Premiere Pro for Corporate Video | Daniel Scott | Skillshare

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Premiere Pro for Corporate Video

teacher avatar Daniel Scott, Adobe Certified Trainer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction to corporate video using Premiere


    • 2.

      Getting Started with Premiere Pro


    • 3.

      How to create a corporate video in Adobe Premiere Pro


    • 4.

      How to edit video in Adobe Premiere Pro


    • 5.

      Fixing or hiding bad video footage in Premiere Pro using B roll


    • 6.

      How to add fade cross fade and black fade transitions to Premiere Pro


    • 7.

      How to adjust loudness of audio in Premiere so it sounds normal balanced


    • 8.

      How to Sync separate audio with video in Premiere Pro


    • 9.

      How to fix color add a vignette in Premiere Pro


    • 10.

      Adding & animating a logo intro to a video in Premiere Pro


    • 11.

      Adding names or adding text over video lower thirds


    • 12.

      How to export make a mp4 using Adobe Premiere Pro


    • 13.

      What next after your Premiere Pro tutorial


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About This Class

Hi there, my name is Dan and together we’re going to learn how to create a professional corporate video using Adobe Premiere Pro. I am an Adobe Certified Instructor and I’ve been teaching Premiere Pro for more than 10 years. I work closely with Adobe presenting seminars on their behalf at conferences and I write and present some of their Premiere Pro help videos for distribution worldwide.

This course is for beginners. You do not need any previous knowledge in Premiere Pro or video editing experience. We will make a video together from start to finish, step by step. By the end of this course you will know how to take your raw video files, edit them and improve their video and audio elements. You will learn how to add additional footage to enhance any boring video and hide the occasional mistake.   

Yo will master transitions. You will learn how to sync separate audio & video files together all the way through to animating your logos & baseline subtitles.

If you have any trouble with your projects, camera or audio problems drop me a message. I am happy to help out. There are also exercise files so that you can follow along with the course videos.

If you need to start making professional corporate videos to impress colleges & clients come join me in the class. I will make easy and fun - I promise.

Download the exercise files here.

Download the completed files here.

What are the requirements?

  • You will need a copy of Adobe Premiere Pro CC 2017 or above. A free trial can be downloaded from Adobe.
  • No previous video editing experience is needed.
  • No previous Premiere Pro skills are needed.

What am I going to get from this course?

  • 13 lectures of well-structured, step by step content!
  • You'll learn to make corporate video for YouTube, social media & your website.
  • How to edit video in Adobe Premiere Pro
  • Fixing or hiding bad video footage
  • How to add fade, cross fade, black fade transitions.
  • How to adjust loudness of audio so it sounds normal & balanced
  • How to Sync separate audio with video
  • How to fix color & add a vignette
  • Adding & animating a logo intro
  • Adding names or adding text over video - lower thirds
  • How to export & make a mp4s
  • You will get the finished files so you never fall behind
  • Downloadable exercise files
  • Forum support from me and the rest of the BYOL crew
  • All the techniques used by video professionals

What is the target audience?

  • This course is for beginners.
  • Aimed at people new to the world of video.
  • No previous Premiere Pro experience is necessary.
  • For anyone that needs to put together video for work.

Meet Your Teacher

Teacher Profile Image

Daniel Scott

Adobe Certified Trainer

Top Teacher

I'm a Digital Designer & teacher at BYOL international. Sharing is who I am, and teaching is where I am at my best, because I've been on both sides of that equation, and getting to deliver useful training is my meaningful way to be a part of the creative community.

I've spent a long time watching others learn, and teach, to refine how I work with you to be efficient, useful and, most importantly, memorable. I want you to carry what I've shown you into a bright future.

I have a wife (a lovely Irish girl) and kids. I have lived and worked in many places (as Kiwis tend to do) - but most of my 14+ years of creating and teaching has had one overriding theme: bringing others along for the ride as we all try to change the world with our stories, our labours of love and our art.See full profile

Level: All Levels

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1. Introduction to corporate video using Premiere: Hi there, my name is Dan and in this video series we're going to learn how to make corporate video using Adobe Premiere Pro. I am an Adobe certified instructor. I've also been teaching Premium Pro for about 10 years now. I worked closely with Adobe who are the makers of Premium Pro. I get to represent them at various conferences around the world. I also get to help Premier Pro with a lot of their very own helping us. This course is for beginners. You don't need any previous knowledge of Premium Pro or video editing. We'll make a video together from start to finish, step-by-step. By the end, you'll know how to take your roll video files, edit them, fix the color and the audio. You'll master transitions. You'll also know how to sync separate audio and video tracks together the if you are shooting those separately. You'll learn how to animate your company logo. Yes, we'll be able to add ticks animations to interviewees like this. It' s a lie. I'm not modest. If you run into any trouble during your video editing, maybe you've got a problem with your camera or the footage maybe the audio, drop me a comment. I'm around to help out. Also know that there are exercise files you can download to follow along with this course. If you need to make professional corporate videos to embrace both your clients and your colleagues, join me in class. I promised to make it fun and easy. 2. Getting Started with Premiere Pro: Hey, so what do you need for this course? You will need to download the exercise files. Now, the exercise files will be available in a link in the description or the comments on this very page. So go and download those before you get started. Also, what you can do during this course is I've got something called the completed files. All they are is, at the end of every video tutorial that I do right at the end, I save it, bundled up, completed file, and it means that you can download it from that very page. If yours is looking a little different from mine, you can download it and compare the two, you one versus my one and just see what it is different and how can maybe diagnose any problems you might have. Let's get started. One thing you can do is, whenever you love in this course, it's better you leave me for me to ask now, but when you get to this stage, we're like, this a good course. Leave me a review. Reviews are the lifeblood of me and my training career. K is what helps other people find my courses, a review, honest review whenever you already would be awesome. Let's get into the course. Lindsay Premia. 3. How to create a corporate video in Adobe Premiere Pro: Hi there. In this tutorial we're going to create a project, import some video, edit to a timeline, and you'll be able to see me, lots of me, or could face me. You lucky, lucky people. Let's go and create our project now. The first thing we need to do is open up Premiere Pro and then go to say New Project, or you can go up to File New Project. This window opens up. We're going to give our project a name. We're going to say we're working for a client called BYOL, and I've taught, and we're doing the introduction to In Design video. My BYOL facilities management introduction or some Human Resources video, I don't know. It's something that you're doing for your company. The other thing we need to do is where it says location, click Browse. We need to keep our file somewhere. I'm going to put mine on my desktop and I'm going to make a new folder here called premium Pro class. We always call it Premier Pro through this course, sometimes I accidentally call it just premier, but it's premium pro, there is actually like an entry version of premium that you can use. I don't like it, but we using Premier Pro through this class. I'm going to put all my files in this folder. Let's click Choose and don't worry about anything else here, let's click okay, and Premiere Pro opens. Now what we first need to do is to make sure everyone's looking the same. You can see this is how I've set mine up from the last project and probably looks different from yours. What we're going to do is go up to Window, get workspace. Click on editing, and if it's already on editing, click to reset to save layout, you see just read, digs everything so that yours looks like mine, and later on in the course, if you exit and move that there, this goes and everything's disappeared. You can go back up to window workspace and got to reset save layout, and it all comes back to normal. The next thing we need to do is import some videos. Let's go to File, go to imports, if you haven't already downloaded the exercise files is a link on the page here somewhere. I've got a desktop, open up our exercise files, and in here I want to bring in talking head one, two and three. We can do it altogether by clicking the first one, holding down Shift and clicking the last one. If you can't do that, just click on each individually and bring in one, then go back to file Import and bring in two and three. I'm doing all mine in one big , and you should end up with something like this. Now, yours is going to look a little different. Yours is going to look easy down here's an icon view I call view is useful, I don't like it though because all my photo ends up looking the same, so it's not very useful, and as soon as you get quite a bit of footage in here becomes just a bit unwieldy. I'm going to switch it to this one called List View. It's up to you for which you prefer buts, I don't know. Try List View for a little while, see what you like and they may be switched back to Icon view if you prefer. We're in a pretty important part now. When I'm teaching, this can be the most confusing part for people getting started, okay, so we've created a project, we've imported some videos, but you'll see it's did now there's nothing really going on. A project is an empty vessel, it's like a book with no pages is a bit strange. Every project needs at least one sequence. Let's go and create a sequence. Let's go to File New Sequence and think of sequences is pages in your book, you get to pick the size. This can be a bit daunting in here and you're like, wow, there are so many options. The cool thing about it is that HDV and this one here it says HDV 1080p25 is the one you're going to use 99 percent of the time. This one, you want to get into any problems using this one here. You click Create, and you've now got a sequence and things come to life, you can see it over here. Here's my sequence, there's nothing in my timelines comes a life, there's nothing in it. In this big black box over here showing me the video in this nothing in it so it's black. But that often isn't a white people get started. We're going to undo that by going to Edit Undo, I want to show you that to give you an understanding of what a sequences, what we're going to do is instead of creating a sequence from scratch by going to File New and then try to guess from this drop down what size it should be. What we're going to do is we've got some video here already exists, it's a size already, it's a frame rate already, you can see there it's 1080 high. That's where they get that 1080p from, it's the height in pixels, and you can see it's 25 frames per second, that's just what my camera should set, yours might be at 30 or 29. What ever your frame rate is, it doesn't really matter, or the size, what you can do is you can right-click and say, I want to make a sequence from this video clip, then you know, your sequence, instead of guessing from the top there, it's going to be exactly the same as your video. Let's do that, it's got a new sequence from clip of right-clicked it. It springs to life, we get to very similar pot as we did before, except now I know that my sequence is exactly right, it's perfect. The one thing that can be confusing though, as you can see here, these icons are quite important that as a sequence icon, and these are just videos. This sequence here and has the same name as my video, which makes life a little bit confusing when you're new, makes it confusing when you're pro as well. Let's just call this one sequence at the beginning, just you don't have to do this, but it's just really easy to have been go when you're looking at files later on, this one is our sequence, and this is going to be how in-design intro. The good thing about the sequence is that when I export my MP 4, at the end of this course, that's where the name is going to come, not from the project not that called it BYOL and direction in-design. It's actually going to come from the sequence name. Before we move on and start doing out editing, let's look at what all these different panels do. You can see here this is all the files that we have imported or the here is my timeline let's have a quick look at that. We can hit the Space-bar on our keyboard, just at the big space bar, you can see that's me. Hello, you. Space-bar again to stop, space-bar to start, space-bar to stop. You can drag this thing here called the CTI the current time indicator, or I refer to it as a play HD makes most sense. You can click hold and drag it to the beginning here, hit Space-bar again, it'll start, drag it back. Space bar dots. That's your timeline, I'm going to drag it all the way back here. Now you've got two big windows at the top here, this is called your program window, and this is called your source window, lame names I know there's nothing in this preview window. Why? Because what's done here, if I want to say, before I add talking head three to my timeline, I want a check in. I want to see what's in it, so I can double-click it down here. You can see it opens up in my preview window. I can hit play. This thing here does nothing, it's just like a preview. Now what I can do if I click hold and drag it over here, I can drag it to this timeline. Now it's part of my program windows, so eventually if I grabbed the timeline watch, stops and in the next video stats across there. Now that links bolts, but I believe it will explore Angular, click on hit three and hit Delete on the keyboard just to get rid of it. Bring up play, hit back to the beginning, and I think it's time to do some editing. This is your input window, this is your timeline, this is what's going to be exported, and that is just a little preview window. All right guys, let's get on to doing some editing. 4. How to edit video in Adobe Premiere Pro: Hi there. In this video, we're going to add all three of our videos and edit them up so that there is nice transitions and I get rid of all the ums and a's, and we get all the good ticks. Let's go and learn how to do all the editing. Editing we're going to learn two techniques. We're going to drag the n's and use something called the Raisa tool. What you want to do now is pause this video and just go and watch this by hitting "Spacebar" and just let it play through and you'll see the stops and starts. Pause it now, go. Did you pose it? Maybe you didn't. But I actually make three false dots. This happens quite a bit when I'm recording myself. As you can see there. Hi there. Hi there, and then. Hi there. Hi there. Hi there. Lots of high there's and the final one, I get a take. You can see how I was easily able to jump to different parts because I can see this away form down the bottom. The first thing I do whenever I start editing is to make this bigger so I can actually start to see the little humps and valleys. To do that, you hover above, anywhere in here, can you see underneath? Look for A1 and then down the bottom there's a black line just underneath the word A1. Grab that and just drag it bigger and you can start to see this a little easier. This just allows you to really edit by the wave form rather than just watching this and listening to it, you can just actually start to seize them. You can see here that's probably where it ends, right about there. Then there's something happens and then items at the end. I mean mumbling, editing the waveform is pretty cold. What we're going to do is the first and easiest way is to click on it. Then you can see if you hover your cursor at the end or the beginning. Look over the red one with the error either way. What you're going to do is just drag it up to colored in there and then drag it this way to trim off the end mumbling bit. Give that a go, drag it up, drag that one that way, and before we're finish, what we'll do is we'll drag these powers is talking head one. Drag this middle chunky and just click hold and drag it and it should snap, fixes after the beginning. Push it all the way to the beginning here. Grab your play-head, drag it away back. Hit Spacebar. Hi there. My name is Dan and I'm a grip. Not too bad. I'm going to skip to the end here, hit Spacebar. Very cool conference. There's a little bit of an awkward like me used to looking at the camera. If you are in charge of filming people, you need something called pre-role and post role. Don't get them to get up and start laughing at the end, they need to trying hold for a little bit at the end, so you've got some transitional stuff so you can do some blues and fades and stuff anyway. Let's zoom in a little bit, membrane shortcut is plus on your keyboard up next to your nine key. So plus a couple of times, and what I can do is I can grab this end and just drag it and a bit more from the beginning, the front I was happy with. Okay. If you've done it wrong, you like, "Oh, I've cut off too much." What you can do is just drag this top it across. You've got a bit more room and then just drag it out again. Now when you're dragging this, you're not deleting it is always there. All the extra bits are always, they are never like permanently removing. You're just like trimming up like a mosque, and drag back to the beginning. Hi there, several play around, get those two Ibbotson. So you've got talking him one working and then we're going to look at another tool. Okay, so going to that, good work. Okay, and now let's go to talking head tool, let's click hold and drag it. I'm going to drag it just after talking head one. Okay, and I'm going to minus k to zoom out a little bit so I can see it all. We could again, I have to false dots. This is Weber, the beginning, me coughing. But in this course, in this goes into this course, in this course. So I stopped twice. The second time is the one that I get. So I could just drag the ends again like I dusted for this first clip. But what we're gonna do is learn the other really common way of editing as using the raysa tool. This is like a tool panel. If you've come from any other w-0 product, the normally over here on the left, this one here is jammed into this tiny little point down here. Again, this is the other one will use quite a bit called the raysa tool. It is literally which does click once on that side, click ones on that side. I've cut of like trimmed it up a little bit. Go back to your selection tool. Click on this first bit, hit Delete, second bit, Delete. Okay, so the raysa tool just puts a slice in it instead of dragging the ends. You can just delete parts. I'm going to kick it at the beginning, hit Spacebar. I think there's a bit of a weird stuff at the beginning with me, like in my maps. Okay, so I'm going to zoom in, and I'm actually just going to drag this endpoint here. You'll notice that it really wants to stick to the play heads, of your play heads in the wrong place, it can be a bit of a pain, but if you get it to write, we want it. It's actually quite good at snapping to that point. Okay, let's have a look at the end, scrub along. I want to get to the inhibit, I can't see it. See this biden here, don't grab these end points, just the middle of it and you can drag it alone, that middle bit there, okay, and get to the end design. It's a bit long in there as well. I'm going to trim off this. Let's use our raysa tool, the shortcut is C to get to the raysa tool and then V back to the Move tool. See, click "V Delete" and all you doing is, you can see there for hover above it as the V in brackets there and see and watch it. C V, C V, C that goes changing. Okay, so that can be equivalent shortcut. Zooming all the way out, I can hit minus, but we're gonna do one more little shortcut. Guys, I promise not to do too many, or you've got as minus m plus n, c and v. Let's add one more. Okay, and look at your keyboard, it's underneath the Delete key on lots of keyboards, is in the front of the keyboards that I've got here, it's the backslash key, so it's next to the square brackets underneath the late, just above your return key. You can see in the top right of the keyboard often you all's might be in a slightly different place, it's backslash not forward slash, just click on. It shows you everything that's in your timeline. It's like fit to page or zooms out to like a 100 percent of your time lines, you can see everything. I'm going to click this one, hold it and drag it. So it's banged up next to this guy. There's a bit of an awkward transition watch conference. This is jumps and we'll do some transitions a little bit later on. But those are the two main ways you're going to do your editing. Drag the INS use their isotope. So whichever technique you prefer to use, let's do it for talking head three. Drag it onto the end here, and I want you to trim it up. I'm going to zoom in and I'm going to drag it probably. I like to get my play head like just before I start talking and you can see them up there. Then if I drag it, snaps, cool. Other little trick is that instead of clicking and dragging it to the beginning here, as you can just click and empty space, so it goes white, had Delete on the keyboard, and it's like a way of deleting in D Space. Let's go along a little bit before. Okay, now you might notice is some weed bits with a camera doesn't zoom properly, but we'll ignore that for the moment, we'll fix that up. Okay. I'm going to get it to about there, like the in tone, nice, and the backslash will show you your whole timeline vector beginning. Now, you should hit Spacebar and watch it all the way through. Hi there. My name is Dan, but I've seen it. I know this guy. I know this force and tutorial. Okay, and my cuts are okay. Yeah, all right, so that's it for the basics of editing. One thing you might find is when you are playing back and yet go back to the beginning here has spacebar playing just fine, but as soon as you add, say maybe some animation or some low, if it's like type that we'll do a little bit later on. Yours might be even now struggling just to play back the video because you're on a really crappy computer. Up the top here and your worm Mao program window, you can see there's an option here that says full. I want to buy it back at full resolution. You might decide like, well, you might just be forced to jump down to half resolution or quarter, okay, because your computer is just not capable of playing mines, keeping up fine videos, pretty stressful though, so you get a half. You'll notice that I'll get onto quarter now hit Spacebar. He sits a bit blurry now. Chopped. Okay. It's just a way of making it go faster, in premier pro, it doesn't change the export quality at the end. You might switch it down to quarter just while you're working in here. Hey my fans. That is the basics of editing. Let's go and look at the next video where we get into some cool stuff called B-roll. 5. Fixing or hiding bad video footage in Premiere Pro using B roll: Hi there. In this video, we're going to go through and replace this footage here where the camera goes out of focus and the world is ending because we've lost that shots. We're going to cover it up with some B-roll and add some interesting file footage like this. Have we fixed it? Not really, we've just covered it up, but that is the role of B-roll. What is B-roll? B-roll is what we use to hide imperfection. You can see in this video here I go in and out of focus a couple of times and again as there is no need. You can see there I go out of focus, my camera loses focus and it happens at the end begin here. Unfortunately, there's no way of sharpening that out. Just loses this focus. It might be that somebody will pass the camera or you might actually have a bit with the audios good until a certain point, The person loses focus, you have to start again. You have to cut up the audio but the video obviously doesn't make sense because it is a jump between it. What we're going to do is hide it all under some B-roll. B-roll can be anything. My case, it's going to be product shots, or our stuff we're doing in the course. Yours can be shots of the building or the product being used or anything else. Might be some stocked library footage that you put over. Anything. This is a roll because it's the good stuff that B-roll is the filler stuff or the hiding stuff. The first thing that I want to do is these two as separate. I want to keep the audio but not the video, but that's stuck together. You can right-click them and go to unlink and that unlinked both the audio and video, with the video selected. Delete on the keyboard so it's gone. Audio carries on and you could do some audio edits here just like we did in the last video where we used the dragging or the razor tool us to cut arms. We are going to cover and B-roll. Let's bring in some B-roll and go to File Import exe, fall and pulls away. What I tend to do is double-click this gray area on the bottom here that opens up import as well. We'll go into our exercise files and let's bring in these three B-roll options. Footage 1,2 and 3, click input, Let's just check what one of these admin, if you double-click them down here, they open up, double click the icon. They open up in this left hand side, the source window, remember the preview window, and you can just grab the play here and you can just see what's going on in here. I want to bring it in and use this as a cover for my audio.To bring it in, I'm going to drag it from him and drag it across. Like we did earlier.If it's up on the source window, you can just drag it down from over here. It's up to you. Just drag from the center there. He's there. I'm going to add another bit afterwards. The difference between this B-roll and this B-roll it is, can you see the icons here? You can see this one has video but no audio, but this one here has audio as well. You just sometimes get footage if it's from a stock Library site and it might not have any audio. This one here it does, and I don't want it because if I double-click it the audio, actually, I'm not sure what the audio does. There's nothing really in it, but sometimes in before it's just habit even though they don't have anything on the audio track. The trouble is when I drag it across, watch QC, it brings both the audio and the video and watch this. If I dump it over the top, you can see it's covered. Watch the beginning. When I said, What do you mean? Listen, it's actually removed my audio and replaced it with the B-roll audio. This happens quite a bit. A couple of options, I can double-click it opens in the source window and you can see there's my audio and here's my video. I can just drag down the video track. It's just separated them for me, or what you might do is do it. Caveman style is edit just a bit further along down here. Zoom out a little bit, right-click, unlink, bring the bottom guy, and drag him back across up to you, how you want to do it. This takes too long. I'm going to do some basic editing for this and drag screen footage three on. What I needed to do is actually cut down so it fits just above this into three pots. What I want you to do is pause the video, go through, do some editing so that these three, are no longer than the audio here, I'm going to do it. You can go off and do it. I'm going to do it as well and you can follow me and I'll zoom in a little bit. This one seems, I'm just going to preview along. That's good and it was going to drag it a little bit. This bit here, scrub through codecs, good, and then finishes about it. There is nothing much happens after there. This last one just keeps on scrolling. There's a bit of the beginning where it doesn't do anything. I'll trim that end off. This is totally your creative B-roll editing amazingness. I'm going with your graphic design. This course is full, complete, began as there is no need for any experience in InDesign or graphic design or desktop publishing before. What did I do to get these B-roll? First of all, I have my B-roll hits, they work out fine. Where did I get it from? I just recorded my screen and did some stuff that seemed interesting. That's an easy way to make B-roll. It might be that you grab your video camera that you've shot. Your hidden shoulders and walk around the building. If that talking about the new project you're working on and I'm going to install the new, I don't know, power regulator. Go film the power regulators quite makes good interesting B-roll for the viewer and allows you to hide imperfections in the video or at least six it up to make it a little bit more interesting. EzB-rolls, are like the front of the building that you're working from. I don't know the guide it is disk doing something else. Finally B-roll, chop it up. What I'd like to do I'm going to zoom on in because I'm seeing all the stuff around the outside and the Docs or we're going to learn a little bit of scaling. Make sure your play heads over this first, but it will be B-roll. It's the top here you can see source, this is my B-roll. There's also fixed ones. I'm going to click on that so you can toggle between these two that Mike you lost at some stage. If you're up here and it's on a fancy and I don't want him to the preview window there does name. Fixed controls. What that allows me to do is if I have B-roll selected down here, if they actually highlight it, you can see you have some basic fixed you can do to it. What I want to do is see this little area toil it down. It' allows me to do scale and all I'm going to do is click "Hold" and drag. You can drag it left and right or you can just type it in. I'm going to drag it there we dragging the position up. That's what I'm doing, my B-roll just to make it on, I don't want to see those sides. Something like that skeleton put them all. This is your creative awesomeness. Like that. We're going to do if all of these, I'm going to scale this went up and have more of an abstract, zoom in like that and want to see that guy's face. Almost see the spreads. That it's nice and this one here, I'm just going to zoom in a little bit as well. Click on it over here first, otherwise it won't work. Plants are again will complete beginners. There is no need for any experience in InDesign or graphic design or desktop publishing before. That is how to work with the B-roll. We're going to do some color correction later on in the course. But often video, you can only do some basic like fixing or tweaks. You can't go off and you couldn't shop in that footage that had that blur going in and out too hot. Here's some cool things we can do with some calibration. We'll do that in a later tutorial for now though, our biggest problems is these local jump cuts as what we've got. At the moment that is go from one and just slap into the other one, is just the cut. You go and you see jumps across. We're going to look at transitions in the next video. Let's go and do that now. 6. How to add fade cross fade and black fade transitions to Premiere Pro: Hi there. In this tutorial we're going to look at how to do transitions in Premier Pro, like this fade in. Okay, we'll also do a bit of a cross fade white flash. We'll do a cross dissolve like this guy, will even do a page peel. Actually, I lie. You're never allowed to do a page peel. Okay. If you do, I will find you Lipnison and we'll find you and we will tell you not to do page peels. All right, let's go and do all of this in Premier Pro, except for the page peels. Okay, first up, let's hit our backslash key so it all fits in our timeline. Okay, make sure that you've got the selected in the bottom here, backslash. Okay, and yeah, our transitions the moment that cold jump cuts that it's kind of like flipped to one or the other. So transitions are actually found in, you can see down here, like we did earlier, maybe we can flip between the source and the effects panel. Okay, same down here we've got project, but there's lots of them in here and it gets a little confusing. This last one equal to fix, you can hit this double arrow and go to a fix or probably easiest still get a window, click on a fix and it kind of brings it up to the frontier. Then you can go back to your project window, began to window and go to project, and it kind of jumps back to that tab, up to you. So in a fix, we are going to look under video transitions and we are going to use dissolves, okay, there are running in a covered like the ones that you use the most, okay. There are some awful ones in here. If I find you're using page peel, okay, there's going to be trouble. Okay? How much trouble? I don't know, the design gods are going to come down and get you. But we're going to look at the dissolve ones and you see they are the easy to add. So let's say we'll start with cross dissolve, cross dissolve is, yeah, mixes one with the other. We're going to click here and drag and this kind of a couple of ways of adding it. You can see when I'm clicking, holding and dragging. I can add it to that side, that side or the center, that is not always true. It really depends on how your video has been edited, but don't worry if it ends up on that side or on that side or in the middle. Middle is best, but either side will work. Okay, so don't stress if it does happen. So I put one in the middle and let's have a little look. Space bar, I don't like it. Okay, it works. It might work really good for these ones, cross dissolve for one of these guys, you can see what let me go in that side. Let me go in the middle here, but don't worry on the side doesn't matter. So works there, but it does look like it has a different effect there it says, "I'm transitioning to something else. " Over here, it says, like, "I'm in some sort of dream. " So I don't like that one there. So it's up to you which transitions you're going to use. What I use is normally dipped to black or dip to white, that just means there's going to be a fade to black or white in the middle. And there where they call them here, they call them dip to black rather than fade. So let's use dip to black and put it between it. Back here, space bar That's a really common way to make a transition and it looks nice. The one thing I find is the default transition speed. Here premier is a little bit slow to watch. Kind of like it takes quite a long time. So what we're going to do is change the speed. We can hit the plus button, zooming in, you can see there's my transition getting bigger and smaller. How to get rid of it? Just click on it and delete it. Okay, I'm going to go to Edit, Undo and bring it back. But to change the speed of it, watch this and grab one of the ends. You got to be in quite close to this and you can seek and make it a bit shorter. Okay, now, okay, how short it's up to you. Nice. So that's a dip tab black. And what we're going to do is another one. And I use probably more often in the moment, and this is probably when I used it to white, like a white flash rather than a white fade. I like it quite a bit. And you don't know, it's kind of like one of those fashionable things I'm sure in a few months I will not like it anymore. But it's kind of cool at the moment. So it doesn't matter. Maybe it's folk on one side, but I'm going to make mine a lot shorter. So it's kind of like this white flash 3 D look, I feel like, especially when there's music I find it's kind of keeps pace quite like it. Maybe even a little bit shorter. Yeah. Okay. So yeah, either dip to black, cross dissolve or white. There are some other ones in here you can play around with them, but all a little bit. I don't know, that don't get used very often. You might find a great use for page peel and say, yeah, I'm going to go through and add, maybe dip to black to all of these. And then yeah, go on to the next tutorial. So you carry on. I'm going to shorten all this up. Okay. Do I have this as one? The black coat. You go on to the next video or you can hang around here with me, you know, zoom in, it's a bit shorter. Why aren't they on either side? To do with how the editing, if there's any kind of like footage at the beginning and into these or if we're right at the beginning, and I dipped to black. The ink here, works just like a fade out swatch. It's up to you if you want that to be. And I've actually got some more footage to go there at the end. So I'm going to delete that one there and put it back in when we add more footage. Alright buddies, transitions, super easy in Premier Pro. I'll see you in the next video. 7. How to adjust loudness of audio in Premiere so it sounds normal balanced: Hi there. In this video, we're going to adjust our audio so that it sounds good and normal compared to other people's videos in the world. We're not to loud, we're not too low. We're going to add some keyframes as well to help fix some of the bits where I start trailing off and getting quiet. Let's look how to do that now in Premier Pro. We need to adjust the volume. We want to get the volume so that it's the same against the world's volume. We don't want our video to be standing out by being too loud or too low. Let's go and do that. What you need to be able to see is over here is our audio. If you can't see that, go to Window and click on "Audio Meters". If unlike me, you can't see those little numbers there, you might have a really small screen and you can only see this. We need the bar so you see those numbers on the sides there. Just click, hold, and drag this bar until it gets a bit bigger so you can see all the parts. If I have space bar, watch this bar across here. "Hi there. My name is Dan and I'm a graphic designer." What we're looking for is we want that bar to be bouncing around between somewhere between negative six decibels and negative 12. Yes, sound works in negatives. Zero is the highest and everything below that is where we operate. Full voice, especially, it works great between negative six and negative 12. If we preview again, you can see mine is just a bit low down here, and it gets close, but it's not high enough. There are two adjustments you can do. There's a subtle adjustment that's really easy for quick effects. If you're really close, you just need to bump it up a little bit. You can see this line that runs through our audio, if you grab it and raise it up, you can see just underneath there, there is that little thing that says I'm at 1.9 decibels, and I keep going up to about six. That's really small adjustments, so I can't go any higher than that. If I drag it up by the six and hit "Spacebar," it's pretty close. It's just, oh, I needed a couple of more decibel just to get up into this range here, so that's not going to work. I'm going go to Edit, Undo, just to go back. That's the easy way, drag the bar. If that doesn't work for you, like it's not working for me, you can right-click the audio down here and go to the one that says Audio Gain. The gain here is where we adjust the volume. I'm going to adjust it by how much? I know exactly how much it is because I've done this before, but it's eight decibels. Well, all you have to do is try down here. Since six doesn't work, you might have to go up to eight. Try 10, try 12, try 16 if you have to raise it to 16. Every time, click "Okay", play it through. If that doesn't work, go to Edit, Undo, and you watch this little grid down here drop back down, and then go back in here and say eight didn't work, so I'm going to go Gain, and I'm going to adjust it by say 10. I know mine needs to be eight. I will just keep adding over the top of it because it just makes it hard to calculate what the next one is if you've combined 2 plus 4 plus 7. Just undo it, go back, try another number. I know mine is eight. That is true of this whole thing because I stayed in the same position and I didn't move around. I can click on you, right-click and go to Gain and go to eight. You see it comes up, so it's going to work for me perfectly this way. We've adjusted the gain on all of these. If you've got different shots, say it's me talking here, but then it's me talking in another office, obviously, the gain is going to be a bit different. You might not be able to use the same gain on all the different tracks. Now, another thing that's going to happen is that I start off with gesture. You can see here it's quite loud. I'm like, "Hi, I'm Dan," and then later on I dribble off at the end there where I get a bit more comfortable in the shot. That happens quite a bit, so we're going to have to do some basic adjustments. You might leave it. It's not a big deal in this case, but I'm going to show you how to edit it because you might have something that's a lot more obvious. Happens a lot when I turn away from the mic like this. I'm turning away from the mic now. I might sound loudness, but I'm just not facing the mic, so it's a pain in the bum. I do that with little subtle things, so I often maybe going to do some adjustments. Let's go and do that. What we want do is we're going to add a couple of keyframes. We do it by holding down a key on our keyboard. It's Command on a Mac or Control on a PC. Hold that down and then click on this white line here, we need at least two key frames. I'm going to do one there and another one there because this bit here where I trickle off a little bit, so you need at least two of them. Now I'm going to let go of that key on my keyboard and watch this. If I hover above this line and just drag it up, you can see what I'm doing, two keyframes. That stayed down there and then come up here. That's just going to raise it like a ramp. I'm going to do it way over the board just to show you what it does. Go across here, watch this. Actually, it's not that bad, but I do get a whole lot louder there. I'm going to find something to ground. Mine's nice and simple because I've just got that little short, little adjustment here. I might do it to here. I'm not going to because it actually sounds pretty fine the whole way through, but I want to give you an example. You might have some really bad stuff, so you might have to zoom in here. It happens quite a bit when somebody is too close to the microphone and they do bs and ps. Watch this, I'm going to do it to you here. Get away if you've got headphones on, maybe disconnect them. Watch this. Ps and bs. I'm not sure if you can get about p, p, p. It makes that microphone jump and everyone will be scared. What you might have to do is let's zoom it in. Let's say I don't have any in this one because I'm so far away from the mic. But what you could do is add a keyframe here, let's say there's a keyframe here and keyframe there. Why do I have four of them? It's so I can build this little shelf, and I can maybe turn this down, so you might have this bit here I want to get rid of. You're going to need four of these just so I can say, actually, I don't want any of this. There's a big B there. You might have a really ugly looking waveform with all these little keyframes because you're fixing lots of little problems. I've totally just wrecked mine here, but I'm just giving you a for instance, so I'm going to undo until all these keyframes are gone. Mine is nice, subtle adjustment. You might have loads of them, but that is how you adjust your sound in Adobe Premier Pro. Let's get onto the next video. 8. How to Sync separate audio with video in Premiere Pro: Hi there. In this Premiere Pro Video, we're going to stitch a video that has really bad audio, like this. Now I am going to give you it. Sounds like I'm in the toilet with good audio. Every single design to ensure that. Sounds a lot nicer. Okay, and we're going to show you how to do that automatically, in Premium Pro using something called Multi-cam. Okay, so first off, let's import our audio and video, and lets go to file import, or Command I, or Control I, on a PC. It's talking head for okay, there's an mp3, which is the audio and the mp4, which is video. Let's click Import. Okay, where are they? They are in different little bits. What you can do sometimes if they don't reorder, I like them alphabetically click on the name. Okay, and yeah, they'll be stacked them by name. Let's have a quick preview of these. Now remember we're on our fixed control, but if I double-click it down here, it'll go back to all social preview video, and this is just the audio so I got some wave bits going on. I'm going to give you. Okay let's look at the video version. So it's very similar. The camera does this weird thing. But let's listen to me talk. Now I'm going to give you every single. See,it sounds like I'm talking in the toilet. That is because I'm recording the video on my camera and the audio on my camera. The audio on my camera is terrible. What I do, is I have a separate microphone. I record that microphone straight into my laptop. Why? Because the camera audio is really bad. The microphone so it's one of the first things you needed if you're doing corporate stuff is that you probably need to invest in a microphone. Reach out to me on any of the comments pages if you are interested in microphones and what you should do, there are a couple of options you can work with depending on what stuff you're shooting. But anyway, I want to stitch these two together. Now it's pretty easy to do. One of the things that have to happen is that, even though I've got my mp3 recorded separately, I've also got audio, even though it's really bad on my camera. Don't turn that off because that's how it matches it together. It matches the wave forms, and so the audio on both tracks get matched up. Select both of them. I'm holding Shift and clicking one, hold shift and click the other one. We're going right-click either of them. There's one called Create Multi-camera source sequence. It's called multi-cam. Let's click it. Going to give it a name, and leave it as the default. We'll rename it in a second. Cool. What happens is that this gets left on the timeline. Those two things we had selected called the mp4 and the mp3 gets jammed into this thing. This bin's been created for it's for this folder, and there's the two things we just had selected a second ago. This gets filed in here because we don't need them anymore. Don't delete them, but they're just hidden in the, what's left is this thing called a multi-cam track. Okay so what we're going to do is that, it has a really bad name that's called Talking Head four mp4. There's this stuff jam at the end. We're going to double-click the words, and let's call this one talking head four, but instead of mp4 four at the end here, we're going to call this one Good Sound or something else. It's probably not a great name. But, look at this icon. It's different from all the rest of them we've made. Sequences, videos that's a little icon for a multi-cam trick. We just add it like a video now. Okay, so what we need to do is drag it across. I'm going to add it after this, go. Scroll along a little bit. Actually I'm going to hit the backslash key. We're going to add some weight bets. You see on the timeline, it's all black. Then eventually I start. It's because the audio started differently. So it's edited. Let's have a little look. You can right-click this down here and go to this one. This is open on timeline. Don't do this. I just want to show you what's happening in the background. We've gone inside that good sound. I got the audio track, which actually played for a lot longer, and the video started a little bit later on. It just because I tend to micro on, on my separate special good Mike. Then I turn the camera on second. There's a bit of time lapse, but it's lined them up pretty well. Lets have a look. Let me give you every single. Nice, now what it's done is,can you can you see this m here? It's muted the camera track, because it's the bad track somehow magically, it knows which track to use. Yeah, it's lined them all up, so I'm going to close that down. What we end up with is this is kind of like stuck together group, making it easier to work with. Now that's why it's black at the beginning. Then eventually that starts and we're going to do our just regular editing. I'm going to get my play head to where I want. I'm going to drag this in parts, and then I click the center, delete it. Get to the end. Beautiful in-design documents. Hit Space bar, drag that along and that my friends is how you sync good audio with bad audio and video in Premier Pro. 9. How to fix color add a vignette in Premiere Pro: Hi people, in this video we're going to do something called color grading. Basically it's the fancy word for fixing colors, and in this case we're going to fix them and edit vignette. I'm going to turn on. It's on at the moment. It's looking awesome, before, after, before, after. Have I made it bitter? Have I made it worse? I think I have made it better. We're going to use something called Lumetri color, do some color grading and fix out colors, add a vignette all in this video. Let's go and do that now in Premiere Pro. To make the changes, what we're going to do is I'm going to have my cursor over top of this. I'm going to get to a position where I'm not looking really weird and I'm going to click on it so it's selected. Then I'm going to open up something called Lumetri. Go to Window and go down to Lumetri Color. The term that we're doing now is something called color grading. That's what you call it in film world, when we're going to go fix the colors. We're going to do our color grading. We're going to use the Lumetri color and yours in my default might look a little like this, but you can see if I click on these words here, basic correction, there are these options. We're going to use basic correction and vignette are the ones that we use heavily. Click on Basic Correction and to get started, what you might do is just click on Auto and see what it does. See over here, so I'm going to reset it, auto reset, auto. Do I like auto? It works a lot of the time, but in this case I don't quite like it. It's overdoing these things, I'm going to reset it. Let's do it manually. It's not super hard. This thing here, the white balance selector can be super useful. What you do is you click on this and you say, hey Premiere, I know that this part of my t-shirt is absolutely white. What it does, it goes okay, if that's white, then I'm going to make some adjustments based on the word given that that's a white. That's what you use it for. Sometimes it doesn't work, it has made my little grain has it? Then this watch over and say maybe it's this thing here that was, I know that in real life is absolutely white, so I'm going click on that. It has made more green. You can use this get started and what it is, it's adjusting the temperature and tint. You can manually override it here, depending on how bad it is. Often you can leave this at zero, so you don't have to play with the white balance. What should you do? There's nothing you should do, all you do is you keep an eye on this, and then you drag it left and right. This is my amazing technique, you're just going back and forth and going, where is the happy medium? You can see in this one there was no change. I'm not even looking at it, I'm clicking it, dragging back and forth and looking at my screen, I don't care where it actually ends up. I'm leaning forward, going where do I want this thing? About there. You can say minus eight. Some of them have little changes and they have a lot and you just go through and you go back and forth until you are happy with where it ends up. This is more art than it is science. That's what I like for this particular setting. You do it with the exact same track and you'll find that yours will be different. It really depends on what look you're looking for. Lighting in the room when you're doing editing can influence things. Also where in the video, if you are looking later on the video and actually the lighting changes, maybe the sun comes out. You might be adjusting it differently from me. I like that, what I'd like to do is move on to the vignette. Then we'll look at it playing it all the different scenes. What we'll do is go down to a vignette, this last option here and make sure your cursor is over. You've got it clicked and we're going to play with this amount. You drag it left and right. Actually, you only drag it to the left, nobody ever wants a white halo vignette, you want the black one are on the outside. Why do we edit? We don't have to. I edit because it gets a film grain look to it. Editors spent their life trying to remove vignettes from the early days. Now we spent our time adding it back for a bit of theater dramatic effect. Do you like it? See this little tick box here, turn it on and off, on and off. Because once it's a quite dark background, it doesn't really matter. Often I don't play around with any of these other options, they're just where the circle starts and stops. I'm going to undo that and I don't play around with those. With editor vignette, I've done some basic color grading and what I want to do now is apply it to definitely this one. Because that's exactly the same I wanted to match. With the cursor above this guy, I'm going to right click it and I'm going to say copy. Then I'm going to have my cursor above this one and have this selected, and now I'm going to go to edit. There's one that says instead of pasting the whole thing, if I hit paste now it's just going to paste the whole video. But if I go Paste Attributes, that Lumetri color thing we added is considered an attribute and what we can do is depending on what's selected here. I'm going to undo everything. I don't want to apply any of this stuff. I just want to apply this effect. Thank you very much. Click Okay, and it applies just that. It hasn't applied any of the sound changes we made over here, otherwise that'll come along with it, I just want to apply that effect. If you have lots of different videos like this one here, right click at Paste Attributes. Make sure I'll use the same way, it doesn't really matter which way you go. Remember last time you click Okay, and it's a way of, you can actually select a lot of them in one go and go to edit paste attribute. Last thing I want to do before I go is that these really flat screenshots that I did, I want to add a vignette to it. I don't want to do the color correction because it doesn't need color correcting, it just needs a vignette. I'm going to select down here. I'm going to grab the amount, drag it to the left and you just see, watch this turn on, turn off, on turn off. You might already be able to see it in the [inaudible]. I love it, little hint there. It's a minus five. I could copy and paste it or just select it and say you are minus. Actually, what does it just drag it a little that way. This one here drag it a little this way. They know all have a vignette because I'm addicted to vignettes. You might not turn yours on, but color correction K is very important. One thing you might do is that we did it with a really small video. You can make it bigger, this is a handy little shortcut before we leave this video, as you can grab. See the center bit here, so you can adjust this bigger and smaller. You can drag, this one is bigger. You can actually grab where they all intersect. You see where we get the little cross target here's thing and you can do that. You can keep your play head and the source window over here, but you want this to be as big as it can be. When you're using basic correction, you're just seeing it as good as quality, good as this word. All right, people, I will see you in the next video. 10. Adding & animating a logo intro to a video in Premiere Pro: Hi there. In this tutorial, we're going to get our logo to animate in at the beginning of our video. In this case, it's going to be like that one there where it scale in. But we'll also look at getting into slide in from the side and fade-in. Let's look at doing all three of those in the tutorial one more time. Let's go do that now. Before we do our logo animation and we've been playing around with things, things a little bit mixed up. Remember if we want to reset our workspace, we've go to window, workspaces and editing, make sure you set reset to saved layout. Everything goes back to normal. There's a few things I want to bring in first, so let's go to command I or control I, I for import. Let's bring in the logo and the background music. You can bring them in separately or together, like I have. I grab them both by holding down the command key and clicking each of them. That's on a Mac, if you're on a PC, it's the control key. Next thing I want to do is I want to select. You can see I'm on my selection tool, I'm pretty much on that like 99 percent of the time in Premier. I grab all of these parts in my timeline just by clicking, holding and dragging out here. There's grabbing anywhere and this first one here and just drag it all the way across here. Just got some playroom over here and then we'll drag it back in once we get our animation time dried. First thing I need is, and I'm going to bring in my logo. I'm going to bring it in here and move my play head and there's my logo. Now my logo looks better on a white background. By default everything is black in Premier Pro. To change that there's no like backgrounds sitting. You actually add a white box in the background. Now, it's not called a white box, it's called a color matte. We're going to create one, going to go "File", new, and down here there is something called a color matte. It's matching the same size as my video, which is perfect, everything's perfect. Pick a color. I'm going to click hold and drag the circle. Hold, drag it to the bottom, click "Okay." Going to give it a name. Color matte doesn't make much sense. We're going to call it background white, cool. It's over here, my project window, I'm going to click hold and drag it over here. Now we've got layers now, so it can't go down here. Why? Because this is audio and it's non-audio, it's an actual image. Now, the layer order is going to be important because I'm going to put this thing on the top here and it's quite a bit. You end up looking down from the top here and you see this guy first and underneath is my logo, which I can't see. We're going to change the order and the drag him up, and put this guy underneath. Now I've got a logo with white background. Before we move on, I'm going to add my background music. Why? Whenever I'm doing animation, I like to have the music that's going to appear because it helps me with pacing and timing. Yeah, anyway. Here's my background music. This is going to go on its own layer as well, because if I accidentally add it here, it's going to wipe whole of my speech, which is not good. I'm going to undo, click hold and drag it so it's underneath. There we are. Now I'm going to put my play head back to the beginning, hit "Spacebar." Oh it's got music, very exciting. What I'd like to do is to animate. We're going to look at a few different types of animation. You'll pick one of them maybe one of these days. We're going to do a fade in, a slide in and then a scale up. First of all, we'll do our fade-in. It's nice and easy. Put our play hit back at the beginning. What I'd like to do is when it's at the beginning here, I'd like it to be completely transparent and while it comes along, pass is going to rise till it is now, so we can see it, so fade-in. Let's look at doing it using animation. I'm going to make sure that this part is clicked, that's my logo. I'm going to zoom in a little bit so the plus key, so I can see things a little bit easier. I want to animate the logo, obviously not the white background. Let's select it, we're going to switch to up the top here to effects controls. With it selected, you can see, we looked at this earlier on. We've got motion and opacity, yours might be tolled up like that. I hit this little arrow here for motion. You can see the scale and position which we'll do in a second. But this one we want opacities, I tool that down. Now at the beginning here, I want to change my opacity. I'm going to drag it down to zero, or you can type zero and there, great. You'll see that this little diamond appears, little keyframe. That's going to set, at this time it's going to be set to zero. If I move it along a little bit, now how long I was due timing by hitting "Spacebar" and then hitting "Spacebar" back again to stop it, watch. I felt like that's long enough for it. You can adjust it afterwards. I felt like maybe after 22 frames. Yeah. That's where we're going to get it to fit into a 100 and so drag it away, cool. Another keyframe appears so there's one at zero, one at a 100. We got play hit back. Doesn't really matter if you use that play hit or the one down here. You can see they're connected. This is just a different view of the same timeline. Go back to the beginning, hit "Spacebar." There's my little fade-in. You can get it to fade out just as easily. Say we get to a bit and we wanted to finish maybe there is, I just can turn it back to zero. That's an interesting thing that happens pretty much every time I teach the classes that, yeah, just a little mistake because that is zero, that is a 100. If that's zero, it's going to slowly, watch this, gets to a 100, but then I'm going to hit "Spacebar" it slowly fades away up here. You want to more of a ramp, just wanted to get to 100, stay to 100 for a while and then drop off. Get it to a point we are ready. What we're going to do is see this one here? This is add, remove a manual keyframe. What we haven't before was when we drag this, it gets edit automatically. What we can do is actually force it there, your 100. Then go along a little bit further and drag it down to zero. Fades in, hold for a little while, and then fades out nice. Now what I could do is I could zoom out down here, minus, minus, minus. I have to click down here if I'm doing it up here as zooms in and out of that timeline. But if I click down here, let me use plus a minus. I can zoom in and out through the bottom here. Now I can drag this back in and start doing my animation while getting there, maybe the transition to blend in nicely with my talking head. But actually what I wanted to, before we go in there is, I'm going to come up here, zoom back in and I'm going to get rid of this animation. What I'm going to do is probably just delete it and we'll just drag it back in, so logo, die. What we're going to do in this case is get it to slide in. It's going start over here on the left into slide in to the middle. For this to work, let's move out play hit back to the beginning here, so at zero. Let's have the logo selected here in my timeline. Up here in my effects controls, if you can't find it and remember effects controls. Before we head opacity tool open, now tool this one, this little area here for motion. Different from opacity, opacity, had the keyframes ready to go. What we have to do in, for all the rest of them is we need to turn on, it's this little stopwatch here. If we click on this little stopwatch for motion, that's the movement, left and right. To turn this on it goes blue. We get our first keyframe over here. That's, I guess the difference between this and opacity, opacity has that on by default. We're going to drag this first slider left and right. You can see that's the x and that's the y. We're going to drag this over. You have to click and drag it a few times. You can hold Shift down while you're dragging, makes a move in bigger chunks. It's going to start off screen and then after some time, how long and hit Spacebar again and stuff it where I feel, we can adjust that afterwards. But let's hit "Spacebar." That feels like long enough to slide in. Now I'm going to drag it across this way and again in the middle. That feels about right and you can see these my other key frame. Go back to the beginning, hit "Spacebar" and that is how things slide in. We need to make it look a little prettier. Potentially we use easing and also the timing might be off so if you're finding your key frames all the way over here and you're finding, stick with me. What you need to do is click this last one and make it go blue, drag it into some way where you feel. Yeah. What we'll do now is make it look a little prettier. We're going to do something called easing. Now if you've used easing in the other program, it's very similar but very different. It's the opposite. Click this first key frame and right-click it. Make it go blue, right-click it, go to Temporal Interpolation; that's what they call easing. If you're like me from after fix or Flash or Adobe Animate, you'd feel like you wanted to ease in now, actually it's ease out. The first one is ease out and the last one is ease in. Now, you want to remember that, just try either one of these two. Try them on both. If that doesn't work, flip them around, put the easing and the out on the other one, move it back to the beginning, hit "Preview". You can see that it just has a lot nicer motion. Now, it's pretty nice. It's going like it's sliding and a little nicer. I'd like to exacerbate that. I'm not sure if that's the right word there, but I want to accentuate. I feel like that might be the better word and I want to make it a little bit more. Ease in and ease out, is good, but I want to accentuate it. You can do that by clicking on this little arrow here next to position? That little guy here is the ease in. That's a little bend. Without the ease in, if I go undo, you can see it just comes in, it doesn't have any flow or it looks very power pointing, it just stops at the end there. But if I put that ease in back on, it's got a nice bit of flow going. To add a little more, hit the "Plus" button. I'm going to zoom in. Now, because I've got my little blue box around here. I'm zooming in up here, not down here. It's the same plus and minus, and what I want to do is I'll drag this end over this, got it in so I can then drag this a little bit this way, and then drag a little bit more this way. I'm just giving it more. Space Bar. You can see it might be a bit much, but it's got this cool little wiggle on it. But yeah, that's how to do ease in and when you're doing any position works for scale, you can do it for opacity, but it's really hard to see any easing and opacity so I never do it. But yeah, that's how to do the slide in and that's the one that I want probably. That's where I'll leave that one. We can grab our video and jam it up next to it and get a transition going. I'm going to do the last one which is scale. I'm going to, again, delete all our hard work, bring in the logo again. What I want to do in this case is under motion, I've got my logo selected. I'm going to click on "Scale" of stopwatch, get my first key frame. How big is it going to be? It's going to be a zero, so it's very small. Then after some time, I'm going to get it to come up to a 100. Let's give it a preview, lets go back, hit "Spacebar". It's a bit slow, so I'm going to drag these guys a bit closer to each other. We might do is add our easing again. This first one, lets ease out and the last one is easing in. It's better. I'm going to go and accentuate it, exacerbate it, whatever word should be used there. This was a little different because instead of just having, remember I'll slid in from the left there was only x being used, so I only had one line. This one is x and y because it's scaling both height and width, so there's two of them. What we can do is you just match them. They are actually joined which is easy, but they look a little different. Fix this bottom one. Cool, now let's have a little look. I like it. It's got a bit of pace to it. Also, remember if I hit plus and minus because I'm slipped down here, it's only plus and minusing, zooming in down the bottom, we click up here so the blue boxes around the outside, the same plus and minus uprights this, so it might be a little useful to zoom in and adjust this one here. That's going to be my logo animation. We'll use the scale one in this case. What I'd like to do now is zoom out a little bit down the bottom here, grab all of these guys, put them up next to this one, zoom back in and fix the transition. Now, transitions can be a little weird when you've got two layers. I'm going to get rid of dip to black here, go to Window. Go to Fix. Down here under video transitions, Dissolve. We've got some options in here. If I grabbed it to black and do it between these two, it's going to work. Watch. Hi, there. It worked except the logo doesn't fit. Because it's not on the same layer, but if I had grabbed dip to black, you're like, so I'll just edit to this layer here. Dip to black come here. Problem with him is that he actually dips to black really early and then comes back in and it doesn't look amazing to watch. Hi, there. You can see that it's a bit ugly-looking. So what we need to do with this logo here is we need to get it to fade out at the end rather than just stop like it does. You could go through your opacity. We did that for one of the animations member key frame and another key frame. It's actually easy just to grab the cross dissolve and stick it on that because it ends up looking like the exact same thing, cross dissolve get in there. Now watch. Cool. Some housekeeping before we move on and finish is that music's quite loud and that's fine, it jumps up here. But when I start talking, Hi there, my name is Dan and I'm a graphic. I'm fighting it out. So we need to dip it down. It's exactly the same thing we did when we started adjusting volume with the key frame. So first thing I'm going to do is see this thing here, it's just too small. Watch this, I'm going to grab it and drag it down a bit, and see this slider across here? We can move this up and down. It's a little bit confusing down here. Here we go. I can see it's a bit bigger and what I want to do is, maybe just before I start talking and I enter key frame, and then maybe just afterwards, I'm going to enter another one. Now if you forget what the key frame is, its command to click this little line here on a Mac or control on a PC. I'm going to grab this line holding nothing down on my keyboard now, I'm just going to lower it down. So now we're going to practice and to see how low it needs to be. Hi there, my name is, too low. Hi there, my name is Dan, and I'm a graphic. Cool. So the rule is if you feel like it's low enough, it's probably still too high. That has always been my, like in classes, people think that's perfect. They get it to the perfect one, make it a little bit lower before you export it, everyone seems to need the music a little higher than it needs to be, me included when I get started. Hi there, my name is Dan, and I'm a graphic. Cool. So it's going to do that for the whole time and you might have bits we need to raise it up again, so just add a couple of more key frames, that type of thing. What I'm going to do to finish this off is at the end here, and my video actually zoom out. Actually my audio was all the way out here, yours is probably the same. So it goes on forever. So my videos are going to actually export to be like three minutes long when actually it should have finished way back here. So what will do is do a little logo animation just to fade it out. You can skip on now because it's the same old, same old. I'm just going to grab my logo. So back to project, grab my logo. I'm going to put on the layer just above. I'm going to grab my white background again to get just underneath. Let's do a bit of a fade across these two. So I start talking and before I did the fade, it's actually really loud. You can see, watch this if I zoom out, you can see my audio it has some bits where it's low and then gets really loud. So you can see it's really low across there. Actually now what I didn't do and what we didn't do in our course is we didn't rise that volume. We did this later in the course. We did the volumes of these guys, but we didn't raise this one. So probably this needs to get lower, but this one definitely needs to get bigger. So it brings up a good technique. We need to mute this background because it's really hard to hear me at any stage. So I'm going to mute that track. I'm going to just drag this a bit bigger so I can see a bit more down here. Cool. So with this one selected, I need that to go up about eight decibels. So I'm going to right-click it, go to audio gain. Cool. Check it bouncing in the right place. This one probably needs to go up a little bit more. So I've gone up plus two. Yeah, it's good. Now I'm going to unmute this, M is for mute. Still too high. So you can see this progressively gets higher and higher as it goes along. What I'm going to do is try and counterbalance that by progressively getting it lower and lower. So I'm going to add a key frame back here and just slowly, hopefully balance that out. I'm going to give you. There is no need for any experience in design. Muting this. Graphic design or desktop publishing before. I think the whole thing just needs to be a lot less across lots of that. Unmute it. There is no need for any experience. There's a lot of playing around with this to make it feel good all the way through. I'm not going to have spending lot's of time on it, but I'm going to leave that for you now just to go through an experiment how high or low that should be. What we'll do here with this logo is we'll get it to transition across to this. I'm going to go dip to black again, drag it between these two and remember our logo has the same problem. So I'm going to use my cross dissolve to make that feel like it blends in. Here we go. Cool, I want it to be a bit shorter and actually maybe get it to start a little bit later. So my background fades in first and then that starts going. Nice. What I might do is with the audio just at the end here is to get it to raise up a little bit because I stopped talking. So there's a bit of music while this is playing. Here we go. There's a really clear jump, so I'm just going to not be as. How long is this going to be? You can drag your logos any length because they are just stills we've got. What I might do from here is add some key frames and just get this go down to zero. I'm going to zoom out so I can see the end. Tuck it in. You get in there. I might get it to be less of a fall off as well, like that. Cool. What I do with these, I'm just going to leave it because a lot of videos, especially in social media will hold on this last frame. So I'd like to leave it there with the branding. You could get it to fade out. Use a cross dissolve dip to black and yeah, anything you like or maybe you can get it to scale in reverse to get smaller. That is going to be the end of this super long tutorial, this one. Yeah, let's finish this one there and get onto the next one. I'll see you in the next video. 11. Adding names or adding text over video lower thirds: Hi there. In this video we're going to make text Lower Thirds like this appear for a little while, wait a bit, and then disappear. We'll look at a few different methods using both templates, manually doing it, there's lots of different ways you can make that look and happen. Let's go and do that now in this tutorial. To add text to this video, I'm going to put it down here. I'm going to put my name and my title. They are often referred to as Lower Thirds, just because they occupy the lower third of the video. It's nothing fancy. But to make it easier, we're going to go to Window and go to this one that says Essential Graphics. Open that up. Now, by default, you are given a bunch of presets that you might like to use. It saves time, you can go into Lower Thirds and there's a bunch pre-made for you. You can drag out a few of them. Maybe this guy on to the timeline, and let's zoom out a little bit. I'm going to add maybe this one as well. It just means let's have a little preview of them. Let's play here, let's have a look. Feels like mine is finding it a little hard to play back. Put it down to quarter quality, just so it plays back nice and fast. There's a little transformer thing and then there's this more classic one that I've added. Watch this. It is like a bouncy thing with the blue background. It's up to you which you'll like. I'm going to work with this first transformery style one, and look at how to do adjustments before I go and delete it. Let's select on it down here. What you'd be able to do is grab the Type tool and click down here and go and replace the text. I'm going to put in Daniel Walter Scott. Have a look through the template. Some of them are two lines, some of them one line. You can select all the texts in here and go through now and adjust things like the Fill, what font is being used, and how big or small it is. But I'm not a fan of some of these templates, so I'm going to go and make it just a plain one, custom one. Let's do that. Let's delete this guy here. Let's go back to browse for these templates and let's come out of Lower Thirds. Back to this root directory here, which is just this forward slash. This is where we stopped when we first opened it up. There's this is one called Basic Lower Third. It's a nice, easy one to get started. Drag it down onto your timeline, and all that happens with this one is, watch, plays, it just appears there. There's a couple of things I'd like to do to it. First of all, change the text. I'm on the Type tool here, and I'll select it all and put in my name, and go I am an Adobe Certified Instructor. Next thing I want to do is in terms of the background, I could put a drop Shadow. You can see it here. I can click on Daniel Walter Scott and there's a drop Shadow option here. Can you see it in there up here? It's not what I want. The look is, I want a big rectangle in the background. To do it, there's this little turned up page here. If you can't see any of this, make sure that it's selected in the timeline. Click on this turned up page, let's go to rectangle. It just dumps it in the middle there. Let's grab it with the selection tool. Grab it and move it. Now, I'm going to have mine starting all the way off screen, and coming in a bit. The problem is, the red box is above everything else. You can see here the Shape 01 is actually the box then underneath are these Type. What you can do is click hold and drag them underneath. Click on them, Fill color. I'm going to make it black, and I'm going to lower the opacity of it as well just so you can see through it. But that's the look I'm going for at least. Next thing I want to do is to get it to fade in. You could go back to one of the earlier tutorials. I remember we did the logo sliding in the previous tutorial. You could do that or the scale. What we're going to do is just a cheap trick. We're going do a fade-in by using our transition. So go to Window, go to Effects, find Video Transitions, Dissolve, we're going to use Cross Dissolve. Just drag it onto the beginning and we'll drag it onto the end as well so it's just going to come along, just fade in, hove for a while, and then fade out. You can do adjustments for that. Zoom in a bit, and maybe make it longer or shorter. I find this to be definitely shorter at the end than it is at the beginning. Faded nicely at the beginning, then a quicker one at the end. I might actually make them both a bit quicker. The cool thing about it is you can spend a bit of time getting the fonts rights and getting it all perfect drop shadows, whatever you need. If you open up new project, all you need to do is Select it, hit Copy or Edit, Copy and open up a brand new project for your new thing and just paste it straight in that and it'll come along with the fade in, fade out and all the right fonts, and you can just go through and change the text to whatever is on the screen. All right buddies. Have a good time playing around adding these titles. What you could do is this, if you're finding it really hard using edits and browse, you can actually just make a Photoshop file or an Illustrator file and bring it in. If you go to Photoshop or Illustrator just make a new document that is the same dimensions as your project. It's over here. Where's my Sequence? There it is. If I hover above it, it says it's 1920 across by 1080 high. Just make sure the pixels match that in Photoshop or Illustrator and just make a file with a text on it and you can bring it in at the Cross Dissolves. It's up to you, I guess where your skills lie. That is going to be it for this tutorial. Let's look at exporting in the next one. 12. How to export make a mp4 using Adobe Premiere Pro: Hi there. In this video we're going to export our premier profile to this MP4. It's going to be about 75 megabytes. ''Double-click'' it, it's all very nice. Plays in any sort of player, can be uploaded to YouTube, any other social media option. Let's go and learn how to do that in Premier Pro. To export, its super easy with one hitch. Sometimes when you go to ''File'' and go to ''Export'', it doesn't [inaudible] like, huh, why can't I export? It's because you export the sequence, you need the sequence they selected up here on the timeline, so it knows, because you can actually have more than one sequence in a project. When you are new, you often don't use keep them separate files, but we've got a sequence selected now. Now we should be able to go to ''File'', go to ''Export'', and there it is, the Media. All you need to look at is under Format here. There's lots of different options. The one you want is H.264, that's going to give you an MP4 that's going to play on lots of computers and work for you. That's 99.9 of the things that I make at all H.264. It's the codec that's nerdy, but that's what makes an MP4. When it comes to Preset, just leave it as Match Source-High Bitrate. Let's give it a place to go to. Where it says Output Name, you can see it's using the sequence that we called it in Premiere Pro. If you hover above it and I click on mine, I'm going to put mine on my Desktop and with my Premiere Pro Class. There I'm going to save it in there. You can't see that, there it is there. Great, and that's pretty much it. We're going to hit ''Export'' rather than ''Queue''. We're going to hit ''Export'' kick back and relax, see what it's going to do. Now, it can take a little time, a long time. This thing here jumps around. This is a total waste of time. It goes, it's going to take 50 seconds. No, it's going to take a minute and a half. No, half an hour. Now it's going to take 10 seconds. What really matter is how much animation you've added to it. If you've done lots of things flying in it's going to take forever. If you've done only simple changes, it's going to go pretty quick. What I'm going do is I'll get [inaudible] or Jason to speed this up super fast and I'll see you at the end. That took a minute or two. I went and got a glass of water, didn't take that long. You might find if longer videos, more innovation. It can take quite a long time, might be a go to lunch type thing or go to bed and let it render. Let's see what's being created. It's inside Premiere Pro class. There's my MP4. Hit ''Space bar'' to preview on my Mac. You must have double-clicked it on a PC. But yeah, that is it. I'm going to skip through a little bit. That is my MP4. It's super easy to export just make sure you pick H.264 and that'll give you an MP4 that everyone can use. Let's get onto our last video. 13. What next after your Premiere Pro tutorial: Well done. We have made it. Now this is the end of the course. We have run through what would be considered a really typical use making corporate videos, adding some text. Doing some film and audio editing. Now, there are other options in premiere, more advanced options. Drop me a note in the comments. If you have got questions about your particular situation, maybe you have got problems with video or problems with audio, can you fix it, can you not? Or the things you want to do. From this course on what can you do next. Now, probably from premiere, the next step is after effects. After effects is like full-time animation for video. We did a basic bit of animation in here, we did those title sequence with a logo in, and we also added the lower thirds, and you might get away with that forever. But check out this course here. This is the after fix cause for motion graphics that I have done. This is some of the samples of the things that we will make in this course. Also what we will do is there is another course you can do after that, or you might prefer instead of it, it still in After Effects. But this one here is for animating info-graphics or a data visualization. So you might be working in a job where there is lots of spreadsheets to share and say PowerPoint presentations or through YouTube, social media. Spreadsheets, bar graphs, pie charts those ones, you can see it here. That is the course that I have got for aftereffects and infographics. Check that one out as well. Apart from that, well done. We've got to the end. I appreciate you doing the course. The last thing you could do for me is leave a review or a thumbs up, however you would like to add comments to this one here, review would be lovely, it really helps me with my courses. I am mumbling now. Just let me finish this video. Never sure what to do with these into things. I feel like there should be some sort of high-five, handshake. Oh, I will give you a high-five, and a handshake. See you later.