on, like an eighties vintage. Or if you wanted to create something that looked like a VCR tape, then this is an effect you would apply into that. But we learned about wave warp and we also learned about adjusting the wave warp to create the line. And there's so much more in here that we can learn that expands what we can do, which is the single effect.
36. 5-8 Eighties Vintage Filter: So let's go over creating an eighties vintage style. Now, this is going to introduce us to things like noise and also some color correction adjustments and also how to pixelate film if you want to add pixels to your film. So that's we're gonna be doing in this little tutorial here. The original footage looks like this. We've actually worked with in the past. But what we're going to be doing is we're actually going to be adding noise, then the pixelation, and then the color correction. So we're making it look worse than we're adding some noise and then we're adding the pixelization. So let's get started on this. Like any other tutorial we've done. I'm gonna go ahead and just take this and then just drag it into a new sequence and we're ready to begin this tutorial. So the first thing we wanna do is do some color adjustments over here in luminary color. Go ahead and bring that up again. If, if that's not up or you don't want to work with it over there. Click the color to bring it up or go down and look for luminary color, drag it on and use the effect controls. In the basic correction, what we're gonna do is we're gonna do a couple things. We're actually gonna do this out of order from top to bottom. The first thing we wanna do is go to creative and go to faded film. And we just want to drag that up a little bit because that's what we're trying to create. We're trying to create a faded film look. The next thing we're gonna do is we're gonna take this vibrance and we kinda wanna bring that up a touch and then bring this saturation down. So what is this doing? Well, this is making it so that the highest colors are still represented, but everything else isn't. And why are we doing this? Well, if we're trying to recreate the eighties, the seventies of the nineties, the cameras were a little bit worse in the way that they captured the overall color gambit. So with that, if everything was, there was something really, really brightly colored onset, it was going to be picked up. But if there's something that was in-between shades like a really, really like it's slightly yellow and but it doesn't pop that much. Then it gets kinda condense because the camera can't pick it up as well. So that's what we're doing here, is we're popping out the colors that are really bright and then destroying the color, the rest of the colors down to basically degrade our footage. And we're gonna do the same sort of idea up here. I usually go with a little bit of a warmer filter for this. So I usually bring the temperature up a touch just because, I don't know, eighties kinda feels warm to me. That's the filters and stuff they use is always sort about warm vibe. But I also take the contrast and bring that down. And that's again, what I was talking about as we're taking that the highs and lows and we're trying to crush them together to submit or simulate a worse off camera. And so we're going to take the contrast and bring that down. And now we've both crushed the, a little bit of the color gambit and then as well as a little bit of the luminance gambit. Now we're also going to want to go into curves, and this is just a little trick I like to do. I'd like to take these and randomly bring them down a little bit. This is going to artificially reduce the amount of colors that can be used. So I just kinda randomly do this and I'll readjust a coloring afterwards. But essentially we're just gonna be taking some of the colors off here and then randomly moving them around. As you can see overall, this is starting to look pretty decent. Degraded wise. The beginning it looks, you know, high contrast. It looks like it shut on a nice camera, but now you sort of have that older vibe. The less colors captured. It's hard to see in the dark areas, stuff like that. So we've got that first part done. The second part is we actually need to add in our grain. So to do that, we're gonna go over to our effects. I want to look for a effect called grain or noise or grain you can search either because it's going to be any video effects, noise and grain. We're actually looking for noise, HLS auto. We're gonna take that and we're gonna drop it onto our footage. You're gonna see it's immediately going to go red up here because this is sort of a processor intensive thing. Mind can run it, it looks like it pretty much full speed, but there will be a lot of computers that you're gonna need a little bit of help on this. So you're going to have to do that method that we've talked about where you in output and then click Enter to render it with the in Asia or the noise HLS auto. We're gonna take the grain and we're going to apply it to the lightness. If we apply it to the saturation, we get this look where the outsides of the colors start to become grainy. And you know, you can see like the grain starts to become red, green, blue. This kinda gives you a maybe Sixty-five if that's what you're going for like footage that looks like it was just starting to be shot on color. So that's a way you could go with that. But we don't wanna do that. We want to add a little bit of an, a lightness and so we don't wanna be too extreme. Yeah, so we actually want to go somewhere around like 6%. And you can see that we're getting just a little bit of grain around the edges there, so it's looking really good, but we don't want it to be this uniform computer-generated stuff. So we're gonna go up to the noise and we're gonna change it to grain. And this is going to basically work off the footage to make it look like it's normal grain. The last thing we need to do is it moves a little bit quick. It kinda almost pulses a little bit. So I'm going to slow it down, just a touch and this will make it so the grain fields there's a little bit more natural throughout the footage here. And so now we have the grains. Now it's looking good. We have both the colors smashed together to mimic a worse camera. And then now we've also added grain to mimic or worse camera. The last step we want to need to do is we need to actually add in our pixelation. A lot of times you're trying to, you know, an pixelate film, but this time we're actually trying to add the pixels back in. So we're gonna go to stylize mosaic and then drop that on. And you're going to see what this effect is doing right off the bat. It's taking it and it's dropping it down to a certain number of squares. And then it's probably averaging all the pixels inside those squares, comes up with a color and then it represents that square with that new color. As you can see with this entire footage, This is kind of a representation of what this is. There were people standing here and that tan zone. There was a green forests back there. There was some mountains down here and then there was clouds up top. So it's representing it pretty well. What we wanna do though is when I take these vertical blocks and we're going to bring them all the way up. How far do you bring them up? Well, it all depends on how big your footages. So the horizontal and vertical is actually going to be representative of the width and the height of your footage. So for example, if this is 720 P, that's usually going to be 1280 by 720. Meaning that if we make our horizontal over 1280 and we make our vertical over 720, it's going to look like exactly the footage that we had. So we need to make these a little bit less because then we're actually reducing the amount of pixels that we have. So the vertical, we're not going to touch where numbering that above our 720 value. But the horizontal, we want to actually bring a little lower. And sort of like, I like to just start down here and then just sort of bring it in a little bit and see where we want to go with it. And you can also, if you like, the sort of up and down, which kinda simulate a cr t tv, you can actually go vertical blocks here, make that your lower value and then make this one your high value, and then sort of work with it like this. I think that's actually a really good way to do this. If you're trying to simulate, again like that CRT TV sort of feel where there's lines of pixels. So it will actually do that. So I'll bring the horizontal blocks all the way up and then the vertical. Let's move them around and see how they look here. I think that is looking pretty good like radar on 190. Again, your footage. If it's not this exact footage, it's going to be different if you have larger footage organized to bring these numbers up, smaller footage alot to bring him down. But overall, I think that's looking pretty good and maybe just a little bit more so we don't really like destroy the footage here, but yeah, rape that, that's looking good. So now you can see that we've taken this footage and we've added this filter to it, and it's now looking like it's an old home video or something like that. With the pixelation, the colors being dropped down. Overall, this is looking great. So it's really an awesome, a little effect here. And you sort of learn three different things from here, you'll learn the mosaic, which is how you pixelized things. You'll learn the symmetry color, which is how you can manipulate things and get the vibe that you want. And then the noise and grain to add that old school noise and grain to it. Now, a little challenge for you if you want to like go above and beyond. This is the same footage. We added the VCR line to imagine adding the VCR line on top of this effect. And combining these two, you would get something that looked like an old VCR tape. So I encourage you to try to do that is open up the old tutorial and try to just apply it to this clip and see what the end results are. There'll be really, really neat.
37. 5-9 Simulate Rain: Let's go over a fun effect about how to simulate rein in Premier Pro. So this is essential are gonna be doing here, are going to be simulating rain. The rain was on actually in this scene, we're gonna be adding a couple of different layers here. We're going to be first off color, correcting it, and then adding some fog and then the rain overlay as well. So this is the original scene right here. Then we color correct, add the rain at the fog. And that's essentially what we're gonna be doing today. It's really, really neat sort of little tutorial to deal. So let's get started on this. There's a little bit of a disclaimer with this one. And that is that this effect and love the effects at teaching this course, you need to know when to use them. If you have a bright sunny day, it's going to be very hard to simulate rain for a bright sunny day. Why? Because there's a son out, the lighting is all wrong. So what you need is you either need to go into a darker clip than evening clip or a clip that doesn't show the son or the sky at all. That's the best way that you can simulate things. Because other than that, you're going to have to actually simulate clouds and then things that illusion gets broken way easier. So at this situation, I am going to take this, I'm going to drag and drop the night footage right in and you see, so this is an optimal piece. We have high contrast. We have light reflecting off things which we can make look a little shinier. And then we also have just nothing that would break if the illusion, it could very easily rain here. So make sure that you have all those things set up before you try this effect. Remember that these facts are not magic. You can't just make things out of thin air. You kinda need After Effects. The more advanced Premier Pro, the thing that I can, you know, create transformer robots and stuff like that to be able to simulate if you wanna do something with a another piece of footage that is not optimal. Anyway, let's get started on this. So what I first need to do is let's go ahead and add our rain. And so we're gonna go over to our footage, wanna go down to our rain overlay. So just make sure to import. We wanna import here the night and the rain overlay. We're going to drag the night and the run-up import or put the rain overlay over top. Were they going to click on the reign over life? Morton Gupta motion or my bad opacity blending mode is gonna go down to screen. And then we're going to take the opacity and bring it down to about 70%, maybe 60% kinda have to work with the footage. You see what looks good. So it's looking decent right here. So now we're going to right-click on it and go to speed and duration. And we're just going to double this. So this is essentially the panel where you can make things go quicker or slower to 100% speed means is going to accomplish in basically half the time. So it's going to speed the entire footage up. And so now the rain looks like it's coming down a little harder here. And then finally what we wanna do is we want to finish us off with a tent effect onto the rain itself, not the night footage of the rain. Go up here to get effect controls in the rain. Go to your map white too. So the map white too with the white box here, click on the white box and then we're just gonna go to a blue. So we're gonna go maybe a lighter blue here. And then maybe in between, we went sort of at lightest blue, baby blue. Look here. Closer to the white side though we don't want to closer to the other side. And what this is doing is it's just giving a slight blue tint to all of the rain. And another way you could go with this is if you have a lot of like protruding yellow lights in here, you could actually sort of make it go on the yellow side as well. And that's going to make it sort of reflect off of the lights a little bit more, at least simulate that it's reflecting off all the lights. And so I'm actually going to go with that for this one, I feel like that's maybe a little more realistic. You kinda have a choice here because you have these white lights at the top and these yellow on the bottom. So you just gotta make a choice there. Once the rain overlay is setup, we're going to then color correct the footage down here. The color correction is pretty simple. We're going to go into basics and we're just gonna bring the contrast up. What that's gonna do is it's gonna darken the darks and bring up the lights. Why do we want to do this? It makes it look more like rain is happening. With rain, the light casts out onto a shiny surface and therefore the light, the highlights are reflected more than everything else because they're even brighter now, the, everything else is usually captured a little bit darker. So you get this effect. So we're just going to simulate that with a little bit of contrast here. We're then going to go down to our shadow tenths, which is in the curve here, are the creative my bad. And we're actually gonna do something a little fun. We're gonna take the shadows and we're just going to tell them a little bit in the blue direction. That's gonna sort of cool off anything that isn't bright. And then we're gonna take the highlights and we're going to tint it in the direction of our brightest lights. So in this situation, it's a yellowish color. So when we do that, what we're gonna do here is we're actually taking the footage overall and we're kind of like really enunciating the colors here. So anything that's yellow, we're really making brighter thing, that's the darker. We're making a dark blue and sort of pulling into the background. Again, we're simulating the sort of the lighting effects that would happen. Finally, what would it do? It's going to go down into this curves rate here. And we're going to just go maybe about halfway in this top box, the curves is the luminance values here. We're going to bring the highlights up and we don't want to like curve all the highlights in. So we're just going to bring some more dots here and try to put them on the line. It's going to require a few dots to get this back on the line. But with this sort of like explosion up here, what we've actually done is we have taken the lights here and we just added a little bit of brightness to him. We made them a little bit more, well bright. And that, again, it all comes back to what we're trying to simulate. We're trying to simulate that dark, shiny Seen. And to do that we need all of these little effects to come in. So now we've, we've colour corrected it and made it look a little more realistic as to what a shiny day might, or a shiny rainy night might look like. Our last step here is that we're actually going to be adding the fog in. The fog is kind of fun to do. First off, we need to create ourselves a graphic layer. So go down here into your tools panel. Whoever the Tools panel might be, we're going to click on this and maybe the Pen tool, it might be the Ellipse tool, it's going to be hiding. So just look for one of these three elements. Click the rectangle and I'm just going to draw out a entire rectangle like so. And now we have a shape right here. I'm going to rename that to fog. And then go OK on that. And then now here's the fun part and this is where you're gonna have to get a little creative. So I'm gonna go with the light here. I'll make it just a touch more on the white side, the fill, if you click the box here, you have this box come up where you can sort of adjust the coloring. Like I said, I just want to make it a little brighter. Now I'm going to click the four-point polygon is a mask. We've created mass before. Now what am I creating the mask of? Will? I want to create the mask where sort of you go off into infinity. And what that means is if this was a street that went this way, the infinity point would be right in the center. Well, this is a street that goes to this side. So where's the distance whereas the depth in this shot, the depth is back in this direction. So it's going to be, the entire clip is moving here. Get farther away, you go this way. And so that's where we want to make our box. We almost want to make this like a 3D sort of box. So we want to bring it in here and bring it out arrayed around that infinity point, bringing in over there and sort of lay it out like so and sort of match the direction of the footage. Now why are we doing it like this? Well, you have to imagine here that if we're going to create fog, where does fog appear? Will fog appears at the distance? The farther the distance goes away, the stronger the fog. So therefore, if we build it around the infinity point and then we go to feather this mask out. And then of course lower its opacity a little bit. What we create is a pretty realistic looking fog that's coming from the the distance. So we can actually feather this a little bit or a little bit more, or maybe a little bit less. And you kinda just gotta work with this here and be a little less on the opacity. And now we've, what we've generated here is we've generated the fake effect, that there's actually a fog layer here. And that as you go farther, it gets a little bit stronger and stronger and stronger. And you can adjust the feather here to make that stronger as you go down and then sort of come out as you come up. And I think that's actually a little bit better. So really close, you don't see it that much fog. You could of course, duplicate this layer and delete the mask off the second layer. So all I did was I just created like basically an entire overlay of this to create a base layer of fog. So this top one, we're just going to take the opacity of this as a whole and bring it down to like maybe three. Well, that's actually pretty much maybe one. Yeah. So we've just created a little base layer of fog and then sort of had it get larger and larger here, maybe make it more realistic. We create the mask over here, but that's generally the gist of how you'd create that. So you find the infinity point, you draw it around it, you feather outwards from air, and you can create this illusion of fog in the scene here. But that's generally it, its, it's really a three-part thing. And it all comes down to when you create effects like this, you just have to think, what is the actual effect like? What's the actual area like? What is the coloring like? So for example, if we're trying to simulate a volcano, we're thinking there's gonna be lots of reds, lots of yellow, there's lots of really bright lights, so much so that everything should probably be blown out a little bit. There's going to be heatwaves, stuff like that. You gotta think about what the scene is and then try to recreate that with all of your tools available to you. And with that, over time, were able to build something like this. It isn't the most believable. Of course, there's no there's no actual water on the ground and stuff. But let's say that you are doing a quick transition. This is all the audience gets to see it right here. And then we cut away. No one is going to see that it wasn't actually rating. They're gonna hear it. You're gonna put the rain sound effect, then it, they're going to believe it. And then you move on to the next shot. You've actually saved a whole bunch of money. He didn't have to go and rent a one of those rain crane things at dropped a whole bunch of range and have to build all of that. So that's what the, the essence of building these effects is, is making them, if they're not 100% believable, making them a little bit shorter, recreating what the scene is, mostly adding some sound to sort of capture it all together. And then moving on to the actual seeds that are realistic. That's what a good editor is able to do. Anyway, that was a little bit of a tangent. I think it's important when we're talking about these sort of more creative effects to understand how you can use them, where you can use them, and the best sort of use cases with them.
38. 5-10 Day to Night: So let's go over a specialized technique. And by specialized, I mean, this is going to be something like you keep in your pocket for whenever you need it. But it isn't going to apply to a lot of different things. It's a good effect to now. It's a good effect to learn. But understand that it can only be used for very specific circumstances. Specifically, it's the day tonight effect. And the reason it can only be used for specific circumstances is because we can really only use this if the sky isn't shown and if the lighting isn't too far off, the night and the day are completely different. You cannot have the Sun and a shot and then try to make it look like it's night. It just does not work. The sun is way brighter than the moon. However, we can simulate what some shots that don't bring in the sun, maybe some shaded spots, things like that. We can actually simulate it towards night. And as long as we mix it in with some actual night footage, people won't be none the wiser. So that's what we went over today. Here is the before and the after, right. Like so so we're taking just some footage and you see that it doesn't really sort of come together with the highlights over here. But if it's just for like, you know, to quickly set the scene that we go from here to here we cut and we move on, then we're good to go. So let's get started on this. First off, you need to import the forest. So import and then grab the forest one than just drag that over to create yourself a new sequence. Now at this, what we're gonna do is we're gonna take the luminary colour panel and that's kinda what we're gonna be doing most of this effect in, so with luminary colour open again, you can always open it on the left side if you want or go to the Colour. So it'll open up automatically. Just find the geometric color and get it going. Where to go here we're gonna start with basic correction. So overall it's night. So when you take this exposure and drop it down, it just, it's gotta be lower. We don't wanna go like black. We do want some highlights is still come in. So we're gonna take this exposure when it dropped down to maybe like 1.5. And then we're going to really boost the contrast up. The reason we're doing this is we want to stretch the highlights out and stretched the darks out because we're thinking it's night here. So the blacks are going to be as black as it can be. Anything bright, the cameras probably going almost, I get it's going to be too bright for the camera to capture. So we're gonna get that with like sort of Blum highlight to it. So we want to spread those out. We then want to take the shadows and bump them up a bit, but then take the blacks and crush them all the way down. The reason we do that is because we want a little bit extra light. Because if you think at night when the light comes down, it bounces so that the areas that are lit should be, or at least darker areas should have a tiny bit of light, but any area that doesn't have light should be pitch black. So we bring the shadows up for that ambient light and then we bring the blacks down to really just take everything that isn't, you know, at least a little bit, you know, have a little bit of luminance and we take those and we sum straight to the, the dark areas to make it feel a little more night. Next, saturation. At night, there is not a lot of light. Light is a product of my bed at night. There's not a lot of color. Color is a product of light bouncing off objects. Therefore, we wanna take our saturation, we want to drop it down because at night we're not going to be able to see different colors. We can't determine if it's a bright red or medium tone. Read it just it's very hard to do at night. So we need to bring that saturation down. I like to bring the saturation and then the vibrance up a touch sort of allows things that are really colorful to sort of stick. And then anything that isn't colourful goes into that sort of gray ish tint area. Then we're going to take the shadow ten. We're just going to bring this slightly towards the blue side. Why are we doing this? For some reason, a Hollywood has gotten the idea that night is blue. It's, you know, you've ever been outside. It's the knights not blow its, it's a white light from the Moon and it reflects off things. And whenever the ambient light as it is, what it is if you're in the middle of a forest, it's slightly green, white light. But for some reason Hollywood has determined that blue equals night. So we can do the exact same thing. It's cool equals the night tones. And we want to simulate that because we're creating a film piece and that's what people expect. So we're going to take the shadow highlights and bring them a little bit down to the blue range. And then the highlights, I like to just go a little bit into the light sort of upper blue range here. And that gives us a little bit of that blue tint. Next, we want to, sometimes this will work, sometimes it won't, but we go into our curves. I like to bring the highlights down a little bit and then sort of bump up a little bit of the mid tones here. Select just a touch on the midtone side there. It just allows us to see a little bit better. Thank you. Windows. It just allows us to see a little bit better throughout the footage here. Overall, that's kinda the effect. Another thing I like to do is the vignette. I go into the amount and I kind of bring that down to vignette, the edges that touch that makes it look like maybe we have a center light casting into the scene that we're trying to record or like we have a light going so that we're trying to create an ambient light and that kind of creates a, the effect a little bit more, makes it look a little more like produced in Hollywood ish, like we're at night and we're trying to capture something with some light. Finally, what I'd like to do is add a little bit of noise. So go ahead over here and search for noise, look for noise HLS and go to here, we've actually worked with noise with the eighties vintage filter and we're gonna do the exact same thing here, weren't gonna grain and we're just going to add a little bit on the lightness, right? Like so why are we doing this? Well, at night cameras can't capture the dark areas the best. So I just want to add a little bit of grain to those areas, making it feel a little bit more like we captured a night scene. So a little bit of grain goes along way when a probably bring this down to 12 to make it feel a little bit more realistic. And overall, this is going to sort of finish out the effect, but it's a very simple effect and we go from this light to this dark. And like I said, if you had this for 2-3 seconds, this would be a great simulation. And then you'd cut to something else that maybe is a little bit better produced. But overall, it's a great effect to have in your pocket and to know how to change something from day to night.
39. 5-11 CSI Miami Effect: So now let's pull off the CSI Miami look. The CSI Miami look is something that's actually really, really simple to accomplish, but something that is, it can be really, really powerful. It creates that CSI Miami, which is I've Reno, was a really big show. It creates the look and just a couple of clicks and we can do it really, really fast. So let's go ahead and get started on this. This is of course the effect we're gonna be creating right here. Like I said, it's simple. It's just gonna be adding this orange filter to it and we're using an effect called ramp. So I'm gonna go ahead and just jump out of there. We're going to look for girl and city. So import that from our footage girl in city, and then take that, drag it on over to the sequence, and then create yourself in adjustment layer. So go down to the bottom left new adjustment layer, click, drag it over the top, and then now we're ready to go. I'm going to zoom in. I'm holding the ALT key to do this just so I can see it better. I like it being in my view, but realize you can always use this circle right here. In the adjustment layer I'm gonna go to effects, are going to look for an effect called ramp. I'm going to drop that down on to adjustment layer. I'm gonna go to the Start color of this ramp. So go up to your effect controls on the left over here, start color. We're going to look for a nice orange at deep orange here. So I'm gonna go near it, near the red and then just bring it down and touch something like this over here. If you want to copy this value right here and paste it in, it'll get you the exact same color I'm using. Click OK on it. Now, we want this to blend to the bottom here. So we're actually going to use an effect called multiply. And that's going to essentially take this and sort of blended in with the dark tones and everything. And it's going to take that color and apply it to those bright areas. So we have this nice downwards effect where the screen or the white at the bottom actually disappears entirely and the color is really the only thing that kinda sticks around. This is also really fun. You can kinda move these around and create really fun effects that change the overall feeling of the film by a whole bunch. So have some fun with these and see what you can create because with just a simple ramp. And then going through these, you can create tons of different vibes, a different shots. But anyway, back to this tutorial. Once we are, have this set, we can actually sort of go back to normal real quick. And you can see others as the gradient from orange to white. If we use the end ramp here, we can actually click on this and see the little dot here. We can bring this up or down depending on how we want the ramp studio or we can make it like a slanted ramp. Csi Miami has used that before too. You can sit Laura, sort of slant the color across here. But you have really the control, all the control that you want. And the final thing that I like to do is that the ramp, the multiply sometimes darkens the footage just a little bit. So just click on your bottom footage. Go over to the exposure and just bring it up and touch and it'll restore some of that color into the center of it. And now it looks like all we've done is added the orange to the top, and we've gotten that CSI Miami, like I said, it's a really, really quick, simple thing to do, but it's very powerful. And now you've learned how to use the ramp tool. And it is a really, really fun tool to be able to color correct, and colour grade your footage with.
40. 5-12 Underwater Effect Pt 1: So this next tutorial is going to be basically a two-part series on how to create an underwater effects are going to be creating something that looks a little bit like this right here. It's a pretty neat effect and it allows you to basically generate an underwater scene. So what is the original footage with original footage is actually just this office back here and we could delete all the layers and you can see that it's just this office. And we have gone ahead and added a whole bunch of different things to this to create it and make it look like an underwater effect. So that's what got me doing. It's a very fun effect to pull off and it actually comes out decently realistic at the tiny bit cheesy, but not too bad looking overall. So let's get started. First thing I'm gonna do is import the footage. So make sure you import both bubbles and then the office. The bubbles in office were the two that you need for this project. We're going to then take the office one right here, drag it into, make ourselves a new sequence, and then zoom in n again, I'm using the altair. You can always use this button. We're then going to go and create ourselves a few adjustment layers throughout this. So our first adjustment layer is going to be, we're just gonna say blue. So we're gonna click, okay, right-click on this to go to Rename. And we're just going to name it the blue layer. And this is essentially going to be our color correction. So we're gonna take that blue layer, drag it, and drop it onto the footage wanted allows me to grab it here. Sometimes it can be a little difficult. There we go. And then stretch it out and then click on the blue layer. Don't click on the bottom layer. We're trying to make this so that it's layer by layer and we don't effect the original footage at all unless we absolutely have to. So we're going to click on the blue layer, go to luminary Color. And then we're going to go down to the creative section of geometry color. With the creative section, what we're trying to do is we're trying to recreate an underwater feeling. We're trying to make it feel that blue underwater sort of tone. To do that, we're gonna do a few things. First, we're going to take the shadow tent, weren't drag that down to blue. Then we're going to take the highlight tent and drag that down to blue to, so by taking the shadow and the highlight and dragging them the blue, we essentially heavy blue tint the entire footage, but the mid tones remain the same general color, and therefore we actually still have some color throughout it. And that's kind of indicative of what it would look like underwater. The next thing we're gonna do is add this faded film. So the fate of film that takes this and sort of fades the colors a little bit and that happens underwater. Water, light diffuses, colors diffuse. And so we get a little bit of this look right here. So we're just gonna bring that out to maybe right there. And then we're also going to unsharpened just a touch as well. And this is all going to generate that sort of blurry background. Like there's a layer of water in front and we don't really have an underwater lend or something like that. So we're creating a nice blur to it as well as making it all blew. The next thing we're gonna do is we're gonna go in to the basically we're going to create another adjustment layer. I'm going to add the effect, the turbulent displacement effect. So we're gonna go down here, adjustment layer, click okay. And we're gonna rename this one to turbulent displays. We're going to take that and drag it above our blue layer footage. Click on turbulent displace and then go to into our affects are going to look for an effect called turbulent displace. So turbulent displaced under Video FX distort turbulent displays, drag and drop that onto turbulent displace. And this is a new effect that we haven't touched before. So essentially what it's gonna do is it's going to be creating sort of like like a waviness. It displaces the overall video based on, there's like an algorithm that runs that displaces that. You can also add your own displacement maps if you wanted to display something in a specific way. But we can use this to create a wavy effect. So in the size here, we're going to first take that and drop that down to about 35. That's going to shorten the displacements. So if we went to like a 1000, this might actually just come out to almost looking exactly like the original. Yeah, so there's like one big one here and one big one here where when we go to 35, there's tiny little ones everywhere and making it look a little more water-like. We're then going to go to animate this and actually make it work, were to go down to the evolution. And we're going to go up to our 10-second mark here. And we're just gonna spin this around maybe four times, maybe three times. We just want this to animate over time. So we did the evolution. We start at 0 either we move it over here. And so now as you move through this and it's going to be a little bit choppy here because displacement is one of those effects that take a little bit of processing power. But you can see that we're placing it and now we're getting that water sort of vibe here. So that is really how to create the water effect here. We have added in the coloring and then we've displaced it to give it a water-like feeling. Now, at this point it's not. So in the next tutorial, what we're gonna be going over is how to sort of clean up an effect like this. And we're gonna be using lens flares as well as an overlay to make this look really, really realistic.
41. 5-13 Underwater Effect Pt 3: So now let's go ahead and clean up this effect. So right now the effect is looking, okay, this is like the halfway point. This is the amateur point of an underwater effect. You've added the basics, but with these affects, the details are really what make the effect. So that's what we wanna do. We wanna create this and make it a good detailed sort of affect and what these tiny little touches we're really going to be able to sell the effect. So the next thing that we need to do is I'm going to drag the turbulent displaced up a couple layers. You can always make this a little bigger or you can actually go down here and shrink these a bit. Or here we're actually, we don't need to work with audio, so we're going to drag this down. And now we have only video layers here. And it'll make it a little bit easier to see what we're doing. So we have the turbulent displace right here, and we have now a couple of empty layers. So the first layer that we want to add in between is the bubble air. Now why did we move turbulent displace up? Because it's an adjustment layer, so it applies to everything downwards. We want to make sure that everything we add right here is going to be displaced as well. Imagine if we put the bubbles on top of it and they're not displaced, it looks a little strange like the bubbles aren't actually in the water. So we're gonna take that bubbles clip. We're going to drag it in here and we may have to do it twice here to fill up the entire gap. And then we're going to take both of these and we're going to click on one and go to screen and click on the other and go to screen as well. If you wanted to more like comprehensive approach, you would nest studies and then screen the nested layer, but there's only two of them, so I can just click screen to both of them. And immediately right off the bat, it's actually, we're going to look really, really good. So we're going to get these bubbles that now come through the effect and that little extra element of physical nature that we added, it makes it look more realistic, like maybe we're looking through a query or something and right off the bat, it's looking a whole lot better. Now we wanna do, is we want to go ahead and add in the next thing, which is going to be some lens flares. So if we go over here to our video or to the right here, we need to create something called a Black video for this. So we're gonna create it. It's just a simple black video, but it's going to be the basis for our lens flare. The reason we need to create a black video is because it's going to basically take over anything that you drop it on. So if you dropped on, you adjust malaria is gonna take over the layers beneath it. We don't want that to happen. So this is one of those situations where you use a black video. Instead. We're going to look for lens flare. Video effects, generate lens flare, drag and drop that onto black video, right? Like so. And you're gonna see it creates this lens flare and is actually distorted already. We want to go to the blending mode and make this screen just like everything else. We, you know, we added our fact, we screened it and now we can actually see it in here. If we go to the flare Center, we're gonna take that. We're just going to look for some light points and we're going to try to match the brightness to those light points. So I'm going to try to maybe grab rate here, drop it right there. It'll take a second to get there. But once it's there, I then want to take the flare brightness and sort of adjusted for whatever that brightness is over there. So bring it back up. We want to match its brightness, right about like so. And then we want to do this a couple of different times. So I'm gonna drag this up one more. I'm going to hold the ALT key and duplicate this twice. With this, I'm going to then click on the flair center again. I'm going to drag it into a different one, maybe in the center over here. And that's actually looked like a, maybe a little more bright, but that's looking like a good brightness there. And then maybe one more, grab that flare center. And there seems to be maybe a light up here. And all we're doing here is we're recreating some of the light that's coming through here. Because when the light goes through the water, it's supposed to make like sort of a flare effect. So that's what we're recreating or adding that extra element to make it look like there's light going through what, these circles right here and there's actually points of high-intensity light. So now let's go ahead and play this back. This is going to be a very intensive effects. So I'm going to just create out point like we've talked about before, and click the Enter key. I clicked o to create that out point. And we're just gonna render out the 68 frames here. It shouldn't take more than ten or so seconds. And we're going to take a look at what the effect has come out to be. All right, there we go. And as you can see, the effect is looking at great, right now. A little tip, if you want to keep watching it. If you click the plus button here, there's so much stuff up here. But one of them is the ability to loop. So if we take this and drag it down, we can actually customize our toolbar right here. I can turn on loop and then if I click the spacebar to play it back, it just gonna keep playing it back over and over again. And that allows us to keep looking at our effect and to see really the overall nature of the effect. And therefore, we'll have to keep going back and playing it. But this is artifact and it's looking very realistic. Like I said, it looks like we're actually looking to an aquarium or something, we're looking underwater. Another fun thing you might wanna do if you want to like go above and beyond, is going to look for a clip of fish online and try to add some fish in here. I think that would be really, really fun anyway. That is the underwater effect.
42. 5-14 Two-Tone Gradient: We previously talked about the ramp affect, but let's go over how to make that actually into a fun quick overlay that adds a pop of color to your footage. So this is what we're creating right here. It is very, very simple to do like extremely simple and you can add a really awesome touch here. So we're essentially doing this to this footage. We're taking it from that and just adding this colorful, fun change of color across the footage. So let's get started on this. Very, very simple, like I said, go ahead and import summer again. And we're going to drag that over to the right and just bring it in. We're gonna create ourselves and adjustment layer. So new Adjustment Layer, graduated osmolarity, send it on over, and then click on the Adjustment Layer. Now go into your effects and look for an effect called a ramp under Video Effects, generate ramp, drag, ramp onto your adjustment layer. And now what we have is we have color, we have an end color. We've worked with this before in that sort of CSI Miami effect. But now we're actually, I'm using both sides of this ramp and we're gonna be using it in a different way. So stark color, I'm gonna make a sort of orangeish yellow like I did in the original here and the in color I can make anything. I did a green last time, but let's change it up. Let's go, let's help purple looks maybe it'll look good, maybe it looked bad. That's what's fun about this effect. It's very quick to adjust. We're then going to go into our blending mode and you can do a screen or lightened for this, a screen can kinda be a little bit harsh, like so, but it does look neat as well. If you lower the opacity of touch, you can either lower the capacitor, you can blend with the originally kinda have choices with that. I think blending with the original looks a tad bit better. It just grabs more color. But that's a really neat filter right off the bat. Lightened though I like. It's always gonna do a little bit of an inverse effect here and it's actually going to fade away up into the light. You're gonna need to blend this one a little bit more with the original. It's for like a nice subtle effect, maybe 60% here. Don't try and get there. And then you have this nice, really neat like sort of contrasts the coloration change that when you get up to the white light, it doesn't actually manipulate the white lights at all. So it's this very quick way to adjust the coloring of everything that isn't light. Now if we go to the screen effect, it's going to make it a lot brighter. And so therefore, we may need to like lower some opacities down or maybe take the exposure of the original clip and drop that down a little bit to sort of compensate for it. But you also get a very neat effect with that. And then of course, you can change these colors anytime you want and it'll change the effect up completely. You know, we could do a green at the bottom. We can go back to lighten here, bring that exposure back up to 0. And then just sort of just play around with it, adjusts these due to tone gradients and just have some fun with it. You can also take the start of the ramp here and drag it up to maybe a corner and take the end ramp, which sometimes you have to look for the end ramp. So we'll actually just take this and move it out there it is down that's hiding. We'll take this and move it to the opposite corner. And now we have this sort of transition from this side to this side. And actually I'm thinking if I go with the stark color and make it that like a green, dark green maybe. And then make the right color like a darker blue. That looks really need that has like the forest vide coming on over into the, the blew open field rock vibe. And so that makes it a really fun thing. And you can also just grab the colors from here. So you can grab that dark green and in grab the rock green and sort of add a little bit more and then maybe a blend it less. And that's not the best because I guess it does grab the colors. You're not seeing a lot, but maybe if you brightened up the sides. So if you just went down on that same sort of color pallet and you went maybe a little bit and darker over here maybe. I don't know. It's something that you can play around with and have a whole lot of fun with. You just grab different colors and just sort of see what you can generate with those different colors. But that is the two tone gradient. Like I said, it's a very, very fun effect to just grab colors and to quickly sort of color correct your footage here and make it look really, really interesting.
43. 5-15 Moving Painting: The next effect I wanna go over is a fun little effect that I like to call like a moving painting effect. So this essential or me creating rate here, it's taking some normal footage and making it look like it was water colored or some other sort of painting. And then animating that painting thrill. So this is the effect rate here. It's a very simple effect and we'll learn a couple new effects with this. So first off, we're gonna do the normal thing. Need to go ahead and import yourself the girl in the city again. Take that, drag it over to create yourself a new sequence. And then we're just going to create ourselves a new adjustment layer. So click on the leaf, go to Adjustment layer, click OK, drag through and make it line up. And then I'm holding the ALT key to zoom in with the mouse wheel or grab that. And now we're ready to go. So with this adjustment layer, we're going to be adding three different effects here. They're all going to be under the video effects than stylize down here are first one is going to find edges. So find edges is going to essentially do just that. It's gonna look for high contrast points and sort of be able to outline everything here. This is a neat effect in and of itself. But what we wanna do is we want to use the find edges to actually improve the painting feel. So instead of it being normal like this, we're going to go into our Blending Mode and where to go to multiply. And that's just going to keep the edges still defined but not really affect the rest of it too much. You can see everything as a sort of like a little punchy and contrast C right now, but the edges are still filled in everywhere. And the next vector we're gonna do is pasteurize, drag and drop that onto your adjustment layer. Remember, pasteurize is something that takes color and it reduces the amount of shades of that color. So the maximum 255, it's essentially because there's 256 bits of color here, or 256 or a combinations. And every reduction we do hear, it reduces the amount of shades that, that color allows. So now when we go down to like for example, to, you're gonna see that a lot. The skyscraper back here, they're almost has no more contrast because there isn't a lot of room to create those different shades of grays. So with posture eyes, we're going to take that and we're going to bring it up to maybe about 20 to 2025, somewhere in that range. And it's going to just reduce it and make it look a little more like a painting, because a painter has access to basically the entire color gambit, but he has to mix every single one of those colors. So a lot of times they don't mix every single shade. They just sort of use the colors they have. And some parts don't have as many shades and other parts. It just overall makes it feel a little bit better in my eyes, makes up more of that abstract watercolor feel to it. The last effect we're going to be doing is a neat little effect called brushstrokes. So we put brushstrokes on it. It's going to make it look like there's a little bit of fuzziness with Bros, the brush. So if we take the stroke length and we put it up to like 11, it's going to really extend the strokes out a bit and we can make the brush size as big or as small as we want, making it bigger. We'll make this more of an aggressive. I'm thinking that right now 2 is fine and it creates that sort of painting. Look to it. Now, once you have this finish, you're going to cut the click the Enter key to render this out. Luckily, because I've used the exact same settings as my previous, you can actually see the bar is green. Premier Pro is smart enough to figure out that the stuff that I've done is actually already cached, but yours will be red. This is a processor intensive. All of these together a processor intensive. So just click that anarchy and rendered out. But in the end you have this effect rate here where you create the fun moving painting effect.
44. 6-1 Animation Introduction: Premier Pro is based on time. Everything is time oriented frames that move forward. So when, whenever we create an effect, we want to create a time-based effect. And what is that? Well, that is animation. So that's where me going over in this section is different animations and effects that we can combine to create a really fun in product.
45. 6-2 Hit-Shake Effect: So for our first taste of animation, what we're gonna be doing is adding a very simple shape effect to our footage is really sort of a shake or like a hit effect. It can be used with a lot of different types of scenarios. For example, a car crash or if you want to give a little extra oomph to like if you're filming a golf swing or anything like that, it has a lot of applications. So this is what it's going to be. Essentially we're taking the footage and adding that to it. So without this top layer, it just someone punching the bag and you see there is still some energy here, but it isn't as strong of energy. With this, we add in that extra energy and it just feels like it's an overall stronger production. And so that's what we're gonna be doing today, is, or at least in this tutorial is doing this effect right here. Like I said, it's very simple and it'll get your feet wet with the whole idea of animation. So the first thing we need to do is I'm just going to go ahead and exit out of this were to create ourselves a new sequence and then import the footage punching from Unit six stock footage. We're gonna take that and we're going to drag it over to create ourselves a new sequence with it. I'm gonna zoom in and find the part where the punch again, he doesn't like fake jab right here. So we just want to start where the real job start right about here. Now I'm going to create a duplicate of this bottom footage. So I'm going to hold the alt key and drag up to create that duplicate or copy and paste method works as well here. And then go into click the C key to bring out my cut tool. I'm going to cut it right there and I'm going to bring it forward until after the punches are over, right about there. Cut it right there. And then I'm going to click the V key, which brings us back with the selection tool. Click on this back footage, delete it, click on this front footage, delete it, and now we're ready to go. Now you'll notice that it added audio down here. I'm just going to hold the ALT key and click on that to delete it. You don't have to. I'm just cleaning up the timeline, so it looks better on my end. But here we are. So we have these three punches and we want them to be animated. So to do that, we actually going to use an effect. Now of course, you could move the animation and you can move the footage with the motion, the transform features up here. But what we wanna do is we want to use the actual transform and that's in-video effects distort and transform. Why do we want to use this? Well, this allows us to add a little bit of motion blur to it. With this, we can actually add motion blur on the bottom of these settings and it'll make the entire effect look better. So that is what we are going to be using for this. So I'm gonna go ahead and add this transform on. And then we're gonna go and click on the position marker and begin the effect. We're going to click the stop watch. And then we're going to move to a place right before the first set, which is actually right here. So you just want to make sure you drop a keyframe rate before the first hit. So for example, if you click the stopwatch over here, you just want to drop a key frame rate here by going into position and clicking this drop keyframe button, right? Like so. We then went to move forward through the punch. So somewhere like right there. And we want to bring the motion typically in the direction of whatever's happening on screen. So he's throwing a punch from left to right. So we want to take the position and we just want to move it to the right a little bit. Now you can see why we duplicated are footage. You'll see that the background over here is going to be duplicated for just a second because under it is our underlying. It's essentially the exact same footage. So now we have the ability to move the footage out a little bit. And because it's so fast, people aren't going to notice that this is actually a duplicate of the edge green. It's called a basically duplicate edge pixels. A lot of effects will just automatically for you, but this effect won't. So we kinda have to do it ourselves and it looks really good when we do it ourselves like this. So anyway, we moved it forward. We're then going to come maybe to after he withdraws his hand and we're just going to click this circle button here, reset parameter. And that's going to bring it back to default. So now we have our first punch here, which is looking pretty good. It adds a lot of extra flair. And now we want to bring in this next punch. So right before this punch lands were gonna go to a position. We're going to click on that keyframe drop button. We're going to move forward. Now he's moving sort of right. Again. You can move right and maybe a tiny bit up because the direction is sort of like this across. So I'm gonna move it to the right, make it a little stronger than the last one, and then just a tiny bit up. Move forward a couple of key frames, maybe three there, and then bring it back. And so now we have 1212. And then now I just want to do the third one here, which is a strong upper cut. So we kinda wanna go stronger this direction, up, up and down. So right before it lands right there, drop a keyframe. Oops, right here. If you want to expand this, you can grab it near the top and expanded out to make this easier. 12, maybe three because it's kind of a strong hit. And we're going to drag it through and drag it up. That might be a little extreme. Let's bring that down and bring that over a little bit. And then let the punch come back and then default it back, and then we have 123. And so what's kinda cool it, this is you can add more energy. Does last one kinda looks a little. It looks weaker because we didn't add as much as we did in the first example. So let's go ahead and make that a stronger effect. So to do that, we just bring it over more, Bring it up more. And then we can see it looks a little stronger that way. And we can also increase the timing if we sort of bring this whole thing down, just a touch like maybe one keyframe over. Then it looks faster as well. There we go. Now it's looking like it has a little bit of speed on it. Okay, so the last step to this is we're gonna go into our transform tool. We're gonna go down in to this huge composition shutter angle. And we're gonna bring this up. Essentially what this is going to do, it is going to add motion blur to it so we can bring the number up and just see how it looks on. You'll see that when it starts to move, that's what we're gonna be looking at and we bring it up, you'll see that we get a lot of motion blur and the movement. I just usually bring it up all the way if I'm adding motion blur. But it depends because sometimes it can look a little fake if you bring it up all the way. So maybe you actually around 290. And there we go. A quick way to add some strong effect onto your footage and make it and basically add some energy to your footage. You can see the difference here, you have the effects there, and then just the regular punching. This looks way more powerful. And if you're doing like a fighting sequence or something, you would definitely want this side of it. But that's the beginning of animation. Let's keep moving on to different realms of animation within Premier Pro.
46. 6-3 Heartbeat Effeect: So our next effect is going to be the heartbeat effect. It looks a little bit something like this. So as you can see as we play through, it is just an effect that makes it look like a heart is beating. You can do this as quickly or as solely as you want and you make this as extreme as u one. So that's gonna be defect. It's very, very simple to pull off, so let's get started on it. The first thing, of course, is to create ourselves a new sequence and then to drag in our footage. And then the next step is we're going to actually create an adjustment layer. So we go over here, go to Adjustment Layer, okay, to create a new one that we're going to drag it onto the footage. Now we're gonna go into our effects and where to look for an effect called transform. We just recently talked about this effect and we're gonna be using it again, it's a very powerful effect. The reason we want to use Transform is basically because this is an effect on an adjustment layer. So if we just do the motion up here, it's going to move the emotion of the adjustment layer itself, which isn't gonna actually do anything. We want an effect that cascades downwards and actually affects the footage itself. And for that we need the effect transforms so that it'll actually cascade onto this. So we're gonna go to our transform, we're gonna go to scale. We're gonna turn that on. Where to go forward. Two frames, go up to 105, to more frames, back to 102 frames, 110, and then two frames back to 100. So why did we do this? We'll think about how a heart beeps. It has a sort of a lub-dub thing with it. So wouldn't beat. It isn't just one. Dun, dun, dun, dun, dun, dun, dun, dun, dun. It's have a heartbeats and so it makes it more realistic if you re-create the motion that goes with the actual thing you're trying to recreate in this instance, it's a heart. So we look at its motion when we try to re-create based on its motion. And therefore, what we have now is that sort of beat right there, that done, done motion. Now, if we go down here and we uncheck this box, we've done this before as well, bringing this all the way up, we'll get a little motion blur with us and they'll make it look just a little bit better. The last or the next part, I guess. But pretty much the last part of this effect is we're now going to look for an effect called tent. We'd definitely uses one before as well. Video effects, color correction. Tent. Dropped that on, and we're going to zoom this in a little bit so we can see our keyframes up there. What were essentially gonna do is we're gonna start at 0. So we're gonna go to our amount to tamp were to click on this white. We don't want it to black and white tent. We wanted to tend towards a red color, something like a blood color. And for that we may wanna go maybe a little darker. Click ok there. And you can see we have our tent. Now we're going to drag this all the way down to 0. We're going to turn on the toggle animation, gonna move forward to or not to. We're gonna move forward towards the middle there, five here. So therefore there's a middle key frame that we can look at, which is this one. We're gonna bring it up to something between 20, 35%. I'm going to go maybe like 28% here. And then we're going to move to the very end one and go back down to 0%. And now let's take a look at this. And so now we have a pretty good effect here as the heart beats, the read comes in and then it leaves rate like so. If you want to do this more advanced, you could actually kind of bring it up and down, up and down. So he could go to here we go with a little beat. We could go maybe 12. And then when it comes back to normal, back to 0, then when it goes up to the big beat, we could go 28 again. Or if we're going to actually do it like this, we should just go 14 to do halfway because this is a halfway, this is 105 then 110, so it changes by 510. Therefore it doubles in the change size. So we're gonna go 14 to 28 to make that double as well. Little things like that make things look, just look naturally better. Back down, it's air and now let's take a look. Yeah, I actually liked that better. It kinda moves with the motion a little bit. So either, either way works, just find a color sequencing that fits with what you wanna do and what you think a heartbeat would look like. So now I'm going to go after the fact. I am going to end it right here, drag it out just a little bit and then cut it. And so what we're gonna do here now is we're going to duplicate this across to create a consistent heartbeat. Now there are two ways to do this. There's sort of like a naive way to do it where you just copy and paste and you try to align on your best effort, but that'll take too long. So if you ever need a copy and paste something multiple times, what you can do is you right-click up here and go to frames. This is going to allow you now to see the numbers instead of time signature. With numbers, you can actually do math in your head and you can align things. Let's say we wanted to do. Let's see, this effect ends right about here. So I'm actually gonna cut this shorter. Let's say wanted to do this every 25 times. So instead of us having to do the math when it's like this and trying to figure out wherever 25 is, what we're gonna do is we can just do some quick math. So we gotta 25, we click on this type and 25 were there. Now I can click on this and hit Control C. If I want to hit Control CV, I need to make sure that it doesn't look like this where there's boxes here because then it'll paste right in the middle. So what we're gonna do is make sure that's selected control V. Now, the next one would be, if we're going by 25's would be 50. But instead of just copying and pasting 111, we can actually kind of use the power of exponentials to our advantage here. So now I'm going to grab both of these in a control CV and our next one here, so I'm assuming this one landed at 75. So our next one is one hundred ten hundred and thirty one hundred. We're going to copy all these again, control c v, and now we have eight that we can work with. So there's one landed at 175. So now we're gonna go to 200. We're just adding 25 to the last one every time copy these control cv. Now I'm going to use the alt key and zoom out on my mouse wheel to zoom this out a little bit. This one ended on 375. So now we're going to go up to 400. And then once I copy and pasted this, we're pretty much good to go if we want to do the entire footage here, we've already almost done it. What do we have here? We're at 775, I think So now we're gonna go up to 800, copy and paste everything or most of it. And you can see now if this was, you know, I mean, even this was like an hour-long you have like maybe six more copy and paste and copy and paste it to the entire length of the clip. So that's the quick way if you ever need a copy and paste something with a certain beat to it, you can do it. And now as we play it through, it's just our consistent heartbeat going through the entire thing that we have created. So that is how you create a heartbeat effect in Premier Pro uses two effects we've gone over reasonably, but now you know about the frames here and you also know about how to copy and paste things effectively and create repeating effects very, very quickly.
47. 6-4 Parallax Effect: Our next effect is one that is actually pretty fun to pull off. It looks very advanced, but it's not the hardest thing to do in Premier Pro. It looks like you'd need some sort of other software to do it. It's this parallax effect right here, which is essentially going to create this sort of trippy otherworldly effect that is basically just created by putting two piece of footage that are duplicated across the center point together. You can do this with two different pieces of you wanted to like you could put a ground here, something, but the overall joining of them might not work. So that's really what you have to work on to get this right. So let's get started on this. I'm gonna go ahead and exit out of that sequence and we're gonna create ourselves a new one by going into import and we're gonna import the sea footage from it. We're going to drag that into the sequence and then get started. First, click on the C. I'm going to bring down the scale to something like 65%. This is going to create our make it small enough that we can combine another piece of footage on top of it. We're then going to take this. We're gonna go up to the position marker. We're going to drag that down rate, so it's at the bottom edge there. We then need to duplicate this footage and put another one on top of it. Do that. I'm going to grab this. And you can do the control C v method or I'm just going to hold Alt and drag up on this top one. I'm going to go into the rotation. I'm gonna put 180. And that's essentially just going to rotate it up down wise. If you didn't 9D, it rotates to the side. One hundred eighty, two hundred seventy, then 0 again. So we want 180 to get it there. We're going to take that position, drag it all the way up. Right, so it's lined up at the top that, that's what we're trying to aim it to write about their looks good. Now of course, this doesn't look like a very good effect. Were we still haven't created what we're looking to create. So that's what we're gonna do next. So to create that blend in the middle there where it blends on this line, what we're gonna do is we're gonna go into our opacity and click a square here. And we actually want to do that on the top one. So make sure you have a Topsy selected. Click this square to create a mask. Invert that mask. And then we want to go somewhere in the middle like cell. When a drag this through, we wanna drag. Oops, okay, So if you hold the Shift key, it creates a straight line like so. So when I click on the box and then hold the Shift key again, g. There we go. Create that straight line across. And right about there. Ok. So now you can see that we've blended slightly on the top. However, there's still this piece of footage that's right here and then there's this piece right there. So we can do a couple of things here. We can feather this out a whole bunch. And essentially what that's gonna do is whenever we feathered out, it's going to add both of those lines. So the top of this footage, in the top of this footage and it's kinda, kinda like cut these together. Or we can use the mask expansion and bring this in a bit and then sort of blend along this line down here. And this would create a more natural ones. So this is where I'm gonna do that. Last one wasn't as natural. So I'm gonna see if I can create this one a little more natural. And so let's go ahead and bring this up right here to look at it. If you use the tilde a button on your keyboard, it's easy right above the tab on the left ray below the escape. If you go to any of these and hit that teal day, you only have to click on them. It brings it up into full screen. So I'm gonna go here and take a look. And this is looking really, really natural, a lot more natural than the first one actually. And so now what we have is this beautiful sort of transitionary. Basically movement from top to bottom here and it looks like one piece of footage. The other thing I'd like to do, and this is just to add a little consistency, is I like to go to the top footage, right-click on it. Speed, duration, reverse. And so what this is gonna do is it's gonna kinda create this doubling effect where they're both not doing the exact same thing. So one of them's going backwards. As you can see this the waves are going backwards and this one on the bottom is the exact same footage, but it's going the other way. Since a slightly goes down, this one's going to slightly go up. It creates a fun little fact that usually works for everything. And if you have like one more, the drone solely moving forward, that's when we'll slowly move back and it makes it look really, really epic. The only problem with this whole effect is that it's very CPU intensive. So as you can see, I'm starting to drop here a little bit. If I go fast, I can see the general effect, but it doesn't play back and there's no way to like actually render it out, like by clicking Enter. So the only way to see it is actually create the footage and then bring it back in. Anyway, this is basically the effect. Now we just have to make it so that there aren't black bars anymore. So to do that, we're going to highlight this right here. We're gonna right-click on it and go to nest click. Okay. And what that's gonna do is it's gonna create a nested sequence and allow us to manipulate both those piece of footage like they are a single piece of footage. So when I click on this, I'm going to then go and scale this up a little bit. So I want to just scale it up so that fits here. And then now we have that nice scale right leg that was actually need is because we reverse the footage and because this is going down with music is going up, it actually looks like we're heading down in our world. Because you can see that the bottom is getting closer and the top is getting farther away to create that sort of double I guess the double footage feeling. I get it. So you're feeling like that there is a roof here and there is a ground here and that the actually move in the same sort of sequenced manner. So what we can do is also do that like sort of really crazy sort of rotation. If I click on this, I go up the scale and rotation, I'm going to activate both of those were moved forward and we're just going to rotate it somewhere. Like maybe we can do it really slow, like over 15 seconds, will rotate it to, let's say here. And now we need to zoom in to get the black bars out. And so if you zoom in and just enough to get the blackout, you need to make sure that you check the spin here. Because you see right there, we have a black area here. So even though it looks good at the beginning and it looks good at the end, there are parts where we lose a bit of it. So we just need to go in here and bringing us up to maybe like 200 and we should be fine overall. And there we go. So now what we have is this slow zoom and fade in of the footage. Now what's neat about this is because at the very beginning we shrunk the footage down. Now we're just zooming back into the footage. And you've got to think that the original footage covered the entire screen. So even though we're zooming in a ton, we're not actually going to get that pixellated as long as we don't go greater than, you know, maybe like 200 maximum, maybe a little bit before that. And so overall, this is going to be maintaining its quality as we do this really fun, crazy effect here. But that is how you create the Parallax effect, really, really fun effect to pull off. And like I said, it looks like he created and something so much more advanced than Premier. And it's really actually quite easily created in Premier. So there it is.
48. 6-5 Newscaster Effect: Let's create ourselves that bottom bar in news cast sort of appearance. And you know what I'm talking about? If you go to any news channel and you look at the bottom is always a scrolling ticker of some additional news happening that's going to be creating in this tutorial, really, really simple to pull off in Premier Pro. So the first thing we need to do is import some footage. I went with the stock footage. I went with punching. Any of these really work except the picture. Just grab something and work with it. Once you have that ready, I went ahead and I looked up some text. All I did was just google wikipedia. I searched for boxing and I got this. Now, here is where you want to clean up your text. For example, if you're typing out your own thing, you want to type it here so that you get all of the help that word or whatever word processes that you're using helps with, for example, misspellings, suggestions, stuff like that. The next thing I'm gonna do is make sure there are no paragraphs. You want it to all be one continual line. If there are paragraphs, you're going to get basically the entire first paragraph, but the second paragraph isn't gonna make it end. So just make sure everything is a single paragraph. Once that's done, copy the text and you're ready to go, go back to Premier Pro. I'm in the graphics workspace for this because this is all going to be graphics effects. I'm gonna go ahead and click on the Type Tool and go somewhere near the bottom here. And click. Now once I'm clicked, make sure that you are inside whatever you have clicked on, and then hit control V to paste. You can also go to edit and then paste right here to do the same thing. Now you'll see that what we have is the text pasted and it goes off the right side of the screen. We wanna go though are essential graphics panel. We wanna go down to the edit, makes sure that the text is selected. All the way down to Appearance, go to background. We can turn that on or off. That's going to create this background. I think it's important, especially with whatever's going on. It'll allow the text to be clear. A typical newscast actually has it at like perfect black, but you can break it up a little bit in whatever works for your production. Down here we want to use the mass expansion. Typically it starts at 0. And let's make this a little more extreme just so we see what's going on here. So you see with the background at 0, it perfectly fits the text. So what I mean by that is if we hit control a and we bring it up, you can see that the box perfectly fits the bottom of the G. And then wherever the H's, there's no sort of extra stuff around it. Well, if we bring this mass expansion up a little bit, you're going to see that it actually stretches it out. Hello, and it makes it look a little better. It makes it look like it isn't fighting for the space back there. So I go ahead and I bring it up to around 141415 and that usually looks pretty good. Now I'm gonna take this and I'm going to of course, change that background color back to a light gray or something like that. And we're going to then move it now to adjust the size. All you wanna do is you wanna make sure you're outside of the text. So if you see, if you're inside, it's only going to adjust the size of like whatever letter you have selected. So to make sure that it doesn't do that and click out of it. So click this tool, then click away, and then click back on it over here. And now you can actually adjust the entirety of the text all at once. Pick the size that you want. But understand that the size is also going to sort of play into how long it can be, how fast it can be. And what I mean by that is less than the animation and we'll come back to that point. But go ahead and just pick a size that you like, starting right off the bat. I'm going to add a little more opacity to this to make it break apart a little more. Now, we're gonna take, we're going to click on the text and we're gonna go into effect controls to make sure on the graphics layer, we don't want to affect this vector motion up here. We don't want to use that one, and we don't want to use this one down here. If we use this one down here, it's going to move the entire graphics layer. And all we're gonna do is just get a cutoff piece of tax in the bottom there. So we don't wanna use that. What we do want to use is we want to go to our motion. We want to go to the text motion now. So we're gonna go to the, the text, click on it, drop it down. You can go ahead and collapse the source text, go to transform. And there's this position right here. We're going to go to very beginning, toggle it and then go to where we want it to end. So let's say at the very end of the clip here. And we're going to move it through. Now, when you start it, you can start it off. You can start it all the way on. Let's start it off to begin with. And then the last part, we're gonna try to have it go through the whole thing, but I think it's gonna be way too fast. Yeah, you can see that it's coming in really, really fast. So what are some techniques about how you could change this up? One of them is that you could shrink this down even more. If I take this entire thing and shrink it smaller, you'll notice that it finishes way quicker. So therefore, I have the ability then to stretch it out way longer. So it finishes right here. But now we want to go ahead and make sure that the position comes all the way back until it just finishes. So right there, which takes off about 3 thousand pixels. Like so. And I think we haven't duplicated frame there. Anyway. There we go. So now what we have is we have, it will come in slower, it's still pretty fast and it's kind of unreadable at this point. So at this point, you're really only option is going to be to expand it out even longer. So to take this and drag it out, which is gonna take you past the clip. So maybe you have to go in and rework some words if you want it to fit perfectly so that it can get to the speed that you want. Maybe you have to change the size up. It's all sort of a little bit of a balancing act to get this to work properly. But the overall effect itself is pretty simple. Copy and paste, copy and paste some text in there. Make sure it's a little bit cleaned up and then just animated across and you have yourself a news cast. Sort of effect.
49. 6-6 Hitchcock Effect: So here's a really quick animation you can do to add a fun effect called the Hitchcock effect or the vertigo effect. It was popularized by Hitchcock, which is why a lot of people call it the Hitchcock effect. But essentially what it is is it's a push, pull, zoom. So the idea is you go in one direction and you zoom out in the other direction, or you manipulate the zoom in the opposite direction. So if you're going forward, as you go forward, you zoom out. If you're going backwards, as you go backwards, you zoom in and when it creates this Vertigo effect. So our footage off the bat looks like this. It's just a drone or some sort of stabilized shot going through a forest. But with a little animation, we can actually create this fact right here. And you can see this right here is the Hitchcock effect. It's the vertigo, push pull. It looks like that the camera is basically stationary, but the background is elongating into 3D space, as well as the foreground is expanding so we can see more of it. And that is the classic Hitchcock effect and you can create that premier pretty easy. So like I said, our footage begins like this. Well, let's first off, just import the footage. It's the forest footage. So right-click look for the forest or it's actually Yaffe Forest right there. Bring it in and import it into any sequence. Then what we're gonna do, and like I said, it's very, very simple. We're gonna go to scale. We're going to start it off at 150. We're going to move forward maybe two seconds and just bring it down to 100. And all those needs is footage that moves forward or backwards in a stabilized manner. And then what you do from there is you just zoom in or in or out. If this footage is moving backwards, for example, we would zoom it in over time. So it started 100, go to 150, but because it's moving forward, we start at 150 and we go to 100 and we create the effect like that. What you wanna do then is you want to match the movement. So for example, if we expanded this out to like let's say ten seconds as we go, you're gonna see that there's almost no change. It does not look like the vertigo affect the cameras still moving forward and it doesn't look like we're actually scaling enter scaling out at all. So what we need to do with that then is we solely just move this over and we try to basically stop that camera's movement. So you can see now that it's expanding a little bit in the background. And if you wanted to do a slightly, maybe a scene where things are supposed to feel slightly off. You might want to Dutch the angle here as well, which means you would rotate this a tiny bit. And you'd need to fix the Zoom for the black bars. But if you rotated this and did this slow zoom out, zoom in, you're going to create an eerie feeling within the audience. From that, anyway, back to what we're doing here. With the vertigo of fact though we want it to stop in place. So there's a tiny movement, but we don't want that, so we're going to bring it even more. Now you can see the effects start to take place, but the camera's still looks like it's pushing forward. So we want to bring in in just a little bit more. We can bring this up to fine tune it. You're not gonna get a very long effect from this. But you will get a fun one or 2 second clip that you can show that really sort of makes a scene look neat. And right there, we actually are doing pretty good with stopping the camera movement. The camera looks like it's basically re before this rock and it sort of stays before this rock during the duration of the effect. If we really wanted to sync it up, we could keep moving this back. And using that rockets a focal point and seeing if we can keep it basically right there, maybe a tiny bit more and I think we probably have it in synchrony. Yeah, right there. So if we wanted to really sink it down, just look for a place and try to keep the footage there and look, look right there at that rock. And as I move this, it looks like we've created some space, 3D space that we're expanding outwards. And that's really what the Hitchcock effect is all about. So anyway, that's a great, it really, really simple. All you need is the right footage and you can quickly re-create this in Premier Pro to create that footage where it looks like that background is pushing away from us as we go. The classic Hitchcock effect.
50. 6-7 Glass Overlay Effect: For next animation, we're going to be doing something that can be applied to a picture or really a stable piece of footage. It's to add some glass bars over that piece of footage. So it's gonna look a little something like this, where you can create these glass bars. And you can create multiple layers of these bars and then animate them in any way that you want. It's a very customizable effects. So you can do really any sort of designer set that you want. You could somehow put a design into the glass if you're really artistic and have that go across. So overall, it's a really, really fun thing to pull off and we'll learn a couple of different techniques through it. So first off, go ahead and import the photo of the black Lamborghini from your stock footage. Take that and drag it into make yourself a new sequence. So I'm gonna do that right here. Just creates a square sequence because it's a square picture and that's fine. We're then going to go into the bottom here. We're gonna go to a new item and we're going to look for color map. Click OK on the color map, and then we want a white MAC for this. So we're gonna click OK on that, grab that colormap and put it over your footage. I'm gonna zoom in this sequence here just so iss see what we're dealing with. And so now all we have is as a white box over the top. We're then going to go to the colormap opacity and click on this Create four-point polygon mask, like so. So we're gonna take these and we're gonna create lines with them is what our glass is going to be an i'm gonna go let's go horizontal this time because I did vertical last time. So I'm gonna take this and we'll take the points here. Get on lined up. And I'm holding shift here to make it a straight line click away from that so you don't select them both. And then hold shift again. We're gonna take that feather and bring it down to 0. Or recreating glass here glasses, very sharp material, it reflects directly, so there's not a lot of feather on its edges. We're gonna click on this, go control C, control V commands. You can command the on a Mac to duplicate it. Then we're going to take another one and drag it down. And this is where the artistic part comes in. Maybe we'll take it and put it here and then make it a little difficult. Sometimes it's like these, make it a big bar like so. Try to get as straight as possible. Duplicated again. And I'm thinking maybe to really small bars next to each other down here. So I really small ones. Alright, like that, control CV and grab it. Did not take control CV and take one and stick it like right here. Okay, so that's our glass layer. So now what we wanna do is wanna actually make it a glass layer. So to do that, we're gonna take this footage and we're going to duplicate it onetime upwards. So take the colormap, drag it up here, and drag this one up to the second layer. The reason we're doing this, and I can show you it before we do this so you understand why is we're gonna be going into our facts and we're gonna be looking for track MAC key. We're gonna take track MAC key. We're going to drag it onto our footage. And then we're gonna take that truck Matt, go into the trackpad here. And what we're gonna do is see the mat here. We're gonna select video too. Now the problem is when you do it like this, you are going to have all this black area beneath it. And so we can't do it without a nother layer. So we drag this color map, then drag a duplicate of the Lamborghini. Remember hold Alt while you do this to duplicate it or just control CV it. In here. We're then going to take our track McKee, drop it on the second video, take our mat and bring it on video three. And now what we have is the beginning. We're then going to take this second layer. We can rename this to make it a little more confusing. We can name this mat layer one. We can rename the bottom one to background layer. So rename background layer. And then we have our color amount up here. So with Matt layer one, we're gonna take it, we're going to scale it in some. And you can see as I scale it in the points that we have are starting to act like glass. So now if we take these and we drag them down, we'd take the colormap and we drag them down. It's going to look like glass passing through. Its base is going to be zooming in on any of those points that were white boxes before. So then what we do is we're gonna take this, we're gonna go to our color mat layer. We can zoom it in any way we like, you know, make it really big, make it you can't really go smaller because you'd be beneath the footage here. So I'm gonna make it like a really sort of zoomed in glass here. So now when it passes and it's going to really bring it forward, we're then going to take the colormap. We're gonna go up to position. We're going to start the beginning. Click on the position, move forward. The duration which is only four seconds, and then we're just going to animate it. So in this situation, we don't want to animate it left and right. We want to animate a top-down. So we're just gonna make it go top-down and do some sort of slow movement like that. And we can always adjust this. So we turn this off. We can see what we're working with here and we can adjust the different layers. The problem with this is we have a lot of color up here. So we don't have a lot of, I guess you'd say like movement because it's all just being represented by the, it looks like one big box instead of a couple boxes. So we can change some stuff around. One way to do it is to actually add another background layer on it to create another layer of glass. So let's do that. So if we go into our matte layer, we're gonna wanna do is we're gonna take that layer. We're going to duplicate it above the color, rename it to Matt layer two. And then we take the colormap, bringing that above and rename that one too. Let's rename that one to colormap to. So now what we have is basically our background layer and then the mat one is applying to color mat one and in the mat to as applying to colormap to. So at the second one, we are going to take the bars. We're going to manipulate them and change them around. So instead we could maybe do something fun here. It'll take a little bit of work, but if we take these, we can actually make them diagonal as well. Like so. And we need to make sure they're large enough so that if they go across the screen or we're not gonna get points that disappear. So we have a diagonal one there. And I'm just gonna go ahead and delete the bottom three and just work off of this one. So I duplicated it, gonna put one here. Cv, duplicated it gonna put one up here. Maybe yank this well, a little bit. Where this bottom one down here, I'm gonna make it a little bit larger. And this is all a part of an artistic process. You don't know what you really want. You want to play around with it until you find what looked good for the, the, the composition and the piece you're working on. So now we're just going to repeat the exact same process we're gonna go to Matt to and because it's a duplicate, we're gonna go to Matt to apply to video five. And now we're going to take them out to, it's already zoomed in. Maybe we'll zoom in to 110 said to give it a different depth than the other one. Go back to fit here, I just went to 10% so I can see the edges and actually manipulate the edges. Because if we're at like 25%, I can't see to grab all of those the edges for the masks here. So I zoomed out to 10% there. But if you just want to go back, you just click Fit and it brings it back to what you are at. We're then going to take the beginning of this. We're gonna clear out these key frames. And then we're just going to go up into the right here. So we will create a keyframe moved to the end of this. And then we need to make them go to the right and then up. Or actually in this situation, it looks like if we just make them go up because we created them so large, we actually get that top right sort of movements. So that's what I'm gonna do. So now it looks like we have multiple layers of glass passing over this, which creates, like I said, a really neat sort of 3D effect. And it can be used in so many different applications from music videos too. Sort of creating like a prism world or anything like that. But that is how you create glass overlays and it's really simple once you learn how to use the track Matt key functionality, the track MAC key is essentially just grabbing the whites and assigning it to something else that something else is the same footage zoomed in, which mimics the glass.
51. 6-8 Move Footage to a Beat: So now we'll go over a very practical effect and that's how to move your footage to a beat. So it's gonna look a little something like this. And you kind of get the picture is that we've linked up some audio and some movement within the, the sequence itself so that we can move the Photoshop beat and we can really do anything we want with this movement of the foot. It doesn't have to be that zoom in thing. It could be switching between two scenes. That's something that's very easy to accomplish. Or different effects like coloring affects, lighten dark effects. It has a lot of applications. So let's go ahead and start on this effect. It's a little bit more of an advanced effect, but like I said, it's a very practical effect is something that is very useful for lots of different video editing needs. So I'm gonna do is I'm gonna go ahead and first take our first import. The, we need to import two things, the party and then the music right here. So those two import them in, take your party, clip, drag it into create yourself a new sequence. I'm going to delete the audio off the bottom just to clean it up or there is no audio on here. I'm just gonna make it disappear by holding Alt, clicking on it and deleting it right like that. Now we just have our video layer right here. We're then going to take the music layer and drag that down. I'm going to mute it for right now. And we're going to come back to that in a little while. The next thing we're gonna do is I'm gonna go ahead and take the party footage and duplicated up to two above it. So we would need three layers here. We need the party footage on the bottom, the party footage on the top, and then the middle, we're going to add another layer that's going to be a black video. So we're gonna hit New Black video. Okay, take that black Video, vote in the center, like so. And now what we have is essentially just going to be, nothing has happened yet. All we have now is just the three lined up. What we're gonna be doing is we're essentially going to be creating a switch that switches from top to bottom, top, bottom, top, bottom, top, bottom inline with the beat of the music. And this is why I said you can do to, you could have it switch between scenes because you could have anything on this bottom and it could be a completely different piece of footage. And let's go ahead and import. An old one will import in the punching and we'll, I'll tag that out a little bit later and I'll show you how you can do that. Anyway. We're then going to take the middle video here and where to look for an effect called strobe. Strobe light. We've used this effect before. We're going to drop it onto the black video in the center here. And then we're going to play this back. And you're gonna see that the, the middle is just doing the strobe effect. Now to get it to move back and forth, back and forth, back and forth, we're going to go into our effects and where to look for an effect called set Matt, video effects channels set map. We're going to take that and we're going to drag it onto the top one. We're going to say take the map from video till, so we're taking the map from this video layer here, video too, that's what this is, video one, video three. So we're taking them out from video three and we're basing it off of the luminance value. Luminance value being the white here. So essentially what this means is we're saying. Take the opacity of our top one and base it off of the white value of the video layer two. Now since we have a strobe light going from black to white to black to white, black, the white, essentially what it's going to be doing is every time it's white, it's going to be seeing completely throw. So it's basically be turning this layer off and showing this layer. And every time it's black, it's going to be showing the top layer or that might be vice versa. It might be the whites on top and the blacks on bottom. But overall though, that's the effect is every time the strobe comes on, it switches between the two. And just for a little bit of a period between the two different clips. So then, now what we wanna do is we want to make sure that this actually works. If you notice throughout this whole thing, we don't actually need this visible. If we have this visible, we won't be able to see, but nothing is happening. And that's because two things. One, we haven't actually added an effect. So let's go to the bottom and just add something so we can test it. So it should look like this. It should be zooming in and out now. But it's not. The reason it's not is because for some reason Premier Pro doesn't actually attribute the strobe light coloring as a white color. For some reason. Even though you open this up and it's just all white, like at this point it doesn't attribute it as an actual color, and therefore it doesn't base them at off the color, the fixed side. It's really easy. Right-click on this, click Next, and click OK. What that's gonna do is it's going to wrap it up into a new sequence. Now instead of reading the strobe light data directly, it's just reading whatever the sequence is outputting, which is color. And now it actually looks at the color. I don't know if that's a bug or if there's a reason they do that. But as of right now in Premier Pro 2020, you still have to do this. So then now what we have is it starting to work? We have our strobe effect and it's starting to move in and out based off the strobe. And you can see that. Let's see. So yeah, the, the white, it looks like it's choosing the top one, the black, it just goes downwards to the bottom one. Now then we have to sync this up with the audio and then add in some more fun facts to it. To sync it up with the audio, you need to figure out the BPM of your audio. That's the beats per minute. And once you figure that out, you're then going to need to use the calculator. So let me go ahead and grab the calculator up here. We're going to grab our footage, drag it right there. And I use a little site called Get song BPM.com. And I'll yeah, do is drag and drop your file. Oci dropped their eight here and it gives me a BPM of 120 beats per minute. We then go into our calculator. We type 60 and divide it by whatever number you just got, 0.5. That means we're going to be using this number for the beat. If we go into our nested SQL, you have to double-click now to get to it. The strobe here. We're then going to go look at here. And we're going to look for the strobe period. We're going to set that to 0.50. And then we're gonna set the strobe duration, the 0.40. Essentially what this is saying is that we're gonna have a strobe every 0.5 seconds. We're just going to be on beat because it matches this. And it's going to last for 0.12. How did I get the 0.12? Well, you take this and you subtract it by that, and that's the difference between it. Again, I've talked about this in the other one, the naming conventions all throughout this does, don't really make a ton of sense. I think the strobe light needs a little bit of a rework with a lot of different areas, but it does have a really strong operation. Anyway, now it's going to look like this are going to be short, quick pops. And that is going to sink up a lot better with our music. So now we need to turn on music on and get that going. So I'm gonna turn this off and then let's go ahead and listen to our music and see if it's on beat or not. That's looking like it's pretty well lined up. If it's not lined up, you just going to need to move this one or two frames to the right and left. Just cut off a little front, cut off a little on the back, try to move it around until it falls into the B. Ok, so now what we wanna do is what I like to do is go to the effects of the bottom one. The bottom one's a zoomed in one. You can do a couple of things here. You can either do all of your facts on one of them and leave like a base layer. So we could like add this color at it, the zoom in which it's doing right now. Or you can sort of switch between two different effects. One of them zoomed, one of them's colored. What I did for the one that I showed you was that one of the layers was changing colors at one the layers were zooming in to create like a sort of a more of a high-energy party environment. But you're not trying to do that. You don't need to. You can put them all into one layer and have it switch between normal and the effect layer. So I'm gonna go ahead and do what I did in the very beginning one. So I'm going to look for HLS, color balance, HLS. I'm going to drag and drop that onto the top one which hasn't been affected yet. Go look for it. You'll find that here, right here. And you can see that the Hue has as fun effect where it has a time t2, so it can keep rotating over and over and over again. So we're going to turn on the keyframe marker at the very beginning here. Go to the very end here, and just spin that a whole bunch of times. And now the colors are gonna change over time. So now I'm gonna play it back. We have we have the zoom and then sort of on the offbeat, the color comes in. And it creates overall a really, really awesome effect here. Now I also talked about that you can throw in another piece of footage on here. And so let's just go ahead and delete the bottom party. We're gonna grab, punching, hold Alt, Delete that audio track. Well, it doesn't go any farther than that. And then let's see. Let's take him and let's add some color to him. Start the hue and go to the very end, spin the hue. And let's see how this looks. So we may want to make the period a little bit longer on this are the difference like it switches instead of 0.40.30. Play it back. Yeah, so now you can kind of see what we're doing here. And if you had two views of this party would work a lot better. A lof, of course, this is kind of a jarring switch between the two. But imagine if you had a view of this and then a view of the DJ, you can switch back and forth between those. And it would look like a really cool, a really cool piece. It would, it would look fun, fluid, really high-energy anyway, that is how you move your footage to a beat in Adobe Premiere Pro.
52. 6-9 Write On Effect: So another thing we can animate as we can actually draw in Premier Pro. And so what we can do with that is really anything that would require drawling. Now if you want to do like really fancy animation drawing, stuff like that, then you're probably going to need something different as we're going to use the mouse to do this. But what I use it for was this sort of tracking. So you can track this this car that's driving along the interstate here and this over change and you can adjust the color to show is speed would be good for like an informational video or something to try to share with civil engineers and stuff like that for planning purposes. But anyway, this is the effect, the Right on effect. And let's go with us. It's a pretty simple effect, a little bit tedious work, but you can create neat effects from it. So over in your project, go ahead and import the traffic footage right there. Take that and drag it into a new sequence. It's in slow motion for whatever reason. So what I did instead was just I took the speed duration. If you right-click go to speed duration, and I just doubled it to 200%. And that seems to be real-time speed. So it seems like it was halved. So yeah, if you do that, you'll go ahead and make it full time. Now what you do is you go into your effects. So down here into effects, you go into video effects, generate right on, click that and drag it and drop it onto your traffic footage here. Go up into the effect controls, down to the right on here are basically all the things that we need for the right ON effect. I'm going to toggle on the animation of brush and color. And what this is gonna do, it's gonna be starting an animation. Essentially, wherever the brush touches it's going to draw onto. You can affect the brush size and we should do that to actually be able to see it. You can see it up here in the center here. The brush hardness. So when it's really hard, it's a strong line like a basically just a circle. When it's really weak, it's a very feathered line. We want it to be essentially pretty strong with a tiny amount of feathers. So I'm just going to type in 95 there. The brush opacity, you can make it C through a little bit. The stroke length is one that I'm not actually 100% familiar with. I think it has to do with something with the the, overall, the way that the, the color and stuff goes on. And in the brush. Spacing, if you really increase the spacing instead of it being like a continuous line, it's gonna go like sort of dot, dot, dot, dot, dot, dot as you go. So I just keep it low to make it a continuous line. But if you're doing really fast motion, you may need to even lower this more to make the spacing one continuous line. So now then what we're gonna do is we're gonna take this. We're just going to position it right behind the car and we have to now begin animation. So I'm going to take this and drag it down. We can do the color as we go. So I'm gonna take the color and put it at a green. He's going pretty fast here. So I'm holding the shift key here to go by fives. And essentially I'm just going to update it every second. If you want it to be really, really precise. You don't want to update every second. You might wanna update every frame and that would make it really, really precise. But for this, every second is fine, especially because I think there's 30 seconds of footage. So you have to do this 30 times to get to what you want to happen. And so like rate over here, we would imagine he starts to slow down as it comes out of this Kern and comes into the traffic. So we can bring this down to like a sort of a light green or, or a white. And now you see that it's edge transition to all the way through that looks okay, but if you didn't want it to transition, just credit keyframe right here of the same color and then transition it in. We'll do that a little bit later when we get to the red. So then we're gonna go more. And then if you ever lose it up here, just click back on the right on affect and it'll reappear. So you can grab this and keep it moving. Six seconds. And so like right here, we're going to say that he probably is accelerating again. So we don't want it to transition from white and then start immediately into green. So we're gonna do is we're gonna go a couple frames back. We're gonna drop a keyframe right here, so that's going to preserve the same color. And then if we click on this right arrow, we jumped in the most recent keyframe, then we're going to transition it back into the green. And you're gonna see now it keeps that color all the way through and it does a transition right at the end. And let's go ahead and just because we're off a little bit now we're gonna go 900 here and it's going to jump us to where we want to go. And then now we can keep our animation going. And this is going to be the same process throughout this. So I'm going to speed this up for you so you don't have to sit here and watch me do it. And then we will be back and I'll show you the results and some of the things I did. Okay, so now we are back and we have the animation fully completed. You can see right here, this is the part that we did together. We follow the car. You can actually see as ln changes, which is kinda cool, switches back to the top lane, continues on and it's where I started animating. You can see starts to slow down here. So I started changing the color and then change it to red as he approaches traffic. Right? Like so. And it looks like that I actually accidentally lost the car and I switched the car behind him. But overall, that's the animation, that's how I use the right ON effect. There are 1000 different things you could do it as if you had like a stencil or a word here, you could trace the word and bring it to life with that and a whole bunch of different other effects. Width right on. And especially if you've got creative, had been talking about combining different effects. I'm sure there's different ways that you can make this glow or things like that. Anyway, that is how to use the right ON effect.
53. 7-1 Time Saving Introduction: Now we've gone over a bunch of different effects. Let's start going over a little bit about how to save some time. Saving time in Premier is going to be the difference between you getting eight hours of work done a day or you're getting ten hours or worked on a day when I mean by that is you can either give the exact same amount of work done in ten hours or eight hours. And that's very powerful because if you know the keyboard shortcuts, you know how to get around premier quicker than you can edit quicker. When you edit quicker, you're more productive and you don't need to be there as long you get hit deadlines easier. So let's go for some time savers.
54. 7-2 Quick Slideshow: So the first thing I'm going to teach you that helps to save a lot of times how to make a slideshow quickly, that it's actually a pretty common use case of Premiere Pro is to create slideshows. So that's for me going over in this tutorial. So first off, let's go and import our pictures. So we'll go to Import, we're gonna stock footage. And then there's a folder in here called pictures. You'll see that we have a whole bunch of pictures on here. What you wanna do is you wanna click on the first one to hold the Shift key down and click through, and that'll actually select all of them. You could also do Control a to select everything inside. Or you can click and drag. So just select all of them, click open and they'll all be imported inside noun organizes up a bit. We can right-click down here and click new Ben. Ben is essentially a folder. We're going to rename that to pictures and we're going to take everything in here. I'm holding the shift key agenda to select the top one and the last one. It selects everything in between, dragging those into pictures and now are cleaned up within. So the next thing I'm gonna do is we want to go up here to file and we're going to go into or edit preferences general and down the timeline. And you'll see that this is still image default, the duration, that means every time we drag an image into the composition or into the sequence, it's going to give us a image as five seconds long. So if we want to create a slideshow with images that are 15 seconds long, though we just put a 15 right here. And that's going to extend the time. Let's say we wanted to eight seconds. So we're gonna go ahead and do that. Set that up. And then now what we're gonna do is we're going to go ahead and create ourselves a new sequence. Usually just drag something over to create a sequence. But with images, images are typically not the same shape and size. Most of them are going to be a square and some that are gonna be rectangles. So we're going to be really large and we're gonna be really small. If we base it off of one image, the rest of it is going to look kinda weird. So we're going to create our own sequence and then just put everything into that sequence. So we're gonna go to File New Sequence. And any year look for the folder that is h d v, That's HD video, and that's the defaults we kinda wanna look into. We have all of our basic default here. We have ten ADP 301080, R7, 20-30, 2524, and then ten ADI, which is a sort of 720 p, but like really nicely laid out. So it looks HD like 71080. I'm gonna go with ten ADP, 30. If you wanted to go for 4K or something, you can actually look through here, there's a width and height things in here, and some of these do have 4K, I believe the reds are all 4K, I1, 234. And they have 16. By 929.97 will be probably the one you want for a, for k1. Again, I'm gonna go with the ten ADP, 30 frames per second. We're then just going to take all of our pictures. So we can click on this, go to the bottom, hold the Shift key, click and drag them over and you're gonna see they're actually spaced them immediately. Now, Here's the really cool part. If you highlight them and hit control D, you're done. You've actually already added on the transitions to each one of these. And you're gonna notice something as well. With this. If you notice, these are still transitioning at five seconds instead of eight seconds. We've actually skipped the step and I kind of skipped it on purpose to show you something important. So we need to delete all of these outta here. If you ever want to make a change like the preferences, a lot of times these preference changes are applied on import. So for this, the default duration of five seconds was already applied to all of those pictures. So you've now I change it to eight seconds. We didn't actually get the change to take place. So now let's go ahead and re-import all of our footage again. And you're going to see that once I take all these, drag them into pictures, organized them, bring them back onto the timeline. Now, they are eight seconds. So that's just something to keep in mind. If you are wanting to change that timer, you wanna change it before import. Anyway, let's go back to the transitions which I hit control D to do. All that does is apply something called a default transition. The default transition is rate up here if you go in, I believe it's in. So over here in sequence, I, I just know that keyboard shortcuts are sometimes hard to find. These apply Video transition and it's gonna apply basically the default ones to everything in the selection here. And now if you want to get like so, if you go to your FX, you've got a video transitions. And then you go to any of these are really all just different transitions that you can use and you can actually kind of have some fun with this. So let's go ahead and select everything here. Hit control D. And this will just be our base layer. So like this is just going to be, if we don't want to change something around, it's just going to be this nice slow transition from one photo that next. But let's say that here we want to change it around. It's all we had to do is just delete this one and go in here. And let's say that instead we want to do a slight a slide and put it right there. And you'll see we have this, this slide now, this like for corner slide going. And we could do this with any of these in here. We could delete anything and just grab any of these and have fun. But the quick way to do this is just to import everything. Drag it on over, highlight everything. Click Control D. And literally like within 45 seconds, you can have the entirety of your slideshow complete and ready to customize or just ready to export straight out and into the world.
55. 7-3 Edit Quickly to Beat: The next thing that we're gonna go over that saves you a lot of time, is going to be using markers to edit to a beat. And a lot of times if you're making anything from commercials to a action sequence, you want to edit it on a beat. Now, in Premier Pro, you can do it frame by frame and you can do it the normal way of listening to the sound and trying to edit it. But you can also do a quicker, a little dirtier way of doing it. It'll come out a little less precise, let say, but it's way quicker. And if you're making something like a YouTube video or something, then this is the way you want to do it. You can essentially get this done between one to five minutes instead of spending hours and hours and hours editing. Essentially, this is what we're going to be creating right here. So take a listen. So just like that and like I said, that, that took a few seconds to create. And if I had a 100 more these, all it would really take it. I could probably put a 100 of these in here in about maybe seven to ten minutes. And that's what's going to really speed up your workflow. So let's get started on doing this. Essentially what I'm gonna do doing it, I'm just going to kill that sequence and then go and create myself a new sequence. So what you want to first do is import all of your footage. So right-click Import, it's under the quick beat, import everything and then the music. So it's all these food things in music. So we have seven clips and then one music file. We then wanna just right-click. Go New been created new Ben named videos. Find all of your food pieces and drag them into videos. This just makes it easier to select them later on, because sometimes naming, they'll make a couple of them above on a certain area, a couple of them below a certain area. And if you want to select all of them, it gets hard. So put them all into a file so you can select them all very easily. Then we're gonna go up to File New and then into sequence, file new sequence. And with that, we're gonna be doing is creating a TIN ADP by 25 frames per second, while she's 25 frames per second. Well, most of the footage is 25 frames per second, right there, right here, so it'll fit the best. I think with this particular footage, we could go up that 30 and just have them skip frames and stuff like that. But I like to try to get as close to the majority of my footage as possible. Next, what we're gonna do is we're going to put in our music. So we're gonna take this one, we're just going to drag it into one of these layers. And now we're gonna do is we're gonna take a listen to it. And so this is an important part, what we need to go up to his edit keyboard shortcuts. We're gonna talk about these a little bit later, but this is essentially all the keyboard shortcuts and what they do. We want to look for marker and go down. And there's going to be add marker right here. I don't know if there's default or if I've assigned it in the past, but I assign this to him, and that's the button I'm gonna be using for this. You want something kinda easy to access, something that you can really hit a beat to. Him is right here on the keyboard. It's very easy and I believe it's an open space. If it, if not, this might also be the default. If it isn't, just click on this and then click the M key and I'll add a, a new keyboard shortcut to the m. So just to make sure that's there. Now we're going to go over, we want to set a guard at the beginning. I'm gonna go to somewhere like right here. And we're gonna take a little lesson here. And every time I feel like I hear a beat that I want to put some, put a track on, like put a different one of these tracks over here on, I'm going to click the M key. So let's get started. And so right off the bat, there's a little error. And the reason is I had this selected instead of the sequence as a whole, we need to make sure we don't have the bottom selected. Otherwise, we're adding markers to the music itself. So that's a common error that happens. So make sure the not selected, select here, then click the play button and then we'll do it again. Okay, so I've created a few markers here and you can see that they're up here at the top. These are the markers you want. You don't want them down here. We're then going to go over into our footage and sorry about that little thing. As you move it through it, it scrolls and it tries to play the music. But anyway, what we wanna do is when we go into each one of our clips and if we double-click them at, brings it up over here, maybe we don't want to use this part right here at the beginning where he's flipping for the first time. Maybe we want to use the second flip. So to do that, what we can do is actually create in and out points for each of these. And that's what's going to go into the edit. So let's say that instead of it being up there, we wanna go I, you click the I button or you click one of these two, this Mark and Mark out. Go to where you want it to end. It's probably good right there, click oh, and, or click that button. And so now you've Martin in an output of this clip. And you can do that with each clip ed to sort of customize it where you want. Maybe this over here is better motions. We wanted to start there and end over here. And yeah, so just kinda go through find what you would like to do and just yeah, make all those edit so that your footage is where you want it to be. So the next thing we're gonna do is we're going to select all of our footage. Now the order you selected is actually important. Let say that you want food one, then four, then seven, then three, then six to go. Well, all you gotta do is just select it one, then four, then seven, then six, then 532. And you're holding the Control key while you do this. So the order you selected in, that's the order that's going to be displayed in so 1473526 and that's the order that's gonna come up. We're then going to go up to clip and automate to sequence. Now when we click automate, we want it to be the selection order. Selection orders, what we just did it was where we hold the control key and we select them in a different order. It saves that. If we just want sort order, it's just gonna take top to bottom and insert the mike back. We're gonna say instead of sequentially, which is the default, sequentially just means at the selected order, just put them in. We want them at the numbered unnumbered markers, which are these guys, and we want them to overwrite. So every time there's a new marker, we just cut out whatever made, whatever the footage was before that. So for example, this an 11 second footage photo, display this across this entire thing. So it's going to take this gonna put this 11 second footage here and then wrote When you get to the next marker, it's going to take the next one and just cut straight down and put it over. It's going to overwrite it. We want to use the, in an outrage For this. We don't want to use the frames per that's like if you wanted each one to be two seconds or somebody who's the in and out ranges here. And I'm gonna click OK. And now you'll see that we actually cut through the music so we can undo that really quickly and go clip automated sequence. And we don't want the audio here, so we're going to ignore the audio on this situation and now at pace with outpacing me the audio down there. And now let's just take a listen. And there you have it. Easy as really, really easy. Now let me show you something that's kinda cool is you can, you know, come up later on beats here. So like what's the common area? Make sure that that bottom not selected. And so if you do like these Quick Sort of motions in and out and we automated sequence again. Make sure this is selected clip, okay? Make sure these reselect those over here, then go clip, automate the sequence. Selection order is fine, Yep. And now so c, whatever the markers are, it's gonna follow. So if you wanted to speed up a beat than slow it down the speed of a VIP and slow it down. You can do that too. And it's gonna go here. And this is basically a good template. If you're doing like a YouTube or something that's not, we don't want a 100% professional. This is fine in product, but maybe you want to make it a little more precise. You've at least created the template of your entire thing really quickly. I came, it was like a 15-minute video. You can create this pretty fast and then just go in and make the edits to sort of fine tune it. You don't have to spend all of your time cutting pasting, cutting pasting, moving, cutting pasting. It'll all be built and you'll be ready to go and it'll save you a whole bunch of time.
56. 7-4 Saving Time with Animations: So now let's go over another way to save some time. And that is going to be on saving time with animations. Once you create an animation, there's no need to recreate it over and over and over again. So what I mean is let's go ahead and just create ourselves on Adjustment Layer and drag it on. And you don't have to follow along with this part. I want to show you what the effect is and you see nothing is happening right now. It's just the same footage from food to that we have been using. But now if we take pops zoom and we drag it on this a preset that we created. We can quickly create a, a pop zoom within our footage just was great for things like vlogs. Because with a vlog, you wanna do like zooms and animations and color changes and all that stuff. So what we can actually do is you can save all of this stuff as Presets. And with that, you'll save a ton of time. So let's get started on this effect. Go ahead and just import food to food three, anything in the food category will work with this. This is just really to see what we're doing. So in this situation, logo with, I'm gonna go with food to again or let you know, let's go food seven, let's mix it up, drag and drop that on over. And you see that we have just this footage right here. So let's say that we want to add some animation to this. So we're gonna go down into the new item, new adjustment layer, something we've done many times before. Click on the Adjustment Layer and drag it anywhere in here. Now we don't want to just adjust the, the motion here. We kinda want a little more fine grained control over this. So we're gonna go into our effects. Right now. It's up in the top right for me, if we're in the editing, a lot of times is down here in the bottom left. That's where I usually have it. So I'm gonna go here so that we maintain consistency. But we're going to search for an effect called transform. It's under Video FX, distort transform, drag and drop that onto the first layer right here, the Adjustment Layer. And now we're gonna take that scale right here. So we're at the very beginning, we're going to take the scale and we're going to go forward 15 frames. So to do that, of course you can click this 15 times. You can add 15 to this, make it 20, or I'm gonna hold shift and go 123. Once we are here, I am going to then move the scale up to about 130 is a pretty good zoom. So now we have this really linear zoom, sort of boring zoom. So we're gonna do what we like to do here. We're going to right-click on that and go easy and drop this down and drag this guy on out. And now we're going to have a quick motion and then sort of like it's slides into place. Let's let's get off behind this to make sure that it looks all good. Yeah, so it's a fun little pop zoom effect, sort of a fast pop zoom. Now then we've got this effect. We can do two things. So we can either, let's make it a full effect or I'll tell you about the other one which isn't a full effect. We're going to make it a full effect by adding another key frame and then going 15 Ford, and then returning it back to 100 by full effect, I mean that you can drag and drop this on. It's going to zoom in. And then it's going to zoom out and is going to complete back to the original footage. So with this, we don't want any of these. We're going to right-click on this, return to linear. Right-click on this and we're gonna say there's gonna easy out. And then you can play around with the effects here a little bit. See if we can't get a fun little reverse animation there. Yeah, that looks kind of good. Which kinda move that went over did kinda like the reverse of what I was doing over there. Now that we have the effect saved and ready to go, I'm going to go up to the transform here. And this is the important part. You're gonna right-click on it and you're going to click Save Preset. And now what we're gonna do is we're going to name this preset. Let's go pop, zoom, full lips, Mao, pop, zoom full. And then we want to name this like fast because it's a fast one. We're gonna anchor it to the end point of whatever we put it on. And then we're going to click ok. Where does it show up? It's going to go over in your presets here. And you'll see that it is pop zoom full fast. And what we're gonna do is take this transform. And what's cool is if you search transform, it's actually going to come up because that's the effect that it's using. But we're gonna take this and I'm gonna drag it into my Effects. And now you have the pop zoom full fast and the pop zoom vlog. Now, there are two ways to use this. You can drag this pop zoom onto your footage. Now it's going to anchor to the beginning point. So it's going to start right and getting your footage. And it's gonna run its animation through and come back so that, that's a way to do it. But I like a little more fine-grained control. So what I do is I go ahead and I use another adjustment layer wherever I want to drop this animation, let's say right there. And then because this is a full effect, I can just drag and drop this on. And now we have the pop zoom and wait a little while until it zooms out. And we can put this on any footage that we like and it will work. What I mean by not full effect is as pop zoom vlog. If I drag this went on, it's only the beginning. So there's only going to last as long as the adjustment layer, it will zoom in. And then once the adjustment layer, it ends, it's just going to cut back to the original footage. So there are two kind of ways to create either a full factor to saw sort of an effect for a little while and they'll cut back. Now, let me just show you as a proof of concept. If I go ahead and import something else like food for take food seven out, drag food for n. Makes sure that adjustment layers AMT I can't state we left it in. So now I wanna go to our Effects, Presets. My effects, pop Xun full fast, drag and drop that on and wait for it to play. It's pretty big footage. And you see it zooms in right there and then it'll zoom back out at the end. But I guess it is actually really, really intense flooded show. It's kinda choppy, but the effect does work right there. If we can just quickly grab another one, food one because that was such a large piece of footage. Drag and drop that on. And now that's our fact. Zoom in, it'll zoom out. But that is how you can save a lot of time on animations. Definitely don't pass this up. If you create an animation, save it and make your preset folder huge with a library of presets and you'll be editing way quicker in the future.
57. 7-5 Keyboard Shortcuts: So another thing to speed up your workflow, and this is something that you have to learn over time, and that is going to be the keyboard shortcuts. So in Premier Pro, we go up to Edit and down to keyboard shortcuts to actually get to the point where we can edit these shortcuts. Keyboard shortcuts are extremely important because they allow your left hand to do it just as much work as your right hand. Your right hand is generally on the mouse. But yet to understand that mouse movements are slow. They're very, very slow compared to, let's say, just clicking on the keyboard. For example, if I wanted to switch between the cut tool, the regular tool. And then let's say the hand tool, which is right here, let's say I wanted to switch between three of those. So I'm, I'm making an edit right here. And let's say I'm over here. So I go over, I go to the Cut tool, which I need to hit the razor blade. Then I go back to the regular and let's say move this. And I go back to the hand tool and move this. That's pretty, you know, it's not the slowest thing in the world. But now watch, if I know the keyboard shortcuts. It's C, V, h, and all that is, maybe, maybe ten seconds saved over the course of a workday and eight hour, nine or ten hour workday, if you can save ten seconds every minute, you're saving essentially around 15% of your time. You can do about an hour to two hours more productivity just by knowing your keyboard shortcuts. And those are those basic ones. There are lots of complex things. You can add it into keyboard shortcuts, so you don't have to go looking around for buttons. You will have to look, click and hold to go behind things. So keyboard shortcuts are very, very important to speed things up. In this menu here is actually very easy to find your keyboard shortcuts. If you're just curious, you can look around at all the stuff. You can also just click a button when we're in the screen, like let's say VI. When I click, whoops, not the search button. Make sure now in the search bar, click Vi, and you'll see that it highlights v, and then it shows you everything that goes along with V. So you can see that if I hold Control V, It's paste control all the paste attributes control shift V, paste, insert. Then I can also look at like let's say C is a popular Control-C Copy Control Shift ISIL center alignment Control, Alt Shift is insert, copy symbol and then just know modifiers. It's a vertical type tool or the razor tool depending on what you have currently selected. So this is a very important place to sit and modifying this to best fit you is something that's very important. All of these can be moved, you don't need, let's say the zoom tool. I hardly ever use the zoom tool. So I could do is I could find something that I do typically use on the Z over here. So maybe instead of having the type tool on T, which is a decent bit of away from the rest of things. Or we can actually look for something in over here, the Pen tool, maybe I use a pen to a lot more often. Well, this is basically where your handset, so you want to move the most used stuff to rate around here to get the most use out of it. The zoom tool. I don't know if I've ever used that or maybe once or twice, but I use the pen tool quite often. So instead I can actually go and look up the zoom tool, take it x0, and delete it so it'll disappear off fear. Go back to the zoom tool. And then I'm gonna say, my bad not zoom tool because we want to use the pen tool here. So we're gonna go to the pen tool and we're gonna say, well, we want it to be used on z as well. Now, if we click OK, it's going to save that. And if I click Z, it goes to the pen tool immediately. And I now have the ability to create shapes and stuff really, really quickly. So that the keyboards should be based off of essentially your workflow. Overall. Base it off your workflow and build the keyboard shortcuts that will speed you up the most and you're editing will speed up with those shortcuts.
58. 7-6 Synchronize Audio: I want to show you another quick thing to save some time in Premier Pro and that is synchronizing audio. A lot of times you will be recording audio on multiple different, I guess, ways. Like even on a computer broadcasts, you might record the audio from the computer and then from an external microphone. I just want to show you how to sync that up quickly if you have some scratch audio. So what I mean by this is go ahead and import drums. And let's say that you have a piece of footage like this. I'm going to import a second drums. Hold the ALT key and delete the video off it just by clicking the video. If you hold the altered click it, it's selects one or the other instead of the linked group. So we're selecting that one and deleting it. So let's say that this audio rate here is bad audio from the camera. Just something that was sort of sitting there as basically just a, whoops, audio. I'm going to audio and gain here to bring it down to make it slightly bad. So like let's say that this is just some audio from the camera. Like I said, it's not very good and overhears your microphone audio. This is the really good stuff that we really want to work with. So if we play this back, you know, it's good, but we want this audio to sync with this audio. We've dragged them both in and out. We want them to sink. First, what we do is we just trim down the area that we want to sink because we can always trim it back out. So we just look for a up area where there's some really strong stuff because a drum rhythm, it's everywhere. But let's say there's a couple of really big claps or pop right here. We can trim it down, sink them, and then pull this back out to synchronize is really simple. Right-click highlight and just go to synchronize. And now you can see by clips, start clip and are time code we want by audio. And we're going to synchronize it by the audio on track one. And you're gonna see that it's going to align it perfectly right back up here. And now we can actually mute the top one and you can see the audio is perfectly lined up. It is very, very simple to line the audio up like that. And like I said, if it's a voice recording or something like that, it will sync up perfectly as long as that you audios are the same. If they're not the same, that you're gonna have to do it the manual way. And that is just going to be moving it frame by frame until it works. A quick tip on that is if you're filming something, that's why they have the clapper at the beginning of scenes. A lot of times is to synchronize all the audio with a single pop. So do that in your scenes and it'll make a world of difference if you're trying to manually do it. Anyway, a quick little tutorial I wanted everyone to know about was just how to quickly synchronize your audio.
59. 8-1 Transitions Introduction: Transitions are one of my favorite things to teach in Premier Pro. So that's what we'll be going over in this section. There are so many different creative ways that you can create a transition. And especially with these slightly more informal way of video making YouTube online spaces, these transitions can give your videos a bit of flare, a bit of personal touch that'll make them stand out. So let's start going over some transitions.
60. 8-2 Whip Pan Transition: So for our first transition, we're going to be covering is the whip pan transition. And it's going to look a little, something like this right here. It's a quick little pan that is typically done within the camera, or at least it used to be done within the camera where at the end of a scene you would start the whip. And then when you began filming the next scene, you would start the whip from that side to bring it in. So essentially seen one would end with a whip and s2 it will begin with a whip. And then it looks like those two scenes are connected like the camera's panning from C1 to C2, even though they might be across the world. That's what we're gonna be creating today. It's actually pretty easy to create in Premier Pro with an Adjustment Layer. And therefore you can actually copy and paste it throughout your project. So to get started, go ahead and import the snow and Park from the stock footage in unit eight this time. Right here, import both of those and then drag them in. And I'm gonna go with park first and then snow. There are different sizes, so just create one base off the other. Like I'm just going to keep the I believe it's based off of the snow. The sequence is, but you can create whatever you want to do this, it doesn't matter about that. We're then going to go into the first part here. We're gonna go down. Click knew the little leaflet here, Adjustment Layer, okay. Take that Adjustment Layer and stick it over the snow and park transition. Now with this, what we wanna do is we wanna go back five frames and forward ten frames, and that's the size of the adjustment layer we want to create. So 12345. So we're going to drag this to there, go back up to the middle here, 1234512345, and then put it here. Now, here is where a good time to use a cut tool. As you can't see over here, you already got everything lined up. You don't need a zoom it out, just you can grab the edge. So I'm going to cut it right there. Then click on the right one and click the Delete key to remove it. Now, our transition Adjustment Layer is setup and ready to go. Where to go to our effects. And we're going to look for an effect called offset. There's another video effects the store offset, drag and drop that onto the able just malaria. And what this is going to do is it allows you to offset the center. So it actually allows you to sort of revolve it around a central point here. You can also do it, of course, up to down as well. With this effect, we're going to go to their beginning, start the shift center two, and then go to the very end. And what we're gonna do is we're gonna take whatever numbers over here in this case, it's a 19-21 And I'm going to make it a negative 1920, you just going to add a negative to it. What that's gonna do is it's going to basically create a singular transition. It's kinda hard to see the transition here. It actually looks pretty well, but it's right here is the line. And as you go over, you can see that line go across. So it's just gonna be one full transition. And essentially with this, what we're doing is we're creating the motion here. We're actually generating motion based to try to recreate that camera movement from left to right. Now we need to add the blur into finish off the motion. So to do that, we're going to look for a directional blur, video effects blur and sharpen directional blur. We're going to drag and drop that onto the directional blur. Although this part right here and now if I actually increase the blur length, it goes top, bottom. So we're gonna take this direction and go to 90. That'll make it left to right and elegant, look realistic. We then go down into the blur land. We're going to start off at 0. We're gonna move to the center here and bring it up to bait, maybe around 200 to really blur it up. And at the very end, we're going to drop this down back to 0. Now, as you can see right off the bat, this is already looking like a pretty good effect. It's already something that is pretty usable. However, if you want to just cleaned up a little bit, let's make the movement a little less linear. And what I mean by that is we've talked a little bit about this throughout the course. And that is the taking things from being perfectly linear and adding a little bit of adjustment so that everything isn't going at the exact same rate. Very easy to do here. If we drop this down, we can actually see the graph. We're going to right-click on these, on the beginning ones, we can highlight both of these actually. We're going to right-click and go temporal interpolation and we're gonna ease them out. And then the end ones, we don't we're not going to touch a center on the end ones. We're gonna go temporal interpolation or going to ease them in. You're gonna see this creates sort of a parabola right here. It's going to create an effect that speeds up over time and then comes down. So it's gonna go slow a little bit, are really fast and then back to slow. And down here in the blue length you're gonna see it's going to sort of come not do really anything that get really blurry in the center and then come back down. And so now let's take a look at the effect with just those added. And you can see the movement is a lot more fluid. It feels a little more natural. And overall it feels just a little bit better. Now, this is the effect is created and, and we can actually take this and copy and paste it between any transition and as long as we line up that fifth things so that there's five to the left and ten to the right. This transition can be used throughout your project, but this is the whip pan transition. Really neat little effect and it uses to new things, the directional blur and the offset to create that motion. And that overall feeling like the camera is actually making those movements.
61. 8-3 Star Wars Transitions: The next effect are really the next transition that we're going to be going over is the Star Wars transition. And a Star Wars transition isn't actually that complicated. It's just a feathered wipe to create the transition. So essentially we are going to have something that looks a little bit like this. So add that feathered wipe across and then we can also do another one, which is this radial wife, which is sort of more like eight o'clock wiping across. So that's what we're gonna be doing with this transition. Like I said, these are basically how star would use a lot of other places or a lot of other, I guess, professional productions don't typically use a feathered white. But if you're trying to recreate that sort of Star Wars feel, then this is how you do it. So the first thing we wanna do is we're gonna import our footage. I've gone ahead and imported desert and desert town in unit eight stock footage. So take the desert desert town, drag them in and put them right back and forth to each other. Now, there is a way to add a, an effect at WIP by going into video transitions down here in our facts, video transitions, and here's the WIP. And if you add one of these wipes like the clock wipe with one radial. Or they're also do also have a radial White Bear. Where let's see, let's just add the radial white so you can add it across. And it's just going to attempt, it's best to do a radial white. Now the problem is we don't have any control over this. We don't have control over the feather or really that we have a little control over the timing, but not too much like we can't make it go fast and slow. So to do that, we actually need to go somewhere else. So video transitions, this is down here. This is great for quick video transitions, but up here, video effects. And then we're going to go down to transition as well. It's kinda weird that there is a video effects transition and then also a video transitions. But I guess these are the ones that are things that you can control. So what the transition, we're going to look for a linear white. I'm gonna take this first clip and drag it up to video layer two. And I'm going to slide in the second clip right beneath it. This is the part where the transition will go over. So I just need to make sure that this is not too long, not too short. It's about five frames. That's pretty good. I'm gonna maybe drag it out just a little bit longer. About 67 frames is probably pretty good. Now we're going to take linear White and drag it onto our top footage. So we've slipped the bottom footage and this is going to be after the before is the top footage. We've added the transition to the top footage. We then go into the linear white. We gotta transition complete. We start, we'll go make sure at the very start of the sequence here, transition complete 0%. Now we're going to move all the way over to the end, right before it disappears. And we're gonna say transition complete 100%. The next step to make it that Star Wars feel is to add the feather anywhere between about 6120 is good. So I'm gonna go about 75 here. And you can see that It's got a good transition. And so now if I play that back, we have a very fast wipe here. If you wanted the wife to be slower, well, that's easy. You just drag this back a little bit more. Go into your top footage and just take this keyframe and drag it back. Or you can delete the keyframes and goes 0%, 1, 100% again, either works. And now you have that sort of slower transition across the next transition. Or actually to make this like an angled one is real easy. This will wipe angle right here, go by intervals of 45. So 135 would be the next. Now it's top left to bottom right. After that would of course be 180, then it's top to bottom. And then after that would be 225 and that's going to be top right coming down. So at any angles of 45, you're gonna get all the corners. You're gonna get top down, left, right, and then both corners. So you're gonna get eight from that. Now, if we want to do that radio wipe, that's pretty easy to do as well. Let's go ahead and let's just go ahead and hide the linear wipe. We'd go down here, rate of white, drag it on. Now, if you want to just do the clockwise in the center, that's just all you gotta do is transition 0%. Go to the end of the footage, transition 100%, turn the feather up to that same value of 75. And now we have this sort of clock transition. This one is used in Star Wars quite a bit. But you can also do sort of a white like a windshield wiper effect and that all you have to do is go to the WIP center and zeroed out. So as you can see now at wipes from the top there, the reason being is that zeros in a lot of computers are based on the top left corner. We've been taught in math that 0 starts at the bottom left, NEL goes positive, positive. But for this, it's 0, starts at the top left corner and it's positive, positive. And so if we go 00 for our center, that means the effect is essentially starting and going around like this. So it does a nice wipe effect. Note that the WIP begins starting here and wiping across. So you're going to be a lot quicker than you anticipated. See it's only three frames instead of the full about ten frames. So just make sure you understand that. But it does create that quick, nice wipe effect as well. Anyway, that is how simple it is to create Star Wars transitions. The original transitions were created in a time of lesser technology. So these are not too hard to recreate in modern day. All you needed to do is use feather and use a video effect transitions and then the WIP scenario. And you can do all sorts of things with it.
62. 8-4 Clock Wipe: So now let's go over how to create a continuous clock transition. We're actually gonna be using sort of the, the clock radio wipe that we used in the previous one. But we're gonna be using Premier prose pre-built one. It's going to look a little something like this right here. So essentially all it is is a continuous clock and you can keep that going. It's a great way to pass time in a film if you want to like sort of a cheeky way to make time go by really, really quickly and to show all the different locations, you can just keep the clock going showing all these beautiful locations. And then the back one will be where you leave it off. So this is sort of like point a. We go to a whole bunch of stuff and we end up at point B. So let's get started on this. First thing you need to do is go ahead and import all or import doesn't town, desert Park and snow, get all four of them in here, then take whatever one you want to start with, great yourselves a sequence with it and start with this. Let's say we want to start with snow on this one, and we're going to transition to that, let's say two seconds. We're then going to take our next one and maybe want to go from snow to desert and drag it right at that 2 second marker. Let's actually just make this precise. There's the 2 second drag right there. And now what we're gonna do is we're gonna go into our effects and we're going to look for an effect under white. So it's video transitions white, and it's going to be down here at the clock, wipe right there. We're going to take that and drag it onto our footage. And you'll see that the, the WIP is a slower WIP if that's what you want to go with and that's perfectly fine. Just take note of however much time it is by doing that or to do that, click on the wipe itself and this little thing will come up over and the effect controls. And you can see the duration is right up here. And we wanna make sure that that duration is consistent throughout it so that we don't have the clock spinning faster than slower than faster than slower. In my situation, I think I'm going to make this 0.22 to speed up a little bit but not make it really fast. And so that's about the speed of it now, It's looking pretty good. So the next part is, we just keep repeating this over and over again. So now I'll go to, let's say desert town. Put it right there. Make sure you're working with your audio at the base here. Sometimes it might be disastrous. Delete your audio, hold the ALT key and I'll click on the bottom and I could delete it and then you put music over it or something like that. If you're transitioning between a whole bunch of clips really quickly, you don't want all of their audio to mash together because they're going to be like city noise than snow, than water, then it just, it'll sound weird. So you want to add some music or something over it. Anyway, we're going to go to our affects. Clock white, drag it on, click on it. Make it 0 once, 20. And then we just do that two more times. So now we're gonna go with, let's say Park. I'm now hold that all key to select that and delete. Affects clock white, click 020. And then we have one more to go, and that is going to be the, so let's see, we have, now that's it. Ok. So now we have the Snell's transitions, transitions, transitions, and it did glitch a little there. Depending on how high quality or footages you may need to render this transition out. You see it's a red bar up here. Remember all you had to do is click the Enter key to render it out. But overall, we have the effect created, and we've created this a to B transition with a continuous clock.
63. 8-5 Arrow Wipe: We can also create an arrow wipe transition. And this is actually kind of a fun one because we're using an effect, not for its intended use, but through creativity, we're actually creating this fun arrow movement rate here. And we're actually generating this from the radial white. So essentially were able to sort of wipe this arrow from any direction to transition from one to the next. So let's get started on this. Like I said, it's really, really fun because it is so creative to create. So go ahead and import stars, snow and park. I'm going to start off with these stars footed chair. So I'm going to drag stars out. And then read about two seconds. I want to drag it up to the third frame. You need them to be undo each other. So I'm going to go up to the third, if two of these that I could do. The first was gonna go to the second one and then the second transition will go down to the first layer. So I'm going to then take the snow layer. I'm going to drag that and put it under like so. Take its audio out with the ult method. And now the transition will say, let's make it like, I don't know, maybe yeah, like that like that long 151517 frames in there. Then I'm going to go into our effects. And we're going to look for an effect called radial wipe. We've used this one before. Drag and drop that on. Now this is what makes us one so fun is we've done the radio wipe. It's this constant, you know, it's this clock that goes around. But if we take it instead and put it at 25%, well now we have a quarter cut-out here. We got a counterclockwise and it's just the opposite side, but both makes it so that we have an arrow president. Now if we change the start angle to like let's say 180, it goes from the bottom, 90, it goes from the right to left to 70, it goes left to right. If we go by intervals of 45, we can have it go across. And so now let's go ahead and let's make this. Let's go back to 0 from top to bottom transition. We can then take wipe Center and we can animate it and rate here you see that we now have a, an actual arrow. So we'll go to the white center. We go here and then we bring this down to 0. It's not always going to work with 0 if you're moving left to right. If for example, you have to move this one left to right. If it's over, if it's from bottom to top is gonna have to go to the max value. So it's OK just to drag it until it's off screen. So right there, which is 0, I'm just gonna go to 0 because I know that if that is the 0 mark, we're then going to animate it to the very end. So drag this over and then go ahead and just drag this until the effect is done. Don't go like really, really far because in the effect is going to shoot across, just go until right when it finishes. So slow it down right there, right that finishes. And so now when we play this back, we have this nice narrow transition coming through. And it's looking really, really good. So if we want to create another one, it's just that simple. We go here. Many use the C key to cut. So I can get something under this. I'll grab, park, drag it in right about the same. And we're going to take the effect and apply it. Something you can do also, we haven't done in the course is if you take, if you click on the radio wipe, you can actually copy it. Go down to snow, right-click and paste it in here, and it'll paste it from this point. Now, the only problem with this method is that the keyframes are usually off. So if you just turn off the WIP Center, you can move it in and then see you now you have it again. And so you can just kinda reset it, it, it can speed up if there's a lot of animation and stuff there, it can speed things up, but that's just sort of a little soft tip I wanted to throw in there. If you wanted to speed some stuff up, you can copy and paste them between clips. Anyway, we're gonna go ahead and take the start angle. We're gonna go ahead and make this instead, let's go 270, so it's left to right and we're gonna take the WIP center. We're going to drag it over right there. And this is another one that starts at 0. Animate. Move all the way forward. Go or drag this until it's all the way across there. And then now we have these two transitions. We have the first one and then the second one, left to right. And of course you can control the speed of how quickly you want these, but that is how you create a quick arrow wipe transition. It's really awesome effect that is quick to create and something that'll add a quick professional vibe to whatever video you're creating.
64. 8-6 Color Text Transition: Let's now go over how to create a, basically a text color box transition. So it's gonna look a little something like this right here. It's nothing too crazy, but it is a fun little transition. And it adds a lot of energy between shots. So like it was just an introduction to or moving from this spring, more of a tongue-in-cheek sort of way of transitioning. And the cool thing about this at the end, I'm going to show you how to save it so you don't have to recreate this every single time you want to use it. You can just drag and drop into any new project or anything you really want to use it for. So let's get started on this. Basically, we're going to start off by importing snow and Park. We're then going to take them and put them on the timeline like so they'll cut on the timeline like this and we just need to give it a little bit of room. So we're going to move it out. And we're going to have this little bit of black space here. And that's going to be where I transition goes. Right here. It starts at 14 seconds. We probably wanna go right around 216 seconds and we'll adjust it as we build the transition. Next, what we're gonna do is we're gonna take this rectangle tool. I'm going to create ourselves a graphic layer that fits over the entire footage. So we go here and go fit to 10% so we can see the edges. We're going to go find the rectangle tool. It might be under the pen of the ellipse tool. So look at those click hold and you should be able to choose different ones and then just unclick or like, so I'm holding the mouse right now, unclick on the rectangle and it'll set there. So we need to take this and when you drag it as big as we can, it's not going to let you click outside to start it. So you kinda have to click in here. And then to just adjust it, just move up to the selection tool. And now you can just adjust that it doesn't need to be exact. All it has to do is cover the edges here. So w afraid to just expand it out like this and habit. Perfectly fine or have it working like that. So you can see it, it's bleeding over the edges, but that doesn't really matter here. We're gonna take this, we're going to align it to very beginning, right when this footage ends, this graphic layers going to pop up. Now we're going to take our text tool. We're going to click somewhere in there and we're just going to add our text. In this case added spring. If you double-click on it, it should bring up the text tool. And over here in the essential graphics panel member that's in window essential graphics that you wanna see this panel over here. We can do a few things. The first is we wanna go ahead and make this a little bit larger so that we can actually see it here. So we're gonna take the text here and we wanna make it bold condensed. And then we just want to scale this up until we can see it properly. When I take this and we're just going to center it. Now, you can eyeball it, but the best way to do it it is click on this and then use these two buttons here. Vertical center, horizontal center, and that'll perfectly center the text in the screen here. Make sure you've got the text selected when you click these two buttons and it will center it nicely. Something that also looks good is you can also send it all in caps and adjust based on that. Remember every time you change this, you just do need to hit those two buttons again to recenter it. We're in the all caps approach here. You want to choose a text that is bold. So anything in here that looks sort of big and bold and be good. These sort of really, you can see them over here. They're really weak ones are the cursive probably aren't going to be very good. But if you look with anything like got impact, that would probably be good. Even Franklin Gothic would probably work pretty well. Ashbury would work well. Kandahar would not work very well. So you just want to choose something I'll bold for this. Now that we have this started, let's create our color animation. So click on that, that layer. Go to the left over here and you're gonna look for the shape that it created. So the text is right here, it's in parentheses spring, but we're gonna go to the shape. Makes sure at the very beginning of the clip, we're going to then click on the toggle Animation button. It's basically going to toggle the animation for the entirety of these. Now these, it doesn't essentially, it's not going to make linear transitions for the fill, which is good for us. That means it's not going to slowly transition from purple, agreed? It's gotta go purple, green, whatever. So that's going to work with us. We can set it to the color that we want. This is really going to be the strength of our color. So we don't want to be darting around this. We're gonna keep this stationary and then we're going to be spinning this wheel as we go. So kinda choose the strength that you want. This is like a really pure color, a little darker color more past stele. So in this situation, let's say we wanna go like maybe a little more pure color like that. Then we're going to go forward ten, you hold shift on your keyboard and you go 12, it'll go forward ten frames. Ten is just an arbitrary number I created. If you're trying to create this to something like a beat or to a specific movement in, inside the clip. Maybe the, the clip is working like every five frames or some sort of action happening. And you want to keep that general pace, then you wanna go every five frames, three frames, every 15 frames. It does not matter on that. That's the timing of it. I like to go ten as a base of, I have nothing else to base it off of. So I move forward ten, I click on the fill, move up to like let's say our next color will be this deep orange. Go hold shift one to go into here. Bright sort of reddish. 12 will go red to, let's say purple 12, then down to green 12. And then we want to end it right here. So we're just going to drag that there. I'm going to bring out the Cut tool which we've used before and just cut that top portion off. And then now let's take a look at our footage here. So we got the spring to the left and if we want to bring this back to full screen, we can go to fit right here. And so we have the snow spring goes through and then now we're on to the next footage. Now then how do we save this so we can use it again in the future. It's actually pretty simple to do. All we need to do is click on the Graphics panel. That's why we made this into a Graphics Layer, is because now we got the graphics. We can go down to export as motion graphics template. Click on that, and then we'll just give it a name, colored text transition as the name of the project. So it automatically named it that that works perfectly for us. Click OK, it'll take a second. More complex ones may take a little longer right there, but this one is going to take a second. We can then go into our brows or the essential graphics panels still go to Browse, go down to color, or at least go down to the search bar and type in color or whatever you named it, and it'll pop right up. It's in the local folder. If you move left to right, you can see that the effect is rate here. Now then we can delete out as entirely. Let's drag the park and as a new one, and we'll drag snow on the opposite side. And let's say we want to add this transition and move it over, click and drag this in. And boom, we now have a new transition. Of course, we wanna change the text. Easy. We just double-click it and we change it to winter. Use these two buttons again, do center it. And now we have quickly reacted in and basically under 15 seconds we've added a new version of this n. So it's a really neat sort of quick way to add our transition in. And we can do this with a whole lot of different transitions as well. But overall, one is extremely quick to create and then quick to add in. Now what if we wanted to manipulate the colors in the background? Instead of going through the entire process of reanimate and everything, we can actually use sort of a little cheap, but a fun little cheap. And that's color correction, color balance. If we take this from video effects, the color balance, HLS, drag and drop that onto the footage. We actually have the ability to huge shift everything. Meaning that if we take this, we take the hue and we shipped it to like let's say we're looking for a new color to start with. Instead of this purple we want it to be. You can see the colors changing. Let's say we wanted to be an orange or this is winter. So let's, let's go for a nice light blue to start off with right here. Now, if we move through it, it's actually changed the color of everything. So you can see it's now a dark purple, a dark blue. And you can turn this on and off to see the color shift. It used to be this pink, now this blue. And it just basically gives you a new color palette. It makes it look fresh and new, instead of it being the same six or ten colors cycled over and over and over again. You can also do more advanced things like increased a lightness. And that's going to basically make this into a more pastel colors. And they actually looked kinda fun and lighter toned, maybe a little, either wintery or a little sort of history. It gets just a little bit more of a, a different feel to it. So it just these two and even saturation, you can manipulate that to sort of change the color palette as well. You bring it down a little bit, it's gonna make it a little dreary or the colors aren't gonna change that much at all. This is actually kind of a really good combination for winter. This color palette right here. Anyway, you have full customizability and a quick way to react it to every future product project. So it's one of the best parts of being able to use a transition like this is the reusability. It'll speed up your editing flow in the future. Anyway, that is how you create the colored text transition and also how you save transitions that are created in the essential graphics for later use in your project. Both really good skills to now.
65. 8-7 Slot Machine Transition: So let's go over a transition that is, looks very, very advanced and there are some advanced techniques in it, but it is actually a pretty fun one to pull off. It's this slot machine slash film slipping at transition shows. You can see right here, we start spinning and then during the spin we actually transition our footage over right there, and then it comes out into a new piece of footage. Like I said, it's very fun and this is actually sort of a slower version of what we can speed this up a little bit. But overall, this is the effect would be creating where we'll be learning a lot of new things and a lot about how to combine effects to generate what we want. So let's go ahead and create ourselves a new sequence. First off, we need to import the footage are using that's Girl and car and campfire. We're going to take the campfire or the girl and car and drag it into its new sequence, then drag the camp fire in as well. And we can cut this down if we wanted to or we can just work at the very end of this. I'm gonna cut this at perfectly five seconds here. And essentially what I'm then going to do is just expand it out to about the beginning one with seven seconds. That did feel a little long. So let's go like 615. So basically 1 second plus 15 frames. That's gonna be our effect duration. So we're gonna go back to the five right here. If you can't get it near memory, you can just type that in. We're then going to look for an effect called offset. We've touched this one a little bit in the past. We're gonna go to viio effects to store offset drag and drop that on. We're then going to animate the shift center two. And we're just going to move forward up to the end right here. 615 you could go to, but it's gonna make it disappear. So we'll just go to 614, right? Like so. And now we're going to grab this one, just keep going up, up, up. Now the issue here, the biggest issue is that we need to pull up a calculator so that we know things are going to be level. So in this current situation, we want it to rotate over and over and over again. Well, if the top to bottom is 540, that means that if we go 540 times two, if we go to 1080, then this should land right where it does. Now it doesn't why doesn't it? That is because this footage is ten ADP top-to-bottom, but the center is halfway through that, which is why it's halfway. So do the math. We actually need to just take 540 and add ten eighties to it. So in this situation it's 1620. So we type 620 and here you'll see it didn't change. And that's because it's actually rotated one full rotation. The reason we're gonna do this is if we eyeball it, we don't look at the math. We can get pretty close, but we might have a little sliver somewhere that we don't want to, you know, we don't want to do that to ourselves. We don't want to ruin the footage by adding a little sliver. So what we do is let's say that we want it to rotate. Polly about, I'd say ten times a good mountain. So we go 1080 or actually probably around six times is better. Times six. That brings us up with this number and then we just add 542 it. So our n number is gonna be 7,020. So we'll go ahead and let's go move to this end again. And we're going to add our number 720 right here. And let's take a look at how fast this is. Moving pretty good. Right there. We're gonna get a very fast transition out of this. And so overall, I think that's going to be a good speed. So now we're gonna take the campfire. And we're actually going to move it over just a little bit. So we're going to stitch it together. And so to stitch it together, we need to go to the last transition rate here. Whoops, not the Play button, the back button there. And we need to move up right before it comes on screen. We're going to then drag the campfire over here. We're going to take its position and we're going to use the top position here. And let's start with an animation. We're going to move it right out of frame. So what are we doing right here? We're actually going to be tracking it to this last transition where MY stitching it to there. So it looks like that the film reel or the whatever the the slot machine or whatever is the new piece of footage coming in. So we keep moving that down. Like so. And this shouldn't be more than ten frames of animation. So it's very easy to do every single frame on this and get it to look perfect. Now we want it to be perfect here. Remember the number before was 540, so we can type that in and it should go there if your numbers are different just right before he began the animation, just take note of wherever that original number as so you can lock it back into the original place. And so now we have that and it looks very natural. It looks like it's just another one of these frames. Just spliced rate n. Now we need to add the animation, so rate where it becomes stationary again, we need to then take that offset and copy it again. So to do that, and the reason we're doing this is we need to keep that motion going if it slows down or speeds up, would that spinning right there, the effect is lost. So we need to make sure that it's the same speed. To do that we can take the offset over here. I'm on girl and car. Girl and car. Click on the offset, hit Control-C or right-click copy. Go to camp fire. Right-click paste or control V. Highlight both of these and just drag them and they're going to jump right to it. And so now the animation begins at the exact same thing, the exact same speed on the other side. So now we get, it looks like we didn't even miss a beat here. It just keeps going. That's perfect. Now we need that. Make it so that this isn't so uniform. It just starts and it ends. We need to ramp it up and then ramp it back down. And it's actually really easy to do. You're gonna go the offset. You can go over here to the beginning one. And we're going to go ahead and go temporal interpolation. And we're going to ease this. N are my bad. I always forget this. We're going to ease it out. And what that's gonna do is it's going to start the velocity low, and it's gonna go higher and higher and higher up until the last point. Well, we'll do the exact opposite on the other side. Drop this down and we're going to take the last one and I believe this is crack. We're going to ease it in, yes. And so we start the velocity high and then the velocity comes down low. So now let's take a look. So there you have it. It goes fast and then slows down. So it, it starts off with just a one to two dun, dun, dun, dun, dun, dun, dun, dun, dun, dun, dun. Slows it back down. So now we've got our movement down with just a couple of clicks. I love the easy in, easy out is gotta remember which is which sometimes. So the last thing that we need to do is you just need to add a little bit of blur to this. And to do that, we need to think about how, what's, what blur is happening here? Well, the footage going top to bottom really fast. So which direction would the Blair go? Well, it would be a directional blur. It'd be a blur that goes top to bottom as well. So we need to go ahead and look for directional under Video Effects, blurring, sharpen directional blur. We're gonna go ahead and take that, drag it onto girl with car or Girl and car. We're gonna go to the very beginning of the keyframe here. Easiest way, instead of eyeballing it, it just used these little arrow keys, jump straight to it. The direction is fine. We're lucky in that the direction is starts top to bottom, so we're fine on that regard. So all we gotta do here is we got to take the floor length, start off at 0. Click this little keyframe to jump to that one and then bring it up to like I'd say anywhere from a 100 to a 125 is a good range. The previous one I had a 111. So I'm gonna just keep it there. And you're gonna see that because the new footage coming in, it's now clear. But you can see that we've it works pretty well. It looks like it's increasing over and over and over. And now we just got to recreate this, this field as well. So we're going to start it from here. We're gonna take the directional blur and we're going to drag it onto the first footage. Now we started the animation, the offsetting right here. And that's because we already having the beginning offset come through. So we don't want, we didn't want it to we didn't want it to keep this offsetting while it's coming down. But with the blur we need it through and through. So we're gonna start at rate at the transition point. And I hope you understood what I said there. Essentially, let us recap. We started the offset keyframes, right when the footage comes all the way down because we don't want it to offset and us to have our animation in there at the exact same time. We don't want these to keyframes overlap. However, we do want the blur the whole time. So we're going to start the blur at the very beginning. And we're just going to drag the directional blur and hopes we already did that. We're then going to take the blur length. I'm going to start out with.
66. 8-8 Sketch Transition: Our next transition is going to be a little more complex than that. We sum that we've done before, but it shouldn't be too difficult. All we're going to be doing, it's stacking and couple of videos. I'm going to be creating a sketch transition that's going to look a little something like this. So we go into the sketch, we changed the sketch to another sketch, and then we come back into color. So it's just a fun way of changing the footage. That's sort of what all transitions are as changing the footage in some way that matches the next footage and then undoing that change. So you can see right here, all we're doing is we're just changing it that were coming back rate like so then the color comes back in and our transition is complete. So let's go ahead and start this off by just grabbing the desert town, creating ourselves a new sequence with it. And then we wanna go ahead and drag this up to the fourth spot because we're gonna need two of these and then two of our next footage as well. We're then going to go down into desert or into the park and drag that into this spot right here. The way we want to do this is first off when you just find where we want to transition. So like let's say right around here, I'm going to cut the top part off. And then we'll move back and begin the effect, right? We'll start at the very end year and lows, they will move back like maybe 20 frames. So 1234, holding the Shift jump five at a time. We're then going to take the effect and we're going to go ahead and go into our effects. Here. We're going to look for Find Edges and we want to apply that to a duplicated layer. So we're gonna take this hold that alt key dragged down. Again. You can always control CV, just make sure that the V3 is selected when you do that so that it copies downwards. We're gonna take financials and drag it onto the bottom one. Then we're going to look for an effect called linear wipe. We've used this one in the past as well. Apply that to the top. We're gonna take the feather, make it up the 500. And then we're going to turn the toggle animation for linear wipe up. Now, all we gotta do is just move to the end of the clip here and just bring it up to 100. And we have our first part of the transition, which is just the WIP from color into what looks like a sketch. From here. We go ahead and we need to do our next transition. So right when this ends here, we want this bottom one to start transitioning as well. So we need to extend it just a tiny bit. Go up here and we need to just go in, drag another linear wiped the bottom layer. Do the exact same thing, feather 500. You can copy the effect from the previous one and move around keyframes that you want to do that. But this is, in my opinion, this is pretty quick because we know that interval it's 20, so 1234, drag it up to 100. Now we're going to have the transition to the bottom footage. So let's go to the start of this top footage here. This is where this TOP transition ends and the bottom one's gonna begin. Grab our first park instance and put it right here in the line. So and this one transitions that had something to transition till. Now, we gotta think We have no Find Edges, find edges. So we need the middle tend to be fine edges. And then the last one to be no finite is all we're doing here is we're going from top to bottom. No effect, effect, effect, no effect. That's sort of the pattern that we use here. We're gonna go ahead and take that. Look for the effect of find edges again. Drag and drop that on. And now you'll see that the transition starts to transition over these photos, these piece of footage or little different in their sizes. So I'm just going to scale this up to 115 so we don't have that black bar on the edge. So we transitioned over to the park. And then right when this one ends. Right about which to me to make sure right about there, were to go ahead and take this duplicated downwards, remove the Find Edges off of it. Look again for our linear wipe. Drag it onto this spot. Feather 500, transition animation of 1234 holding shifts. So we're gone up 20 frames, not five frames, 100%. And our effect is complete right here. So now we have the undoing of it as well. So to recap, like I said, it's sort of a simple start to finish procedure. And if you want to clean your footage up, you can actually, once this transition is done, you no longer need this top footage. So you can delete that out of there. And then it just this one down here. And if you wanted to clean this up as well, I cut it off somewhere right before. We don't need both of them. And so now we just have basically the two that are in the transition mode. And then it cuts back to the original. So we're going with like a one to two or a transition here. But overall, all you're doing is you're just applying the same pattern that we've been doing this whole time and that is no effect. Effect. The same effect. No effect. Essentially taking footage that has nothing on it. We're applying some sort of effect to it. We're copying and pasting that to our next footage so that they match in some way. And that's going to be because they're sketched. So when they transition, they have the same general feel with them. And then we're just going to be coming back again to the no effect once again. And that creates the overall transition. Now, if you'll notice, you see everything's kind of slow to render here we have that red bar again. So if you wanna watch this back after you create it, remember you just gotta click that anarchy and start the process so you can view it yourself. But the effect is there and it's complete. And that is how you create a sketch transition.
67. 8-9 Create Your Own Transition Part 1: So I'm Premier Pro. We can actually, through a use of a couple of effects, we can actually create our own transitions that we can use later on. So right now I have this sort of dinky little one where an arrow comes by and then it wipes up. And that's just to show you that we can really do anything that we want here. The way that we're gonna be doing this is in two parts. The first is to create the actual transition. The second is going to be too actually add it in so that it works as a transition. If you see over here, we're just doing this sort of basically just white to black transition here. And the reason for this is that we're going to be using mats and things like that later on. So essentially, the black is going to be our top video and the white is going to be what we're showing beneath. And so we can create some pretty cool stuff with this. So let's go ahead and get started on this. All you need to do to begin is just really just open up Premiere Pro. Go ahead and click the File, New and then sequence. And we're going to look to create a ten ADP footage here. The problem with these HDTVs is if you go over and actually look at them, you'll see that there are 1440 by 1080. We don't want that's a weird sort of frame size. So we need to either create our own or look in a different spot for it. Reds has a good set for these. So I'm gonna go maybe let's go with the 29.971 and awaken credit like that again, if you want to create your own, you can also go sequence settings and manipulate everything from in here 29, you can set the frame size, stuff like that. I'm going to click okay. So what we need to do with this is we need to then transition the White from it. So let's go ahead and just create a simple sort of transition to do this. We're going to be, I would say, bring this out to maybe like 25%, opened this up a little because we're gonna be doing some drawing and some animation here, maybe 50%. Yeah. And then what we're gonna do is we're gonna take the rectangle tool and we're just going to draw some things. So in this situation, I'm just going to draw a single, Let's go rectangle like that. We need to change its fill to make it white. And then we're just going to animate this rectangle. So we're going to take it and we're going to move it up to the top here. Whoops, wrong directions. So we're gonna move it out of the cliff right to here. And then we're just going to take its position. And we're going to animate it downwards. Now, if I do it right here to graphics layer, it's going to be beneficial because later on I can move it. So we don't want to do the position on the video itself. We want to do the actual motion on the vector motion part of this, and that's going to be under the graphics bear. So essentially we are doing it to the shape itself, not to the entire video. That's important step here. Where to move forward, let's say five frames. And we're going to drag this down right there. I'm just trying to get it nice lined up. And there we go. So then what we're gonna do next is we're going to zoom this way and down here. When it creates sequence, that it creates some really, really big sometimes. So we're gonna assume this way. And then right about here, we're going to duplicate this upwards, drag out another one, and then just move it to the right. So we're gonna take this, we're going to move it over to the right a little bit. You can see the red lines up there. Just try to get those may be a little overlap. And now what we've created is a second transition coming down. Now, the problem that Why is this not working out properly? Because I made the rookie mistake of i moved the wrong position. What we're gonna do is we're going to move this one, the bottom one that isn't actually animated. If we do that, then when this thing moves over, it'll come straight down, just adjusted a little bit more to the left here. And then we'll do the exact same thing. So rate here, hold the ALT key, duplicate drag over. We can scroll up here. Click on it, we can see the red bars. Drag it on over, make sure there's a little bit of overlap go in. And we repeat this process, looks like two to three more times. And you can see that it actually gets kinda quick once you know what you're doing here. And this is the animation process. Now, you'll see that the bottom line disappeared. We, we want to make these as long as the clips so that we don't have things disappearing. Go like this. Take this pz, z, duplicate, drag up, drag over, move over. And you can also do it this way where you drag it over and then move it forward. That can help you line it up a little bit better. And so we just have one more to go. Alt. Drag over. Make sure these are all the same distance. And then just bring that last one out. It doesn't really matter if there's a big overlap here because it's just covering the last bit of the screen. So now what we've done, It was just created this sort of transition, this sort of it's almost like, I don't know, a rolling blocked transition. And so what we have now is we have a black to white transition. With this. We can then take it and actually apply it to flooding. And that's going to be the next part of the video.
68. 8-10 Create Your Own Transition Part 2: So we have our transition. So let's go ahead and actually apply it to something. So if we go here, we're going to import snow and stars. So right-click important finders, known stars. I'm gonna go ahead and drag the stars clip in. And we're going to then take it. And we're gonna zoom in a little bit and let's reset this to fit so we can see it fully. Now, what we're gonna do is with this stars footage, we're going to take it and move it to the very top. We're going to take this no footage, put it on the bottom. I'm going to delete the audio, hold Alt to click on that, delete the audio. Then right here is where I want the transition to start. We're gonna go down. We're gonna find our sequence and we should name these. It's sequenced three, but we should name it like, you know, whatever the bar transition like. So we're gonna take that and want to drag it in. And then essentially we're not gonna see anything right at the beginning. That's because we actually have to tell it that this is a transition, or at least to look at the black and whites. So we're gonna go to in our facts and look for set Matt, take that, apply it to the top video. Track man it or take Matt from video to that's where I'm at is. And so now what we get, we got as sort of the effect is a little backwards. And you can see those a little bit of a line missing right here. And we're going to fix that here in a second too, but it's a little backwards. So now what we're gonna do is we're going to take this or a base it off illuminance and we're going to invert it. Then we're going to hide layer V2. So couple steps there were setting the map to the video till we're inverting the mat. So black and white, the reason we do black and white instead of white and black is because black is a natural background. It's easier for us that did like set a white man as the background and then animate everything in black. It has a little quicker to just click this button instead. We're using luminous. That means it's looking for the values, the black and white values. And then because the white is showing through, we just say, this is not actually a piece of footage. This is basically data to have its data for our effect to look at. So we don't need to show it at all. It's, the effect is already there. So now what we have is we have the transition happening from left to right. Now you can see there is a little bit of bars. The bars are messed here. We can go in there, we can edit the sequence, or we could just take this and just apply a scale of like 101. And it should zoom in and just enough to fix it. If not, we'll apply a little tiny one, maybe 110. Or in this situation it might actually be 101, but yeah, it needs to be applied to the top layer because they're slightly different layers here. Anyway. That's just a tiny little fix here. Sometimes you have a little, some of those bugs. But anyway, we've created our own transition now to play it back, you'll see that we have this rolling transition and this is just a single transition that we created. We can do thousands of things with this. Now the important thing here also is we want to be able to use this whenever we want, we want to, we've created this bar transition and we don't want to have to import a sequence every time we want to use this in all of our productions. So what we can do is we could actually go into this sequence itself, go to the very end. So like right where the sequence finishes right about there. Click o on your keyboard. And then if you go up to file, create or export media, essentially what this is going to do is this is where you import things. You actually export, export things for production. But you could also just export this clip, this white to black clip. If you export it out as a video, a regular video, you can import it into anything you want. And you can use it as a transition by setting the mat with it. So from just this, we'll just create as an mp4, we create as HD. We just click the Export button and now we have a bar transition. We have a whole folder on our desktops of hundreds of transitions we've created and drag and drop them in whenever we want to use them. So that is how you create and use your transitions in Premier Pro.
69. 9-1 Audio Techniques Introduction: You can't have video if you don't have audio. So that's all gonna be going over in this section, is learning some effects that we can do the audio to both enhance it and to change it up a bit to really create some better sounding and better world creating audio. So let's go ahead and jump right in to audio.
70. 9-2 Automatically Ducking: So to start off audio, Let's go over how to automatically dock are audio. This is a very basic feature, but something that will save you tons of time and it's actually relatively new in Premier Pro. So ducking is when you take the audio and you duck it for some other audio. This is helpful, for example, when you have a voiceover and your music in the background, you'll notice that when people don't do this to actually blend together and you can't hear really either one. The music intercepts the voice, the voice intercepts the music, and it just becomes a garbled mess. And people don't want to listen to that. Bad audio is the quickest way to drive people away from videos. So we can either manually duck our audio. And that's, you know, we could do that. That takes some time. Every editing software has the ability to manually do it. But what we wanna do is we want to have do it for us. And that is we're going to be going over today and it's not hard at all. So first off, let's start off by importing three things. The voice, which is just gonna be a video or a voice recording of me. Then you have music, which is just the music we used earlier in the course, and then Beach. So go ahead, right-click. Import. Those three voice will be down there. I need to export it out of this clip so you guys have it. But all three of those will be in their import them all and then get ready. We're going to take all those and we're going to put them in into our footage. And I would show you it beforehand, but I'll show it to you afterwards because it's just a school. So we're gonna take the beach footage, we're gonna drag that in. We're gonna keep the existing settings or change it doesn't matter, just drag it in and create yourself a sequence with it. We're then going to take the music And put that under it. Now, this is a pretty loud clip. So be careful when you start playing it. If you want to reduce it, you can click G or you can right-click and go to Audio gain. And right here adjust gain by, you can set that down. I'd set it to like maybe a minus nine. That'll quiet it up a bit. And now that's sort of a good volume to keep that. Otherwise it's just going to be as loud as, as basically a volume can be. So bring that down just a touch overall. Then we're gonna bring the voice in. And let's go ahead and down here, we have these couple of buttons here. Mute, mute says tracks, and I watch only play this back. We are doing a test recording. So I have muted this and then it has played that that wasn't nice speaking. That was the voice down here speaking. So we can mute it or we can solo it. So soloing it means that I only want this track to play right now. So watch. The voice does not play down here. And you'll see that what these things are is they're just the audio. So every time there's a little bit of something here, that means there's audio in their music. A lot of times looks choppy like this because it's a B, it's dun, dun, dun, dun, dun, dun, dun, dun over m. So that's what audio music will typically look like. And you can see this has been a mastered clip because the top is all cut down. So that means that it's been really condensed and pushed into a certain wave format. And the voice here, as it's very organic and natural, hasn't been processed too much. So that's just a quick view of this stuff down here. Mute, button mutes attract solo. You only hear that track. This button over here as voiceover recording. That's how I actually created this. You can click this button and you actually just record. You can see as about their board. And it'll play back and it'll actually generate a voice recording for you. But anyway, how do we duck it? Well, we've been using the essential graphics panel this whole time in the graphics, Well, there's actually an essential sound panel area if you go to the audio. And of course, you can always get to any of the panels by opening this up and then finding it in here. The essential sound panel is right there. You can open it up on the side. So for example, if we like this workflow and we didn't really want to go in that whole audio flow, its change in how we work. Well, we just got a window and then we go to essential sound, turn that on and right there. And now we actually have the ability to use it. I'm actually gonna do that because I typically work in, in this sort of setup. So to keep things consistent, I'm just going to open up a new panel instead of changing the entire workspace. What want to do is we want to just tell Premiere Pro what each is. It's not smart enough to figure out what's dialogue with music, with sound effects. So what we can do is all we gotta do is just classify. So we click on this right here, and we just say, well, this is dialogue and we actually have a lot of stuff in here. We can adjust width and we'll go over that in another tutorial is all this stuff in here. The next one we can go, we click on music and when will we just say that's music? Now here's where it's very powerful and at the exact same time, just really simple. Ducking right here is ducking. And what are we going to say? We want to say that we're going to duck this audio against the dialogue. So that means that the dialogue is going to have priority. And we went to duck this so that we can hear the priority. We're taking audio, we're ducking it down under the dialogue and bringing it back up when there's no dialogue. We can, of course adjust the sensitivity, the amount, like how much do we want to reduce it when the ducking happens? And what's the fade time? Do we want it to go quick and fast or do we want it to be sort of like a slow, gradual decline up and down. So if we click the generate key right here, you got to hit this for it to actually work. The checkmark doesn't do it. That the key right here is what does it? Click it, and you'll see that we've actually created some of these keyframes. So let's take a listen. We are doing a test recording. Now we're doing another test reporting. And finally we are doing a test recording. And so there we have it. We have all of those recorded. And you can hear the music go up and then the music come right back down. So now what we wanna do is we want to go ahead and modify this, just love it so we understand what these are about. So you get here, go down and come back up. Well, what if we made this really, really short, like 50 milliseconds? And we said we wanted to duck it. Extreme amounts. Well, we had the generate keyframes and you're gonna see it adjust things is almost barred now and now I'll take a listen. We are doing a test recording. It almost kills the music. Now we are doing another test recording. And finally we are doing a third test recording. And you can see whenever we manipulate some things like the fade, because it's so short, it actually starts grabbing tinier pieces. This tiny lol rate here is now not a part of the big law. It actually thinks it's a new thing because it can fade in and out before it goes away. So there's some side effects that you have to play around with. But overall, it's very simple. There are only three sliders. You kind of sliding around, you adjust how you want and you can get your footage to automatically dock. And it makes it sound so much more professional. And basically it just helps the listener so much because like I said, if you have bad audio, you have bad video. So this is a perfect introduction to the audio part of Adobe Premier Pro. We're gonna keep moving through and going over all of the cool things that Premier has to help with audio and to help make your video the best possible. It can be with audio.
71. 9-3 Create a Machine Gun Sound Effect: So let's talk about an, another effect and this is going to be called pitch shifting. So why would we use the PITCHSHIFT or I mean, we could take our voice and for example, we could import the voice down here, the same voice that we used for the last one. And we can apply the pitch shift or to it. And we can have some funny effects from that. If we went into our affects, pitch shift their applied here. You go to the individual parameters up here, transpose rate and you bring it up a little bit. And then we'll solo this so we just hear it. I drink attached to their client. Now you've created this fun alien voice. So that's, you know, that's something quick and fun that you could do a nice little gimmick. Or if you're trying to do some manipulation, you want a deeper voice just by a little bit, then we are doing a test recording really quick and easy to do. However, there's a practical use for this as well. And the practical use comes from something important here. And that is the fact that repeated sounds are never the same. So for example, in this tutorial, I've, I've named it sort of like how to create a machine gun effect without the effect going, you have this sort of sound. And it's just sort of, you know, it's dead. It doesn't sound good at all. So that is not what we wanted to create. However, all we gotta do is a little pit shifting. I've already added the pitch shifts here, so I just got to do the checkboxes. Now let's take a listen. You can see it sounds a little more organic. It sounds like think of a big machine gun on like a World War II battleship or something. This sounds like it could be a cannon format. And the pacing, nothing has changed except the pitch has shifted. This, this works for really anything. If you have, for example, a sword fight and you only have three sounds for swords, if you pitch shift them all, you suddenly have tons of sounds for swords, pitch shifting is really, really important and it's really quick to accomplish on Premiere Pro. Now I'm not gonna go through the whole tutorial of putting all these out here because that takes a little bit of time. So just go ahead and import the gunshot sound, put it on your timeline and they just keep copying and pasting it and create some sort of interval between them. You can be precise. Eyeballed this. But for example, let's go ahead and just solo a single and so we want to keep listening to it. Let's say for example, we want to do every five seconds. So you can see they're mostly or actually except for that one. They're all on at 5 second intervals. So we'll put them all into 5 second intervals. So just place them all down and then play them back and you'll hear that bad audio. Then go to your facts, look for PITCHSHIFT are under time and pitch. This one, it's not the obsolete audio effect, it's the new one right here. Once you add it on, Go into your effects. Go to the pitch shifting. This is for advanced pitch shifting. We don't need that for what we're doing good on an individual parameters. And you need to drop this arrow down to get this slider and then just slide them at random. Slide one up, one down, the next one down as well. Up, up, down. It doesn't really matter how you do it as long as there's no like some discernible pattern where like every third one you go up in every second one you go down, then it starts sounding robotic again. You wanted to sound organic. So just move it around. If it doesn't sound good, go back and move it around again and it's that simple. But once you're done with it, I mean, we could even, we can change the entire sound by just going through to each one of these and manipulating them to sort of create some, some fun things. You probably don't wanna go greater than 1.4 there. You probably wanna go greater than 0.2 on either direction. So 0.8 to 1.2. But let us have a little fun with it and see what we can create. And so I just quickly manipulated there. Let's take a listen. Sounds a little bit more intense with that one. But overall, pitch shifting is really, really simple to do. And it's really, really important if you want to read or you want to use the same sound effect over and over, or you want your sound library to expand a little bit and you want to create some organic sounds.
72. 9-4 Create a Cave: So let's go over a couple of different effects put together so that we can create this Cave sound. So essentially we're gonna be creating something that sounds like this right here. Originally, the audio sounds like this. Over all. You can hear that that doesn't sound realistic at all. It sounds like it sounds like you added this artifact in yourself. It doesn't sound like it, it fits the environment and therefore, no one will believe it, but with just a little bit of effort we can create. And so that's all gonna be doing today. We're going to be creating a cave sound effect. So first off, I'm just gonna go ahead and exit out of that composition and we're gonna create ourselves a new composition. Go and import footsteps and walking. Those are the two that we're gonna be using for this today. Footsteps is going to be the sound and then walking of course, is the video. So a drag and drop that in. And then now you can see that it's this very slow motion walking out thing. I just right-click on that. Go to speed durations are right-click speed duration and then just click up here in the speed got about 200%. That's, it's going to bring it back to normal speed. And now it's just a guy walking out of a cave and we want to go to a right about here. That's where the effect, that's where we want to stop it. So we're gonna go ahead and click the button right here. And the reason we're doing this, we're clicking the outright here, is now we can actually go up into our buttons here. And if you don't see this button, you can click the plus and they're all in here and you can drag and drop them in. But we're going to click on the loop playback. This way we can hit the play button and you'll see it's gonna hit the end and then loop and start over. That's really good for sound effects because sound effects that require a lot of tiny manipulation. Visually, you can see things quick. You can pause the frame and you can look at it. And you can affect visuals. And it's easy. But with audio, you have to play it forward to hear what you did. You can't just sit in one spot and see what you're trying to do. But when you play it forward, suddenly you have to go and readjust this back to the beginning. So with a good loop, click the I button to create an endpoint and o button to create an output. You can loop anywhere. So I could loop, for example, this right here. And I can just keep going over and over and over and over all. It'll let me work it just a little bit better. So create your input and your output. Click on that loop button. And anytime we play this back, we can go head over it with this. This is an audio thing. So we do not want whatever audio comes with this. So I'm gonna go ahead and delete that off. To do that, I hold down the Alt key and click on that. You can also right-click on this and go to unlink, and then click on the bottom one and delete it like so. We're then going to go into our footsteps, drag that in and you're going to see that it is a little short. So short, we're going to extend it. We may have to add a couple of things, but overall, this is going to be the footage that we're using. If we click on the G key and we bring this all the way up, this minus 23.1 decibels means that the peak amplitude is at 23.1. If we go any higher than 23.1, adjusting plus 23.1, we're going to peak the audio and we're going to distort portions of it. Audio can only go so loud if you go any louder than that, you're actually going to create distortion. Imagine an explosion for example, there isn't any discernible things in an explosion HSA, loud wall of sound. And so at some point when you start adding gain to it, you're going to create a wall of sound and we don't wanna do that. Premiere Pro helps us by telling us what the peak amplitude is. So I'm gonna do that and it's now going to be at its maximum. So it looks like this. Now there's a little bit of distortion in the background there, so we can actually go and open up our essential sound panel here. We're gonna sound effects and we're going to want to create, well actually here it doesn't really have the effect that we'd like. If you go into a clear the audio type, when we go to something like dialogue, we can actually sort of increase the clarity rate here. And like if we did this and we can actually sort of increase the focus. And it'll take sort of that background sound out. So v here, it's now sort of a sound off, sound, off, sound off, sound off sort of thing. And that's going to be a little bit better for us, especially when we're reverb and we don't want all of that stuff to be reabsorbing. So yeah, just a little bit of an effect right there will go a long way. Now at the noise is reduced slightly. Lets go ahead and line up these foot falls. So the first one seems to fall pretty naturally. Now the second one, it comes to premature. So I'm just going to cut at the beginning and move it to where it should be right there. And then we're going to move to the next one, which is the and move that one up just a tiny bit. We're just looking for right when its foot starts touching loops. And then we're going to just grab the footage and then move it. So you can use I'm using to do this quickly. I'm using the C and the V on my keyboard. You can also just click over here, the Cut tool, the selection tool. Move it back right there. But step and then move right. There's another step. So when I move this, now this is a pretty quiet steps, so we can actually adjust that just a tiny bit. Maybe add more gain to this, try to bring out the sound with it. Yeah, and right now it sounds pretty bad, but we're going to see what it sounds like, what reverb and evidence and sound good will just splice one of these other guys on their step right there. Cut, grab, move. And our final step, that's what's technically doesn't need to be echoey because it's going outside. So unlike our real production, you probably don't want it to echo. I'm gonna go ahead and make it echo. So right there I think is where we want to put it. Okay, now we have all this whitespace and if you here you can actually hear it when it disappears. We did a pretty good job of eliminating that background noise, but we just want to go ahead and fill it in a little bit. So I'm gonna grab some of these and fill them in. Actually, this might be a better spot to do it. Grab here. And now I can hold the ALT key. One more. Hold the alt key and drag it over. We can expand it out just a tiny bit. It does have another footstep there. So I may want to extend it backwards. And then since you see there's a tiny bit of sound there, we may just want to cut this one in half. And then like duplicated that way. All we're doing is filling in the blanks here so that there is no point where there isn't any sound coming from this and we want to keep it consistent so we're using the sound from here to fill in all the gaps so that the SAT, that if there is a background sound, it's going to be the same background sound throughout snouts like. So. We have actually kind of created a little bit of a problem here. So I'm going to click on all of these and click G and reduce the sound on them. And if it's too much, we could just delete them and work without the sound. Let's see if that's better. This is sort of like the sound, like what you have to do when you're working with sound is see what the best thing to do is. Overall. I'm thinking, Yeah, I'm thinking that it's best if we yeah, I'm thinking of is best if we don't fill in those sound gaps. So depending on how you manipulate the footage that beginning in the other one, I didn't actually mute the audio. I didn't cleaned it up. Therefore, I needed to fill it out. Otherwise, it would sound like there's this like SHE sort of sound and then it would disappear and come back on. But if you cleaned up properly, then you don't need to do it. Anyway. Let's go to our next step, which is actually to add the echo. And then here is where we can actually start really editing our Footage. Now, we have cut this footage all up. If we tried to add a effect to just a single clip, that's not going to work. So what we wanna do is we wanna go ahead and take this end. We went to apply it to the entire layer. And there's actually a way to do that. It's pretty easy. What we need to do is we need to open up the audio track mixer. So if you go into a window and we go down to Audio Track mixer, we want to open it up on walking. We then want to go into the different clips here, and you can see if we scroll down audio one is assigned to A1, audio to a2, audio three is a three. Well, we want audio one. That's where our footage is currently at or the music I or I guess a here and the sound effects are currently at. We went to then apply an effect and this might be hidden like this. We want to take this and drop it down on the left to bring it out. Then go up here. We've got a reverb surround reverb. Click on it. Now you see that the effect doesn't come up. Well, to bring it up, all you have to do is double-click. Whereas it double-click this one up here. So double-click where you actually put it. And now we have the reverb. So let's go ahead and critter out point. And let's play this back. Overall, it's sounding pretty good. We can take the gain and bring it up a little bit. Over here is a post-processed gain. Here is a pre processed game. So when I click G right here, this is gonna do it before hand. Now a lot of times the audio will actually come out basically silent if you do it beforehand and you don't do anything afterwards. So what you need to do is bring this up to the max peak that it can go to. Don't go over because you're going to start the audio and they're gonna apply gain to the distorted audio so you don't want to distort it, you just want to bring it up as much as you can naturally here. And then if you still can't hear, then you bring up the gain on the right inside of the reverb. Now we have the ability to edit this. So cathedral, it sort of works for us. I it was finding on a full-size auditorium was working a little bit better. I feel like that just fits a little bit more. And I'm gonna bring the room size down to touch. And that's gonna make it a little less reverb. And there we go. So that overall I think fits pretty well. They're all of these different effects that you can go through and you can manipulate this any way you want. But it's a pretty advanced effect and a lot of the stuff you'd never actually touch. However, go through all of these, move them around, move all the rooms stuff around, and just start having some fun with the different sounds like a large tank would sound. Of course. This has like a really deep bass sound to it. Where, you know, I was at a the cylinder, the metallic cylinders and have a high clinging or No, no, it's going to have a really low reverberation sound. So if you, if this was a metal cord or something like that, you'd want to use something like this. Overall though, that is how you add reverb. You clean up your footage, and also how you apply an effect to the entire clip itself so that you can do stuff like this and not have to do it to every single layer. Overall, this is probably an effect that's about 40 to 50% complete. If we wanted to finish out the audio here, we'd add some like outside noises, something in the background so that these little places rate here aren't completely noticeable. And then we'd add maybe some short wrestling and stuff. And it would be a perfect re-creation of this scene of the sound of the sea.
73. 9-5 Underwater Sound Effect: So another really fun effect that we can create is this underwater effect. To take a listen here, right there. So essentially we can take anything that we can make it sound like it goes underwater. And that fits really well for a lot of effects. Because if you're trying to create underwater effects, they need to sound like they're underwater otherwise. For example, if you fired a gun shot and I can actually import one of those n because we've actually had that in. If I fire a gun underwater, let's bring this down so I don't block ears out here. That doesn't sound realistic. However, if I apply this effect to it, then it might sound realistic. And we'll try that out when we do the effect itself. Anyway, let's begin. It's very central. Go ahead and import your gonna import underwater paddle surfer and scuba diver and then music and the Wiki. You can import gunshot off you and have a little bit of fun with it too. So I'm gonna go ahead and take the pedal board. Surfer one, bring that on over to here. And then we can see that it's just a silent film or a silent clip. And then they jump into the water. And that's the sort of key here is we can now estimate the effect in I then take underwater and I drag it on the backside over here. And then I just right-click unlink, remove the audio. And now we're good to go. We take our music, drag it in, bring it down a bit because it hasn't touched loud. So a little bit more, I'm clicking the G key right there to bring that up really quickly. There we go. Now, right here, right when the camera starts to go down, where to go to our facts and search for an effect called lowpass. It's an audio effects filtering, enqueue, low-pass, grab that, slide it onto your music clip, that's the bottom clip right here. Turn on that cutoff. And essentially gonna create animation. We're going to bring this all the way up. So all the way up is essentially saying don't cut any frequencies off. When we bring it down, we're gonna start cutting off the high frequencies. And that's because think about underwater. Underwater you can hear the bass and the deep tones, but the higher pitch stuff sort of dissipates out. And that's the effect that low-pass will create. So now we just need to go forward until they're fully underwater right about there and bring it down to something like 450. Play around with this number and see whatever you like the best. But this is going to add a really heavy underwater muffled. And just like that, we now have underwater audio. And of course it was a point where they come back up. We just reverse animate this click that keyframe button. So this, this is no effect transitions into the effects. And now we need to credit keyframe to say that we should still be in the effect up until this point. And then just transitioning out backup to that really high number. And it should begin back. Now. I said that we could probably do the exact same thing with There's gunshot and so let's drag and drop that in. Let's sit as a gunshot under water. Bring this down, affects low-pass. Drag it on for 50. And it sounds perfect. It sounds exactly like you're underwater and someone's shotgun or something. And so we could do with the other fact where we did that whole pitch change when it created a machine gun. Except now we can actually have fun and create an underwater machine gun. Anyway, that is how you create an underwater effect. Really, really simple, low-pass around 450 and you're pretty much good to go transition and then, and it'll make your footage or your clips sound infinitely better because they're going to be matched to the environment.
74. 10-1 Advanced Effects: If you've made it this far, congratulations, you're now on to the advanced affects. Advanced effects are a fantastic Fx because we'd be taking everything that we've learned. I'm going to be condensing it. We're gonna be combining it. We're gonna be weaving it together to create some really, really fun effects that people might not think that can be created in Premier Pro. Also, we're gonna be going over some 3D stuff. 3d is very fun because we live in a three-dimensional world solving, create three-dimensional effects. Everything feels and looks a whole lot better. So let's jump in to Advanced and 3D.
75. 10-2 Add Camera Shake: Let's go over how we can add camera shake to our footage. So essentially, this is a tripod shot here. So if we play this back, you see it's literally just on a tripod, maybe a tiny bit of movement, but overall it's on tripod shot. We're just looking at these beautiful waves and the mountain. But what if we wanted to add a little bit of camera shake to it? Now we could try to animate it ourselves. And essentially, that would be like grabbing things and like moving it the position over time, aftereffects Premier Pro, but after effects, the visual editing studio sort of one has stuff to do that you can actually add equations and formulas and stuff to make it do it naturally here though, you can't. So what we can do though, is we can actually trick premiere a little bit and make it add the camera shake for us, like so. And so this is some natural camera shake from another piece of footage that we basically copy and paste onto this footage. And you'll see that this is a little bit maybe unrealistic for this particular part. We can then substitute out for something that we feel is more realistic. Go out and record our own and then take that motion and put it on as well. Let's get started on this. It's not too difficult of an effect, but it is a little bit of something that you have to think a little bit harder on. Go ahead and import. We're gonna import beach, and then we also wanna import down here unit ten stock footage. We're gonna import camera shake to camera shake. One's a little jarring. I tried that one, so we're gonna do camera shake too. But if you want it for a little extra practice, go with camera shake one and give that a shot. So an import, both of these. We're going to take the beach one and create a sequence out of that. Were they gonna take cameras shake to or yeah, camera shake to put it over top and drop this down. You'll see the camera shake to is actually just a some footage. Let me go ahead and delete that off the back. And there is just some footage of some people walking. It looks like over a dune on a sunset. And so what we're gonna do is we're gonna take these and we're going to nest them together. So right-click highlight both of them. Right-click, go to nest. It's going to nest the sequence. You can give it a name if you like. Click OK, and it'll create a new sequence from it. Now why did we do this? This is now a singular piece of footage and this is how we trick Premier Pro weren't going to warp stabilizer. And we're going to drop that on to the footage here. And when we drop it onto the footage, can begin analyzing the background. Now what it's analyzing, its analyzing. If we go to nested sequence to it, open it up. It's analyzing the top view. It's analyzing all it can see, however, to do that, it's going to be taking, essentially we're gonna take this subspace wars and wanted to be a position scale and rotation. And then we wanted to stabilize crop and autoscale. And what that's gonna do is it's going to be basically zooming in, cropping a little bit, moving it around to get it to work. Well, what we can then do is go here and a hide this footage and then it'll apply all of that data to try to make this stable onto the second one, while the other one is already stable. So what it's going to end up doing is actually moving it. And you're going to see what this little technique right here, you can actually stabilize your footage. It's way more stable than it was. Looks like you're on a tripod or a I'm a dolly or a fake rag or something like that. However, now what we can do is we take this, we go back into our nested sequence and we hide the top layer. So we've taken that that footage, we actually applied it to the bottom layer and now we have a camera shake. And so depending on whatever foot as you use the camera shake will be different if you wanted to make it really fun sorta camera shake, or are really custom camera shake, just glad side with a camera and even an iPhone and work for this. It doesn't have to be high-quality as long as you're not doing something really jarring, just go out there and look at something and shake the camera around like you might naturally do, bring it in, do those exact same technique and you'll be applying that camera shake to a tripod shot. So if you want to do a two part thing and you wanted to get the motion really secured. You could record the scene with a tripod and then just go and take the camera off, record. The exact same area doesn't have to be seen again. Just shake the camera around a little bit, bring them both in and you can apply the camera shake onto your tripod, it's shot and create a beautiful looking camera shake in Premier Pro with really not too many effects. Now, a couple things. Do not move the footage around, or at least if you do, you may have to right-click this analyze button and you may have to turn this back on analyze. So it's analyzing what it sees. So if I click this Analyze button, it's going to reanalyze this rate here. We have to return this footage on, then go back and re-analyze to put the camera shake back on. So it's not a perfect bang yet to be a little careful on certain aspects. But overall, it's something that we can do in Premier Pro.
76. 10-3 RGB Glitch Effect: So let's go over a RGB split effect. This is a pretty fun effect to pull off and you get something kinda like this. And there's so much more you can do it this. You see the little RGB glitches coming in here. And like I said, there's so much more you can do once you learn this really simple technique about how to split out the colors, you can make a RGB Trail, which I'll also show you. You can make these more intense. You can add other effects onto it. A lot of fun with this. So let's get started. First thing you wanna do is go ahead and import field, field are very important. Are it's, it's in the stock footage. It's a really cool and because it's on a tripod and it also has someone moving so we could do the things like trails and things like that. And it looks like only the person that's moving has the trail. We're going to take that and drag it in, drag it out and create yourself a sequence with it. You know, you can drag it in here like you've always done. Now, we need to duplicate this twice. So you can either hit Control CV and make sure that you activate, deactivate these over here, or hold the alt key and drag up twice. Once you have all three, you're going to go over into LU Mettrie color. I'm on the color workspace for this so that it just opens up in the right side. You know, you'd go to your window and bring it up. You can go to your effects and bring it in any way you want to get to it, go to the air, go down to curves, go into our red. And we went to RGB curves here we want to take the red and we're gonna take this, we're going to drop it to 0, go to the green, Take this and drop it to 0. Now we have the top layer is blue, so we can hide that so you can see the next layer. So we're just gonna move one over. So we're gonna start at the green, dropping down to 0, go to the blue, drop it down to 0, then go one more down. And we're just going to move over. So go to the blue, drop it down and we're only touching colors here, not brightness. So we go to the red and we drop it down. What do we do? Well now we have created a green video, a red video, and a blue video. To recombine them, we click on each one of them. We go to the blend mode and we go to screen just like so. And now it looks like the original footage, but we have done something very important. We have separated the colors and rate here. You don't, you can't really see the colors operation. So I actually like to do is I like to bring these back to normal. And I like just rename them based off what they are. So this is blue field, this one is red field, and then this one is green field. And therefore, now we can actually tell the colors of what we're working with here. So our top layers, the blue layer, then we have the red layer and then the green layer on the bottom to create any of the glitch effects. Well, let's just go off with the simplest effect is it's already really created. If we take this and we move it for like let's say three frames, and we take this one, I move this one forward, six frames, that'll make F3 frame lag on each side. Then we start here. You'll notice that there is a slight trail happening right there, like, especially with our movements, things like that. And that is because every single part of colors coming in at a different point. Now, if we took this and instead, we made this a little more extreme, let's go 16 on this, which means we'll probably gonna go like we're actually just go 1 second on this one. We will do it this way. We can just type it in to get a exact rate here. So that'll be 1 second. And then we'll take this one and we'll set it up to two seconds and start here. And now you can see there's a very strong belay and even the camera's moving a little bit. What you can see, the mountains are slightly RG being. But yeah, so that's out of creative trails. All you gotta do is have them lag behind a little bit to create any sort of glitch effect. What you need to do is you just need to go in and create some animations. So in here what we can do is we can go into the bottom one, will just go up here, go to our position started keyframe on it. Go 12x over than just like move these values is a tiny bit like a little bit to the left, a little bit to the top, and then move 123 and then just click this default parameter and it comes back. You could combine it with another one. So maybe in the middle that you want the blue to start glitching to. So we click the blue, go to position, drag it maybe the opposite direction and a little bit up or something like that. Go 123, default back. And make sure that before you do this, you have a default layer as well. So now we have that sort of quick little burst of RGB split, which is good if you had like a little sound effect to that, like Technical sound effect. Whenever this happens, you can have it happening over the footage. You know, flash into black and white for a second afterwards. Come back. There's, there's so many different ideas that you can do with the RGB slit. Another way you can do it is instead of hand animating, if you just want the split through out, you can actually look for an effect called pasteurized time and drag and drop that onto each footage or each piece here. And now what patch rise time is gonna do is it's going to take, our theta is going to drop it. So it's going to essentially create whatever frame rate we want. Well, we can do something fun here. If we take this in, for example, go to, let's say we want this one at the top when it 20, the bottom will keep playing at 24 and we'll keep this will take this one and we'll bring it to, let's say 16. No, it will not. 2016. Now with what's going to happen is we're gonna get this sort of Jarred effect from all of them, which is going to create the effect all over the place. Now, you'll see that this is not playing back. This is a decently complex thing to do, I guess. So we will just be on the other side of this. Okay, so we're back and you'll notice that this actually didn't do a whole bunch. We have a little bit at the beginning and you see it's a little jittery. And then right there on the hand movement, you actually get these kind of fun differences in the hand movement. It looks like it's glitching just a little bit. So on a tripod shot is going to be a very subtle effect on a moving shot where you have some handheld motion does is actually gonna be more of an extreme effect. So it's just a different way that we can use these three layers together. Overall though the effect is splitting them apart, split them apart, put them into their own color fields. And you have sort of the world open to you with RGB affects, to work with.
77. 10-4 Tilt Shift Effect: So we can also sort of recreate a tilt shift effect in Premier Pro. Now, the thing with this effect is not gonna get you out 100% tilt shift lookup. Some videos that the term is tilt shift, look that up on YouTube. And there are some amazing videos if you do this right, where you actually, there is a technique where you can attach a lens. We actually buy an axial tilt shift or lens or an attachment. But essentially what it does, it makes the entire clip look like. It's a whole bunch of little miniatures, like you actually built a miniature world and then animated the miniatures on it. It's really, really neat effect. But if we need a quick effect, that sort of looks like that we're trying to go for some stylized, we can try to recreate that in Premier Pro and it comes out decently good right here. But again, if you looked fine, it's not 100% the effect. But I like I said, it's something that, you know, you can get started with and you can try to recreate if you didn't film it for tilt shift. Let's get started on this effect. It is not too difficult. There is a couple different little nuances though that make it work. So go ahead and import cars. Cars will be this one right here. Import that and create yourself a sequence based off of it. And you'll see that we have just a very normal shot of some time-lapse of some cars going. The first thing I'm gonna do is we're gonna create these sort of blur that these tilt shifts usually have to do that and go into your facts, look for camera blur, drag and drop that onto cars. Bring it down to maybe around 6%. Click this little circle button to create ellipse mask on the left side, right there. Now we're gonna take each edge and drag it to the very edge of the footage. Like so. We're then going to go over here, camera blur mask, and we're going to click inverted. That's good. It's gonna make the outside blurry Guinean side visible. We're going to take this near the center right about there. Now, what we're gonna do is when I imagine this is like a circle and a 3D plane, and we're going to try to align it with the ground. So you'll see what I mean. Now it's like I'm lowering a onto the ground as we're going to lower this down. And this sort of looks like it's at laying on a hoop rate like so it looks like it's actually in the correct place. So we're gonna move it up and then I'd make adjustments. We want a little on the bottom level, on the top. So right about there is what I think looks pretty good for this effect. Now we're gonna take the feather and we're just going to feather it up to maybe about 250, maybe a little more, depending on how gradually you want it to be. And with this, we have sort of created the essence of the effect. It looks like that as things come into view that, that they're sort of, it's a tilt shift happening. And the next thing we're gonna do is when a really bump up that saturation, most of the effects, they always have a saturation pop to them that make them look a little unrealistic and miniature ish. So we can add that as well. And right now we're looking pretty good. Yeah, it's kinda coming out pretty good. The final touch I like to do though, is I like to take it and squish it just a little bit. And this, I feel like does what the light sort of does in the real world when it comes in, it tilt shifts that actually moves the lighting around a little bit. So what we can do is we go to our scale and we're just gonna take this, delete the keyframe. Now we're going to take this and we're gonna uncheck, uncheck uniform scale. We're then going to take the height and just drop it down by a little bit like down to like maybe 90. And you'll see what we get black bars here. So to fix that, we right-click nest. Okay? And then we're just gonna take the footage and zoom it in all the way back up to fill those black bars in. So essentially what we've done is we've just squished it down a little bit and then zoomed into the switch a little bit. So this takes it, edit it. Like I said, it just makes the distortions or the angles of everything off just a little bit. And it helps sell the effect like these are little miniatures instead of real life things. Anyway, that is how you create the tilt shift in Premier Pro. Like I said, it's not 100% the effect that you get with the camera, but it is a way to recreate it and it is a way to sort of try to simulate the outside world. So it's a good learning opportunity as well.
78. 10-5 2D Image into 3D : One of my favorite things to do in Premier Pro is that take a 2D image and make it into a 3D image. So what we're gonna be doing is creating something essentially like this right here. As you can see, the image is moving in the background. We've, we've created different layers. We've added this lens flare here, and it looks like it's sort of a 3D shot. It adds some energy to the picture and it makes for a lot more interesting slide shows what you can do, stuff like this. So that is what we're gonna be doing with this tutorial. Now, with the picture a little disclaimer. You want a picture with a strong foreground, something that is very front and center as a subject, someone sitting somewhere or a and something that's distant from the front to the back, like maybe a building here and then there's a city behind it. Those work really well for this effect. Let's get started. First thing you need to do is import Woods from your stock footage. It's the photo right here. We don't want to create an or willing to click plus and drag it over. That's going to create ourselves a sequence. But pictures usually come out weird with cmos sensors and the sensors they use, they use a cannot squarish. So if we do that, we'll be creating a square piece of footage and that's not something we wanna do. We wanna go to File and then down to new, and then we're gonna create a new sequence. I am creating myself just a ten ADP sequence at 29 frames per second. Click OK on that. And then now we are ready to go right here. We're then going to take the woods and drag it in and you're going to see it's going to auto fit, but like I said, it's a square. So now what we're gonna do is we're gonna go ahead and take this. And we would just want to zoom in in a touch. I'm gonna bring it up to maybe like 35 or 35, right? Like so or maybe even a little more to give some wiggle room on the edges. And then we can adjust this down to better Center out the footage, maybe somewhere closer like 43, and we're looking good right there. Now. The next thing we wanna do is we need to actually duplicate this up. And what we're gonna do here is we're going to cut out the footage. We're going to cut out the person right here. To do that, we go into our opacity. So we click on the footage. Effect controls opacity. And you see right here, there's the free Bessie air drawl tool. Were to click on that and we're now able to outline. Now Premier Pro has this weird thing where for some reason this rotate box is really large. Like if I wanted to try to create something around our shoe, all it wants to do is rotate the mask. So because of that, I can't sit here and do it from out here. I can't make the thing so I have to actually zoom in. So we're gonna go into about maybe 200%, maybe a little less, maybe 150. Click and see there's our first dot. Maybe want to move that right there. And now we're gonna do is just go around the entire clip here. The more precise and the more time you spend on this, the better it's going to come out. And be careful. Like I said, that's rotate box. It's a very not used use case, but for some reason they made it such a big hit box on there. So you need to zoom in if you want to get really, really precise. So we just need to do this whole thing. This is a little bit of a tedious process utilized only to be here while I do it. So essentially I'm just going to outline this. We're going to fast forward it and I'll see you on the other side. Already we have created our, our mask, the finish. All of your Mattias click on the box that started it. So right when I click on it, it finished out the mass right there. And now when we zoom this out, to do that, just go back to fit. If we turn off this bottom image, you're going to see we now have the foreground image. And if we click on this, we can feather this just a little bit, maybe around like 20 something percent. Turn on the bottom layer and you'll see that it looks completely natural. So the top layer is our foreground now and the background is now the bottom layer. You can see this working by if we click right here in the middle. So we activate this one good OR text tool and type some text. We then take that art. Sometimes it creates a where we don't want to, but we drag it in-between the footage. You're gonna see that now this text goes behind the person. And so now we've created ourselves a little bit of a 3D space. We then want to take that space and we want to begin animating the background. So if we go into our FX and we look for a effect called basic 3D, we click and drag that on the bottom layer. We can swivel this. Now, for some reason, Premiere Pro has this bug where if you start the swivel, it actually brings in black bars. I'm not entirely sure why it does this, but it does this. So what we can do is instead of zooming this bottom footage in, here, we're gonna take the bottom footage and go back to the original which read around 29. You're gonna see it's gonna create a little funky pattern here, and that's OK. We're then going to right-click on this. I'm gonna go to nest. Okay. We're then going to take this and scale it back up so that it matches. Now, before we scale it up, we wanna go ahead and copy whatever these wire which is 960 by 300. I'm going a little fast here, but essentially what we're doing is let me, let me slow this down. So what we understand completely, if we add the bevel or the basic 3D and we try to swivel from here, we get black bars, so we can't do that. So I'm gonna go ahead and delete basic 3D off this, revert the scale here. And now what we have is the original footage just moved up. We can move the footage back down or we can keep it like this. I am actually going to take everything and revert this whole bottom footage. I'm going to right-click on it and then go to nest. With Nest, we now are able to create another sequence with it. So it's going to send it to another sequence. We're then going to take that sequence and we're going to scale it up like so. And we want to fit this. So to do that, we need to bring this backup to what the original was, which was right around 300 or I think it was exactly 300. And I actually kinda nailed the scale right there perfectly, but you want to scale it up until it fits perfectly right into. You can see that it lines up. That's too far. Right there. It fits. And now what we've done is now we can apply basic 3D to this nested sequence and actually swivel the background like it should swivel. Like I said, it's a very strange thing. I don't know why it does that, but it does for some reason. The I think it's a bug in Premier Pro as of now, I don't think it used to do it, but sometimes our bugs and from air and you just gotta work with them. Our next thing that we wanna do is we're gonna go ahead and swivel it. Now the bottom has his black that immediately appears. So to fix that, we want to go ahead and either zoom this in or move it back down a little bit. I'm just gonna move it down a little bit. So we're going to bring this to maybe about 360. Which means if we just bring this down to 360, we should be in pretty much the same spot. Right there. Yep, everything is still lining up now, if we take this in, swivel it a little bit. We have a little bit of room here. Just want to take this and start right where there's no black. If you want to swivel it more that go ahead and raise it up more, zoom it anymore. You'll have more wiggle room there, which is about at 13 degrees. We're going to then take it and move to the end. I'm gonna say I want it to be a 5 second effect. And I'm going to move through the opposite direction until we get to rate around the black on this side, which is red on negative 13, which makes sense. So now we have this background movement. Now what I also like to do is think about if you take a camera and move it around a subject as you're moving around these mountains, everything in the backgrounds gonna move really, really quick because I really far away. The foregrounds gonna move a little slower. And then this is going to move really, really slow. If you really wanted to make this or sell this effect even more, you could cut out and make a middle layer and do what I'm about to do, but at a lesser degree. So what I'm about to do is instead of, I'm going to apply basic 3D to the top layer as well. I'm going to apply a swivel. Well, the background is moving really fast because it's far away. So the foreground should move slower. So instead of it going into negative 13 degrees, we're gonna go and let's say we're going to go negative seven degrees. Or was the beginning of positive, positive seven degrees. Here. We're then going to go to the opposite side, right where it ends right at five seconds. And we're gonna go to a negative seven. So essentially the inside is just going to be turning slightly less than the outside is. And that's gonna give it, again a little bit of a different feeling. Now, you can see that we've actually have a little bit of different movement here. You can see the background there is moving. So all we gotta do is just take the top person and just scale them up a little bit to cover it. So maybe about 45 moved their positioning to cover it a little bit better. And now it's going to be covering right there. It takes a little bit of adjustment here and there, but overall, the effect is looking pretty good. Yeah, right there it's looking pretty good. Now what I like to do is I'd like to add a little bit of a different or a additional element to this. And what that is is some sort of foreground, something that we've added in that adds more realism. Lynn slurs, easiest way to do this, find a light source and use the lens flare on that light source. Another way to do this that you could work with is looking for some overlays, like some, for example, maybe some missed, some. Like starlight does something like that and put it behind the character. So it looks like there's something else in the field. And the, we can control the animation and then it looks more realistic. But let's go ahead and work with the lens flare. So I'm gonna do is I'm gonna take the lens flare. I'm going to create myself a black video. I'm gonna take that black Video, drag it on top. We're going to then look for the effect lens flare. It didn't generate lens flare. Drop that on the top. Once we're here, we're going to click on the black Video. Good opacity. Go to blend mode, and we're just gonna change that to screen. And now what we have is the light flare. We're gonna go to the lens flare down to flare Center and just drag it into the Sun as going to disappear rain and the sun. But now we've actually created a lens flare. So we're going to take this, is, we're gonna take this lens flare. We're going to start off a little bit to the right. Go to the very beginning, go to flare Center, move the footage over to five seconds, and then just take that flare center and drag it on over. And if you click on it again, it'll reappear, drag it over. I'm holding the shift key to make this straight. Just to the other side, right. Like so. And then I will take a look at the footage. Now as the footage moves, you can see that I've actually slipped the keyframe here a little bit. It should be at the beginning. And I guess it should be where the motion begins, which is slightly not at the beginning. So we're gonna jump to her, rate her actually, we're just going to bring it to the beginning. And there we go. So now as the footage moves, you have the flair move as well. And this tiny effect I think really finishes off the video. Like I said, adding in your own elements will make this look so much more realistic. If we added some like, for example, glitter coming up or some of the rain or something like that into the footage, it would make it even more believable. But that is how you take a 2D image and you make it 3D. It's really just about cutting things out and an understanding depths. You want to change things based on depth. You can cut anything out you want, you want to create those depth layers and then animate them separately to make it look like it's now a 3D element.
79. 10-6 Professional Text Reveal: Let's go over how to create a professional texts reveal. And this is a really good thing to know as it gives your footage a little bit of clarity and it gives it a professional vive, especially when you're trying to create like montages or you're trying to display information with text. The first thing we're gonna do is switch the graphics workspace so that we have the essential graphics here on the right. I'm going to click the text tool and just write something like for example, Thailand, like 2020, something like that. Over on the right, we want to adjust our settings here for the fill. I went ahead and just click this button and try to find out something from either the bottom or the middle here that works with it. It kind of creates, it makes it a little bit like on theme for the area because it sticks with a color palette that I went with bold condense. I made about 213 units big, and then it was Myriad Pro. So those are my settings. You changes around, do whatever you want it to be. Next, we're actually going to do is we're gonna go into our effects and we're going to look for the crop effect. Now with crop, we're going to take that and apply it to the text layer at the very top here, I'm going to drag this out, so it's the entire clip. And we're gonna go with the bottom here. So we're going to look for the crop and then bottom. And essentially we're going to drag it up to maybe about the halfway point. So in this situation, 50%. Now you'll see the line is right here, so another crop is going to be there. What we wanna do is we want to move the graphics, not the overall video. So the video is right down here. The motion for the video, if we move this, the crop goes with it. So you'll see that I can go anywhere and nothing happens. So what we wanna do is move the actual layer here, the vector motion layer. If we do that, then we hit the crop and now we have like a reveal point to where I can come out and then come in. So we're gonna go ahead and drag this all the way down. I'm going to expand this back out. So we have a little bit of you here. We're going to drag this down until it disappears just beneath the desert pair point. I'm going to click on the position. And then we're gonna move forward and maybe 15 frames here. We can zoom this n If you'd like to bring this down a little here. And then we're just gonna have it go to where we want it to rest. And I'm going to say right about there. And so we had the basics of the effect right here. It looks a little flat and a little amateurish though. So what we wanna do is we want it to manipulate the motion with it. To do that, we go up to this keyframe, right-click on that and go into temporal interpolation when he ease it N. Now we're going to have this sort of slide in, but it's not so much or it's not right where I want it to be. I want a little more of a smooth transition. So when we drop this down, we have the ability to control its basically the velocity and the things over time. And we can affect it on a curve by clicking easy and we already have the general shape, but we just want to make it a little more pronounced. So I'm gonna click this and drag it back a little bit. And now when we play it, you'll see that it has sort of a very fast punch at the beginning and then it slows itself into place. It looks really clean and really professional. And like I said, there's a little bit of complexity here. But once you learn this, you can create these things really, really fast and make any of your pieces of footage or your edits look a lot more professional.
80. 10-7 Create Anime Background: So now let's tackle a pretty advanced but a pretty fun effect. And that is going to be on how to create an enemy background, all created in Adobe. And it's a repeating thing that just keeps going. It's a really, really fun thing to do and it uses some interesting effects. So you're gonna learn a lot of us. So let's get started on this. All got to do is create ourselves a new sequence to begin, and we're not using any footage here. So make sure this is the output that you want. I'm just going to hit any P23, 0.97 frames per second. But actually, if you're going to create an animation like this, you may want to round number like 24 or 30, just so you don't have those weird frame drops can make your math a little bit off if you're trying to do it mathematically. Once you have this created, we're gonna create ourselves a new Colormap. So down here in your project tab or up and file new, we're going to click this and we're gonna create ourselves a colormap. And then we're gonna click OK on that. And we just want to choose a color. This is actually gonna change here in a second. But let's say that instead of the blue one, we wanna do suddenly I'm like maybe an orange, a deep orange. So we'll just choose orange. But like I said, this is just going to sort of be a guide layer because we actually are going to add an effect onto this. The fact we're going to add is going to, whoops. It's going to be the ramp effect. So it's Video FX generate and then ramp. We're going to take that effect and we're going to drag it onto our colormap and you see it automatically changes right here. We want to take the orange effect that we had sold. Let's actually choose our orange again, and we want that to be the start color. And then we want the end color to be the bright, a brighter version of that. And this is a pretty good background right off the bat. If you're making the animation go left to right. I think it's best to have the start point B over here. So just drag the start point to the left and then kinda take this one and drag it to the right. And you can kinda do like a cross or you can do it over here. If you went to a different field, you can change this ramp shape to a radial ramp and then I'll sort of like come out from here and is going to have like this sort of semicircle going. Anything really works here. I like this sort of feeling to it. So that's what we're going to start with. I'm then going to take this colorRamp and duplicated upwards by holding the ALT key. You can also control C, control V, Copy and Paste it. Just make sure you select v2 when you do that, so it pays on the top layer. We're then going to look for an effect called, It's gonna be called basically it's VR. And then fractal noise. So fractal noise is something from aftereffects and there isn't one in Premier Pro, except that they tried to expand into virtual reality. And therefore, they gave us a fractal noise that we can work with. And this is where the effect basically comes from. So we're gonna take that contrast. We're gonna bring it up as high as it goes up to 400. And we're going to take that brightness and we're gonna bring this down a little bit to sort of really just pop those big areas right there. We then want to take the fractal type, add. We actually want to keep it right here. You can kind of go through them and see if different ones feel better for you. But overall, I found that the basic works the best here. We wanna take the blending mode here and we want to bring this down to screen. And now you can see that it bleeds through rate here. So now we have the overall feeling. Then we want to take this and we want to stretch it out to make sort of like the stronger feel the, the lines instead of like these clouds. So we're gonna go up to our motion and scale. This is going to be for the entire clip right here. So it's not motion at scale at any effects. It's actually of the video itself. We're gonna uncheck uniform scale and that's gonna allow us to stretch it because now we can scale the width out and we can actually get this sort of stretching motion right here. And now we have generally feelings of lines. We're then going to go back down to VR fractal noise. And you're gonna see under the transform and then the sub settings, we have a lot of different things we can do right here. So overall, we're going to manipulate these sort of make it feel how we want. You can see the tilt, sort of brings it up and down. These are the two eye sockets for VR. That's why it's like you can see, it's sort of built for that. But we just kinda wanna move this around it so we get the lines that were looking for. And right around there, looks good to me. We're then gonna go. We can move these around more or less to get some stronger lines in there and just really play with these until you get the sort of feeling that you like. Then what we're gonna do is we're actually going to animate the sub tilt. This is basically going to create the effect as it goes. So the overall feeling of the clip is going to be created from this rotating. So if you see this, you can actually move them around. And you can see this is rotating around a plane in the center. This one sort of rolls it. This is actually a pretty good one as well. And in this situation, I'm actually going to use role this time because it's actually looking pretty good. So if we go up to the very first year, we're going to create an animation. So we're gonna click on this color map. We're going to animate. Let's bring this back down to 0. And then we're just gonna move forward however long you want it to be. This about a minute rate here. So let's say that we want to take it out. What's maybe bring it down to about 20 seconds, 25 seconds. And then we're just going to animate this up a whole bunch of times. And then now we play it back and you see that it's pretty slow. So we need to do, I'll go even faster. We're getting some speed here and of course, feed on and the speech like just keep bringing it up until you do. And overall, we have a good, you know, sort of animate going here. This is actually looking a little retro because we have, it's a little choppy and the motion, but it's looking like a usable effect. Another way you can pull up this effect is instead of animating this one, you can animate the sub tilt rate here. So if you click on this one, we could do the exact same thing. We can bring it over, move forward like 25 or so seconds, and then just bring it up a whole bunch of revolutions. And you see that we have sort of a faster one, but they don't change as much with this one. So it looks like sort of constant motion. Almost like you're going over water and there's reflection on the water. And that also creates a fun background here. And then finally, if you want to do this animation, we also have the ability to animate it using the random seed. This is going to create really strong action. So we want to create the random seed here, and then this one has to be a little shorter. So we're gonna go around 15 seconds and we just want to cycle this random seed up. And now it is going to do is you see that it's randomizing everything, but it's also making it feel really, really, really fast. So that's the third way you can animate it. Really just want to choose whichever fits your best. I'm kinda liking the role for this one. So I'm gonna get, just recreate that animation. Grow right, will go the 15 seconds. It's a little easier to animate. It will bring up to like four here. Check the speed. Little slow there. Bring it up a little more. Still little slow. It's bringing up a whole lot. And there we go. So we got a pretty good motion at rate here. So now we have a bunch of different ways that we can animate this or to change it up. So if we copy this layer out, we actually have the ability to like sort of create two different versions of the effect. So if we, for example, scaled this less, or maybe we scaled the height of one of them a little bit. And the top one, we reduce the opacity a touch. We now are going to have sort of two areas of motion and we could slow went down. We can combine the effects, try to dark and one of them, you can create it just a little bit more in-depth that way. Another way that we can sort of manipulate the motion if we click on the layer with the motion on it, if we go to the VR fractal noise, we can sort of cordoned off where we want the motion of B. So for example, we can expand this out a little bit, add some feathered to it. And then now just sort of acinar bit of motion. If we wanted to rotate it. We also have that ability. So let's go ahead and take that mask and delete it. If we take this top layer and we go up to the rotation, we can rotate it across. Now you're gonna see there's these sharp lines on the edges. And to fix that, what we wanna do is we want to take this and go to the opacity and set another one of those masks, bringing out a little bit, add some feather. And now we have this sort of this blitz of motion going through. If we wanted to go the other way, it's really easy as well. Just flip that on around. And now it's going top left to bottom right. Maybe we add a couple extra little elements in the sides there to get that really animate feeling in it. But overall, this is a very versatile effect. And it's actually now because they added the are fractal noise credible in Premier Pro.
81. Conclusion: Thanks everyone for joining me in this course. Congratulations on making it to the end. If you have any feedback on the course, goodness and that to me, I would love to hear someone who has finished a course entirely. What their thoughts are, are there areas I can improve on? Are there things that I missed out on? Was there too much in a certain section? Let me know so I can keep tuning this course to make it the best Premiere Pro Course out there. Thanks again so much for joining me. Come back and check the course often I will be posting updates and as I create more videos, I'll be organizing things differently and trying to, like I said, make the course even better. But again, thank you so much. Congratulations on finishing the course, and I will see you in my next course.
Kurt Anderson, Computer Scientist, Multi-Media Designer
