Transcripts
1. Introduction: Hi and welcome to this video editing masterclass with Adobe Premier Pro. My name is Ozgur. I'm an Adobe Certified Instructor for Premiere Pro, and I've been using the software for about 20 years. As you probably know, Premiere Pro is used all around the world by video editors, and if you're looking to edit your videos like a professional, then this course is for you. We will start this course with the very basics of Premiere Pro and by the time you get to the end of this training, you'll be able to tackle pretty much any video editing project that comes your way. We'll learn how to construct meaningful narratives by covering topics such as creating new projects, organizing files, working with sequences, understanding the importance of audio and fixing some common problems, working with titles, color correction and grading, special effects, speed changes, and exporting our projects to be used on different platforms including social media. The course is packed with countless tips and tricks that I've mastered over the years, including the all too important shortcuts to speed up your workflow. Together with the course, you also get all of the training files which have been recorded in 4K formats. So you can practice as you watch the lessons. So if you're ready to learn how to edit your videos like a pro, let's get started.
2. Creating a New Project: The first time you start up Premiere Pro, this is the welcome screen that you'll be seeing. If you've worked on some files before, you'll actually see a list of files in this area. Since we haven't created any files yet, it's empty. On the left-hand side you have some tabs. This is the home tab that we're seeing right now. On the right here, at the top, you have some suggestions from Premier Pro. You can hide these if you like, by clicking on this. I will reveal them again. These will just show you some new features. If I, for example, go and click on the find out how'' button, this is going to show me the new features, so I can just go and hit the "Next" button here, and then again and again, I'll come out of this. You can also go to Adobe's website by clicking on this button here to check the latest updates. Or down at the bottom, you can click on this button to create a new project from scratch. On the left again, you have the Learn tab. Inside this tab, you see some short tutorials about Premier Pro. Then you have the Sync Settings button. This is quite useful when you're using your creative Cloud account on one computer, and you want to synchronize the settings on that computer to a different one. For example, if I'm logged in with my account now, which I am, I can click on the "Sync Settings Now'' button, and then the settings I've created on any other computer would be transferred over here. Or if I'll use the settings from a different accounts, I would have to click on this button, and that will let me enter the login details for that account so that I can use the settings from there. Then we have this New Project button, which is the same button as we saw here actually, so the Create New Project and then this New Project button will do the same things. Or if you already had some files that you worked on, you can click on this button here to open those files. You can also open up a Premiere Rush project. Premiere Rush is a free editing application by Adobe. It lets you edit quick videos on your mobile phone or tablets. Once you edit them on your phone, you can upload them to your Cloud accounts and then open up those projects inside of Premiere Pro to continue editing on your computer. That's what this button is. You can create a new team project or open an existing team project. A team project is where you get to work on the same project with other people and you can assign tasks for each person, for example. Right now, I'll just go and click on this "New Project" button. That's going to take us into this New Project dialog box. Now, first thing we need to do, is to go and give the project a name. I'll just go and call this first project, and the next we're to tell Premiere where this read file needs to be saved. I'll go to the browse button here. Then I'll go to my desktop, into my Premiere Pro masterclass files folder, then into my project files folder. Then I'll save it here. It's quite important that you allocate a specific location for your project. Because Premiere Pro, later on will create some sidecar files and they'll all be by default next to your project file. If you were to set the project to be saved on say, your desktop, you'll end up cluttering your desktop for no reason. So make sure that you put your project file inside the folder. Then down here, we had the general tab. The first option inside the general tab is the video rendering and the playback. Now, this refers to how you want to preview or play the videos back. By default, Premiere will select the most relevant option here for you. This will depend on the graphics card that you have. For example, I have a standalone graphics card on his computer, so it's not integrated to the processor. That way, I can do some GPU acceleration, which takes some of the workload of the processes back so that the processor can complete other tasks faster. When you click on this button, you might see some different options on your computer depending on the specs of your computer than I do here. But usually, depending on the specs of your computer, Premiere will display what's recommended for your computer. You can select that. If you're not seeing this option, or if this bar itself is grayed out and you can't click on this, this last option here will be selected automatically where it is Mercury Playback Engine Software Only. This means it's not going to be using the graphics card to do the playback, but the processor instead. This might be a little slower, especially if you're working with high resolution images or clips, or you're applying a fix to your video clips. For now, I'll select the first option here versus GPU Acceleration(Metal), Recommended. Then down here we had the display formats. Now we had the display format for video and also the display format for audio. One second of video clip is by default going to be made out of multiple still images, depending on how you shut the clip, where you are in the world and then the settings of your camera, you might have 24, 25, or 30 frames a second, or in some special circumstances you can actually have more. But here the display format allows us to control how each frame will be labeled. By default, they're going to be labeled by using what's called a timecode. You're going to see each hour, each minute, each second, and each frame. The timecode option is pretty standard for digital video. If you're working on actual film, you can choose Feet plus Frames and depending on what film you're using, whether it's 16 mil or 35 mil, you can select all these. Then your video will be displayed in Feet plus Frames. Or if you're doing some animation work, let's say you want to exchange some files with a program like After Effects, you can choose the frames option here. That's only going to display frames instead of seconds or minutes or hours. These will make more sense when we actually start working on our project. I'm going to need to set the timecode. Next we had the audio display formats. Now, this is going to give us two options, either the audio samples or the milliseconds. The audio samples will match the number of frames you have based on this option here. For example, if your clip has 25 video frames every second, it's also going to have 25 audio frames every second. If it's got 30 frames a second, it's also going to have 30 audio frames a second. But because you can divide the second of audio into milliseconds, you can select this option, and that's going to give you more control when you're doing audio edits. I'll lead this set to the default audio samples for now. The last option here is the capture formats. Now, it no longer lets you change this anymore. This used to be HDV and DV. So high-definition video or standard-definition video. Now this is only relevant if you're going to capture something from a tape. If you're still using tape-based media, you can plug your camera into your computer and capture the tape onto your computer so you end up with digital files. Next, we had the Scratch Disks tab here. If I select this, a scratch disk is a fancy term for where do you want the additional files to be saved. The first two options here, captured video and captured audio, refer to what happens when you capture something from tape. Like I said earlier, if you're capturing something from a tape-based media, they'll need to be saved on your computer somewhere and this asks you where those files will be saved. By default, you'll notice all of these are the same as the project. That's why it's important to set the project to go inside a specific folder. Because all of these additional files will be saved inside the same folder. Then you have your video previews and audio previews. A preview file is when you change the appearance of a clip. For example, let's say you're applying effect to a clip. So it no longer looks like how it was when you shot it. Premiere sometimes will need to create a preview file or a render file in order to show you that clip in full quality in real time. Again, this will make more sense towards the end of this course when we talk about rendering. Then you had auto save here. Auto save is going to create a backup file every so many minutes, which is something you can change in the preferences in Premier Pro. Sometimes for no apparent reason, your project files become corrupt. That's when you start relying on your auto save files. It's important that you know where your auto save files are saved, your backup files. Normally, I'd save my auto save files into a folder that synchronizes with the Cloud so that they're not local to my computer. If anything happens to my computer, I have my auto save backup files somewhere in the Cloud so I can well retrieve them on a different computer. To change this, you just simply have to click on the "Browse" button, and then let's specify where you want these files to be saved. If you have a Dropbox account, for example, or a OneDrive accounts, or a D drive accounts, or even your Creative Cloud accounts. I can click here, go to Premier Pro, select the version, and then the auto save, and I can press ''Choose''. That's going to save all these backups onto the Cloud. I don't want to do this for the course now, I want my auto save files also to be next to my project files. But when you're working on something for real, I'd recommend you save this somewhere safe. I'll just go and cancel this. Then you have this option here, the CC libraries downloads. This is going to be relevant if you're using the library's panel in a different Adobe application, say something like Photoshop, Illustrator, or InDesign. You can create some assets, let's say some graphics inside those applications and save them inside the Libraries panel, and then you open up the Libraries panel in Premier Pro. Then you can download those files from the Cloud, which is where the library files are saved onto your computer locally. That's what this option is. This last option is if you're using Adobe After Effects, which is an animation application to create animations or templates, this is asking you where those template files will be saved. Again, I'm not going to change any of this. I'll just go and press ''OK'' here. As soon as we do that, that's going to take us into Premier Pro where we can start editing.
3. Interface and Workspaces: Now that you are inside of Premiere Pro, let's talk about the interface and how to customize it. One really good thing about Premiere Pro's interface is that it's really fluid. What I mean by that is that you can move the panels around in pretty much any way you like, depending on the type of work you do. Let me show you how that's done. Here, as you can see, we have quite a few different panels open. We have the learn panel here. We have the source panel, project panel, timeline panel, and then the program panel. Let's say for example, for the time being, you don't need this learn panel to be visible. By the way, the learn panel will show you some quick tips about the different tools in Premiere Pro. If you want to check these out, feel free to just click on these. But let's say for now, you want to get rid of this panel. The easiest way to do that is to go and right-click on the name of the panel, and this is true for every single panel. Then you can choose Close Panel here, and that will disappear. You can do exactly the same thing for every single panel here. For example, if you don't want the project panel anymore, you can right-click on this, and then close this one as well. Let's say you did that inadvertently and you want to bring some of the panels back, where we can find every single panel in Premiere Pro listed under the Window menu here. The Window menu is a long list of all available panels. The ones with the checkmarks next to them are the currently visible ones. For example, right now I can see the audio meters here, I can see the media browser here, and then the program monitor here, and so on. But I've got rid of the learn panel, and if I want to bring it back, all I have to do is to click on this button again, and there it is. You shouldn't really worry about making something disappear forever. Throughout the course, if any of the panels that we're talking about is invisible on your screen, you can just go to the Window menu, and then bring it up here. I'm going to go and get rid of my learn panel again. If you noticed, when I got rid of the learn panel, the project panel down here got squashed. Now that's no problem at all. You can actually move your cursor between two panels like that, and then just click and expand that panel, or shrink it in any way you like. This is true for two panels like this, or in-between three panels. For example, if I move my cursor between the source, the program, and the timeline panels, here, I can move all of them at the same time. You can even swap panels around. For example, if I want the media browser to be on the left-hand side here, all I have to do is to click and drag this to the left, and you see, they get swapped around. If you want to work with a panel that's not currently visible, like we said earlier, you can go to the Window menu. Let's say for example, you want to bring up the effects panel. If I click on this, the effects panel pops up here. But let's say for example, you want the panel not to be here, but to be at the top here, where the source panel is, well that's really easy as well. If I click and drag the effects panel up to here, and if I make sure that this blue highlight is on, this is called the drop zone, is in the middle, and if I let go of my mouse, that's going to dock their effects panel together with the source panel. We can now switch back and forth between the two. If you need the effects panel to be to the left of the source panel, you can just go click, and then drag this, not to the center, more to the left-hand side here. That's going to dock the effects panel to the left-hand side of the source panel, like that. If I want the effects panel to be a large column on the left-hand side here, I can click and then drag this all the way to the left, and I'll see a green line here. If I now let go, the effects panel is going to take a huge area on the left-hand side of my screen. I can now squash this. One more thing I want to show you here, is if you want a panel not to be docked to the rest of the screen. For example, if I want my effects panel to be on the second screen that I'm using, I can just click and drag, and you see by default it will want to dock itself to the interface. But as I'm dragging, if I hold the Command key down on the Mac, or Control on PC, this will become what's called a floating panel. I can now easily drag this onto the second monitor, and then I can make use of two monitors like that. Now I'm going to go and get rid of this. I'm going to make a bit more space for my timeline actually, here, and a bit less from my audio meters, like that. Let's say I really like this interface, and I want to save this as my custom interface. The arrangement of all of these panels is called a workspace. If I want to save this as a custom workspace, I can go to the Window menu, and then Workspaces. You see all these preset workspaces that Adobe thought would be useful if you're doing this kind of works. For example, if you're doing some color correction, you'd be choosing the color workspace. If you're doing some audio editing, you'd switch to the audio workspace. Let me just go and click on this. This brings up all the audio-related panels. There's essential sound panel here, and there's a clip mixer here for audio, and then the track mixer, and so on. If I don't like this, of course I can go back to the learning panel again. Workspaces, Learning. This is what I had selected before. If I want to save this as my custom workspace, I can just go back to the Window menu, then to Workspaces, and then come down to here where it says Save as New Workspace. I can give this a name. I'm going to call this My Workspace. If I go and press "Okay", that's now going to be added to the Window menu here as My Workspace. Now the advantage of doing this is that if I now go and mess up the interface. For example, let's say if I just go and push the project panel up here by mistake, or on purpose, sometimes you want the panels to be in different places. Let me just make the timeline a bit bigger. Maybe get it off my media browser altogether, and then maybe move this timeline here. Again, let's say I did that inadvertently. Instead of trying to bring everything back to where they were, all I have to do is now go to the Window menu, and then down to Workspaces, and because My Workspace is selected, I can come down to where it says Reset to Save Layout. This will remember the arrangement of those panels when I save it as my workspace. If I go click on this, there you go, this is my workspace now. You can see actually the name of the workspace I just created, and these are the other preset workspaces that Adobe thought would be useful For example, if I'm doing some graphics work, I can just go click on this. This will be the same thing as going to Window, Workspaces, and selecting Graphics here. Let me now go to the Window menu, and Workspaces. Come down to Edit Workspaces. I can now see what appears in the bar, bar being this top bar here. For example, if I don't want to see the learning workspace there, I can click on this, and then move this out, literally just by clicking, and then dragging this here to where it says Overflow Menu. I can do the same for the others as well. Let's say if I take my assembly workspace out here, and if I now press "Okay", you see in the bar I only see these workspaces. I can now switch back to my workspace. At any point, if you want to reset your workspace, all you need to do is to go and click on Window, Workspaces, and then Reset. Or you can actually click on the three lines that you're seeing here, and then you can choose Reset to Save Layout. That's going to be such a useful thing when the interface gets messed up. Keep that in mind, and let me explain what the different panels do one-by-one. You'll need to find a workspace that works best for you, and then save it as your custom workspace in order to speed up your workflow.
4. Panels Explained: Now, let's talk about the functions of the different panels in Premiere Pro. We'll start by looking at the project panel near the bottom left corner of the screen. The project panel is a repository of everything that you want to use inside this project. This will include things like your video clips, audio files, graphics, and so on. If you want to use a file in Premiere Pro, you'll first have to bring that into the project panel. Let's say, for example, you go and shoot an interview and then you end up with say, 10 different clips on your video camera. You first had to take those clips in one way or another onto your computer or to a hard drive, and then from there, you need to bring those files into the project panel in Premiere Pro. The project panel is used to keep and organize all the files that you want to use. Let's take one of those interview clips, say it's a 10 minute clip and then you want to see its role unedited contents. Once you bring the clip into the project panel, you can then open it up in the source panel here, so you can see the contents of it, the unedited version of clip. Then using the source panel, you'll determine which section of the clip that you want to include in your final project. Let's say, for example, the interviewer answers five different questions over 10 minutes, but you're only interested in the answer to the second question. So using source panel, you'll specify where the answer starts from and where it finishes, and then you take the portion and then send it from the source panel to the program panel. The program panel will display only the things that you'll be exporting out from Premiere Pro, so whatever you see inside the program panel is eventually what you'll export from Premiere Pro. Then the program panel is going to be linked to your timeline. The timeline is a graphical representation of the program panel. Using the timeline, you can specify when things take place, when a clip starts and finishes, when a piece of audio starts and finishes, and so on. These two panels are tightly linked together. To the right of the timeline, you have the audio meters, this is where you check out loud or quiet your clips are. To the left of the timeline is your tool bar, these are the tools that we'll be using when we are editing video clips. There's also another panel here called media browser, which is used to browse the files on your drive before you decide whether or not they should be imported to the project. As you can see, there's a logic to every single panel. The arrangement of all of these panels is quite sensible as well. A clip starts its life in the project panel and then we take it into the source panel, and then from there, it goes to the program panel which is also the same thing as your timeline, and eventually from the timeline, you export it. Files actually have a clockwise life cycle. They start here and they go all the way around the interface like that. That's a really brief overview of what the different panels do. In the next lessons, we'll actually have a look at how to use these panels.
5. Importing and Organising Files: Let's see how we can bring files into Premiere Pro using the Project Panel. Like we said earlier, the Project Panel is going to be used as a repository of everything that we want to use inside this project. To bring the files in you can do one or few things. You can go up to the File menu, and then come down to Import, or you can use the shortcut here, Command I, Control I on PC. Or because when you import something that's going to go directly inside the Project Panel, you can actually do the importing directly within this panel as well. To do that, you can either go right-click here and then select Import, or I think the easiest way is to go and double-click somewhere empty inside the Project Panel, and that brings up the import dialog box. All of these different methods will get you to the same place, and that's one good thing about Premiere Pro, there's more than one way of doing the same thing. Whichever way it makes more sense to you, feel free to use that. I'm now going to go to my Desktop on the left, then go to Premiere Pro Masterclass training files, and then in here, as you can see, I've created some subfolders. This is really good practice. You want to keep everything organized before you even start working in Premiere Pro. If you don't create these subfolders, but you leave your files scattered around different drives and different places on your computer, and you just bring them in like that. Trying to find the file later on, is going to be a real mess. So make sure that you organize your files before you start doing anything in Premiere Pro. That's exactly what I've done here. I created a folder called it Interviews, and then I put all the interview files in there, and then another folder called it Music, these are all my music files, then one more for the 3D Renders, and then one more for the Drone Footage, one more for the Graphics and so on. I created the subcategories to make it easier for us to locate the files as we need them. You can see I've also created a folder here called Project Files, so everything that I'll be creating, will be going inside this folder. I'll start by importing a single file. I'll go to Interviews, and let's say I'll import this file name called Alex Anectode. Now, in order to import this file in, all you have to do is to just go and click Import, or you can actually go and double-click on the file here as well. When I do that, that's going to take a second, and it brings the file into the Project Panel here, which is now ready for me to use inside my project. Let's go and try and import a couple of more clips. I'm going to go and double-click anywhere that's empty in here, and I'll bring all of the Alex files here, the ones that I haven't imported so far. I'll select the second one, and if I come down to the last one here, and hold down Shift on the keyboard and click, that selects all of these files at the same time. That's how we can select multiple files by holding down the Shift key. If you hold down the Command key on the Mac or Control on PC, you can also select individual files like that as well. So we can bring multiple files at the same time. I'm going to deselect all the others, again by holding down Command and clicking on them, and then I'll just import these in. I'll just go and press the Import button again, and you see all the files will go into the Project Panel here. Now, as soon as you have more than a few clips in here, you'll notice that the Project Panel isn't actually quite large enough. I can scroll up and down of course, but that's going to take a while, especially when you have 10s, if not 100s of files. What you can do is to maximize the size of this panel so that all you're seeing for the time being, is the Project Panel and nothing else, and that's a huge time-saver. Whenever you want to maximize the panel, your cursor happens to be on. All you have to do is to tap the Tilde key on the keyboard, this is the key between Shift and Z on the Mac or it's the key to the left of number 1 on Windows, and if I tap that key once you see that the panel gets maximized. That's all I'm seeing now. If I tap the same key again, that will minimize the panel. That's true for any other panels. Let's say, for example, if I'm working on the timeline and I want to maximize this, I'll just move my mouse here without even having to click, I can just tap that key on the keyboard and it'll maximize the Timeline Panel. I can press the same key again to minimize it, and then move my cursor up here to the Program Panel, press the same button, that will get maximized, and press it again, it will get minimized. Another way of doing the exact same thing is to go to the name of the panel, let's say the Project Panel, and then just go and double-click here. If I just double-click, it maximizes the Project Panel, and if I double-click again, that minimizes it. That's true for all of these panels as well. If I double-click here, the Source Panel will get maximized, double-click again, and it will get minimized. I'm going to go and maximize my Project Panel, so that's all I'm seeing for the time being, and I'll import the rest of the clips. I'm going to go and right-click, Import, and then I'll import all of the Amanda clips. I'll just go here, click on the first Amanda clip, hold down Shift, and then click on the last one. I'll hit Import, and now this brings in all the Amanda clips. Finally, I'll import the rest of the files from that same interviews folder. I'll go and double-click this time, and then scroll down to find interviews of Chenika, so I'll select this first one, hold down Shift, click on the last one, and then releasing, and now these are all of my interview files. Before we even started editing anything, the Project Panel got a little too crowded. In order to avoid that, you create folders inside the Project Panel, and add the files into the folders, and a folder in Premiere Pro is called a bin. The term comes from the old days of film editing when they used to use bins to store the clips or the films. In order to create a bin, all you have to do is to either come down here near the bottom right corner of your Project Panel, and then you see this new bin icon here, or you can go to the File menu and select New, Bin. Another way is to right-click somewhere empty again here, and then you can create a New Bin this way as well. Or on the keyboard, you can press Command or Control B for bin, and all of these will give you a bin. Right away, I can just go and rename this bin to be Interviews, and then I'm going to select all these files, so I'll click on the first file here, and then hold down Shift, and then click on the last one, and then drag these into the Interviews Bin. Now I have that bin, if I want to see the contents of it, all I have to do is to go and double-click here, and it takes me into the bin, and the bin opens up as a tab here, which means I can switch back and forth between these different tabs. Now inside the Interviews Bin, I can actually create some more bins. I can create a bin for Alex, another bin for Amanda, and one more for Chenika, and that would be a neat way of organizing things. Let's do that. I'm going to go right-click, New Bin, and I'll call this Alex. I'll just go and click on the first Alex clip, hold down Shift, and then click on the last one. Then click and drag one of these inside that bin. I'll do one more for Amanda, so right-click, New Bin, I'll call this one Amanda. I'll select the first Amanda clip, hold down Shift, click on the last one, and then click and drag all of these inside that Amanda Bin. Then one more for Chenika. Our right-click, New Bin, Chenika. I'll click on the first one, Shift click on the last one, and drag one of these inside that bin. Now I have the Project Panel, which includes the Interviews Bin, which includes three sub-bins. If I want to find Alex's interviews, all I have to do is to go into this bin and then double-click, and it takes me in here. Great. Now let's bring the rest of the files in here. I'm going to go up to the Project Panel, make sure that this Interview's Bin isn't selected. Otherwise, when I import something they will go inside that bin, which I don't want. I'm going to go and deselect this, and then right-click, Import, and I'll just go up a level here, and this time I'm going to import all my music files. If I now click on the Music folder here, if you want to import a single file, of course, you just go and double-click, we know that now. But if you want to import the entire folder with all of its contents, all you have to do is to select the Music folder, and without selecting a clip in here, you just click the Import button. On Windows, there's going to be an option there, it will say Import folder. So you need to click on the Import folder button on Windows, and on the Mac, you'll just click Import. Once you do that, you'll end up with a bin, and inside the bin, you'll have all the music files that you imported, like that. I'll go up to my Project Panel again, and I'll import a couple of more things. I'll deselect everything, right-click, Import. Now I'll go to the folder called B-Roll, and I'll import the entire folder. The more files you bring in, the longer it takes to import. But once they're imported, they'll be ready to use in the project. As you've noticed, if I just go and double-click somewhere empty here, there are more folders in here, and we're not going to import every single thing. You'll bring them in when we need them. For now, I'll just go and hit Cancel, and these are the three bins we've ended up importing. In order to see these bins in a slightly different way, I can come down to here, near the bottom left corner, and I can switch my current view to the list view. So right now I'm seeing them as a list rather than icons, this is what the second button is, the icon view. We can switch back and forth between the two. If I'm seeing them as a list view, I'll have these drop-down options here to the left. If I now go into my Interviews drop-down, I now have the bins in here, I can now click and see the contents of these. The list view, as you can see, will give us a lot more information about the clips that we are working with. We see information such as the frame rate, when the clip starts and ends, the length of the clip and so on. Whereas in the icon view, you don't get that information. If I go to my B-Roll Bin, you see we only have the clips, their names, and the durations here. There's another option called the Freeform View here. If I go and click on the Freeform View, this actually looks very much like the icon view to start with. But what you can do with the Freeform View is to group clips together literally by clicking and then dropping them on top of each other like this. For example, let's say I want to group all of these clips where we have the close-ups of the walls. If I now go click on this and then maybe put this near the top right, and then this one goes next to it, and then this one goes here, and I also want to create a group of the climbers, so I can put this here, that one there, and then this one here. Then another group of the kids kayaking, so I can just put these all together here like that, and then there's one more here, I can just click and drag, and there's a flower clip here, I'll just go and push this somewhere else. Now you see if you have these clips that large, you can end up creating a mess. What you can do is to come down here to where the slider is, and then use this to make the clips smaller like that. It will take a couple of seconds to update the thumbnail for the rest of the clips. But once they're done, you can now have a larger space here to organize your clips. For example, I can put this here, and then this other map on the side, and then there is all these kayaking kids, I can just click and drag them like that, and there is a few more kayaking kids, so I just put these here as well. Then there's a flower here, I just push this, let's say there, and then one more flower here, I can put that there as well. Then there's another wall here, I can just click and drag this near the rest, and some close-ups of kids, so I can just go click and drag these here like that. You can see that the Freeform View is quite flexible. It can place the clips anywhere you like so you can find them later when you need them. If you now want to separate these away from each other so they're no longer no on top of each other, you can right-click anywhere here and then go to Align to Grid, and that will just separate them away from each other, so we can see every clip one-by-one. For now, I'm actually going to go to my icon view and then switch back to my Project Panel. You can see the more bins you have, the more tabs you'll end up with. If that's not what you want, and this can be quite messy as well, if you have 10s of different bins, you'll have 10s of different tabs in here. If that's not what you want, you can right-click and get rid of these bins one-by-one, like that. If I now go back to my Project Panel, if I want to open up the contents of this Music Bin without seeing this as a tab here, all I have to do is to hold down Command or Control on PC, and then double-click on the bin, and this opens up in place. Rather than opening up as a new tab, which is what the other one did, Command double-clicking will open up in place. So instead of the Project Panel now, we see the Music Bin. If I want to go back up, I click on this up arrow here, and that takes me back to my Project Panel. Command double-clicking does that, whereas if you hold down Alt and double-click, that opens up as a floating panel like this. If you add the second monitor, you can drop this bin onto that second monitor and do the same for all the other bins as well. I'm going to close this, save my file by going to File, Save. In the next lesson, we'll have a look at how to preview these files.
6. Previewing Files With the Media Browser: There are different ways of previewing files in Premier Pro. Let me start by talking about what the media browser is and how we can browse files and preview them before you even import them into Premiere Pro. This is the media browser panel, if I select it, and then on the left-hand side, go to my Macintosh HD, and then users, and then the training folder here, and then desktop, this is where all my files are. Then I'll select the Premiere Pro masterclass folder so I can see the contents of it. It may actually maximize my media browser by double-clicking on the name of the panel. Then in here, if I go to, let's say, my drone footage, if I want to see the thumbnails here, I'll come down and click on the thumbnail view. Now I can see the thumbnails of the drone footage. Now this works very much like the project panel, but the only difference is that we haven't actually imported any of these to this project. I'm only using the media browser to preview the files. Now, if I want to make these larger, I can use the slider at the bottom, like that. To see the contents of these clips, I can just move my cursor over to the clips. Then as I move my mouse left and right, you can see that's what's happening at the beginning of the clip, and that's what's happening near the end of the clip. I'm not clicking anywhere, I'm just hovering my mouse over these clips and I can see the contents of them. I can do the same for this clip as well. If I move my cursor to the left or left and right, I now see the contents of this clip. I'm not going to be able to hear any audio, but at least I can see the contents real quick. This preview function is called hover scrub and it's quite a useful one. But if you want to turn this off, you come up here to access media browser and click on the three lines next to it and then you can turn off the hover scrub option. If I turn this off, and then try and move my cursor over these clips, you see they're not previewing. If you want to be able to have that function, you've got to make sure that this is turned on. If you like this clip and you want the clip to be included in the project, all you have to do is to go and right-click on this clip and then click on "Import". It'll bring the file from that location that we selected into the project panel. If I hit "Import", that file is in, and you can now see the file is inside my project panel now. As you can see, the media browser is a quick and easy way of previewing files before you decide whether or not they should be imported to the project. If you change your mind about something that you've imported to Premier Pro and you want to remove it, all you had to do is to select it and then press Delete on the keyboard or right-click on the clip and choose clear. Now that clip is gone. If you want to preview clips that you've already imported to the project, you can do exactly the same thing as you did in the media browser. Let's say if I open up my B-roll bin and if I want to preview these, you can see I can move my mouse left and right on these clips and I can quickly see their contents, like that. This is a huge time saver. You don't have to open these clips up one-by-one to see their contents. You can just scrub over them. Then if you like one, you can actually go and see that in more detail. That's exactly what we'll do in the next lesson.
7. Project Background Information: Let me now give you some background information about the video that will be creating. This will help us construct a better story. We're going to be creating a video for a charity called Longridge on the Thames. Longridge is an amazing British charity operating outdoor learning centers for kids and adults. One of their outdoor centers got damaged really badly, as a result of the floods in the UK in 2015. We will now be creating a video to support their charity fundraising project to build a new building that would not be liable to flooding. With this information in mind, let's now switch back to Premiere Pro and start editing our video.
8. Using the Source Monitor: In order to preview a file, we first have to go and open that up by double-clicking on it. I'm going to go to the Interviews bin and then head over to the Amanda bin, and just so that I can see more of these files all in one go, I'm going to switch this to the list view here and then I'll open up the file called Amanda Longridge background. Hopefully you can see how important it is to name these files before you even bring them into Premier Pro. But if you didn't name the files, you can still name them while you're in Premier Pro by clicking on the file and then clicking once again, and then it will let you rename the file. Because I've named this already outside of Premier Pro, I don't need to do this so I'm just going to go and double-click on the file icon here and that will open up inside the Source panel. The Source panel is used to see the roll, the unedited version of the clip. You're not going to see any effects, no edits, nothing. You will just see the clip as it came from your camera with all its imperfections. Just so that we can focus more on this panel right now, I'm going to go and maximize this either by double clicking on the name or hitting the tilde key on the keyboard. Now that we can see the panel a little better, we can talk about how to do the previews. You'll see at the bottom here, there are some buttons. For example, there's the play button. It was for scouts, but they just couldn't afford to retain it. If I press the same button again, it pauses the playback. But instead of these buttons, I'll actually show you how to do all of these with the keyboard. If you're serious about editing videos in Premier Pro, you've got to learn how to use shortcuts on the keyboard, rather than using these buttons here. The first shortcut that you'll need to learn is the spacebar. When you press space bar, you start the play back. Put it on the market to be sold for development. Huge outcry from local scouts who didn't want to. Then you press space bar again to pause the playback. That's exactly the same as pressing this play and stop button here. Now you see as the playback is taking place, this blue thing here called the CTI or the Current Time Indicator, or the play head is moving from left to right. That means of course, the left side is the beginning of the clip and the right side is the end of the clip. But instead of playing manually, you can actually click anywhere on this time ruler and the play head will jump there. So if I go here to the center of the clip or to the end of the clip, or to the beginning. Now you can also click and drag on this time ruler. That will also do a preview. Or if you want to start the preview from the beginning, you'll need to drag this play head all the way back to the beginning, and there's a shortcut for that on the keyboard as well. So if you press the up arrow on the keyboard, that will multiply it to the beginning and if you now press space bar, that will start it from there. So Amanda, can you tell me a little bit. Let me just pause the playback here. Just like pressing the down arrow, will take the play head to the end of the clip. Here. So using up and down, you can see the head or the tail of the clip. That's what those frames are called. The first frame is called the head, and the last frame is the tail. In order to be able to preview files effectively, you'll need to learn some more shortcuts on the keyboard. The first one of which is going to be the letter L. When you press L, the playback will start again. So this is the same thing as pressing spacebar, but if you press L the second time, you will double the speed and if you press it again, you'll double that, and at any point if I press space bar I'll pause the playback. So every time we press L, you're doubling the speed of the playback. This is great if you're trying to get to a point quite fast. Just like L, if you want to go backwards in time, you can press J. So J will start rewinding the clip, and if you press J the second time, you'll rewind twice as fast, and then four times as fast, and then eight times as fast. Every time you press J, you're doubling the speed of that. As soon as the play head reaches the beginning of the clip, it will stop. So using J and L is an effective way of traveling to any point in time in the clip. Now let me just go somewhere in the center of the clip first and let me show you a couple of more shortcuts. Between J and L on the keyboard, there's the K key. K is the modifier key. What that means is that it will change or modify the way the J and the L keys work. So if I press and hold down K and then just tap the letter L, that's advancing forward by one frame at a time. Whereas holding down K and then tapping J will go backwards by one frame at a time. If you look at the play head, you can see that it's moving backwards by one frame at a time. Similarly, if I hold down K and then press and hold down L rather than tapping it, if I press and hold down the L key as well, that's going to start the playback forwards in slow motion. I let go of the L key, and if I press J now, whilst holding down K, that's going to play backwards in slow motion. I let go of J to stop the playback. Another way of moving the play head forwards or backwards in the timeline is by using the arrows on the keyboard. We already looked at the up and down arrows to move the play head to the beginning or the end of the timeline. But if you use the left and right arrows, you can go left or right in the timeline frame by frame. So if I press the left arrow once, that will move the play head back by one frame. Whereas if I press the right arrow, that will move the play head forwards by one frame at a time. If I want to multiply it faster, I can hold down the Shift key on the keyboard, then press the right arrow, and that will go forwards by five frames rather than one, and of course I can hold down a Shift and then press the left arrow once and that'll go backwards by five frames. If you're serious about video editing, you've got to learn these shortcuts on the keyboard. So go ahead, open up a clip and try to preview with using the shortcuts. As you'll need to do that quite a lot throughout the rest of the course.
9. Understanding Frames and Timecodes: In this video, we'll demystify some of the terminology used in video editing. We'll start by frames. A frame is a single still image. Every video clip is made up of multiple frames. You can think of a video clip as a set of consecutive still images, frames, played back at a specific rate, the frame rates. To find out what the frame rate of clip is, you can just come down to your bin, find the clip, and if you're looking at it through the ListView, you'll actually see the frame rate here. Otherwise, if you had the icon view, let's say like that, and then if you right-click on the clip, come down to properties. If I click, this will actually show me now the frame rate of this clip, as well as some additional information, such as where the file is, the type of the file, the size of the file, the size of the image in pixels, frame rates, and then audio formats and so on. If I come out of this, and in order to understand what the frames are like, if you just use the left and right arrows on your keyboard, every time you press the right arrow, or remember, you can also hold down K and tap the letter L. That's the same thing as tapping the right arrow. You're advancing forward by one frame at a time, and in order for one second in the video to pass, you'll have to do this 25 times, because this clip was shot with 25 frames per second. This is something that you need to set on the camera before you start shooting. You need to tell you a camera how many frames, how many still images you wanted to record every second. This was shot with 25 frames a second, which means if I press the right arrow 25 times, I'll advance forward by one second, and there are some specific frame rate conventions depending on where you are in the world. If you're shooting something in the US and it's going to be broadcast there, you'd be using 30 frames a second. You need to set your camera to record 30 still images every second. If you are in Europe and most other parts of the world, you'll be using 25 frames per second. For film, the traditional frame rate is 24. The videos that we'll be working with on this course were all shot in the UK, so the frame rates are all set to 25. That's what a frame and a frame rate is. We also have something else called the time code. Time code specifies two things. The first thing is the position of the playhead. If I now go click and drag the playhead around, you can see that the time code here keeps updating, so it shows me where the playhead is. The second thing that the time code shows us is the overall duration of the clip. That's what this white text here is. The time code on the left-hand side in blue shows us the position of the play head, and the time code on the right shows us how long the clip is. The way to read a time code is as follows. The first two digits are the hours, then the second two digits here are minutes. Then you have seconds and frames. Right now my playhead is on zero hours, zero minutes, 10 seconds, and 20 frames. The duration of the clip is zero hours, zero minutes, 46 seconds, and 17 frames. You can see as I move my playhead, this white text here, the time code of the duration of the clip doesn't change because just by moving the playhead, I can't make the clip longer or shorter. But the blue numbers here updates. Now you'll notice as soon as I reach frame 24, if I move forward by one frame by pressing the right arrow on the keyboard, you won't actually see number 25 here. You'll actually see this eight changing into nine, and the frames will zero out. If I now keep pressing the right arrow again and again and again, you can see I'm advancing forward by one frame at a time. As soon as I reach frame 25, I'll have advanced forward by one more second. This works exactly the same way regardless of the panels you're in. Right now, I'm in the source panel and this left text here shows me the position of the playhead. But in the program panel, the text on the left, the numbers on the left, will still show me the position of the playhead. But this time, the playhead of the program panel and on the right-hand side, I'll the duration of the program panel. In the timeline, I also have the text here, which is on the left side of the timeline, meaning that it will show me the position on playhead in the timeline. Because we haven't talked about the program and the timeline panels in detail, these time codes might not make too much sense right now. But when we actually start using these panels, this would be very helpful. Understanding all this terminology is quite an important part of video editing. Make sure this is crystal clear before you move any further.
10. Marking a Clip and Previewing from In to Out: Now, that we know how to preview a clip, let's have a look at how to specify when it should start and finish. That's called marking. We'll mark the clip now to tell Premiere Pro that the clip will start from this specific point, and it will finish at this specific point. For that, I'm going to go and find those points. Here I have the clip open. I'm going to hit, "Spacebar" to start the playback. Amanda can you tell me a little bit about the background of Longridge, the past. Longridge has been here And I'll stop it just when she starts talking. Let say I want this first clip to start just before she starts talking. I'm going to need to press "J" to rewind. As soon as we get to that point, I'll hit, "Spacebar" to pause the playback again. [inaudible] At this point, it looks about right. If you couldn't get this point exactly, you can use the left and right arrows on the keyboard to go to the exact frame you want this to be at, or you can use the J-K-L keys like we talked about in the previous lessons. Let's say that this is the point I want the clip to start from. I don't want the question being asked. I just want to hear the answer, so that's starting from around here. For that, I'm going to need to do what's called marking the in-points. You do that either by clicking on this button here or by pressing I on the keyboard. As soon as you press I, a couple of things will happen. First, you'll start seeing this highlight here. This is a section of the clip that's now being marked. Everything before this point will be ignored. The second thing that happened, is that the duration of the clip just changed. Let me undo that by going to, "Edit", "Undo". Before the clip was 46 seconds and 17 frames, and my playhead is at 5 seconds and 20 frames. If I set the in-point here, check what happens to the duration. Now, the clip is shorter than it was before. What I'll do next is to hit spacebar to start the playback, and I'll pause it again just when I want the clip to end, so I'm going to hit, "Spacebar". Longridge has been here for a good 70 years, maybe longer. Originally it was where all the people of Marlow learned to swim and then the scouts Let's say we want the clip to finish after she says the word, swim, so let's go and find that word again. I'm going to press "J" a couple of times and then, "Spacebar" to pause it again. [inaudible] Then, "Spacebar" again to play. Just after she says swim, I'll pause it. Swim. There. Now, in order to see what this frame actually it looks like, I can go full-screen here by hitting the "Tilde" key on the keyboard or double-clicking anywhere here. I'm now going to use the left arrow a couple of times to find a frame where her mouth is properly closed, so I'm going to go left a couple of times. I went a bit too far, so I'll go forward by pressing the right arrow. That's when she says, swim, and there I am. That's going to be the end-frame there. To mark the out-frame, you're going to need to press O on the keyboard or click this button here at the bottom. If I press O or this, that's now going to mark the out-points. Right now, our highlight is only this long. You can see the duration of the clip, is 6 seconds and 23 frames long. Let's say, I made a mistake, and I set my out-point somewhere else. Let me undo that by pressing "Command-Z" and then I'll hit "Play". Let's say, I set my out-points here, which is obviously the wrong place. If you want to reset the out-point or the in-point for that matter, all you have to do, is to go and find the correct out-points or in-points, let's say, this is where I want the out-point to be at, and then you press "O" again, and it's going to replace the existing out-point with the new one you are creating. If I go and press O, it takes the old out-point and sticks it where the playhead is, because you can't have two out-points on the same clip at any given time. You can change the in and out-points later on, but at any given time, you can only have 1 in and one out-point. An alternative way of updating the in and out-points is by moving your mouse to where the in-point is. When you see the cursor turning into a red bracket, you can click and drag. What you're seeing there on the large monitor is going to be the new in-point of the clip. If I let go here, that's going to be my new in-point. As soon as I let go of the mouse, the picture will update to show me what's under the playhead. Let's say, you now want to preview what you have between the in and out-points. If I go back to the beginning of the timeline and then hit, "Play" or "Spacebar", you'll see that it will just ignore the in and out-points and it will just play through. Tell me a little bit about Longridge, the past. Longridge has been here for a good 70 years, maybe longer. Originally it was where all the people of Marlow learned to swim, and then the scouts I'll pause it by pressing, "Spacebar" again. But let's say I only want to preview from here to here. Well, there's a button for that, a button that's not visible by default. You see these buttons here, these are the preset default buttons, but you can add more to this list. To do that, we are going to go to this plus button near the bottom right corner, this is going to open up the button editor, and these are the rest of the buttons that you can use. You can't actually use these buttons here. For example, if I click on any of these, nothing happens, but you can click and drag them to go to the rest of the list hear. The button I'm after is this one here. This is to play the video from in to out. I'm going to go and, "Click" and "Drag" this next to my play button, there, and then I'll let go. That button is now added to the rest of the set. Then, I'll go and press "Okay". If I want to preview from in to out, all I had to do is to go and click on this button, and it will only preview from the in-point to the out-point. Longridge was originally where all the people from Marlow learned to swim. Once again. Longridge has been here for a good 70 years, maybe longer. Originally it was where all the people of Marlow learned to swim. That's how you mark the in and out-points of the clip to tell Premier Pro which section of the clip you want to use, and then you preview just that section by using this button here. In the next lesson, we'll have a look at how to use this section of the clip to start our sequence or the timeline.
11. Creating a Sequence from Scratch: In this lesson, we'll talk about what a sequence is, and how to create one. You can think of a sequence, almost like a blank canvas on which you do your work. If you think in terms of something like Microsoft Word, a sequence is similar to a page. In word, you need to have an empty page before you can start typing stuff up. In Premiere Pro, that's the sequence. You need to have your sequence before you can put the clips into it. Just like the settings of a page in Microsoft Word, you also have the settings of a sequence in Premiere Pro. In Word, you can specify how large the page is going to be, and in Premiere Pro, you'll specify what the size of the sequence is going to be, as well as things like its frame rate, duration, and so on. Let's see how we can create a sequence from scratch. Just like anything else in Premiere Pro, there's going to be more than one way of creating a sequence. The first and the easiest way is perhaps by going to the File menu at the top, then coming down to New, Sequence, or you can use the shortcut, Control or Command+N. The second way is, because when you create the sequence that goes straight into the project panel, you can go to the project panel yourself, then come down to this new item icon here, then click, and then create a sequence here as well, or simply like we saw earlier, you just press Control or Command+N. So if I go Command+N, that brings up the new sequence dialogue box. The first thing we'll do is to go and rename the sequence to be whatever we like. I can select this, then give this a name. I can call this one rough edit or rough cut. Next, we have to specify the settings of the sequence, either by using the presets here which I'll talk about in just a moment, or the settings tab up here if you want to customize this and your custom settings are inside the presets. Let's start with the presets. Depending on the type of clips you are using, as well as the settings that you want to use for the final export, you can pick one of the presets here. Most popular presets are going to be listed here. For example, if you're using a digital SLR camera, like a Canon camera or a Sony camera, you can see the settings of that all here. If I now go and click on the triangle next to it, that will dwell down. Depending on the settings of your clips, you can pick one of these presets. Let me just go to the top one here, then we have some more options. With almost all of these presets, there's a naming [inaudible]. The first set of letters are usually going to represent the format in which the clips are going to be edited, followed by some set of numbers. These numbers here will represent the height of the frame in pixels. So if I use one of these presets, any of these three, the height of the frame is going to be 1080 pixels, followed by a letter, either p or i. P stands for progressive, and I stands for interlaced. We won't be getting into the details of what they mean in these lessons, but for most parts, you want to use the letter p for progressive. That's then followed by some more digits. The last set of digits represent the frame rate. The first one is 24 frames a second, the second one is 25 frames a second, and then we have 30 frames a second. Because the clips you were using were all shot in 25 frames a second, we should be using this option here. Then to see more details about these presets, you can check the description on the right and here as well. This tells you what this is going to be, and you get more detail down here. If the frame height, for example, is 1080 as you can see here, that's the vertical pixels, the size on the horizontal pixels is going to be 1920. Now you have 25 frames a second, and so on. If you're not sure what these all mean, take a look at the descriptions on the right. Let's say, for example, you want to create a video, and the settings you're after don't exist in the presets. Well, you can go to the settings tab here, then customize the settings as much as you like in here. For example, if I want the sequence to be a square format, I can just go and type in 1080 by 1080 here, and that's going to ensure when I create a sequence, that is going to be a square. I can then go and press OK, which is going to create the sequence for us just like this. You see here, we have a square sequence. Because I had this interview's been selected before creating the sequence, the sequence went straight into it. Let me go and double-click on this. There's my sequence. In order to take this out, I can click and drag a sequence from here, onto my project panel, wait for this to open, and then come down and let go somewhere empty here. I now move the sequence from inside the interview's been to my project panel. The problem with that sequence is that it doesn't have the same ratio as my clip. You can see that the clip is more a landscape format, whereas the sequence is just a square, which means I'll have to crop this clip if I want to use this inside the sequence, which could be a useful thing depending on the platform you want to upload these onto eventually. For example, if you want to use this video on Instagram, a square sequence may be just what you need. But in this case, I want to create a sequence that has exactly the same settings as my clip in terms of size, frame rate, and so on. For now, I'm going to go and select this sequence and delete it by pressing Delete on the keyboard. In the next lesson, I'll show you how to create a sequence based on the settings of our clip.
12. Creating a Sequence From a Clip: Premiere Pro performs at its best, when the settings of the sequence, match the settings of the clips that you're using. There's a real quick and easy way of creating a sequence, with the same settings as your clip. As you remember from the previous lessons, that we set the in and out point on this clip, so we specified when it should start and when it should finish. Now what I want to do, is to create a sequence using the settings of this clip and only this portion of the clip. That could be done in a few ways. The first and the quickest way perhaps, is to click on this clip here, and then drag it from here down to your timeline, and you'll see a little plus sign next to your cursor. As soon as you let go, that's going to create a sequence, and that's what the sequence will look like, which we'll spend more time on later on. That's the first way of creating a sequence based on the settings or the clip. Let me undo that by pressing "Command Z". This method works because we had nothing in the timeline to start with. If the timeline already had things in it, the drag-and-drop method won't work, in which case, you're going to need to find where this clip is inside the project panel, and the easiest way to do that, is to right-click on the clip here, and then reveal it in the project. That will then go into the bin where this file is, and you can right-click on this clip here, and then come down to where it says New Sequence from clip. If I click on this, this will create a sequence using the settings off the clip here, as well as the in and out points of the clip. It will just take the in and outs section of the clip, and use that inside the sequence. There's one more way of doing this, and that's by using this new item icon at the bottom. You can drag the clip here to this New Item icon, and wait for it to get highlighted, then you let go. Or you can actually drag this clip from here to the new item icon, wait for it to get highlighted, and then let go. This now creates a sequence with the exact same settings as your clip, and it only uses the marked section of the clip inside the sequence. Now, before I do anything else, I'm going to go and rename this sequence. Right right the sequence has exactly the same name as your clip, so it's called Amanda-Longridge background. I want to change it by clicking on the name here, and I'm just going to rename this to be Rough Cuts. I also want to take this outside of this bin, so I'm going to click on this clip, drag it onto my project panel here, wait for this to open up, and then come down and let go here. Now, I have my sequence called Rough Cut in here. In the next lesson, we'll have a look at how to work with the sequence in more detail.
13. Navigating the Sequence in the Timeline Panel: Now that we have the sequence in here, let's have a look at how to navigate inside it. Inside the sequence, you can use exactly the same shortcuts as you used in the Source panel. For example, pressing space bar is going to start the playback. Along which has been here for good 70 years, maybe longer. Pressing it again will pause it. You can also use the J, K, and L keys. So if I press L, that will go forwards, and if I press L the second time, that will fast forward. Originally, it was where all the people at Marlowe. Space bar again will pause it. I can press J to go back, and J again to go faster, and then space bar to pause it, and I can hold down K and tap L to go forward by one frame at a time, and hold on K and then tap J to go backwards by one frame at a time, or I can hold down K and L at the same time to go forwards in slow motion, or I can hold down K and then press J and hold that down as well to go backwards in slow motion. Of course, you can use the up and down arrows to go to the beginning of this clip or the end of it. As I'm sure you've already noticed that the play head in the timeline is linked to the play head in the program panel. The program panel here and the picture shows you exactly what's under the play head in the timeline. If I play this now, you see how this play head moves as well? If I click on this play head and move this back, the timelines play head moves back as well. You can use exactly the same controls in the program panel as well. If the program panel is selected, you can hit space bar, J, K, L and arrows. They work exactly the same regardless of the panel you're in. As you must have also noticed, that the clip here in the timeline will only show you the marked section of this longer clip. If I play this, you'll see the very end of this clip. Originally, it was where all the people of Marlowe learn to swim. It's where she says the word swim. There is original clip here, actually continues after that word. Along which has been here for good 70 years, maybe longer. Originally, it was where all the people of Marlowe learn to swim, and then the scouts bought it. She says the word swim here, and then the rest of the clip plays on, whereas in the timeline, you only see the section of the clip that you marked. The timeline is divided into two sections. The upper section here is where you'll have the video clips and the lower section here is where you'll have your audio clips. Each one of these lines are called tracks. Right now, I have my single clip on the video one track and my single clip on the audio one track. That's video one and audio one. You can zoom into your timeline or zoom out from it by using the plus and minus keys on the keyboard. If I first go back to the beginning of my timeline, and then press plus on the keyboard, that zooms in to where my play head is, and if I press minus, that zooms out. I'm using the plus and the minus on the main keyboard and not the ones on the far right where the numeric keypad is. If I press plus on the far right of my keyboard where the numeric keypad is, I'm actually going to highlight the time code area here, which I don't want. I'm going to press Escape to come out of this. Just remember that you need to use the plus and the minus just above the letter P. So plus two zoom in, minus two zoom out. An alternative way of zooming in and out is by using the scroll bar at the bottom here. The scroll bar will let you go backwards and forwards in the timeline like that. At any point, if you want to zoom into your timeline, you can use either end of this and then click and drag this to make it smaller, and as the scroll bar gets smaller, you will zoom into the timeline. As you make it longer, like that, you see more of your timeline. The clips are getting smaller now in the timeline. Whenever you want to see all of the contents of your timeline, you can press the backslash on the keyboard and it will zoom all the way out or in depending on your current zoom level to show you everything that you have on the timeline. That's how we can zoom in and out horizontally. You can also zoom in and out vertically to your timeline so you can see the tracks in more detail. You see, I had the two scroll bars here as well. If I click on this one here, that's going to zoom in to my video tracks like that or zoom out. If I click on this one, that's going to zoom in to the audio tracks like that. I can see the waveforms, it'd be better. We'll talk about what these waveforms represent later on, but for now, I'm going to zoom out from this for the time being, like that, and then maybe zoom out a little bit from my video tracks as well like that. In the next lesson, we'll talk about how to add more clips to the same timeline.
14. Overwrite Edit: Now that we have our first clip in the timeline, let's see how we can add more to it. What I'm going to do is to go back to the same clip up here, and I'll take some bits out of it, and then I'll just teach the rest of them to this clip in the timeline. Here's what I mean. Let me just go back and play this again after this out points, so I'm going to select this clip and hit space bar to play it. Moreland swim, and then the scouts bought it to be a Sea Scout home. Then it became for all scouts until about 15 years ago. Let's say, I don't want to hear any of this information. From here, until about here, where she finishes that sentence, is just irrelevant. I'm going to keep playing after this point. Fifteen years ago when the scout decide to sell it. It cost them a lot of money, it was a beautiful resource for scouts. I want the second part of the clip to start from where she says, "It was a beautiful resource for scouts." Somewhere around here, let me just go back. I'll hit space-bar. It's cost them a lot of money, it was a beautiful resource for scouts. I just missed it. So I'm not going go back by using the J key here. I'll pause it. I'll press space-bar to play. Somewhere around here is just when she starts talking. First, I'm going to go and maximize this panel so I can see what this frame looks like a little better. So I'm going go and double-click on the name of it. I want to find the frame just before she starts saying that second sentence. I'm going to go back this time by using the arrows on the keyboard, and I'm going to use the right arrow now. I'll just come past that point. I'm going go back a couple of frames by using the left arrow now. I think this is around where she starts saying, "It was a beautiful." Here. What I'm going to do now is to set the new in-point here by pressing I on the keyboard. As soon as I do that, you see that the existing in-point is going to disappear together with the out-points and the new in-point is set here. I'm going to let this play by pressing space bar and stop this when she finishes that first part of the sentence. It was a beautiful resource for scouts, but they just couldn't afford to retain it. Then I'll pause it there, after she says, "Retain it." Then I'll press O to set the out-point. Now, this section is only three seconds and three frames long. If I preview this from in to out, this is what I have. It was a beautiful resource for scouts, but they just couldn't afford to retain it. What I want do now is to send this clip to the timeline so it starts after the first clip finishes. Let me go and minimize this so I can see the rest of the interface. In order to send the clip from here to your timeline, you need to do a couple of things. The first and perhaps the quickest way of doing this is to click on the clip and then drag it from here to your timeline. You can see that you actually have the clip under your cursor, which means you can move it around like this. I'm going to let go there and then press Command Z. Although that's a quick and easy way of doing it, I wouldn't recommend doing this because especially when you have a longer timeline, dragging and dropping clips can be quite dangerous. You can drop them on top of some other things that you didn't mean to, which will make those things disappear forever. So instead, you use one of the following two methods. Either an overwrited it or an inserted it. In this video, we'll just talk about the overwrited it, and in the next one, I'll explain what the inserted it does as well. To send the clip from here to your timeline, you'll first have to tell Premiere Pro layer in the timeline you want this clip to start from. You do that by moving the playhead in the timeline to wherever you want this clip to start from. For example, if I want this clip to start halfway through here, I'd put the playhead there, then I'd performed edits and it would actually overwrite the remaining part of this clip in the timeline, which I don't want. I want the clip here to start when the first one finishes. What I'm going to do is to move my playhead right to the end of my timeline. If I leave the playhead here, that's going to start the second clip, this one, at the point of my playhead. But you can see the problem here, there's going be a gap between the playhead and the first clip. In order to avoid that, instead of clicking and dragging like this, you'd actually use your up and down arrows on the keyboard. Up goes to the beginning of the clip and down goes to the end of the clip, and that ensures that the playhead snaps to the end of the clip which means if this clip here starts at the position of the playhead, that's going to be perfectly aligned. If you do want to drag the playhead and then snap it, you'll see as I click and drag, nothing snaps. But as I drag, if I hold the Shift key down on the keyboard, the playhead will snap to that point as well. You either use the up and down arrows on the keyboard to move between points, or as you drag your playhead, you hold the Shift key down. Now that we told Premiere Pro where we want the new clip to start from, we can go and perform the edits. You do that by coming down here and clicking on this button called "Overwrite." As you can see, the shortcut is full stop on the keyboard. If I just press full stop or this button here, that's going to take this new clip with it's in and out points and it will send it to the timeline starting from the position of the playhead. I'll do that. The playhead automatically jumps to the end of that new clip here. Now, before I do anything else, let me zoom out from the timeline. Now you can see two clips in the timeline playing back-to-back. Let me now go back to the beginning of the timeline by pressing the up arrow twice. So if I press the up arrow once, that will jump to that edit point, and if I press the up arrow the second time, that will go right back to the beginning of the timeline. Or if you wanted to skip the edit point and jump straight to the beginning of the timeline, you can use the home key on the keyboard. If you're a Mac user and your keyboard doesn't have the home key, you can press function, the Fn bottom and the left arrow on the keyboard, and that's the same thing as the home key. Similarly, the end key on the keyboard will jump straight to the end of the timeline like this, or it's the function, the Fn key and the right arrow. I'll go back to the beginning now by pressing home and then play again and see what we have in this program panel here. Longridge has been here for good 70 years, maybe longer. Originally it was where all the people of Moreland swim. It was a beautiful resource for scales, but they just couldn't afford to retain it. We can see that the two clips are playing back to back and then it stops. Of course, there is a bit of an issue here. Moreland swim. It was a beautiful resource. So the the clip jumps and this actually is called a jump cut. Moreland swim. It was a beautiful resource. We'll talk about how to fix or high disjunct cup later on. But for now, we'll just ignore that, and then we'll just go and keep on building our story. So the next thing I want to do is to go back to the original clip and find what other sections we can use from this. I'm going to hit space-bar. Put it on the market to be sold for development. Let's say, I don't want to hear any of this. Huge outcry from local scouts who didn't want to use this beautiful facility. That's when I became involved. But maybe we can start the next part of the statement. Where she says, "That's when I became involved." Let's go and find that point. I'm going to use J to rewind. [inaudible]. I'll hit space-bar to pause it, and then space-bar again to play. Beautiful facility. That's the end of the previous sentence. Right now she'll start saying, "That's when I became involved." That's when I became involved. I'm going to go back a little bit again to the beginning of that sentence. [inaudible]. Then I'm just going to press space-bar again. That's when I. That was a bit too late so I'm going go back again. [inaudible]. Space-bar to pause it, space-bar to play. Facility. This is now where she starts saying, "That's when I became involved." I'm going to try and find that point by using the arrows now on the keyboard. Around about here is when she says, "That's when I became involved." I'm going and set my new in-point by pressing I. Then I'll play by pressing space-bar. That's when I became involved and help set up the Longridge on the tents and we bought the site from the scouts to open up to everybody. That's what. I'm going to pause it. I'll just try and find the end of that sentence again. I'll go back a little bit, space-bar to pause it, space-bar again to play. Up to everybody. I'm going to press O to set my out-point. I'll just preview what I have from in to out by clicking on this button here. That's when I became involved and help set up the Longridge on the tents and we bought the site from the scouts to open up to everybody. Then I'll just go and add this to my timeline as well. Again, I first had to tell Premier Pro where the clip will start from. I'm going to need to push my playhead right to the end by selecting the timeline and then pressing the end key on the keyboard. Then by pressing full stop, I can send this new clip to my timeline here. Right now if I go right back to the beginning of the timeline by pressing the home key. If I play, this is what we have. Longridge has been here for good 70 years, maybe longer. Originally it was where all the people of Moreland swim. It was a beautiful resource for scouts, but they just couldn't afford to retain it. That's when I became involved and help set up the charity Longridge on the tents, and we bought the site from the scouts to open up to everybody. Now, I just noticed that this clip is a tiny bit longer than it should be, so we can hear the word end towards the end of this clip. If I go and play this here. We bought the site from the scouts to open up to everybody. We just start hearing that word end. Let me just zoom in to show you this a bit better. I'm going to zoom in here first. I can actually see, if I zoom in vertically as well. I can actually see the wave-forms are actually getting thicker, which means that this is some other word here. If I go back and play. So that's just where she starts saying, end and since I'm only creating a rough cut here, I'll lead this imperfection in place. Let me explain how to refine the timeline. I'll show you how to get rid of that part as well.
15. Insert Edit: Premier Pro is a non-linear editing application or an NLE. What that means is that you don't have to make your editing decisions in a linear version. For example, let's say you didn't want the project to start with her talking about the background or the charity, maybe you want to start with a different clip to set the feel for the story, or maybe you want to start with some titles or something else. Well, you can do that, although we already built our timeline and it's about 18 seconds long here, we can go back to the beginning which is where the player head is right now, and then find a different clip and add that clip to the beginning of the timeline, and that's exactly what an inserted it is. It lets you put a clip at the beginning of the timeline or anywhere in between clips in the timeline. Let me show you how that works. I'm going to find and find the clip that I want to use at the beginning of the timeline. I'll just go to my B-Roll Bin, double-click to open that up. In fact, I'm going to maximize this by double-clicking on the name here. Let's say we want to start the timeline, not with her, but maybe one of these clips here, so any of these clips that you like, let's say I'm going to use the flower pan clip here. You remember from the previous lessons that you can move your cursor left and right without clicking to see the contents of the clip. That looks about right. If I leave my cursor here, where you can see this tiny black square here, and if I then double-click on the clip, that's going to put the player head on this new clip here. Let's say for example, I want to start this clip when the camera starts panning, let's say here, I can leave my cursor there then double-click, and it opens that clip up in the source panel and it puts the player head exactly where my cursor was a second ago. What I'm going to do now is to set the end point here, and then I'll play this for a bit, and then I'll pause. Just before we get to the spider web, I'll just go back a little bit by using the J key. There. I'm going to press O to set my out points. This clip is about two and half seconds long now, so two seconds and 13 frames long. I want this clip to go to the beginning of my timeline. Now, the first thing you want to do is of course to set the player head to where you want the clip to start from. If I put the player head here, that's where it's going to start the clip. Whereas if put the player head at the beginning, that's where it will start. If I don't overwrite it like we did in the previous lesson, this will overwrite the first two seconds and 13 frames of this clip, which I don't want. Let me show you what that would look like. Let me do an overwrite. Now if I go back to the beginning and play, the first two seconds and 13 frames of Amanda is now gone. If I play. Yes, maybe longer, originally. That doesn't work. Let me undo that by pressing Command Z. Instead, we'll do an inserted it. When I do an inserted it, what will happen to these clips that come after the player head, is that they'll be pushed to the right by two seconds and 13 frames to make space for this new incoming clip. Take a look. If I do an insert here as you can see, all of these clips are now pushed to the right, and now this new clip, the flower clip, has been inserted at the beginning of the timeline. If I go back now and play, we see this for two seconds and 13 frames, then she starts talking. Good 70 years, maybe longer. Originally it was where all the people of moral island. Let's say, for example, after the flower clip, you want to see a different clip, so between the flower and Amanda, you want to have one more clip. Well, let's do that. Let's go ahead and find that clip here. Let's say I'll use the Longridge boat here, this one. Let's say there's a bit of a static area here on the clip there, so I'll just go and double-click here. I put my player head exactly there, and then I'll press I to set my in-point and spacebar to play and then pause it, and then O to set my out-points. That's about three seconds and 12 frames so it's about a second longer than the previous clip. Let say I don't want that to be a second longer, so I'm going to go ahead and make this a little shorter. So I'll just go back a little bit like that, and then press O again. That will trim the last few frames from the tail, and what I'll do now is to select the timeline and using my up and down arrows on the keyboard, I can multiply it to exactly what I want this new clip to start from, which is here. Remember you can use up and down to jump back and forth like that between the edit points. Then I'll do an inserted it, which on the keyboard is comma, so instead of clicking on this button here, you can also press comma on the keyboard, and that will insert a Longridge clip between the flower and Amanda. Now if I go back and play, we have this clip and the boat then Amanda starts talking. Longridge has been here for a good 70 years, maybe longer. Originally it was. So as you can see, the inserted it allows you to work in a non-linear pattern, which means you can change the order of the clips in the timeline whenever you like.
16. Constructing the Rest of the Timeline: Now, we'll go ahead and build the rest of the timeline with the tools we've learned so far. I'll first play the timeline from the beginning so we can get a sense of what this looks like at the moment, so I'm going to select the timeline, press the Home key on the keyboard, and then spacebar to play. Longridge has being here for a good 70 years, maybe longer. Originally, it was where all the people of Marlow learned to swim. It was a beautiful resource for scouts, but they just couldn't afford to retain it. That's when I became involved and help set up the charity Longridge on the Thames, and we bought the site from the scouts to open up to everybody. Now that we heard about the background of Longridge, we can use a different clip. Maybe of a different person talking about something else. In the interviews bin, I'll go and double-click here. We have three folders. As you remember, we have Alex, Amanda, and Shaniqua. Now, I'm going to go into the Alex bin, and I remember Alex was talking about a really important story that I think would help our timeline. Let me [inaudible] up this clip here called Alex Anectode, and I'll go to the beginning of this, and then play it. Have you got any other stories you would like to share? Any other stories? Nothing ever is standstill with the apprenticeship here. More often than not, when you're previewing clips, you'll want to preview faster, so I'm going to go ahead and press "L". Then L again. Something different. Everyday is going to be different because you teach the activities that are run. So I can fast-forward and still hear and understand what he's talking about. So I'm going to do that again. I'll press L twice. Running sessions as well. [inaudible] So not really. I would say it's been such a great [inaudible]. So it wasn't this first part of the clip that I was interested in. However, now, once he finishes talking about that, his colleague is actually reminding him of something else. So I'll take a look here. Have you had experiences where some really disadvantaged kid from a really terrible place? Absolutely. Yeah, I can talk about that. Now that he's reminded of that story, he'll talk about that. So let's listen. Yeah. Tell me about that. I think that another story that has really stuck with me would be we got a lot of children down here from disadvantaged places, young carers, lots of children like that. Then I took want one group out with me on the water, on a kayaking session, and one of these children, they said to me that they didn't feel like they could focus in school. They didn't feel like anyone really had their corner, their teachers couldn't understand them. They weren't really making friends, and spending an hour-and-a-half from the water, they then said to me, now I can feel like I actually have someone in my corner. You've listened, I'm having fun. I don't feel the need to play up or rebel against the system almost. That's the story I actually want to have in the timeline. So I'm going to go to the specific frame by using the J key on the keyboard a couple of times and then pause it when I get to it. [inaudible]. I'll pause it there. Disadvantaged places, young carers, lots of children like that. Now, this is when the story starts. Then I took a group out with me all the water on a kayaking session. One of these children. I actually want to set my end point when he says one of these children. So I'll go back a couple of frames. [inaudible]. Then using the right arrow a couple of times, I'll go ahead and find that frame exactly. There. So I'll go back a few more frames by using the left arrow now. There. I'm going to go ahead and set my endpoint by pressing "I." Then I'll play from here. One of these children, they said to me that they didn't feel like. Then I'll fast-forward. Focus in school. [inaudible] I'll pause it there and then go back a little bit by using J. [inaudible]. I'll play again. To play up. After he says play up, I'll end it there. So I'm going to go ahead and press "O." This is the marked clip now. I'm going to go ahead and play this so you can hear from the in to the out points. One of these children, they said to me that they didn't feel like they could focus in school. They didn't feel like anyone really had their corner, their teachers couldn't understand them. They weren't really making friends, and spending an hour-and-a-half on the water, they then said to me, now I can feel like actually have someone in my corner. You've listened, I'm having fun and I don't feel the need to play up. I'll just go ahead and send this to the timeline. Now, because there is nothing in the timeline after my playhead, it doesn't really matter if I do an overwrite or an insert. So if I do an insert, look what happens to the timeline. Let me zoom out so you can see. If I undo that, and if I do an overwrite, the exact same thing happens, because there's nothing else after the playhead to be overwritten or to be pushed to the right. The two buttons here will do exactly the same thing. These will only make a difference if the playhead was somewhere else. So if I put the playhead here, then do an overwrite, that's going to overwrite all of those clips. Whereas if I do an insert, that's going to push all of those clips to the right. I'm going to undo that again. Now, after Amanda finishes talking, Alex starts. If I play. Bought the site from the scouts to open up to everybody. One of these children. Perfect. Let me just go ahead and do a save so we don't lose any of this work. I'll just go "File," "Save." Next. I want to bring Amanda again. I'll just go back to my bins. Interviews. Amanda. Here, we have another clip of Amanda called Life-changing Experience. Then go to a list view so I can see this a little better. Then here is the clip called Life-changing Experience. If I double-click to open this up. If I play this. Centers here. Yes, 80,000 young people come through every year and probably not all those 80,000 young people have a life-changing experience, but a significant number of them do. Let's say you want to have that part starting from not all 80,000 people. If I go back here. Probably not all those 80,000 young people have. Somewhere here. I'm going to go back a little bit now with the J key. [inaudible]. Then I'll just use the arrows to find the exact spot that I want this script to start from. Here. I'll press "I" to set the in point. Then I'll let that play. This time, I'm going to pause the playback. I'll just press "O" when she finishes a sentence. I'm going to hit "Play." As the playhead moves, I'll just tap the "O" key when we get to the end of that sentence. Not all 80,000 young people have a life-changing experience, but a significant number of them do. I pressed "O" there, as you can see, and that sets the out point and that's called marking on the fly, which means it will drop the out point and it will continue to play back. Let's just be sure that we had the right parts elected. So I'm going to go ahead and preview this. Not always 80,000 young people have a life-changing experience, but a significant number of them do. Then I want this clip to go to the end of this Alex clipping the timeline. I'm going to select the timeline, press the "Enter" key on the keyboard, and then full stop or comma, doesn't matter, because there's nothing else in the timeline after the playhead to do an overwrite or an inserted it. There we go. Now if I play this back. You've listened, I'm having fun. I don't feel the need to play up. Not all those 80,000 young people have a life changing experience, but a significant number of them do. Now that we heard them talk, we're going to give a break from the interviews, and then see some actual clips of kids playing around, and then come back to Amanda. First, I'm going to go ahead and find the clips that I can use. If I go back to my project panel and you see the project mental isn't here anymore. That's because I've opened up quite a few bins and they're taking up the space here. But if I want to see the rest of these, I can click on this double arrow here. That's my project panel. So it takes me back. I can go to B-roll and I'm going to maximize this panel by double-clicking here. Let's say we'll now have a couple of other clips of kids playing. I'm going to start maybe with this clip here called Kids messing about on water. I'll go ahead and double-click to open that up. I can see that the kid here is splashing some water onto that kid there. I'm going to go back and play to see what this looks like. You can see that this clip actually plays in slow motion. That's because I shot it that way when I was using the camera. What I'm going to do is I'll go back and find the point when I want this clip to start from, maybe here, just before he splashes the water there. I'll hit "I" set the in point there. I'll hit "Play." Then when he turns around and we see his smile, we pause it. Then we hit "O" to set the out point. I'll then go and add this to the timeline as well. My playhead is at the end of the timeline, so all I have to do is to press full stop or comma to send this clip from here to the Timeline. Now if I play this. Eighty thousand young people have a life changing experience, but a significant number of them do. I'll pause it. You'll notice that this clip here doesn't have any audio underneath. That's because the camera I was using to shoot this doesn't record audio when you do slow motion recording, which is not a problem really, because we can feel those areas with some soundtracks later on. But I just wanted to point that out for now. Now what I'm going to do is to add a couple of more clips in here. I'll just go back to my B-roll bin and double-click to maximize it. Let's say I go back to one of these clips, let's say this clip here, the Leap of Faith. Double-click to open that up. Now go find a specific portion of this clip. Let's say here, I'll hit I to set my endpoint, play it, pause it there, and then "O" to set the out point. I'll send this to the timeline. I'm going to select the timeline, press the "End" key to go to the end of the timeline. Then I'll do an insert or overwrite. That goes to the timeline as well, with its audio, because it does have the audio attached to it. If I now go back and play, we have Amanda talking. Experience, but a significant number of them do. Then this clip with no audio. Then the final clip with the audio. In the next lesson, I'll show you how you can make a clip a specific duration before you send it to the timeline.
17. Setting the Clip to a Specific Duration: Let's say you want to use a clip in the timeline, but before you send it to the timeline, you want to make sure that it's exactly, say, three seconds long or four seconds long or whatever. We want to set a specific duration to the clip before you send it to the timeline. Here's how it's done. I'm just going to find one more clip we can use in the timeline first. We'll go to the B-roll bin, maximize it by double-clicking there and let's say we want to use one of these clips here of, say, the kids rowing, so this one here. I'll double-click to open that up. Let's say I want the clip to start from here and of course we'll go and set the in point by pressing I. From this point, what you need to do is to make sure we're not moving the playhead after this because if you move it like that, then it's not going to work. You want to make sure that the playhead is on the in point and the quickest way to get the playhead to where the in point is is pressing Shift and I, so you're shifting the playhead to where the in point is. Just like pressing Shift and O, we'll move the playhead to the position of the out point. Now that we know that the playhead and the in point are in the same place, I can now go to my time clock here, click and tell Premiere Pro to move the playhead forward by exactly three seconds. To do that, I can just go and press "Plus" so that it deletes all of that. When I type in three, that means move the playhead forward by three frames. If I type in 30, that means move the playhead forward by 30 frames and because our clip is 25 frames a second, 30 frames would mean one second and five frames. If I add one more zero here so it says 300, that means move the playhead forward by three seconds and zero frames. Plus 300 means go forward by three seconds. If I now press Enter, the playhead just moved forward by three seconds. If I press O to set the out points, you see now the duration here is three seconds and one frame. That's an important thing to understand as well. The first frame your playhead was on, say here, let's label it as frame 0, but that still counts as one frame. This is the position and this is the duration. If I just go and set an out point here on frame zero, the duration of the clip is going to be one frame long and that's exactly what's happening here as well. Let me just press Shift I to go to the in point. It starts counting the duration from here up to here, including these two points. It's like counting from 0-5. If you include both of those digits, you'll end up with six numbers in total, including 0, 1, 2, 3, 4, and 5. It's exactly what we're getting here as well. The quickest way to trim that last bit off would be this. If I move my playhead to the out point by pressing Shift O, I can then press the left arrow once so I'll go back by one frame and then press O again to reset my out point and now this is where my new out point is and now the duration is exactly three seconds long. Let me now go and get rid off the in an out points so I can show you an alternative way of doing the same thing. I'm going to go and right-click anywhere that's highlighted here and then choose Clear in and out. Then let's say we go here again to set our in point, I'll press I. Because I know this clip is made of 25 frames each second, I can just click here and type in plus two seconds and 24 frames. This means the playhead will move forward by two seconds and 24 frames if I press Enter. Now if I set my out points, the overall duration is going to be three seconds already. I can then send this to the timeline by doing an overwrite or an inserted it. That's how easy it is to set the clip to be a specific duration before you send it to the timeline.
18. Finalising Main Story Part I: Let's now continue to build the rest of the timeline. I'm now going to go to my Interviews bin, open up the Amanda bin, and I'll go to the file called People of All Backgrounds here. I'll double-click to open this up. If I rewind back to the beginning by pressing the "Home" key or the up arrow and then play this so you can hear what this is about. What kind of people [inaudible] Predominantly, the kind of people that come here are young people, and the charity is set up for people of all backgrounds and all abilities, and we achieve that. We have people of all ages and all backgrounds. Let's say we just want that first sentence there. If I go back to the beginning and then play again. The kind of people that come here are young people. But the charity is- Actually, the part here where she starts saying the charity. I'll rewind a little more. [inaudible] Then play again. But the charity is set up for people. I want to find the beginning of that sentence. I'm just going to use the arrows on the keyboard now to go back. [inaudible] Somewhere around here is where she starts saying the charity. We're just going to set an inpoint here. I'll play. But the charity is set up for people of all backgrounds and all abilities. I'll pause it there after she says abilities, and I'll set my outpoint. Then I'll do a quick preview. But the charity is set up for people of all backgrounds and all abilities. That's good. I'll just send this now to the timeline. I'll select the timeline, press the "Enter" key and then press full stop on the keyboard to send this clip into the timeline after this clip here. I'm going to press end and then full stop. This is what we have now. But the charity is set up for people of all backgrounds and all abilities. I'll keep adding more of the Amanda clips here. I'll just go up in this bin. There's another file here called Amanda Center Accessibility. I'll just double-click to open this up and let's have a listen to this. How is it for an accessibility? It is completely accessible. No young person will be turned away from doing an activity. The great thing about that is it means that sometimes, actually not sometimes, quite often, young people- Now, I'll pause this. I want to mention one quick thing. If you're shooting something, you might want to keep this in mind. If you ask a question to the person who is being interviewed, and if they start just by answering, and if you don't hear the question being asked, that might be a little confusing to the viewer. If I go back and play again, obviously, now that we're here to question. How is it for an accessibility? We say, how is it for an accessibility? She answers it naturally. But because the viewer is not going to hit a question and they'll just hear her answer, they're going to have to build their own question in their minds. In order to avoid that, you can get the person who's being asked a question to repeat the question in their answer so that there's no confusion. If I play this, you'll understand what I mean. It is completely accessible. No young person will be turned- I mean, yes, obviously she's talking about accessibility there, but it would be nicer if she repeats the question before she started answering. Anyway, we're not going to use this part of the clip, so I'm just going to go play. Away from doing an activity. The great thing about that is it means that sometimes, actually not sometimes, quite often, young people with a- I want this clip to start from when she says young people. I'm going to go back by pressing J a couple of times and then space bar to pause it. [inaudible] There. Young people with- I'll just go back again to find that point exactly. [inaudible] Then I'll do this by using the arrows on the keyboard. There, and then I'll press I to set the inpoint, and then I'll play. Young people with a disability will be joining in with children without a disability without even realizing. Kayaking, for example, is a brilliant activity for young people that are on the autistic spectrum. Because they're in a boat on their own so they're not worried about being touched and being close to other people, but actually participating in a sport with other young people. I'll pause it there and then I'll set my outpoint. Then I'll send this clip to the timeline. After this first clip of her, we get this second part again. [inaudible] Then I want to go back to this clip and use different parts of it. I'll hit spacebar. So fantastic for that, and we do a lot of work in that area. Let say we don't need to hear any of this. These bits. So fantastic of that and we do a lot of work in that area. Also for young people with physical disabilities. Maybe we can start again with the second part about the young people with physical disabilities. If I go back, I'll set an inpoint here. Also for young people with physical disabilities, we can happily get somebody in a wheelchair, up our climbing wall and help them. I'll pause it again and then set my outpoint, and then go to the timeline and press the end key, and then send this script to the timeline again. If I go back again and play. You could have a class, the school can come down here where they've got a young person. Let's say we don't want to hear any of this. [inaudible] to participate as much, if not more, in some cases. I'll fast forward. [inaudible] Absolutely, fully accessible for all young people. We did [inaudible] specific programs as well for young people that have [inaudible] which could be social, could be environmental, and we do some work with young people that [inaudible] bringing them down here. We've also worked with local prisons to use that expertise and experience in any environment. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives. Actually, that last sentence was quite an interesting one. I'm going to rewind a little bit. [inaudible] Play it normally by pressing spacebar. Of any environment. So we do a lot of very diverse programs, all designed. I want to use this sentence as well. I'll rewind it some a more. [inaudible] I'll pause it. Somewhere around here, I'll set an inpoint and then play. Of any environment. So we do a lot- That was a bit too early, actually, so I'll go back a little more. There, I'm going to press I again. This is where it will start from. If I play. So we do a lot of very diverse programs all designed to allow young people to make positive choices about their lives and not rely on having a label as an excuse not to do positive things. I'll pause it. I want to end up on a frame that looks a little better than this, so I'll just go back a little more. There, and then press O to set the outpoint, and then I'll send this to the timeline as well, and now, we have this. We can happily get somebody in a wheelchair up our climbing wall and help them. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives and not rely on having a label as an excuse not to do positive things. Great. Let me just save this as well. The final part that I want to use is this clip here but it says, It is what it gives, so I'm going double-click here. If I play this, you'll hear what she's talking about here. So many things. I love this center. It's beautiful. But most importantly, it is what it gives to young people and it is- That's that sentence that I want to use. I'm going to go back to the beginning where she starts saying it's beautiful. Things. I love this center. Here, I'm going to press I and then spacebar to play. It's beautiful. But most importantly, it is what it gives to young people. I'll pause it there, and then press O to set my outpoint, and I'll send this to the timeline as well. I'll just go and send this as an overwrite. There we have it. That's going to be the rough version of the first part of our story. We gave a quick introduction of the charity during the first half of our timeline, and the second half is going to concentrate more on the actual plots.
19. Finalising Main Story Part II: I've gone ahead and finished the rest of the timeline. We now have our rough cut ready so we can start refining it. Let me just back to the beginning of the timeline by pressing the "Home" key and then I'll play this for you so you can watch what this looks like. In the next lessons, we'll have a look at how to refine this. Longridge has been here for a good 70 years, maybe longer. Originally, it was where all the people of Marlow learned to swim. The beautiful resource for Scouts, but they just couldn't afford to retain it. That's when I became involved and help set up the charity Longridge on the Thames. We bought the site from the Scouts to open up to everybody. One of these children, they said to me that they didn't feel like they could focus in school. They didn't feel like anyone really had their corner, that teachers couldn't understand them, and they weren't really making friends. Spending an hour on the water, they then said to me, "Now, I can feel like I actually have someone in my corner. You've listened, I'm having fun. I don't feel the need to play off." Not all of the 80,000 young people have a life-changing experience, but a significant number of them do. But the charity is set up for people of all backgrounds and all abilities. Young people with a disability will be joining in with children without a disability without even realizing. So kayaking, for example, is a brilliant activity for young people that are on the autistic spectrum because they're in a boat on their own so they are not worried about being touched and being close to other people, but actually participating in a sport with other young people, also include young people with physical disabilities. We can happily get somebody in a wheelchair up our climbing wall, and have done so. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives and not rely on having a label as an excuse not to do positive things. It's beautiful. But most importantly, it is what it gives to young people. The river is a fantastic resource. It's beautiful and we use it for our water activities, but it can flood. However, flooding is becoming worse. About five years ago, this site flooded to epic levels. The flooding was bad enough and when the buildings were all submerged underwater, but the flood water stayed and it stay for weeks. What that did was it just decimated the entire site. It was touch and go whether Longridge would survive. It did seem for quite a long time that we would never get over it. But the buildings haven't really recovered. The site hasn't really recovered and our residential block now needs to be replaced. The flooding from the river, it just pulls the plaster off, it pulls all the tiles of the floor. It just seeps into the building. So though we can re-plaster and we can re-tile, it's soaked into the actual fabric of the brick. It's there. So there's always that smell. Inspire the young people that come here with everything we do, not just the activities. I want them to see what's possible with architecture. What's possible to do with ecologically sound buildings that are living and breathing, and the forefront of new technology for building. I want to inspire every point and our accommodation doesn't inspire in any shape or form. So we'll build a new building that will be flood-proof, and it'd be flood-proof mainly because it'd be raised off the ground. That's what we wanted to do with our residential block, is build it right so the water would come in, stay as long as it likes and then go away again with no damage done. The other week, I was standing out here, we had an open day. Families come down to have a go at an activity. I was talking to a mom. I stood on the side and talking to her about why she was here; she brought her son to us some months ago to do a holiday activity. She said she had to really force him to come down to, he wasn't keen. But he came down, done the activity and loved it. The reason she'd forced him, she said, because he had no friends at school and very shy, quite academic, not really sporty. She just felt he was on his own, his a real loner, and to do something with other people in this sort might inspire him. He come back a few times. He even did a course and really enjoyed it. She started to see him flower and grow as a young person. The clincher to this, which did bring a tear to my eye the really great thing about today is he's down here today and he's brought six of his friends with him. That's just thought that's why I'm here. That's why I do it, and that's why I'm now going to have to try and raise 3.5 million pounds to build some new accommodation because our young people need it. So now that we constructed a meaningful story, we'll have a look at how to refine it and make it look better in the next lessons.
20. Duplicating a Sequence: Before we start making changes to the timeline to refine it, it would make sense to duplicate this. In case we don't like those changes, we can always come back to this version. Now to duplicate the timeline, we had to go to the project panel here, and then this is our timeline, the rough cuts. I'm going to right-click on this, and then come down to here where it's a duplicate, and now we create a copy called Rough Cut Copy 1. I'm going to go and rename this to be Refined Edit, so I'll just go and call this Refined Edit. To open this up so that we can work on this timeline, I'll just go and double-click on this, and you see that the two timelines are opened up side-by-side so I can switch back and forth between them here. In order to keep things even more organized, I'm going to create a bin called Sequences and put the two sequences here into that bin. To do that, I'll come down here and click on the "New bin button" and call this one Sequences, and then drag both of these sequences inside. Now we have the bin as well, and everything is nice and tidy. Just to ensure that I'm not making any changes on the rough cut sequence, I'm actually going to go close this off here, so the Refined Edit is the only thing I have now. Now that we've duplicated our sequence and we put the two sequences inside the sequence's bin, we can start refining this edit.
21. Selection Tool: We'll now talk about the selection tool, which is the most diverse tool in all of Premier Pro. The selection tool let you do things such as moving clips around, making the clips longer or shorter, copying and pasting them, and much more. Let's have a look at how it works. This is the selection tool here. V on the keyboard is the shortcut. If I select this and then come down to my timeline, the first thing obviously that I can do is to click on the clip to highlight it. That's what I mean by selection. Or you can select multiple clips by moving your mouse outside the clips here and then just clicking and then dragging. That's called the Marquee selection like that. Or if you want to select clips that aren't side-by-side, let's say you want to select the first one and the third one. You click somewhere outside here, somewhere empty to de-select all of these, and then click once on this clip and hold down "Shift" and click on this clip, and that will select multiple clips at the same time. Just the same way you can hold down "Shift" and click on the clip to de-select it as well. That's what I mean by a selection. Now let's have a look at what you can actually do with these selections. Let me just select the first clip again. The first and the most obvious thing that you do with the selection tool is to move the clips around in the timeline. So they start later or earlier in the time. Here's how that's done. You just click on the clip and then drag this towards right to make that start later, and as you drag next to your cursor, you'll see a tool tip. It will tell you how far you're going by. If it says plus one second, that means you are going forward towards right by one second and we just let go there. I can of course move the clip back. If I just click and then drag this clip back, it will say minus one second there, and if I let go the clip will just go back to where it was. What you'll probably notice that something else happened into the second clip. As you drag a clip in the timeline over some other clips like these, and then when you pull this back, the other clips, in this case, the second clip doesn't actually come back. Just by pushing the clip on top of a different one, you're actually overwriting that second clip. If I go back, now that clip is very short. This is when we start using the second function of the selection tool, and that's to make the clips longer or shorter. If I'm on this clip here, the second clip to be longer or shorter again towards left. All I have to do is to move my mouse to the beginning of this clip, and you see my cursor will turn into a red bracket with an arrow pointing towards rights, meaning that you'll be affecting the clip on the right-hand side of this edit points. Because you can use this in between two other clips as well. For example, if I move my cursor here, this could be pointing towards right, meaning that it will affect the Amanda clip. Whereas if I push this towards left a little bit, this will now affect the end of the clip on the left. Now in this case, it doesn't really matter whether this red bracket is pointing towards right or left because there is nothing on the left-hand side here. There's a gap. It will still affect the beginning of this clip here. With the red bracket visible, if I click here and then drag towards left, I'm now extending or revealing the first frames of the clip again. If I go all the way to the left, that's when it's going to stop because there's something else this first clip in the way. So that's a limit of how far this clip can go with the selection tool. One thing to understand with the clips that you're sending to the timeline, or when you make the clips longer or shorter in the timeline is that you are always relying on the original source material. Let me try to extend the clip towards left, you are actually using the frames from the original clip. You're not stretching the clip or slowing it down. You're just revealing the frame that you hid away in the first place, and those frames, by the way, are called handles. We'll get to handles when we talk about transitions in more detail. For now, just be aware that when you move the clips to be shorter or longer, all you're doing is really just updating your in and out points on the clip. Let's say we want the first clip to be a little bit shorter. I'm going to go to the end of the first clip, making sure that the bracket here is pointing towards left. Then I'll go and click and then drag this left, let's say by 15 frames there, and I'll let go. Now of course there is a gap. This is something that you almost always want to avoid. Let me just play this so you can see what this looks like. We had the gap there and now we want to get rid of this. Now there are two ways of getting rid of this gap. You can either make this clip longer towards left, so that it fills in that gap. Or let me undo that. Or you can actually select the gap, which is a strange concept. You are selecting something that doesn't exist, and then even stranger than that, you can actually delete the gap by pressing "Delete" on the keyboard. Then when you do that, Premiere is going treat that gap almost like a clip, and it will delete it by pushing every single clip that comes after the gap toward left. If I do that, you see all of the clips came towards left now to fill that gap, let me undo that and then let's zoom out from the timeline and take a look at what happens to every single clip that comes after the gap. Let me select the gap here. I'll zoom out a little more, and as soon as I press "Delete" on the keyboard, you'll see all of these clips shifting towards left by 15 frames to close that gap. Here we go. Let me zoom back in by pressing plus on the keyboard, and let me undo that as well. I'm going to go press "Command Z". That thing that we just did is called the ripple delete. Now, we'll talk about the tool called the ripple edit to later on. But anytime you hear the term ripple in Premier Pro, that means that the thing that you're doing is going to affect the rest of the clips as well in one way or another. The effect of what you're doing, in this case, deleting that gap will ripple throughout the entire sequence. One other way of ripple deleting this gap is by actually right-clicking on the gap, and the only option that you get there is the ripple delete. If I go and select this, this will exactly do the same thing. The other thing that the selection tool lets you do is to move the clips around in the timeline. For example, if you want the first clip to be here and then the second one to be at the beginning. Well, you can do that. You can treat these clips almost like Lego blocks, and if I lift this first clip up to the track above, and then it hold you down to the track below. There's now a gap into which this clip can slide. If I now go and click and drag this clip towards left, so it slides into that gap. I can now select the first clip again, push this towards right, and now push this up and then push this part down. Now I just swapped the two clips. Now that works with any clip in the timeline. The quicker way of doing that is by using a set of shortcuts on the keyboard. If the two clips you are trying to swap around are side-by-side, and in this case, these two are, you can click on the second clip and then drag this to the beginning of the first one, like that. Now at this point, if I let go of my mouse, it's going to overwrite the first part of this clip. If I let go here, you see now it overwrote the first part of the clip, which means if I push this back, the first part of this clip won't come back. Let me undo that by pressing "Commands Z" once, twice. Instead of letting off your mouse, you can click and then drag the second clip to the beginning of the first one, and then hold down Command and ALT at the same time until you see this icon next to your cursor, a curved arrow. This means if I now let go off my mouse, the two clips will be swapped around if I let go, you now see that the flower clip is the first one and the boat clip is the second one. Let me do that again. I'm going to click on the boat clip, drag this to the beginning of the first one. Before I let go of the mouse, I press "Command and ALT", then I let go off the mouse. That's how you swap the two adjacent clips. Another thing that the selection tool lets you do is to select the clip, copy and paste it somewhere else in the timeline. Let's say for example, you started a sequence with subtitles, and you want to have the same titles at the end of the sequence as well. Let's say for example, in this case, you want this boat clip to appear at the very end of the timeline as well. I can select it, copy it by pressing "Command C", or I can go to edit copy, and then if I zoom off from my timeline, and if I push my play ahead forwards, there. When you paste the clip, it's going to look at where the play ahead is. If I lead the play ahead here, and then if I paste simply by pressing "Command V" or going to edit paste, that's where the clip is going to start from. If you want the clip to go right to download this one, let me undo that first by pressing "Command Z", you'll need to push the play ahead to handle this by using the end key on the keyboard. Then if I paste by pressing "Command V" That's going to paste the clip in here, if I zoom in, that's the same clip that I copied from the beginning to the end now. What if we wanted to paste something in between two other clips in the timeline? Let me first go and delete this one. I'll just select this and press "Delete" on the keyboard, and then zoom back out by using minus on the keyboard. Let's say I want the clip that are copied to be pasted here. Let me zoom in now by pressing "plus" a couple times. I want that clip to be pasted before this purple clip here, the one with no audio. For that, the first thing I need to do is to put the play ahead to exactly where I want it to be pasted. So right here. To do that, I can use the up and down arrows if you remember, I can jump back and forth between the edit points with up and down. Now that my plate is in the correct place, if I just go and paste it by pressing "Command V", that's going to overwrite the first part of this clip, which I didn't want. I'm going to undo that. I want the clip to be pasted as an inserted it. Everything that comes after this point will be pushed towards right. If I now go and do edit, paste, insert, that's exactly what happens. The clip gets pasted and then everything else gets pushed out the way to make space for this clip. If you play this now you see nothing's been overwritten, and that's the selection tool in a nutshell. It's such a diverse tool that you'll find yourself using this a lot more frequently than any other tool in Premier Pro.
22. Track Selection Hand and Zoom Tools: Now, we'll talk about the track select, hand, and the zoom tools. Let's start with the track select ones. The track select tool, the second one here, is going to help you select more than one clip on the same track or on multiple tracks at the same time. Here's how this works. Let's say for example, I want to extend the length of this first clip, I want this one to be longer towards right. Now, one limitation of the selection tool is that if there's another clip in the way, in this case, this flower clip is in the way, I can't make this first clip longer. I can make it shorter by doing that but I can't make it any longer than the start of the second clip. In order to extend this clip, we need to have a gap between this clip and this one. The easiest way to do that, is to select every single clip that comes after this and then push them towards right, so there's a bit of a gap and then it can extend this clip into that gap. Now, instead of selecting every single clip doing this with the marquee selection, which could take quite a while. Even if you zoom out like this, we can select all of these but not quite tricky to know exactly where the selection ends. I need to zoom in and that takes a while. Instead, what you can do, let me de-select all of these first and then zoom in. I can use the second tool here, called the Track Select Forward Tool, because this will select all the clips to the right. If I click on this, then move my cursor, let's say to the second clip here. If I click, it selects the second clip and every single clip that comes after it on all tracks. If I now zoom out, you see these are all selected. I can zoom back in and without even searching tools, I can use the same one and just push these clips that are selected to the right, let's say by 15 frames. Now, there's a gap here into which I can extend this first clip. I get my selection tool, click somewhere empty to de-select everything, and then extend this first clip towards right like that. That's what the Tracks Select Forward Tool does. Now, we can do the exact same thing in reverse. If I click and hold down on the Tracks Select Forward Tool, second option, we get is to Track Select Backward Tool. If I select that and then come, let's say to my fifth clip here. If I click on it, it will select the fifth clip and everything that comes before it. If I now go back, you see, these aren't selected. The other tool I wanted to show you, is the hand. If I select the hand tool, this allows me to click and drag on the timeline to see different parts of it. This is particularly useful when you have many clips across multiple tracks. We can pan up and down, left and right, all with the same tool without having to use these scroll bars here or on the right hand side. The last one I'll show you on this video is the zoom tool. It's this one here. What the zoom tool lets you do, is to go and click on any point in the timeline, let's say between these two clips. Again and again and every time you click, you're zooming into wherever your cursor is, rather than using this slider on the plus and minus keys, which we'll use to play head as the focus to zoom in. If I now use this, you see, this will zoom in to the beginning and zoom out. But maybe you want to zoom in to this area. I can just click on this area and that will just keep zooming in every time you click like that. The other way you can use this tool is to the marquee zoom. Here's how that works. If I zoom out here, let's say I want to zoom into a specific area. Let's say, between here and here. I can just click and draw a marquee selection like that. But because I had the zoom tool selected, it's actually going to the marquee zoom. Whatever is inside this rectangle now, will fill in the entire timeline. If I let go, that only zooms into those clips. If I want to zoom in more, let's say between these two, I can just click and draw another rectangle like this. If I let go, that lets me see that section in more detail. Using the same tool, you can actually zoom out as well by holding the Alt key on the keyboard. You see, as soon as I hold down the Alt key inside my cursor, the plus sign, turns into minus and if I now click, it will zoom out. Those are the track select forward, tracks elect backward, hand, and the zoom tools.
23. Ripple Edit Tool: Now we'll talk about one of the most useful tools in Premiere Pro, the ripple edit tool. But before we get to the ripple edit tool, let's remind ourselves the limitation of the selection tool. Now, if you had the selection tool selected and let's say you wanted this clip to be shorter, I mean, that was easy enough. You could just click and drag this towards left to make that short. But the first problem there is that you are left with this gap, so you have to do something about this. We looked at this already, so I can select the gap, delete it or right-click, and then do ripple delete. That works. But that's one extra step you don't actually have to go through. The second and perhaps the more crucial limitation of the selection tool is that if you try to extend this clip to go beyond the limits of the following clip, you can't. If you look at the tooltip here, it actually tells us that the trimming is blocked on the first video track. What do we do? We can select the track select forward tool, select all these clips, push them towards right, by I don't know how much, and then switch back to the selection tool, de-select everything. Then click at the end of this and then drag. The only problem with this is that I had to click four or five times to get to the stage. Plus, I don't really know if that's enough. If it's not enough, let's say if I want to go even further than this, I'd have to go back to my track select forward tool, select all of these again, push them out the way, and then switch back to my selection tool, and that takes a while. Now, instead, let me just undo this by pressing commands that a few times. Instead of using the truck select forward tool and the selection tool to extend this clip or to shrink it, you can actually use the ripple edit tool. The ripple edit tool does two things. The first one is that it allows you to shrink the clip, let's say that way, without leaving a gap. Usually, this is almost identical to the selection tool in the way it works. The only difference really is the color of the brackets that you're getting next to your cursor. If I now click on this clip here and then just drag this towards left, normally, with the selection tool, this would leave us with a gap. If I let go there, is no gap. That's the first thing that the ripple edit tool lets you do. It lets you shrink a clip without leaving a gap. The second thing you can do with the ripple edit tool is to extend the clip beyond the borders of the following or the previous clips. Here's what I mean. Let's say I the second clip to be slightly longer towards right. Well, I can do that with a normal selection tool because the Amanda clip here is in the way. But with the ripple edit tool, I can click at the end of this, making sure that my cursor is pointing towards left, which means that this will affect the clip on the left-hand side of this edit, rather than pointing towards right like this, which would affect the Amanda clip. I'm going to move this left and then click, and then as I drag this now, it looks like it's overwriting the Amanda clip. But even if I go further like that, about halfway in and if I let go, you see this will actually push everything away so it never override the clips. If I now go and play this, you'll see that I haven't lost anything from the Amanda clip. Longwich has been here for a good 70 years. Now, that was a bit too long maybe. Well, no problem. I can just go back here, click and drag this towards left again. As I'm dragging, the two screens that you see at the top are going to be the frame that I'm actually editing and the other frame that's next to this. Here's what I mean. If I click on this and then drag this towards right, the frame that you are seeing on the left-hand side is the frame that I'm actually updating, the out point of this clip. The frame that you are seeing on the right hand side is the existing in-point of the following clip. This is particularly useful when you're trying to match a shot. Say, for example, someone's kicking a ball and you want to show that shot from two different angles, where you can cut from one angle to the other. But only by using these two frames, you'll be sure that the two clips actually match. Meaning that you won't repeat the action or cut too early. Now, let go here and now let's see how we can use the ripple edit tool to refine our timeline. For this, I'm going to go to the beginning and the end of each clip and see if we can tidy those up. I'll start with the first one. I'll hit "Spacebar" to play it. Longwich has being here. That sounds fine. I'm going to go forward here and play this as well and see what this sounds like. Swim, beautiful resource for Scouts, but they just couldn't. That sounds fine as well. I'll check the end of this clip and then the beginning of the second clip here. Afford to retain it. Right. At the beginning of this clip, if we just listen to this once more. Afford to attain it. Before she starts talking she says um, let me zoom in and then play this one more time. That's what. Just this section here where she says um before she starts talking. Let me zoom in even more by pressing plus. This section here is where she says um, and let's say we want to remove this. Well, that's really easy. I can go to the beginning of this clip, making sure that my cursor is pointing towards right. Then I click and then drag this. I'll go pass this wave here. That's when she says um, and I'll start this here. As soon as I let go, Premiere Pro is going to close that gap. Now we just got rid of that section here. Let's listen to this again. I'm going to zoom out, go back a little, and play it one more time. Retain it. That's when I became involved. That sounds better. Let's zoom out again and then go to the end of this clip. Listen to this. To everybody. There's a mistake there as well. I'm going to go back again and then zoom in. At the end of this clip, we hear her say and, take a look. Everybody, and that. It's this wave here that I can see. Let me zoom in even more. This is the section we want to remove. Now, let's go to the end of this, making sure that the cursor is pointing towards left this time, I'll just click and then drag this, until about here. It tells me that I'm trimming off the last six frames of this, making the overall duration of this clip eight seconds long. I'll Let go here. Now, if I zoom out and play, that's what it's going to look like now. To open up to everybody. One of these children, they said to me. I think we can improve the first part of this clip as well of Alex talking. I'm going to go back to the beginning here and then play again. One. There's a bit of an hesitation before he starts talking. Let me show you that again. If I go back. One of He goes u, one of. If I go back in, zoom in, this section here is where he hesitates. Take a look again. One. Then he starts saying one somewhere here. I'm going to go slowly here so I can hear. [inaudible] I cut the beginning of this clip until this point here, so I can now use my playhead almost like a snap point. If I go in, push this toward my playhead, that's when I'll let go. Now this clip will start with him saying one. Take a look. Open up to everybody. One of these children. That sounds good now. Let me zoom out, go to the end of this clip, zoom back in. We'll listen to the end of this and then the beginning of this following clip. I don't feel the need to play off. The end of that clip sounds good. I'm going to go back and play so we can hear the beginning of this clip. I don't feel the need to play off. That sounds good as well. There's no issues there. Let me zoom back out. I'll go to the end of this clip. A number of them do. That sounds good as well. Let me zoom back out, and then go here. I'm going to zoom in again and play this again. The charity is set up. Now, at the beginning of this, she starts saying but the charity, let's say we don't want to hear that first word, so it should just start with her saying the charity. Let me just go back. Take a listen. But the charity is. I'm going to go back in again, zoom in using the plus key on my keyboard. I'm going to go slowly towards right so that we can find a frame where she starts saying there. If I just go forward. [inaudible]. This is the word the, and the first part here is, I think where she says but. Let's try. I'm going to go click here, push this towards right. That was only three frames. I'm going to let go, zoom back out, and then play again. The charity is set up. That sounds better. I'm going to zoom out and go to the end of this, play again. Maybe from further back actually, so we can hear that properly. All backgrounds and all abilities, young people with the discipline. Both of those frames look good, so at the end of this one and the beginning of this one. Let me zoom back out. I'll go towards the end of this, zoom back in, play. Without the young people. Also for young people with physical. That sounds good as well. Let me zoom back out again, go in here, zoom back in. We do a lot of very diverse programs. There's a bit of an issue there at the beginning of this clip, I think, so let's go back and zoom in. Then I'll play again. There's a bit of a glitch here, so I'm going to cut off the first few frames of this and see what that sounds like. Maybe two frames. Then go back again, and then play. Again, maybe a couple of more frames, actually. I'm going to zoom back in. Maybe we'll cut off one more frame there and then test this again. I think that sounds better now, so let me zoom out. Go back and play again. That sounds better. I'm going to zoom back out again, go towards under this clip. Have a listen. To do positive things, and it's beautiful. At the beginning of this clip, I remember she was actually talking about the sensor, but I must have cut this a little too late, so she starts saying, "It's beautiful." Let me just play this again. It's beautiful. But there was actually another sentence before this. What I'm going to do, is to zoom out and extend this towards left all the way. I'll just go click and drag is towards left. At some point, it will give me a warning. I can't go any further than this. The tooltip tells me that the trim media limit reached on video one. Meaning that that's the very first frame of this clip. Which means I can't go any further than this. Well, I'm going to let go, so I've extended this. That's what this little triangle sign means. If you ever see the triangle sign here on the video or the audio clips, that means that's the very beginning of the clip. If you see that sign at the end of a clip, let's say if I just go and push this towards right, say that far, the triangle appears here, that means that's the very end of the clip. That means there's nothing else after that frame. Now let me undo that by pressing "Command Z". I'll zoom out, and then back-in. Now let's have a listen to that first sentence I was talking about. Let me go back and play. Positive things, so many things. I love their center. She says, "There's so many things, I love this center," before she starts saying it's beautiful. Let's say we want to start this clip when she says, I love this center. I'm going to go and find that frame. Now, this is when she starts saying that. Let me zoom in. We can use this wave as our guide. Let me zoom back out and I'll trim the beginning of this to snap to my play-head there, then let go. If I zoom back out and then play again, she should now start by saying, I love this center. Not to do positive things. I love for this center, it's beautiful. That sounds good. I'll now go to the end of this and see what's happening there. There's an extra word there as well, so let me zoom in. I think this is it. Let's just double-check. She says and here. I'm just going to go back a couple of more frames maybe, and then cut the clip here. I'll just go in, push that way way, and let go, and zoom back out. Let's try again. It is what it gives to young people. That sounds better, so I'll now go here, play this as well. That sounds good. I'm going to go to the next edit, play again. Both of these frames look good. I'll go back, zoom in here, play this as well. The time that we would never get over it. These look good. Really recovered. The site hasn't really recovered. Our residential block. Maybe we can fix this part a little bit. So let me just go in, zoom in, take a look again. She goes here before she start saying that. Let me zoom back out in here and I can trim off the first few frames as well, so we get rid of this wave here. I'm just going to go click, drag this until here and then let go. Now if you play. That sounds better. I'll go to the end of this. That sounds good as well. The beginning of this clip, that sounds good. The end of this clip. There's a bit of an issue here as well, so we can't quite understand what she says at the beginning of this clip here. Let me go back. Let's again do the same thing. I'm going to extend this clip by a great deal towards left. We can reveal all those additional frames, zoom out. Then let's play to hear what she's saying. Which is substandard, spoils the whole experience. I want to inspire the young people. This is when I want her to start actually, when she says I want to inspire. I'm going to trim off all of these again. So let me just zoom back in to find that exact spot. This where she start saying I. So I'm going to go back, push this to where my play head is, and let go. Now if I go back and play, this is what it's going to sound like now. There's always that smell. I want to inspire the young people that come here. That sounds good now. Let me go to the end of this clip. Play. New technology for buildings. I want to inspire every point. That one good as well. I'm now going to go here and check this. We'll build a new building. That's good. That's also fine. That's also good. Let me zoom back out. That's our last clip here. I'm going to go in, play this as well. The start of that is good. Now I'll go to the end. I'm going to have to try and raise three and a half million pounds to build some new accommodation because our young people need it. That's all good. This is quite a common practice. When you are refining the timeline, you have to check every single edit to to see if there's any unnecessary bits you can remove or parts you can add at the beginning or the end of the clips. The best tool for that is the ripple edit tool.
24. Razor Tool: In this lesson, we will talk about the Razor tool, which is used to split a clip up. You can think of the Razor tool almost like a pair of scissors that you use to chop the clip. There are a couple of reasons why you might want to do that. Let's say for example you want to remove a portion of the clip that's already in the timeline. Well, you can cut the beginning of that section and the end of it, and then that middle part can be removed. Let me show you what I mean. If I now go back to this clip here, and then play. The longer, originally it was where all the people of Morrell Island swim, the beautiful resource for scouts, but they just couldn't afford to retain it. That's when I became involved and helped set up the charity language on the tents and we bought the site from the scouts to open up to everybody. Let's say you want to remove the portion where she says, we bought the site from the scouts. Let me go back and play it from here again. Charity language on the tents and we bought the site from the scouts. Just this section is what I want to remove. Let me zoom in here a little bit. I can see this is when she starts talking, so the waves are getting higher here, and then this is where she finishes that sentence. Let me go back. We bought the site from the scouts. I'll pause it. I'll go back again, and let's say I want the clip to be cut here, and also here, so I can remove that section. That's exactly what the Razor tool is used for. It's this tool here. C is the shortcut on the keyboard, and with that, you just go and click anywhere on the clip to cut, but because my play ahead is already in place, I can use it as a snap point. If I now go here, click on the play ahead, it chops to clip up in half, and if I just go and play this, you'll see nothing different will appear. If I go ahead play. On the tents, and we bought the site from the scouts. That looks exactly the same as it did before. There's no jump or anything between these two clips. If I go back and play. Tents, and we bought the site. This kind of edit is called a through edit. Where the last frame of this clip should precede the first frame of the second clip, that's a through edit. What I want to do now is to go and cut the end of the sentence. Here, I can either use the play ahead to be sure. From the scouts. There, and I can cut it, or even without the play ahead, if I'm on this other way, I can just go and cut this here, and now this is the section I want to remove. I can get my Selection tool, select this clip, and then press Delete, and it's going to leave a gap, and we already know how to get rid of this gap as well. We can right-click on it and then do a ripple delete, which is going to close the gap by pushing all of these clips to the left. An alternative way of doing this is, if I just undo this by pressing Commands Z, is to select the clip and then do a ripple delete while the clip is already selected. To do that on the keyboard, you press Alt and Backspace, or, let me undo that again, you right-click on the clip that you want to ripple delete and then you choose this option here called Ripple Delete, and it deletes that clip as well as the gap that would be left over after that clip. My file go back and play. Help set up the charity language on the tents to open up to everybody. One of these children. Now I think that the pause there between the two clips is a little too long. Let me play that again. Language on the tents to open up to everybody. Let's say I want this gap or the pause here to be even shorter. Let me just go back and zoom in. I can cut this clip a little later, but now I would actually use the Ripple tool. If I get the Ripple Delete tool, click and push this towards right by a few frames and then maybe push this one towards left by a few frames, and now we just reduced that pause between the two clips. If I go back and play. Language on the tents to open up to everybody. That sounds much better. Let's see where else we can use this. Let me zoom out. If I press Play again to hear what Alex has to say. One of these children, they said to me that they didn't feel like they could focus in school. They didn't feel like anyone really had their corner, their teachers couldn't understand them, they weren't really making friends. Let's say from this part, I want to remove the portion where he's talking about the teachers. Let me go back, play again. In school they didn't feel like anyone really had their corner, their teachers couldn't understand them. Just the portion where he says their teachers couldn't understand them. Let me zoom in again, and then find exactly where he says that. Could focus in school, they didn't feel like anyone really had their corner. Somewhere here is where it starts. Let me go back, and if it's a bit difficult to see these waves, remember, you can always zoom in vertically by doing this, and this is where I think when he starts saying their teachers, let me zoom in more. If I play. Their teachers couldn't understand them. This is when he starts saying their teachers, and at the end of this wave is when he finishes that part. I'm going to get my Razor tool, chop this clip up here, just before he starts saying their teachers, and then I'll use my play ahead to find exactly where he finishes that section, and I'll use the right arrow to hear what he's saying now. That's the end of that section. Let me just go and cut this as well. Now I can get my Selection tool, select the middle portion, and then do a ripple delete. That's Alt Backspace on the keyboard. Now if I go back and play. They could focus in school, they didn't feel like anyone really had their corner, and they weren't really making friends. There's a bit of a weird thing at the beginning of this clip here. Let me zoom in. When he takes a breath there, that sounds a bit odd. Let me just going to trim the first few frames of this as well using the Ripple Edit tool now. I'm going to get the Ripple Edit tool, click at the beginning of this, and then push this right, let's say maybe by two frames and see what that sounds like. Had their corner, and they weren't really making friends. That sounds better. Let me zoom out and play that one more time. They could focus in school. They didn't feel like anyone really had their corner, and they weren't really making friends. That's better. If you use the Razor tool by mistake and you want to get rid of that cut, there's a way of doing that as well. Let me show you. Let me get the Razor tool again and let's say I cut the clip here and that was an inadvertent cut, and if I play this you'll see there's not going to be any weird bits here. If I just go and play, it's going to sound perfectly normal. Spending an hour and a half on the water, they then said to me, "You know what? Now I can feel like I actually have someone." But if I now want to get rid of this cut, which is called the through edit, if you remember, I need to get the Selection tool and come here and right-click on the edit point, and then the last option here it says, Join Through Edits. If I go and click, it stitches those two clips up. This of course only works if you haven't adjusted the timings of the clips after you've cut them. For example, I can not join these two clips up because there is a jump between them. If I play this. Anyone really had their corner. They weren't really making. There's a slight jump there, which means if I right-click, this will be grayed out. The Join Through Edits option will only work if you made a cut and you didn't move the clips around after that cut.
25. Slip Tool: In this lesson, we'll talk about the slip tool. The slip tool allows you to change the contents of a clip without changing its duration or its position in the timeline. Let me show you how it works. Let's say for example if I just push my playhead forwards, say here. Let's say for example, this clip here, let me zoom into it. I'm happy with the position and the duration of this clip. If I just go and play this. Significant number of them do. Now, duration-wise, this clip is fine. If I check the duration by moving my cursor onto it and then waiting a second, it tells me that this clip is five seconds and one frame long. Now, I don't want to change the clip's length. What I want to do is to change its contents. Say, for example, I want the clip to start not here, but maybe when this kid throw some water onto this kid. Maybe somewhere here. Let's say I want this to be my first frame. What the slip tool lets us do is to reach through this clip onto the original content, and then grab and drag the content left and right. If I show you this in action, it will make more sense. Let me go and select the slip tool here. It's this one. Y is the shortcut. Imagine if I move my cursor onto this frame, let me zoom in a bit more so you can see what's happening a bit better. Now, imagine if I move my cursor onto this frame, and this frame being the frame where we see the water here. If I want to drag that frame, this frame, to be at the beginning of this clip, all I'd need to do would be to click on this and then drag that frame towards the beginning of the clip. As I go, if I let go of my cursor here, which is how far I drag this frame, if I let go, that became now my first frame. If I go back and play, you see the first frame is where the kid splashes the water. Now, when I'm doing this, you see four little monitors up here. If I click and drag, you can see them a bit better. The frame that you see near the top left of the screen is the existing out points of the previous clip. The frame on the top right is the existing in point of the following clip. The frame on the bottom left is the new in point of the clip I'm affecting. The frame on the bottom right is the new out point of this clip. That's why the bottom two frames are bigger than the top two frames because the top two frames belong to the previous and the following clips. That's why they don't move because I'm not affecting those clips. The only things that are moving are the bottom two frames. That's why they're larger here as well. If I let go of my mouse there. That's really what we are doing. We are just changing the in and out points of this existing clip. To understand this tool a little better, it would actually help to see the entire content of the clip, and see what happens to the in and out points when I drag the clip around with the slip tool. For that, I'm going to go and double-click on the clip here in the timeline. As soon as I double-click on the clip here, it's going to open up in the source panel. It tells us that the source is now coming from a timeline called refined edit. The name of the clip is Kids Messing About on Water. Now, this is the original clip. I'm actually going to have more than my in and out points in this clip. You can see the beginning of this clip is where the in point is. The end of this is the out point. But if I actually zoom out, you can see there's more before the endpoint and after the out point. Now, what's happening really when I drag this clip in the timeline with the slip tool is that I'm moving the in and out points at the same time towards left or towards right. Take a look. As I click and drag this clip from here towards right, look what happens to the in and out points here. If I just click and drag, and as soon as I let go, the in and out points are now shifting towards left, which means I'm revealing the earlier frames. Whereas if I click and drag this from here towards left, see what happens to the in and out points. As soon as I let go here, you see that it'll shift towards right. You're not really moving the clip around, you're only moving the contents of the clip. One alternative way of doing this is by using this window again. You can use the slip tool or the selection tool. Then you'll see that you can actually click right in between the two points, the in, out points, you see the three lines. You can click here when you see the hand icon. You can drag your mouse left and right. Again, you're doing a slip. For example, let's say if I move my playhead here to be there just when the water is in front of this kid's face. If I want that to be my in point, now I can leave the playhead there as a marker and I can drag this towards left until the in point matches my playhead there. I know my in point is on the playhead because I can see the sign here. When I let go of the mouse, that frame is now what we're going to start with. That's the first frame of that clip as well. Let's see this with one more example. I'm going to go zoom out, and then go all the way back to the beginning, and then zoom in. If I play this. Let's say for the second clip, I don't want the clip to start from here. There's a bit of a gap on the left-hand side here. Let's say you didn't want to see this. Let's say you want the clip to start from here. You want this to be your new in point. Now, that's really easy. I get the slip tool again. I move my cursor over to this frame so as to click and drag this towards left. If I do that, and now here, if I let go of my mouse, that's where the frame is going to end up being. Now, if I go back to the beginning of this clip, that's exactly where the clip starts from. We don't have as big a gap at the beginning of this as we did before. Along, which is big. The slip tool is an amazingly useful tool when you have a clip in the timeline and you're happy with its duration and position, but you just want to shift its in and out points so that you can see an earlier section of the clip or a later section of the clip.
26. Slide Tool: We will now talk about the slide tool, which allows you to slide the clip in between two other clips without changing its duration or contents. Let me show you how it works. For that, I'm actually going to go and add one more clip to the timeline. I'll just go to B-Roll bin, and I know there's a clip here with the word map in it. I can just go and search for it here, that's the one I'm after. I'll just go and double-click to open this up. Let's say we want to make this clip three seconds long. I'll go somewhere here, and say that's where I want it to start from. I'll set my in-point by pressing i, and I'll just come up here and then type in plus 300, enter. That will move the play ahead forward by three seconds. Now I want the play to actually go back by one frame, so I press the left arrow once, then set my outpoints. The overall duration is exactly three seconds long. I want this clip to be inserted in here. I'll just go and select my timeline, press the down arrow once, twice, so that's where I want the clip to start from, and then I'll press comma on the keyboard to do an insert edit. Now that I have the map clip there, I can show you how the slide tool works. Now the slide tool, which you'll find inside the slip tool, if I click and hold it down on the slip tool, this one here, u on the keyboard is the slide tool, that allows you to select an in-between clip, let's say like this one here, and then drag this towards left, or right. By doing this, what I'm actually doing is I'm extending, if I go towards right, I'm extending the outpoint of the first clip and shrinking the in-point of the third clip. Whereas if I go towards left, I'm making the first clip shorter, and the third one longer by the same amount of frames. If I now let go of my mouse, that's exactly what we see here. The first clip is now shorter, the third clip is longer by the same amount, so there are no gaps, and the middle clip remains the same in terms of its contents and duration. Therefore, we only move the position of the middle clip and nothing else. The frames that we see in the program panel when I drag this are quite helpful as well. The top-left frame is the existing in-point of this clip I'm clicking on, the middle clip. The top-right frame is the existing outpoint of this clip, and you see as I move this, they don't change because I'm not changing the contents of this clip. The bottom left frame is the new out-point of the previous clip, and the bottom right frame is the new in-point of the third clip. As I drag the middle clip, you see they both update. The alternative way of using the slide tool will of course be to get the selection tool, and I can make this clip shorter, let's say by 10 frames, their move this clip towards left by 10 frames, and then move in this one also towards left by 10 frames. By doing so, I just slid this middle clip towards left by 10 frames. Instead of clicking three times and then dragging your mouse around, you can just use the slide tool and that's a shortcut, a quicker way of doing exactly that.
27. Rolling Edit Tool: We'll now talk about the rolling edit tool. The rolling edit tool allows you to move the endpoint of one clip together with the endpoint of its neighboring clip, by the same amount of frames. Let me show you what that means. I'll zoom in to the first part of my timeline now by pressing "Plus" a couple times. Let's say I want this clip to be a little bit longer whilst making this clip a little shorter. Well, that's exactly what the rolling edit tool lets us do. The rolling edit tool, is inside the Ripple Edit Tool here. If I go and click and hold it down, and then the second tool here, is the Rolling Edit Tool. If I now go and click and then drag the edit point towards rights, that's exactly what I'm doing. I'm extending the first clip whilst trimming the second one, by the same amount of frames. I'm doing this by 13 frames now. If I let go, now my first clip is 13 frames longer, and the second clip is 13 frame shorter. I can go the other way by clicking and dragging this towards left. Now I made the first clip shorter and the second one longer. More commonly, you use this tool to create what's called the split edit, or a J and an L cut. In the next lesson, I'll show you how they work.
28. Creating a Split Edit for J and L Cuts: In a timeline, if a clip's video part cuts earlier or later than its audio companion, that's called a split edit. A split edit is usually used to ease the audience or the viewer to what's coming next. The role of a good editor is to make the edits as invisible as possible and a split edit is a great way of achieving that. Let's have a look at how it works. I'm going to move my player forward, say here. There's nothing interesting about this cut release, so if I took on play, it goes from this map onto Amanda. Along which is being here. Like that. But let's say we want to linger on the map a little longer while we hear Amanda talk. Well, that's exactly what a split edit is. Now, you do this with the rolling edit tool. I'm going to go back and select my rolling edit tool. If I just click and drag this towards the right, so I make the map clip a little longer. You see I'm actually messing up the audio of Amanda as well. If I play this, this is what we get now. For good a 70. The audio gets messed up. Now, instead, I'm going to undo this by pressing command Z, I only want the video to be extended but not the audio. That's why it's called a split edit because you need to split the video and audio. There are a couple of different ways of doing this. The first and the most obvious way is to get the selection tool, then you can right-click on this clip and then scroll down. You'll see Unlink. Now, you click on Unlink, it's going to unlink the video and the audio. If I do that, you can see now I can select the video or the audio independently. I'll need to do the same thing for the second clip as well, by right-clicking and then unlinking. Now, these are no longer linked to each other. What that means now is if I get my rolling edit tool, and if I roll this edit point now towards right, you'll see only the video edit point is rolling towards right and nothing is happening to the audio edit. If I let go here, and if I now play, I just created a split edit there. This is what it's going to look and sound like. Long which has been here for a good 70 years. So we start hearing Amanda before we can actually see her. This particular split edit that we created on the timeline is called the J cut because the shape that's created by the clips on the timeline resembles the letter J. Now, the problem with what we just did was to unlink the clips. The reason why that's a problem is if you decided that the Amanda clip should appear a little earlier, let say for example, if I get my selection tool and then pull the Amanda clip towards left, you see now everything's going to be knocked out of sync. If I go and play this. Here for good a 70 years, maybe longer. Originally it was where all the people. Because the two clips are no longer linked. Now, in order to avoid this, I can undo this a couple of times first. The clips are no longer unlinked and to check that, I can just click on this and I can see that the audio is also selected. If I click on this, the audio here is also selected. Another indication, by the way, is if you see this letter V in brackets, and I do now, that means there's a linked audio to this. If I unlink this, see what happens to this letter V, it disappears. If you don't see that, that means there is no linked audio. The manual way of linking the clips again is to highlight both of the clips like this or with the Shift key. Then you can right-click on one of them and then choose link again. Now, the clips are linked and I see the V letter here. Now, instead of unlinking the clips and then creating a split edit, I can actually use a shortcut on the keyboard. If I get my rolling edit tool again and before I start the rolling edits, if I hold down the Alt key on the keyboard, that's going to temporarily disable the link between the clips. If I do that now holding down Alt and then clicking and dragging this towards right, you see although the clips are still linked, I can see the V letters here in brackets. I was able to create a split edit by holding down Alt and using the rolling edit tool. If I now play this back, you'll get the same result. But we managed to do this with fewer clicks. Long which has been here for a good 70 years, maybe longer. Just the same way you create a J cut, you can also create what's called an L cut that also counts as a split edit. Now, J cuts are usually created at the beginning of the speeches like this. L cuts are created at the end of them. Let me show you an example of that. Let me zoom out first. Then maybe we'd go here and then zoom in. Then just play this section here. But a significant number of them do. She finishes talking, then we see the kids. But if you want to see the kids as she's talking, well, I could just roll this edit point as well. Because there's no audio here for this clip, I don't need to hold the Alt key down. I can just click and then roll it towards left. If I now play, you see that she will keep on talking as we see the kids. Life changing experience, but a significant number of them do. This kind of split edit is called L cut because the shape here resembles the letter L.
29. Introduction to Cutaways: Now we'll talk about cutaway shots. Now a cutaway shot or a cutaway clip is usually used for one or two purposes. The first one is to hide the mistakes or the imperfections on the timeline. These could be things like a jump cut like we have on the timeline, a camera shake, or someone looking into the camera. The best way to get rid of all of these is to use a cutaway shot. The second reason why we use a cutaway shot is to enhance the story that we are trying to tell in the timeline. Let me show you how it works. Let's go and first find an issue on the timeline and the most obvious one I think, is where we had the first jump cut here. So let me just click here and then zoom in by pressing plus on the keyboard. If you play this, you see the issue here on the timeline. It's where all the people of Marlow learned to swim, the beautiful resort for Scouts. That's a very obvious issue there. The clip is jumping. Now if you close your eyes and listen to this, it actually sounds all right. If I play this again, and if you look away or just close your eyes and just listen to the audio, and it sounds quite seamless. So have a listen. Where all the people of Marlow learned to swim, the beautiful resort for Scouts. But of course, there's an obvious issue with the visuals and that's exactly why we use a cutaway shot. Now before we do that, it would make sense to go and duplicate the sequence once again so that we can use that new sequence for all our cutaways. Let me just go and double-click on the sequence's bin. I'm in the Refined Edit here. I'll just go ahead and select this, and then right-click and duplicate. That new copy I'll just go and rename this to be cutaways, and then I'll double-click on this to open that up in the timeline. Just to be sure that I'm editing the correct one, I'll just go and close up the refined edits so we are only left with the cutaway sequence. Now on the timeline, if I want to hide the issue with the visuals but still be able to hear the audio as I do now, I'm going to need to use a cutaway clip. Now let's go and find the cutaway clip we can actually use. So I'll go to my project panel and then I open up my B-roll bin and let me scroll down. Let's actually listen to what she's saying so we can use a more relevant cutaway clip. Let me just go back and play this from here. Years, maybe longer. Originally, it was where all the people of Marlow learned to swim, in the beautiful resort for Scouts, but they just couldn't afford. So she's talking about the background of the site. She's talking about how beautiful it is and how useful it was for the scouts. Let's see if we can find something relevant to that. So in my B-roll bin, I'll just keep scrolling down. If you want to see this larger, remember, you can double-click on the name of the bin here and they will get maximized. I'm just looking for some clips with no people in them. Maybe this one here, or this one, or some river clips here. By the way, to find out whether you've used a clip before or not, you see that the icons next to the clips are either going to be white or blue. Now if a clip has an icon next to it, a waveform icon next to it and it's white, that means that clip hasn't been used before. Whereas if a clip has that icon and a film strip, in many cases that's blue, that means it has been used before. If you want to find out when that clip was used and where, you can actually click on these icons here and then it will tell you where you've used them. Now because I used this in one sequence, the rough cut sequence, and then I duplicated that sequence twice, I can see that this clip is used three times in my project, and you can see when they were used as well. So in the rough cut, this clip was the first one, and then when we did the refined edit, we swapped it with the second one that's why it starts later. I'm now looking for an unused clip, which means an icon that's white with no people in it. Let's say I'm just going to use this clip to start with, the spiderweb on boat clip. I'll just go and double-click to open this up. Then of course, I have to specify where the in and out points of this clip should be. So I'm going to go ahead and maybe preview this real quick. That's quite a stable shot but I'm going to try and find a portion where this is in focus. So if I go to the beginning, you see the web is out of focus, and somewhere here is when it gets in focus. I actually quite like that focus pull so maybe I'll go back a little bit and start from here, and then set my endpoint here. Then play this for a bit so it goes in focus and then I can pause it and then press O to set my out points. Now that ends up being four seconds and five frames. I think that's going to be a little too long, but we can always shrink it down later on. In order to send this to the timeline now, I, of course, had to specify where in the timeline this clip is going to start from. We do that, if you remember, by moving the player to the correct place. [inaudible] I want the spider web clip to start before this edit point here. Of course, there is no point starting the clip after the edit where we had the jump. I'm going to start at maybe somewhere here. The question now is what kind of edit this should be? Should it be an insert or an overwrite edit? Well, let's try both. If I start with the insert edit, what happens is that this clip is going to be chopped up from here, and everything that comes after that played will be moved towards right so that there's new space for this clip to go into. Let's try to insert and that's exactly what happens. This clip is split to two pieces. The first piece is here, the second piece is here, and then this clip is placed in between those two split clips. If I go and play this, this is what it's going to look and sound like. All the people of Marlow- So you interrupted her talking. learned to swim, the beautiful resort for Scouts. Then she continues, which is a problem. Let me undo this by pressing Command+Z. Instead, if I do an overwrite edit, what's going to happen now is that the four second and five frames of this clip will overwrite the section of the timeline for four seconds and five frames, which means it will delete the last portion of this clip and then the first portion of this clip. Let's have a listen. That actually extended further than the second clip there as well, which means it actually 18 to this clip as well. Let me undo this. If you check that the end of this clip, the entire clip in the middle, and then the beginning of this clip, will all be overwritten. Take a look. So if I play this now. It was where all the people of Marlow learned- So we chopped off that last part, all of the middle part, I came involved [inaudible] and then the beginning of this clip. So none of these options work. Let me undo this and in the next lesson, we'll talk about how to make use of the additional tracks that we have on the timeline.
30. Using Multiple Tracks : Now that we know that we can't add the cutaway shots to the same tracks as the rest of the clips, let's have a look at what we can do. The answer is to make use of these additional tracks on the timeline. Every single line here is called a track. You can see we have more than one track here. In fact, if I zoom out, we have three video tracks, and if I zoom out from here, we have three audio tracks. Let me zoom back into these like that. What I'm going to do now is to go and tell Premiere Pro that it should send this clip, not to the first video track or the first audio track, but to the second ones. The way to do that is by using what are called patch controls. Do you see on the left-hand side here, you have the names or these tracks which you can change by the way, by right-clicking and then renaming. I can call this main storyline and then the audio of it can be dialogue. Then the second one, I can call this cutaways. The second audio track will also be called cutaways. By the way, if you can't see these names, you might need to zoom in more. If I'm not zoomed in enough like that, I'm not going to see the names. You need to zoom enough until you see the names here. Now that I have those tracks ready, I'm going to send this clip here to the cutaways' track here, and then the cutaways' track here. Now the way you tell Premiere Pro to do that is by adjusting the patch controls here. The highlights on the left-hand side are called the sources. Then the highlights on the right-hand side are called the destinations. In order to specify where a clip should go in the timeline when you perform an insert or an overwrite edit, you have to go and change the sources here. Think of these sources almost like cables that carry the video and the audio feed. Imagine there's a cable that comes out of the source and that only carries the video feed and it's plugged in to this track here. The audio feed that's also coming from the source is plugged in to this track here. That's why when we did the edits, the clips were going on to the V1 and A1 tracks. But we can change that. If I now click on the source here and then drag the source highlight up, this is now plugging in the same cable to the second track, the cutaways' track. If I now do the same for the audio, plug this one to the cutaways' audio track, that's where the audio is going to go. For the time being, you can ignore the highlights on the right side. These will control things like where you paste things if you've copied them, or when you use the up and down arrows on the keyboard, which tracks Premiere will expect, when it goes to the beginning or down of the clips. But for patching, the important ones are the ones on the left-hand side. Now that we have patched this properly, let's go and see what edit we can do here. Again, my playhead is in the place where I want this clip to start from. If I go and perform an insert edit, look what happens. Even though I highlighted the second track and the clip here goes on to the second track, so does the audio clip, it still breaks apart or splits the clip underneath the playhead. Let me undo that and check this again. I'll take a look at this clip here. This will be split into two from this point. Everything that comes after this point will be pushed towards right to make space for the new clip as an insert edit. Let me do an insert again. This is now what it's going to look and sound like. It was where all the people of Malo [inaudible] to swim. The beach resource for scouts. Now that doesn't work. What I want to do is to be able to see this clip here, the spider web on both clip as I hear her. Let me undo this now by pressing command Z. Instead, I'm going to do an overwrite edit. Now this is going to overwrite everything that's on this track and everything that's on this track without pushing anything out of the way. Because these tracks are empty, when you overwrite it, nothing is affected except for this area being filled now. If I now go and play this. Originally it was where all the people of Malo learn to swim, the beach resource for scouts, but they just couldn't afford to retain it. That's when I became involved and help set up the [inaudible]. That was actually good and we covered up to jump cuts here. We covered this jump cut as well as this jump cut. You can think of this playhead almost like an eye looking down. If it sees this clip first, if this clip is in a way, that's going to block the visibility of the clips underneath. That's why as soon as this eye sees this clip, the others are invisible. As soon as this clip finishes, of course, we'll switch back to the Amanda clip here. That's when I became involved and helped set up the [inaudible]. Now let's say for example, you didn't want to linger on one clip for that long. This is quite long so it's about four seconds and five frames. Let's say halfway through this clip, let's say here, I want to switch to a different clip. Well, that's also very easy. Let's go and find the second clip. Let's say we'll use this clip here sunshine through trees. I can see I haven't used this one because this icon here is white. I'll double-click to open that up. Let's say I want to use this from here. I'll press I, I'll play this a little bit, it's quite a stable clip again. I'm going to press O to set my up point. Now I want this clip to start here. Now, all I need to do, is because the batch controls are still highlighted on the A2 and V2, is to do an overwrite edit. What this is going to do is to overwrite the last one second and 23 frames of this clip. That's because here the duration of this clip is 1:23. I don't know if this is going to be enough. Let's see what that looks like. We'll just do an overwrite here. That seems to have done the trick. But because the last portion of the spider web clip was a little longer than one second and 23 frames, that actually leaves the last part here. Let me zoom in to take a look. I'll select my timeline, press plus a couple of times. You can see after the sunshine clip, the remaining part of the spider web clip comes up. That's when I came in. That looks like a glitch. I'm going to select this clip and delete it. Now if I zoom out, I'll just have two clips in here, the spider web and the sunshine one. If I go back and play, that's what it's going to look like now. Originally it was where all the people of Malo learn to swim. The beach resource for scouts, but they just couldn't afford to retain it. That's when I became involved and helped set up the [inaudible]. That looks perfect. But I can see there's one more jump cut here. If I zoom in a little more, I can see there's one more jump cut here. If I play this. Charity Longridge on the terms to open up to everybody. There's the jump cut. Let's see if we can fix that as well. I'm just going to go find another clip. Let's say we'll use this clip here. If I open that up by double-clicking, they have this really meaningful quote on the wall there. It says, "We make a living by what we get, but we make a life by what we give." I'm going to use this here just before she finishes talking. Maybe I'll start this. Again this is a really stable shot so I'm going to start it somewhere here. I, to set the in point. Then maybe around here, I'll press O to set the out point. Then I'll send this to my timeline by first moving the playhead to where I want the clip to start from, say there before this edit point. The patch controls are still correct. I'll just go and do an overwrite edit. That calls up this cuts as well as this cut. Now if we didn't want that, we can simply move this clip back towards left so it starts earlier. If I now play this, this is what it's going to look and sound like. Help set up the charity Longridge on the terms to open up to everybody. One of these children. Now that was fine, but I think it was a little too quick. What we can do is to extend this clip with the selection tool. If I just go to the beginning, push this towards left. I've added an extra second and five frames there. That will give the viewer enough time to read this. If I now go back and play. Involved and help set up the charity Longridge on the terms to open up to everybody. One of these children. That looks much better. Now the other thing to consider here is how you want the pacing of your story to go. For example, here, if I just listened to this again, as soon as she finishes talking, we'll see Alex start talking. Help set out the charity Longridge on the terms to open up to everybody. One of these children. That I think feels a little too rushed. What we can do is the following. I can push every single clip that comes after Amanda towards right. The easiest way to do that, if you remember, would be by using the track select forward tool. I can now pick and then drag this, let say by two seconds, say there. Now what I can do is to get my selection tool and then push my quote here towards right. I've ensured that this is covering the jump cut there. If I zoom in, you can see at least one frame of this is covering the jump cut. That's enough to do the trick. But of course, if you want that to be a little less obvious, you can just go and extend this further left like that. If I now zoom out, here Amanda is going to talk. Before we see the jump, you'll cut to the quote here. Then when she finishes talking, we'll still have some time to read the quote before we cut back to Alex. Have a look. On the terms to open up to everybody. One of these children. I think that's a little calmer and it gives the viewer a little more time to digest the information that we're throwing at them. That's one more thing that you need to learn as an editor. It's not enough just to know how the tools work. You have to be able to make these creative decisions as well. That only comes with time.
31. Using Cutaways to Help the Story: We use cutaway shots not only to hide the mistakes and issues that we have on the timeline but also to enhance the story that we are trying to tell. The viewer can easily understand the message or the messages that we are trying to convey. First of all, it looks like we have one more jump cut here, so let me just go and play this. They didn't feel like anyone really had their corner because they weren't really making friends. Now to understand what he's actually talking about. I'm going to rewind and then play again. They said to me that they didn't feel like they could focus in school. They didn't feel like anyone really had their corner because they weren't really making friends. Spending an hour and a half from the water, they then said to me: now I can feel like I actually have someone in my corner. You've listened, I'm having fun and I don't feel the need to play-up. He's talking about this kid building up his confidence. It would make sense to use a video of a kid so that the viewer can relate to it. Let me just go and find one. I'm going to scroll down here and that one here seems like a good candidate. We had two kids here. The boy and the girl. I'm going to use the boy here. I'm going to go and double-click and then the clip opens up. Let's go and see the contents of this. I'm going to press "L" to go faster. I'll pause it by pressing "Spacebar". What I want to do now is actually to go and find the portion where he starts smiling. So at the beginning, you can see he's quite serious, and then he starts smiling here. That's where I'm going to set the in-point by pressing "I". Then I'll play this and I'll pause it here, and then I'll press "O" to set the out-point. The clip is about two and a half seconds long. I'll then, of course, have to tell Premier Pro where I want this clip to go in the timeline. I want that clip to start from here, just before the jump cut there, and my patch controls are still set to V2 and A2. If I now go and do an overwrite in it, that should cover up that jump if I played this now. Could focus in school. They didn't feel like anyone really had their corner and they weren't really making friends. Spending an hour and a half on the water. That's fine. The next thing I want to do is to use one more cuts away when he says this. They then said to me: now I can feel like I actually have someone in my corner. You've listened, I'm having fun, and I don't feel the need to play-up. It's not always [inaudible] For that, I'm going to go and find another clip let's say, we use this clip here called the boy and girl walking. I'll double-click to open that up and I'll go back a little bit and then just quickly preview by dragging the playhead left and right. I like that bit where the sun actually shines. So here I like that flare. The lens flare comes here. I'm going to set my in-point just before that by pressing "I" and then I'll let this play. Then I won't go as far as the end of the clip, I'll go back a little bit and then press "O" to set the out-point. This is now two seconds and 13 frames long. I'm going to put this clip somewhere here. Just before he says play up. You've listened, I'm having fun. I don't feel the need to play up. I'm going to go back again, say here, then do one more overwrite it. Now, it's fine if this clip actually extends beyond the edit points here. You can consider this almost like a J cut. We start hearing Amanda before we actually see her. If I go back and play this. I'm having fun. I don't feel the need to play up. It's not always, 80,000 young people, have a life-changing x-. That looks good. But if you don't want this to happen, if you actually want to see Alex finish his talk, then cut to Amanda, you can simply pull this clip back towards left. Let me zoom out first and then push to play ahead here, and then zoom back in. Then if I'm going to click back towards left, I can get the clip to start from here, and then the clip finishes we still have Alex under the playhead then we cut Amanda. So if I play. I actually have somebody in my corner. You've listened, I'm having fun. I don't feel the need to play up. It's not all those 80,000 young people have. The cut-aways don't always have to cover the jump cuts or other issues on the timeline. You can actually use them to enhance the story that you're trying to tell.
32. Adding the Rest of Cutaways: I've gone ahead and added the rest of the cutaway shots to the sequence. I've also brought in this new bin here called 3D Renders, and this includes three animation files as you can see. These were created outside a Premiere Pro and I've used them for when she talks about the future plans if I play this here. Accommodation doesn't inspire in any shape or form. We'll build a new building that will be flood-proof. It will flood-proof mainly because it'll be raised off the ground. That's what we want to do with our residential block, is build it raised so the water. We've added these as well. I'm just going to go and tie the disability bit first. So I'll just go to my project panel. Now that I have the 3D renders, the B-roll, and the interviews bins, it would make sense to create one master bin and call it something like footage and add all three bins into that one. So let me do that. I'm just going to scroll down, make sure nothing is selected then create a bin, and I'll call this one footage. Then I'll drag the 3D renders inside of this bureau, inside of this, and also the interviews inside of that as well. So I'm keeping things organized as much as I can. You'll also notice that the audio is really distracting with somewhat the cutaway shots. So if I play this one, for example. Their families come down to have a go and activity. I was talking to a mom and she brought her son to it. So the two audio clips here are competing against each other, so it's quite hard to hear what she's saying. This happens quite a few times as well. So if I go out, maybe not this part, maybe but this part. So if I play this, you'll see it's going to be difficult to hear what she's saying. Or as an excuse not to do positive things. So the audio portion of this cutaway shot competes against the Amanda clip, and it's hard to hear what she's saying. In the next lesson, we'll have a look at how to fix just that.
33. Disabling the Audio of Cutaways: A very common problem with cutaway shots is that when you use them, you usually send their audio to the timeline as well. The audio usually competes against the person talking and then makes it difficult to hear and understand what the person is talking about. Here's an example. Here we can clearly hear what Amanda is saying, but as soon as we get to the cutaway shot here, it's going to start competing against her and it will be very difficult to understand what she is talking about. Have a listen. Physical disabilities. We can hopefully get somebody in a wheelchair up our climbing wall. We do a lot of very diverse program. The audio coming from these two clips is really distracting. Now, there are different ways of approaching this issue. The first thing to decide is whether or not you actually need the audio. Sometimes you want the audio to be there, but quieter, and sometimes you don't want the audio at all. The first option is to bring the cutaway shot without the audio in the first place. Here's how that's done. Let's say, for example, I want to use this as my cutaway shot. I'm going to stick it somewhere here. Now, do you remember the analogy that we talked about of these being ends of cables, and then you plug them from the source panel into your timeline? Now I can unplug this audio cable by clicking here, and this is no longer patched to your timeline. Meaning if I now do an overwrite edit, only the video is going to come in. I only see the video and there's no audio attached to it. Programs all designed to allow young people to make [inaudible]. That's the first way of doing that. Let me undo this by pressing command Z. The second way is now that we have all of these audio clips is to disable them or delete them. I'd normally recommend disabling audio clips rather than deleting them, in case you change your mind later on. Because if you delete something and if you change your mind, well, it's too late. You're going to have to go and find the same clip again and then bring it back to the timeline manually. Whereas disabling will allow you to leave that clip on the timeline, but just mute so that you don't hear it while it's playing. The advantage of that, of course, is that you can change your mind down the line, and then just turn the audio back on and you'll be back to where you started from. Let me show you both options. First, deleting the audio clip. Now if you wanted to delete an audio clip, let's say this one here or this one, you'll need to be able to select it first. Now if I go and click on this, you'll see the audio clip get selected together with its video companion. Which means if I now go and press delete, both the audio and the video will be deleted, which is not what I want. I'm going to undo that. I need to be able to select just the audio. Well, the reason why the audio gets selected together with the video is because this option here, called linked selection, is turned on. If I turn this off, I can now click on the video clip or the audio clip without selecting its companion. The clips are still linked, but the selection isn't so I can select an individual piece like that. But this is quite dangerous because if you leave this off, and if I let say for example, pick and drag this towards the left or right by mistake, this is not going to knock the clips or the sync. Which means if I now play, her mouth and audio won't line up. Programs all designed to allow young people to make positive choices about. That's why it's usually a good idea to leave this link selection option turned on. I'm going to turn this back on, and then press command Z to undo this. With that link selection turned on, what you can do is one or two things. You can either right-click on the clip and then come down here to where it says unlink. That's going to unlink the video and the audio which means if I click on this, I can click on the video or the audio separately and it only unlinks these two clips, whereas everything else is still linked. Then we can select the audio clip and delete it. I'll undo that again to bring it back. I'm now going to relink by selecting this, and then shift selecting this, so the two clips are selected again. Then right-click, and I'll link again. Instead of doing that though, you can click outside to deselect everything, hold down the Alt key on the keyboard. As long as you have the Alt key held down, it's going to assume that you don't want the link selection. If I hold down Alt and click on any clip, it only selects that clip and not its companion. This is the quickest way of selecting the video clip or the audio clip without selecting its companion. Now that I have the audio clip selected, I can just go and delete that. However, it's usually a better idea to disable the clip rather than deleting it altogether. To disable the clip, you're just going to right-click on this, and then uncheck the enable option here, and that's going to make that clip darker. If I click outside, you'll be able to see that a little better. The clip becomes darker, meaning that it's still there, but you just won't hear it. We can hopefully get somebody in a wheelchair up our climbing wall. Of course this clip is still enabled, so I can hold down Alt, click on this to select that, right-click, and disable. Now if you want to do that for more than one clip at a time, the easiest way is this. Let me zoom out. Let's say I want to disable all of these clips here. Well, I can hold on Alt and draw a marquee selection like that, and they will only select the audio clips. I can now right-click on one of them and disable them. Now, although I know the first ones are not disabled because some of these clips are disabled, this enable button is turned off. Which means if I now click on this, they'll actually get reversed. Let me show you what I mean. Right now, only these two are disabled. Let me just zoom in here. If I select the two clips that are disabled, plus this additional clip as well and if I try and disable them now, you see this will be disabled and these two will be enabled. It's like a switch that you turn on and off. I'm first going to go and enable this as well with Alt clicking, then right-clicking, and enabling. They're all enabled now. Let me zoom out. They're all enabled. I can now hold on Alt and then draw a marquee selection like that, then right-click on one of them and I can see they're all enabled. If I uncheck this right now, they're all disabled so I won't hear the audio for any of them. They weren't really making friends and spending [inaudible]. Let me enable them again by undoing it. I'm going to go edit, undo. An alternative way of doing this is to disable the sound on the entire track. That's called muting a track. The easiest way to do that is to come to your track, just above the name, you'll see this M button here. M stands for mute, and if I click on this, although these clips are enabled, the entire track is mute. If I now go back and play, you're not going to hear anything from that track now. That they did [inaudible] corner because they weren't really making friends. If I play these. The children without a disability without even realizing. This could be an alternative as well. If you wanted the entire track to be muted, you can turn this M button on. If you want specific clips to be muted, you'll have to do it one by one by Alt selecting the audio clip, and then right-clicking, and then disabling it.
34. Adding a Soundtrack: In this lesson, we'll have a look at how to add the soundtrack to the timeline, but before that, I'm going to duplicate this sequence once again, in case I don't like the changes I make to that new sequence, I can always come back to this one. For that, I'll go to my sequence's bin, this is the cutaway sequence we've been working on. I'm going to right click on this and then duplicate, and I'll call the new copy audio editing. Then I'll make sure I double-click on this. It opens up here, and I'll just go and close my cutaway sequence. So that's all I'm working with. I can now switch back to my project panel, go into my music bin, and here, you can see three different music files. I actually have one more that I forgot to import. Let me just go and bring that in as well. I'll find an empty spot here, double-click, and then I can go in here and then bring in my once again, long file and then import this. This is the one that I actually want to use for the sequence. In order to preview an audio file, all you have to do just like video clips, is to double-click on them. If I just go and double-click on this for example, that opens up in the source panel and you'll just see the waveforms here because there's no picture attached to it, same with any of the other clips here as well. If I just go and double-click on this one, this is the one that I'll be using, that one opens up. Now, if you haven't used the waves before, the idea here is that the thicker the waves get, so the higher these are, the louder the sound is going to be. The reason why you have two waves here, one at the top, one at the bottom, is because this is a stereo clip and it's got two separate channels. There's the left channel at the top and then the right channel at the bottom. When you have your headphones on, this is what you'll be hearing on the right ear, and then this is what you'll hear on the left one. You can treat audio clips pretty much the same way as you do the video clips. What I mean by that is this, you have to play head here and you can press "Spacebar" to start the playback, Spacebar to pause it again. You can also use the J-K-L keys, so if I press "L" a couple of times that's going to fast forward. I can pause again by pressing "K" or "Spacebar" and I can play this backwards by pressing "J", and then go faster again by pressing "J" the second time. Also I can click anywhere on these waves. Let say for example, I want to get to somewhere quieter here again, I can just go and click here, and it's going to jump to play ahead there and now play. That's the quieter apart, compare it to the previous section. You can also set in and out points, but in this case, I actually want to use the entire clip for my timeline. Without specifying the in and out points, I'll just send the entire clip to the timeline by first, of course, pushing the play head back to the beginning of the timeline, and then specifying which track this clip will go on to. Right now you can see my video patch controls are disabled because there is no video coming from here. I can only play with the audio patch control here, and I want this one to go onto audio 3. I'm just going to go and click here, so that this audio clip will go to audio 3. Because I want the soundtrack to play at the same time as the rest of the timeline, I'm actually going to need to do an overwrite at it. Look what happens if I've done insert. We'll have five minutes of this clip playing, then the timeline starts. If I select my timeline here and play, you see, once this clip finishes, the rest of the timeline starts. Not what I'm after. I'll undo this while pressing "Command Z", and instead I'll do an overwrite at it. Now if I go back to the beginning, and as soon as I start the play back, the soundtrack is going to be there. I'll stop the playback now. The alternative way of doing this is as follows. Let me just go and select this clip, then delete. I could just click and drag this clip directly from here onto my timeline as well, and I can decide which track I want this to go on to by literally just dragging this. If I just push this towards left, that's where it's going to start from, or the final way of doing this is if I again delete this one, I can drag the clip from here to my timeline, and that's done by clicking on the waveform icon here. If I click and drag the waveform here, down to the timeline, go to the beginning, and let go, they all do the same thing. As well as using the overwrite edit function, you can also drag and drop the clips to the timeline.
35. Changing Audio Levels: Now, let's have a look at how we can make the audio clips louder or quieter. First of all, I'll just go and unmute the second track here so that I can hear everything on the timeline. If I just play this once quickly, you'll hear what this sounds like. [inaudible] What I want to show you is initially how to make the clips louder and quieter and then later on we'll talk about how we can make them louder and quieter in different parts. To start with, you need to be able to see the audio levels of the clips before you can make them louder or quieter. To reveal the audio levels, you first need to zoom into the tracks. If you want to see the audio levels of all tracks, you can zoom into the entire timeline by using this vertical slider here. Or if it's just one track, and in this case, it's just a soundtrack that I'm interested in, I can go to the bottom of the track, wait for the cursor to change into this icon, and then I can click and drag, and that way I'm only extending that track and nothing else. Now, this white line that you see here is what you used to control the audio levels. This is done on a per click basis by default, although you can change that to control the loudness of the entire track but by default, you'll be able to control the loudness of individual clips by using this white line here. This white line is also called the connector line or the rubber band, and you see the reason for that later when we talk about the keyframes on the audio. But for now, you can simply select the "Selection Tool," and then click on this line, and drag it up to make the clip louder or down to make it quieter. Now, let's have a look at what this actually means. When I play the timeline, all I want to hear is the clips on this track, in this case, just a soundtrack. For that I'm going to solo this track. That's what this S button is for so you can solo a track. This is as if you muted all other tracks except this one. If I now go and play this, you'll see that I can only hear the soundtrack and nothing else. Although she's talking, I can't hear her. Now whilst this is playing, I can lift the connector line up to make it louder or down to make it quieter. Here we go. I'll press space bar to pause the playback there, and you'll notice, as I'm changing this, the entire clip gets louder or quieter. Now before we talk about making different parts of the clip louder and quieter, let's talk about what loudness actually is and how loud we can go. On the right-hand side, you see audiometers. The audiometers here will show you how loud or quiet your clip is. Let me go back to the beginning. If I play this, you see on the audiometers we have two bars moving up and down. The one on the left is the left channel, the one on the right is the right channel, and the height is the loudness. If I pause this, it goes dead so I don't hear anything. As soon as I start the playback, the bar start moving again. There's something called the peak, and that is the loudest points of the audio levels. If I go back again and play, that's represented with a yellow line. As these bars move up and down, you see they leave a yellow bar behind. The yellow bar will always be left at the loudest point of those clips. Now, although there are exceptions to this, a general rule of thumb is to make sure that your peak is between minus six and minus 12 and you see all of these are actually measured in negative units. Digital audio is measured in negative decibels. Loudest she can get through is zero and everything else is a negative value and your peak point should be between minus 6 and minus 12. There's a good reason for that. If you average your peak levels to be between minus 6 and minus 12, you're leaving yourself enough space for the audio to get louder by six more decibels before you reach zero. Because if you go above zero, you're going to start distorting or clipping the audio. That's one thing that you definitely can't do. You can't go higher or louder than zero. Like I said, the reason why you set this to be between minus 6 and minus 12, is like I said, to leave yourself some headroom, so that if the audio needs to get louder, you'll have six decibels to play with. For example, let's say you're interviewing someone, and at some point they laugh really hard. I think I have an example of that here as well. Let me go back to my Project panel, into the Footage folder, and then Interviews, Alex. In one of these, Alex actually laughs a lot. Towards the end of the clip I remember him laughing, so I'm just going to quickly find which clip that is. I think it's this one. If I double-click to open this up, and if I play this. [inaudible]. Let me just go back and play this from here. You see the audio will peak between minus six and minus 12, generally. It's all across Europe. I've got my. There. [inaudible] qualification. At some point towards the end, his radio goes off, and he leans over to control his radio. When he's looking down, he's louder on the microphone. But because we left some headroom here, we still can get louder without clipping the audio. Take a look. I'll move this forward. Have a listen when he's playing with his microphone and then he leans over to check his radio. Enable to take power boats out, drive those up. Keep an eye on the audiometers here. [inaudible]. Even at its loudest, it's only going to around minus two or minus three so it doesn't actually clip the audio. That's one thing that you should keep in mind, both when you are recording the audio and editing it, zero is going to be your upper limits. The range I just gave you, the minus six to minus 12 range is mostly true for broadcast audio, and digital audio that you watch on the Internet. However, if you're editing a feature film and it will be displayed in a cinema, you'd average everything much lower. For example, let's say between minus 48 and 58. You may be saying to yourself, well, isn't that a bit too quiet? But it may well be too quiet for a single speaker but if you have tens of different speakers in the same room, you can compensate for the quietness. The advantage of that, is that you'd give yourself 50 decibels to play with. For example, as the person is talking, you can create a car explosion in the same scene and it will still not go over zero, but it will sound like the whole place is coming down. Compared to his voice, the car explosion is going to sound much louder. That increases the dynamic range of the audio. Now, that's beyond the scope of what we'll be covering on this course. Well, I just wanted you to be aware that whatever you do, your audio levels should not go higher than zero. I hope I was clear enough on that. Now with that in mind, I'm going to go back and play this again, and you can see the peak. Let me just go back again and play from here. You can see the peak here, is already above minus six, just over. It would make sense to make this slightly quieter by clicking and then dragging this. As I drag this, you see I get a tool tip next to my cursor telling me how much I'm making this adjustment by. I'm making this clip quieter by 1.6 decibels. If it was peaking at minus six, it will not peak at minus 4.4. If I go back and play again. That's great. Now, this would be it, if all we had was that single clip in the timeline. But more often than not, you'll actually be working with multiple clips. Let me go and unsolo this so I can hear the other clips as well on different tracks. As soon as she starts talking, let's see what that sounds like. [inaudible] which has been here for good 70 years maybe. Now, first thing you'll notice is that my audio peaks now slightly higher than six. The second thing, which is probably more obvious is that it's quite difficult to hear what she's talking about. I'll have to lower this down as she talks. Well, you may be thinking, why don't I make her loud as well. If I go here, and then expand this track, I can make this clip louder as well, let's say by 4 decibels. If I now go and play,. [inaudible] been here. You've made your overall audio even louder. Yes, it's easier to hear her now, but I'm now making the overall audio louder and if I had a couple of different tracks, and if I keep doing this for each one of those tracks, soon enough, I'll just go above zero, and that defeats the whole purpose. Instead of making clips louder, you make the other clips quieter. This clip sounds as if it's louder relative to this one and that's how you usually treat your audio clips. Let me undo this last thing so I'm going to go a press command Z. The audio level here comes back. Instead of making this clip louder, I'll make my audio clip here quieter, let's say, by minus 10 decibels or so. If I now play. For good 70 years, maybe longer. Maybe it can be even quieter. If I play again from here. [inaudible] which has been here for good 70 years, maybe longer. Now, that sounds good. I can understand what she's saying plus my levels here don't go above minus six. But the problem with that now, is that I made the first part too quiet. If I play this, the first part is not peaking around minus 24 to minus 30. Now in the next lesson, we'll talk about how we can make the changes on separate parts of the clips independently.
36. Adjusting Audio Levels Selectively: When you want your audio clip to be louder and quieter at different parts, there are a couple of different ways of approaching that. The first one, and perhaps the easiest one, is by using the razor tool. For example, let's say I want this clip to start loud. Let me just go and push this line up. If I play this, and it's picking between minus six and minus 12. I'll pause it there. When she starts talking, I want this audio to be quieter. Well, we know how to split a clip. That's by using the razor tool. If I select the razor tool and then go to this part where she starts talking, and let me zoom into my timelines so we can see what's happening a little better. I'm now zooming vertically as well. When you're zooming, it's really fiddly in Premiere Pro. What you want to do is to make more space for your timeline and in particular, for your audio parts. First, I'm going to lift the timeline up like this, where you see this still doesn't bring those clips. Instead of scrolling down, which is going to lose the top part of my audio tracks, I can scroll back up. But I can push this line here between the V1 and A1 higher like that, because I didn't really need that much space for the video tracks for the time being. If I lower this down, you see I had all of this empty space here that I didn't need. I can just lift this up. Maybe a little more. All I'm seeing is the main storyline, V1, and then my two audio tracks. Now the, cutaway track is a little too big. I can make that smaller by clicking here, and then pushing that up. Now I can bring the entire timeline down so I can see a bit more of my program and the source panels, like that. Now, this is when Amanda starts talking, so I want the audio clip to be cut here. If your snapping is turned on, which is this button here, this magnet tool here, if it's turned on, as you move your cursor, you see it will start snapping to different parts of this clip based on what you have on the timeline. This will snap to where your playhead is, it will also snap to the beginning and the end of the clips, and the edit points, and so on. I'm going to cut this clip here just before Amanda starts talking. Now that I've split this clip, I can get back to my selection tool and you see I can control this line separately than this line. Now I want the second part to be quieter. I'll just go and push this down. Let's have a listen to this. Longwich has been here for a good 70 years. Now, that sounds all good. May be a little quieter actually, if I play this again. Longwich has been here for a good 70 years. Now, that sounds all good with one exception, and that's this abrupt drop here. You see the audio goes from loud to quiet really abruptly. Longwich which has been here. We'll have a look at how to fix that in the next lesson. But for now, let's go and do the same for the other clips as well. I'm going to zoom out and find when Amanda finishes talking. It's here. Where she finishes, we have a bit of a gap where we had a cutaway shot here. To open up to everybody. When she finishes, I want the soundtrack to get loud again, so I'm going to cut this again with my razor tool. I want that to stay loud until Alex starts talking. I'm going to cut it just before he starts talking here. Then I'll get my selection tool and then make this middle part louder. I'll go back and play. To open up to everybody. One of these children. Then it gets quiet again. Let me zoom back out. When Alex finishes talking, here, I want the audio to get loud again. What I can do to speed this up is to go ahead and chop these up without actually adjusting the levels first. Then I can go ahead and set one level, and then copy and paste that level to the other clips as well. Here's what I mean. I'll just zoom in here, get my razor tool. This is when that clip finishes and it looks like actually Amanda is talking here, not Alex. I'll just go ahead and chop this up here, and then here, Amanda starts talking again. I'll zoom back out, and somewhere here, there's a gap. I'm going to go ahead and cut this as well. Again, I can zoom out from my video clips as well so I can see both tracks like that. That's all good. Then I'm just looking at the waveforms here. It needs to be quiet when she finishes talking at this points. It needs to go back to being loud here, and then it should remain loud until here. Then get quiet again when she starts talking. Then if I keep scrolling, scrolling, and there's one other clip here called accommodation. Again, if you're not sure what's happening, you can see the previews just by making this a little taller. That's a different clip. I can cut this in here and then zoom back out. There's a bit of a gap here as well where we had the two cutaways. I'm going to cut this at the beginning of their cutaway, and then at this cut away. I'll zoom out again. I'm just going to go right to the end and then cut this one more time. Now that I have all of these cuts in place, what I can do is to go back to the beginning, get my selection tool, select this first clip that's got the right audio level. If I go back to the beginning, zoom in. If I play this part now. You see this is loud enough. What I can do is to select the clip, copy it. If I go to edit, copy. If I want that level to be pasted onto this clip as well, I can select the clip and then just go to Edit and Paste attributes. Instead of pasting the actual clip, this can paste the attributes of the clip, and attributes will include things like audio levels. If you applied any effects to the clips, you can paste those as well. For now, I'll just go ahead and paste attributes, and then make sure that all the attributes volume is turned on. I'm not interested in the channel volume or the panner, although these won't have any effect because we haven't adjusted these. I can either deselect these or just leave them on. If I press "Okay," the audio level of this is now copied over to this. I now zoom back out. I'm going to do the same thing now for all other clips at the same time. I'll select this clip. Keep scrolling towards right, and then select this tiny clip in the middle. That's when it needs to be loud again as well. I'm going to hold down "Shift" and click here. Then here as well, I'll hold down "Shift" and click on this clip, and then keep going towards right, and then we cut this year as well. I'm going to hold down "Shift" and select. Keep pushing this clip here, Shift select, and go all the way, and then Shift select this last one as well. If I zoom out, I have all of these clips elected, and all I have to do now is to go to "Edit," "Paste Attributes," and then press "Okay." It will make all of these clips the same level as the first one. I'll go back now, zoom in. You can see it's loud, quiet, loud, quiet, loud, quiet, and loud, then quiet, and so on. If you made the cut inadvertently and the clipping half, remember, you can stitch those two parts together. Let me show you what I mean. Let's say, for example, if I go here and I zoom in. Let's say I didn't want this cut to be here, then I can right-click on these edit points and choose "Join Through Edits." If I do that, you see this part disappears and there's no cut between these anymore. I can do the same here. I'm going to right-click, "Join Through Edits," and that disappears as well. That's how you stitch the cuts together, as long as you haven't moved or changed the contents of the clips after you've cut them. Let's say I want this to be cut again, but now, I'm going to cut it on purpose. Somewhere wrong, let's say here, and then cut again here. Instead of cutting it here and here, I cut it in the wrong places. Well, l that's really easy. Remember how we can move an edit point left and right? You get the rolling edit tool, and then you can click on the edit points and just drag it towards right. That makes this clip longer as it makes the second clip here shorter. I can do the same to this edit point as well. If I click and then drag this one towards right, if it adds 10 frames to this clip, it subtracts 10 frames from this clip, so they still remain in sync. I'm going to get my selection tool again by pressing "V." I'll just increase the height of this so it's louder again. Thanks. In the next lesson, we'll have a look at how to smooth out the transition when you go from a loud level to a quiet level, and vice versa.
37. Audio Transitions: We will now have a look at how we can make the audio-book from loud to quiet, and then back to loud gradually. Now when someone's talking, I want the music to be there, but quietly, and as soon as they're finished talking, it's going to be loud again, and that's called ducking. The music is going to be loud to start with, and it will duck down or it will fade down when they start talking. This can be done in one of a few different ways. In this lesson, we'll talk about how to do that using transitions. To start with, I'm going to zoom into the first part of the timeline. I'll just put the playback here, where the first cut is, and then zoom in using the plus key on the keyboard, and then I'll just solo this track so that's all I'm hearing for the time being. If I play this, you'll hear how the audio drops from loud to quiet. Now, if you want that drop to be smoother, you can do this by using the transition. The easiest way to apply the transition is by getting the selection tool, and then right-clicking on the Edit point here, and you see two options. You can join through edits, which we already looked at. This is to stitch the two edits together, so you get rid of the editor essentially, or you can apply the default transitions. In this case, I want to plug transition here, and what that does is to add this brown object here, and that's what the transition is. If I now zoom in here by putting the plant here first, and then pressing plus a couple times on the keyboard. You see now this transition is called the constant power, that's the default transition for audio. At this point here, the audio will start fading down, and then until here, it will keep feeding down, and at this point it will be at its lowest level. I now go back and play, have a listen. That shift in audio levels was much smoother. Let me zoom out a little bit. If you want the transition to be even smoother, so it's less obvious, you need to extend the duration of the transition. To do that, you can either take your cursor to the beginning of the transition here, or to the end, and you see the icon turns into a bracket with a transition icon inside. If I now click and drag this out, I'm now making transition longer. It starts fading down here, until here. If I now listen to this, so it's even smoother now, the longer the transition, the smoother or a less obvious it's going to be. The second way of changing the duration of the transition, if you want this to be a precise duration, let's say two seconds exactly, you can actually right click on the transition here, and then you can set the duration of it here, and I can make this exactly two seconds by typing in 200 here. If I press Okay, the transition is only two seconds long now, so one second of this is on the left-hand side of this edit point, and then one second is on the right-hand side of the edit point. Or the other way of making this longer is by double-clicking on the transition here, and that brings up the same option here again to set the duration of the transition. We can go up here and then make this let's say three seconds long, and then press Okay. Now that's how long that transition is. This is the first way of applying a transition to an edit point. The second way is this. Let me just go and delete this. You can delete a transition by selecting and then pressing delete, or by right-clicking on it, and then choosing clear. The second way of applying a transition is by selecting the edit point, and then coming up to here where it says sequence, and then you have apply audio transition option here. If I go and select this, that will apply the same transition to that selection there. This method is easier if you want to apply multiple transitions at the same time. You can select multiple edit points like that, and shift select that, and let's say zoom-out, shift select that as well, and then if I go to sequence, apply audio transition, you see that gets applied to all of these edit points that I've selected. I'm going to undo this as well, and I'll just go back and zoom in here, and then select this transition and delete it. The final way of applying a transition, is by using the panel called effects panel. Now remember from the first lessons, that whenever you want to bring the panel up, you'll have to go up to the window menu here, and you see the list of all available panels here. I'm after the effects panel, and remember this is different than your effects workspace. This is our workspace, so this will shift the entire workspace around, so take a look, so it makes everything look different now. I'm going to switch back to my workspace, and instead of changing my workspace, I'm going to go to Window and then open up just that single panel called effects. If I click on this, you see this panel pops up. On your computer this might actually pop up somewhere near the bottom left corner, that's the default location for this. I must have moved my panel around previously, that's why it opens up here. Well, that's an easy fix. I can just click on the name here, and then drag this back to here, wait for this blue highlight to appear, and then let it go, and that's where the effects panel is now. Inside the effects panel, you see all these different folders. You'll spend more time with these folders when we get to the effect section of this course, but for now, you can go to the audio transitions folder, open that up, and then there's cross-fade, open that up, and here we had three different transitions. The one that we've already applied is called constant power. The default transitions will show with a blue highlight around icon. Every time you go and right-click on edit point, and choose apply default transitions, you're going to apply the transition, with the blue highlighter around it. For most part, you'll just use this constant power transition, although there's a specific reason why you might want to use the exponential fade, or perhaps a constant gain as well. But I'd say for majority of the times you'll stick to constant power transition. The way to apply this from the effects panel, is simply by dragging the name of the transition here, onto the edit point like that. I can drag it to the center like this so that the transition is symmetrical. You can drag it to the left so that the transition finishes, by the time you get to that at this point, or you can drag it to the right, so that the transition starts by the time you get to that at points. I'm going to center this and let go, and it's exactly the same thing as right-clicking and applying the default transitions. Now let's go and make this transition longer. I'm going to go and double-click, and then set this to be let's say three seconds long. The problem that you'll run into with this is that the transition will continue to happen, even after she starts talking. She starts talking here, but the transition actually finishes here, so for that part, it's going to be quite difficult to hear. Let me unsolo this track, and then take a listen. Along which you've been here for. Her voice is only quite clear, after the transition finishes. What I can do is to move the transition towards left, so I can tell it to finish exactly when I want it to finish. The easiest way to do that, is again with the selection tool. You just click on the transition, and then just drag it left or right, that's how we can shift the transition in the timeline. You can get this to finish, where she starts talking here. This is when the waves actually started appearing. I'm going to go push this toward left there, so this will start fading down at that point. By the time we get to here, it's already going to be at its quietest. If I now go back, and then play this. Long, which has been here for good 70 years, maybe longer. That sounds much better now. Let me zoom back out and multi-band here. This is when she finishes talking. Let me zoom in here, and if I listen to this you'll see if I just swallow this first, you'll hear actually this is going to be quite an abrupt shift. If I play this. Just the same way if I want this to be smoother, I can right-click here, apply the transitions, or I can drag the constant power transition from here onto that point and let go. Now if I play. But again, if I zoom in here, the transition starts before she finishes talking. I might want to shift this towards right a little bit, so that as she finishes talking, the audio starts getting louder. Let's go back and I'll answer all of this, and then take a listen. On the times to open up to everybody. Then the same thing again here as well. I'll select this, and this time, I'll actually use a shortcut on the keyboard, which is Command, Shift, and D. That's the same thing as going to sequence, apply audio transition, Command, Shift, D. If I now go back and play, and before we actually play it, I can already see that the transition actually eats into the audio of Alex. I can push this towards left a little bit. It starts fading down at that point, and it gets through its quietest just as he starts talking. Take a look. One of these children, they said to me. That sounds good as well. Let me zoom back out, and I'll just push forwards. This is when Amanda finishes talking again here. Life-changing experience, but a significant number of them do. Now, I'm going to add the same transmission again. Let me zoom in so we can see this a bit better. There. I want this to start a little later. This is when she finishes talking. This is when I want the transition to start as well. Significant number of them do. It looks like I made my cut in the wrong place here. I thought this was when Amanda was talking, but really this is still the cutaways. I want this cut to move over here. If you remember, you can easily do that with the rolling edit tool. If I get the rolling edit tool here, I can shift the cut from here to here. That's all going to be the same level. If I now go back and play. You can hear the audio is actually getting quite loud. Although we haven't changed the levels here, it's still getting louder because of the instruments. I'm going to get my selection tool. If I go back and play this again, take a look at all your peak here. It's going to go just above minus six. There. I don't want that. I want this to be slightly quieter. I'll just click, and then drag this down by a few decibels, maybe at 1.9. If I now play, that should be just below minus six. I want the dropping audio to be gradual again. I'll just select this edit points, and then press Command, Shift, D. I want the transition to finish just before she starts talking. So I'll just go and push this towards left, there. Take a listen now. The charity is set up for people of all back. That sounds good. Let me zoom back out. I'll keep doing this for the rest of the timeline as well. I'll go here. I'm just going to select this edit points and that edit point, and then shift-select this as well, and then shift-select this, and then let me just go forward. Shift-select all of these, shift-select these as well, and then hold down shift and select that last part as well. Then I'll press Command, Shift, and D. This will add the transitions. Now I can just go and tweak the transitions again. I go back, I'm going to go zoom in here. Click outside to deselect them. This transition seems like it's in the correct place. This is when she finishes talking, and that's exactly when it starts as well. Is to be replaced. Let me just go forward to the next transition by pressing down arrow. This will need to be shifted towards left, so it doesn't overlap her speech, like that. Then press the down arrow again to go to the next cut. There is no transition here, so I'll keep pressing down. There's a transition here. Again, this seems like it's in the correct place. This is when she finishes talking. That's when it starts. I'll press down again. This also overlaps her. I'm going to go and drag this towards left. The transition finishes before she starts talking, and then the down arrow a couple more times. That's that final transition, which I'm going to push towards right a little bit, like that. Now that we ensured that the transitions are incorrect places, we should also go and check the audio levels. Let me just go back to here. I can already see that the waves here are much thicker or taller than the waves at the beginning. If I just go and listen to this, at the beginning, it's very gentle at the beginning. But as the time goes on, let's say for example, this side here, let me zoom in, these waves are thicker, meaning that they're louder intrinsically. If I go and play this, and you see that these already go higher than minus six. I might need to go and just tweak these further, like that. I love this center. There's a bit of an issue here as well actually. This transition should finish before she starts talking. I'll just go and make this a little shorter first, and then drag this towards left, like that. I will listen to this again. Do positive things. The same issue here as well. This transition overlaps the last part of her speech. I'll just go and make this shorter, and then drag this towards right. There. I'll now go and play this again. Not to do positive things. I love this center. That sounds good. Let me zoom back out. It's beautiful. I think all of these areas can still do with a little bit of adjustment on the audio levels. I can make this a little quieter. You need to make these checks and decisions as well. It's not enough just to set the audio levels to be all, let's say minus 15, and then just leave it there. You have to check that these are all quiet enough, so that you can hear what's being said. I'm going to listen to this again. I love this center. It's beautiful. But most importantly, it is what it gives to young people. I think that's good as well. I'm going to check these as well, near the end. Actually before this point, let's have a look at how loud this part is. This is still a little too loud. You can see that the levels are going above minus six. I'm going to go and push this down a little bit like that. Referee is a fantastic results. I mean, beautiful. That's good. Maybe this could do with a bit more pushing down. There. Then we'll check this last part as well. Again, this will need to go down just a touch. Twice. Maybe a bit more. Now needs to be replaced. Maybe just a tiny bit more actually. That sounds better. Reflecting from the river. I'm going to push this down as well, just a tiny bit. Then just go in here. The audio gets gentle again here, so it can be a little loud. I'm again looking at the audio levels on the right. The other week we stood out here. We had an open day. That's all good. Then finally, this section here. To try and raise three and a half million pounds to build some new accommodation, because our young people need it. That's looking great. This is how you adjust the audio levels to shift from loud to quiet, and then back to loud again gradually by using transitions. In the next lesson, we'll have a look at how we can do a very similar thing by using what are called key-frames.
38. Audio Keyframes: An alternative way of making the audio go from loud too quiet or from quiet to loud gradually is by using what are called audio keyframes. Now, you usually use audio keyframes instead of transitions, rather than using them together. Although they can be used together, most of the times you'd be using one or the other. For that reason, what I'll do is to go and duplicate the sequence once again. I'll call that audio keyframes. I'll make all my audio keyframe and it's on that new sequence. Let's do that. I'm going to go to the sequence has been, and I'm now working on the audio editing. I'll just go and find that here. It's this one. I'll just go and right-click on this and duplicate it. I'll call this new one, Audio Keyframes. I'll then double-click to open this up. Then just to be sure I don't make any mistakes, I'm going to go and click on this "x" here next to audio editing so we come out of that. Now, that I'm in the audio keyframes sequence, what I'll do is to go and tidy up this track here. Let's actually go and rename this track. I'm going to go and right-click on this "Rename". I'll call this one Soundtrack. What I'll do on this one is to zoom out. What I want to do is to select every single clip after the first one, so that I can extend the first one back to the end of the timeline, which will give us a single piece of clip without any of these transitions or audio adjustments. For that, I'm going to go and get my track select forward tool. If I click on the second clip here, you see it will select the second clip and everything on all tracks as well. Now, I don't want that. I only want these clips here to be selected. The shortcut for that is to hold down the Shift key. If I hold down Shift, then click on this. You see actually next to my cursor, I only have a single arrow now as opposed to a double arrow. Shift key will get you a single arrow, which means if you click, you only select the clips that come after that point, only on this track and nothing else. Then I can delete them by pressing Delete on the keyboard, so they're all gone. I'll get back to my selection tool, and I can extend this all the way out to the end of the timeline again. That gives us a single clip without any of those cutthroat transitions. The reason why I had to do this is because when you use keyframes, as you'll see in just a moment, you can't span keyframes across multiple clips. We can only use keyframes and connect them together if they're part of the same clip. It's exactly what I just created here. Let me go and show you what these keyframes are about. I'm going to go back to the beginning and zoom in. Now, this is when Amanda starts talking. I want the audio levels to be quite loud at the beginning. If I just push this up and just have a listen. Of course where she starts talking, I want the levels to drop. Now, instead of adding transitions, what we can do is to get the selection tool here. As long as we are seeing this white line, the audio level line, we can hold down the Command key on the keyboard or Control on PC, and then you see the cursor will turn into a white arrow with a plus next to it. With that visible, if I just go and click somewhere here, that's going to create what's called the keyframe. This blue diamond shape is what a keyframe is. In order to change the audio levels gradually, you need to have at least two of these keyframes. This is when the audio will start fading. Let's say until here, it should keep fading, and then at that point, it will be at its lowest level. For that, I'm going to need to add one more keyframe here by holding down Command and then clicking again. That creates a second keyframe. I now let go of the Command key, so I have my selection tool again. I'll now go and drag the second keyframe up and down and see what happens to my audio line. If I just go and push this down like that. You see I'm not creating a gradual shift from here to there. This is also the reason why this white line is called the rubber band. You can treat it almost like a rubber band. As soon as you had a keyframe here, you're pinning that rubber band onto that level. Then when you had a second keyframe and then you pull that down, you're moving this from there to here. Everything after the second keyframe is also pinned to be at the same level. If I now go and play this. Along which has been here for good 70 years. Now, this, I think, is a lot more visual and easier to control than the transitions. Now, let me just go back out and then go to the end of this. This is where she finishes talking. Now, in order to get the levels back up again, I'm going to need to create two more keyframes. One, when I want the levels to go up, say here, where she finishes talking. Then one more when I want the audio to be at its loudest, so maybe here. I'm creating the keyframes, remember by pressing Command and then clicking on that white line. Now, that I let go of Command, I can drag the second keyframe up and it gets loud again. If I listen to this. To everybody. One of these. I want that to get quiet again when Alex starts talking, so I'll hold down Command, create the keyframes, say here before we get to him, and then one more keyframe just as he starts talking. I'm going to hold down Command and click here as well. Then I let go of Command and then click and drag the second keyframe down. This gets quiet too again. If I go back and play. One of these children, they said to me that. That's how it gets quiet again. Let me zoom back out and then go to the end of this. In fact, the end of this clip here when Amanda finishes talking. I'm going to go forward a little more. This is when she finishes talking. I'm going to add one more keyframe here with the Command key, and then one more somewhere here. Then let go of Command, and then drag the second one up. It gets loud again where she finishes talking. Do. Then I'll add two more here. I'm going to add one more here, Command, click, and then Command, click, and then drag the second one down. Then if I play. The charity is set up for people of all backgrounds and all abilities. I'll do the same for the rest of the timeline as well now. I'll zoom out, go to here, where she finishes talking here. I'll zoom back in. I want the audio to get loud here when she's not talking, then quiet again when she starts talking. Now, instead of doing this one by one, this time, I want to show you a quick tip. You can create four keyframes like this. Hold down Command, click once where you want the audio to start getting louder. Once more where you want it to be at its loudest. Once more where you want that to start fading down. Then once more where you want that to be at its quietest. You created four keyframes. You can then let go of Command and then move your mouse to this middle line, and then drag this up. That's going to drag up the two keyframes here, making sure that these two are exactly at the same level, and these two are exactly at the same level. If I go back and play. Thanks. I love this. That ensures that these two keyframes, that one and that one, are at the same level, which would otherwise be quite tricky to do. Now let me show you one other way of doing this as well. I'm going to zoom out. Say you go to here, zoom back in. I'm going to create a keyframe here by Command clicking, this is when she finishes talking, and I'll create one more keyframe by Command clicking here, and I'll drag this one up. If I play, this is a little too loud actually. I can see the peak here going above minus six, so I'll just lower this down a little. Let's have a listen again. It's the young people. That's good. I'll zoom back out, go here. Then what I want to do is to create one more keyframe here with the Command click. Then I want to take this keyframe and then paste it here. That's really easy. I can select the keyframe, press Command C, or go to "Edit", "Copy". Then move the playhead where you want this keyframe to be pasted, let's say here. This is when she starts talking, and then press Command V or "Edit", "Paste". That will paste the keyframe from here to here, which means that these two are exactly at the same levels now. If I go and play this. A river is a fantastic- Of course you can then tweak this further by pushing this up or down like that. Now let me show you a couple of other shortcuts on the keyboard. I'll zoom out, go and find the point where she finishes talking, here. Let's say I create one more keyframe here, and then one more here, and then maybe one here, and then another one here, and I lift this middle part up. Note that I have done that, you can see that the two keyframes here actually come in a little too early. If I listened to this. Our residential block now needs to be replaced. This fade up happens a little too early. Well, I can push this keyframe towards rights. But you'll notice, as soon as I do that, I'm actually free to go up and down, left and right in any direction I like. In order to limit these movements, only go to left and right or up and down. As you drag, you can hold the Shift key down, and this will ensure that you're only going left and right. Even if I try and go up and down, it doesn't let me. Unless I go back to where I was, then start going up and down, and now it won't let me go left and right. Shift, we looked at moments to be horizontal or vertical. For example, if I want this to happen a little later as well, without changing the level from the previous keyframe to this keyframe, if I click on this and drag, you'll see I'm creating a slant on the line before this point. What if I hold down Shift? I'm just pushing this left and right? Even if I try and go up and down, you see it doesn't let me. The Shift key constraints that moments. If I now let go here, and I'll do the same for this keyframe as well, I'll click and drag this towards left, hold the Shift key down so it moves on the same level, say there. Now if I play this. Now needs to be replaced. A flooding- This drop here was a little too abrupt, so I'm going to make this a little longer by clicking and dragging this keyframe towards left. I'll click and drag this, hold the Shift key down, and I make that a little longer like that, which is going to make it a little less obvious or more subtle. If I go back and play. Needs to be replaced. A flooding- The longer the distance between the two keyframes, the smoother or the less obvious the transition is going to be. Let me zoom out again and then push forward. I'll go here and add two more keyframes by clicking here with the Command key, and then here, and then two more here. Then I let go of the Command key and then just drag this middle line up. Let's have a listen again. The other week, I was- That sounds good, let me zoom back out. I think that's the last one here. I'm going to go and Command click here, and then once more, and then I can make this a little longer actually, like that. It's going to take its time to go from this level to that level. Foundation because all young people need it. I left the last part of my timeline blank intentionally, because when we get to the title section of this course, we'll add some titles to download the timeline. Before we finish this lesson, I want to show you a common problem that you might run into when you're working with keyframes. For that, I'm actually going to zoom into my timeline. First, I'll go and make my timeline as big as the entire screen by double-clicking here on the name of the timeline. Then I'll zoom into a specific track here by pushing this down, and then I'll lift everything else up, and then zoom more in here, and then put the playhead here. Now, one thing you might do by mistake is to keep holding down the Command key or the Control key when you are trying to move these keyframes around. If you do that, if I hold down Command, then if I click and drag, this actually initiates a curvature on this line here. If I do the same here, so Command click on this, this adds a curve to this line as well. That's going to create these handles, the blue handles. These will allow you to change the audio shift from loud to quiet or quiet to loud in any different way that you like. If I click on these handles, you see as I drag this up, that messes up what's happening before this as well. If I undo that by pressing Command Z, and if I click and drag this, you see I'm only affecting that curve now, and nothing before this keyframe or after this keyframe. The reason for that is because this is the last keyframe we have on the timeline, so there's nothing else to be affected after the keyframe. But because this keyframe had the left side and the right side, that's why when I clicked and dragged this, it was affecting the curvature on both sides. Of course, you can tweak that if I push this down, I can move to this handle here, click and drag that as well, and adjust it. But this can very quickly become quite tedious. If you ever find yourself in this situation, so you've creating these curves by mistake, all you have to do is to go and right-click on the keyframes, and then turn them back to what are called linear keyframes. I'll do the same for this one as well. I'll right-click on this and turn it to a linear keyframe. That's how we get back to your standard keyframes. Finally, if you want to delete a keyframe, you can simply select it, let's say, this one, and then press Delete on the keyboard. Or you can right-click, and then choose "Delete". Or if you want to select and delete multiple keyframes, that's also possible. We can hold down shift and click on the second keyframe as well here, so both of them are selected now. I can Delete on the keyboard or right-click and "Delete". But if you want to select and delete all the keyframes on the entire clip, the easiest way of doing that instead of zooming out and then shift clicking on every single keyframe to select them, instead of doing that, what you can do is to go to the "Edit" menu at the top, and then you can remove the attributes of the clip. If I do that, it will then ask me what attributes I want to remove. Well, I want to remove all the attributes, they're all turned on. If I go and press "Okay", that's going to remove all the keyframes and take my audio levels back to where they started from. That's the easiest way of deleting all your keyframes so that you can start from scratch again.
39. Automatically Ducking Audio: In this lesson, we'll have a look at an amazingly useful feature in Premiere Pro when it comes to ducking the audio automatically. The auto-ducking function will have a look at your timeline, it will analyze it, and figure out when the spoken words are heard and as soon as they are, the audio for the soundtrack would be lowered, and when there's no spoken word, it will increase the level of the soundtrack again. All you have to do is to specify a few things, move a couple of sliders, and you're good to go. Let's have a look at how it's done. First, I want to duplicate the sequence again. I'm going to go to my sequences and then I'll go to my audio keyframe sequence, right-click, duplicate that, and call this new one auto ducking. Now I'll just go and double-click to open that up. Close my audio keyframes sequence here, and then in the auto-ducking, I'll select my soundtrack and remove the attributes. You can do this, if you remember from the previous lesson, by going to Edit, remove attributes or you can actually also right-click on the clip here and choose remove attributes from the top, and then press Okay, and all the keyframes will be deleted. Now, in order to work with this auto-ducking function, we are to open up a panel called the essential sound panel. You can find that either under the audio workspace here, and if I click on this, you see the entire workspace again will shift around, and the essential sound panel is now on the right-hand side. But it opens up all these additional panels that we don't need at the moment. I'm going to switch back to my workspace and only open up the essential sound panel by going to Window, and then down here to essential sound. That's the panel I'm interested in. What I have to do now is to specify which clips are dialogue and which clips are music files. I'm going to that by literally selecting all the dialogue clips. Let me just make a bit more space for my timeline first. Maybe I can turn more on the right as well, and that way. Then I'll just zoom in. I'll select the first clip of Amanda, and I'll tell Premier Pro that this is a dialogue clip just by clicking on this dialog button here. As soon as I do this, you see some options are going to be enabled. We'll talk about these in the future lessons. But for now, I want to do the same thing for all other dialogue clips. Now, I don't have to do them all one by one, but I will have to select them all. If I click on this one, Shift, click on this one. Let me just zoom in to be sure that I'm doing the right ones. I'm zooming here. That's also Amanda, so I'll hold on Shift and click on this as well. I'll just keep going, and there is Alex, then just zoom out a little bit. I'll do the same for this one. It also is Amanda, so I'll hold down shift and click on this as well. I just scroll towards right. Nothing here. That's Amanda, so I'll hold down, Shift, click, click, click, click. Keep moving towards right. That's also her, Shift, click, Shift, click, Shift, click. You can see I'm skipping the ones that aren't dialogue. I'm just going to go forward again. I'm just double-check. She's still talking here, so I'm going to hold on Shift, select these two. I'll skip this one and select that with the Shift key. Keep going towards right. Shift, select all of these as well and keep moving. Nothing for these two. Shift, select the rest. I think that's about it. We've selected all the clips that include spoken words. I'm just going to go and click on the dialog button here. That way, Premiere Pro is going to know that these clips include some spoken words. We're going to use that in just a moment. Now, I'll also have to select my soundtrack clip and tell Premiere Pro that this is some music by clicking on the music button here. That opens up some other features here. Let's have a look at how this works. I'm now going to make a bit more space for the essential sound panel, like that, and maybe push these towards left as well, and then maybe down here. Now what I can do with the music clip still selected is to go to the right-hand side and see where it says ducking. By the way, if you can't see the contents here, you just have to click on the word ducking and it expands like that. When we go to ducking, we'll first enable this, and then we'll have to tell it that it should duck the music against one of these types of files. Now, we only wanted to duck against the dialogue. That's the one that's already selected by default. Then we had to tweak the settings here. It lets you control the duckling with three settings. Sensitivity, which is basically how sensitive you want the ducking future to work, which sets the threshold for the ducking. Then you had the duck amount, which is the difference between the loud and the quiet parts of your clip, and then you had the fades option, which is the duration of that ducking. You'd actually understand these better if you just go and use them. Without changing anything, I'll just go and press generate keyframes here and look what happens to my soundtrack clip on the timeline. Amazingly, Premiere Pro creates these keyframes for us. Let me zoom in to the first section here. Let me just go here to send to these two. You can see when Amanda finishes talking, the audio goes up and then down again. Now, in order to show you how these options here affect the ducking, what I'll do is I'll just going to split the clip from here. Let me just go get my eraser tool. Split the could let say somewhere here so that the next changes I make will only affect that portion of the clip. So you can only look at these rather than updating all of these keyframes, I can just work on that first section here. I'll just zoom back in and then center this. Now, I can keep updating these and then regenerate the keyframes so we can see what each one does. Firstly, the fades option. This is the difference or the distance between these two keyframes and these two keyframes. If I go and make this faster by dragging this towards left, and then regenerate the keyframes, look at what happens to these. Transition is now much faster. If I play this, take a look. John attempts to open up to everybody. One of these children. Whereas if I had this longer and then regenerates, if I play again, it takes more time to go from that to this level. Attempts to open up to everybody. That's the fades option. The duck amount is how far down you want these keyframes to go. Right now they're going by minus 18 decibels. If I increase this to, let's say, minus 30 and then if I regenerate, you see that these keyframes will go lower. If I now play, it's going to be quieter here, and then loud again down the line. John attempts to open up to everybody. The sensitivity is whether or not you want keyframes to be added when the audio gets quieter, even though you don't quite reach the end of the dialogue. If the audio gets quieter, let's say, for example, if I go back here. [inaudible]. Here, she's not talking much. You can see the waves are a little flat. If I go and lower the sensitivity down to, let's say, two and then regenerate the keyframes. You see because she's talking quite loudly here, and I can see the waves are thicker here, the audio ducks, but because she's not as loud here, you can see the waves are slightly smaller here, the audio goes back up again. The sensitivity is quit low. Instead, if you increase the sensitivity to, let's say, seven or eight, and as long as the difference between that audio level and this audio level is more than seven or eight, it's not going to duck the audio while she's talking. I'd normally recommend using a sensitivity value of no less than seven decibels. If I now go and increase this to, let's say, seven and then regenerate the keyframes, you see these differences here between that level and that level aren't taken into account when the keyframes are created. The keyframes are only created when there's an audio level difference of at least seven decibels, which is exactly what's happening here. That's how easy and useful the essential sound panel is when it comes to automatically ducking the soundtrack against the dialogue.
40. Fixing Common Audio Problems: In this lesson, we'll have a look at how to fix some common audio problems, such as audio level mismatch between clips, background noise, rumble, reverb, and a few other things. Now, what I'm going to do to start with is to go and solder the track that we had a dialogue clips on. Let's go and click on this S button here. That's the only thing I'm hearing now, just this track. So if I play, I'm not going to hear any music. Is where all the people of Marlow learn. Now, we want to select all the dialogue clips. If you remember in the previous lesson, we've tagged to all of these clips. We selected each one one-by-one and we told Premiere Pro that these were dialogue clips. Now, in order to re-select them all, all we have to do is to go and de-select everything by clicking somewhere empty, like this. Then on the right-hand side, if you just go and click on the dialogue tag here, it's going to select every clip on your timeline that's got a dialogue tag attached. The first thing I want to do is to match the loudness between the clips. Let me show you what I mean. If I go and play this section here with Alex. That they didn't feel like- You'll hear that this is a little quieter than this, for example. Maybe longer. Originally it was where all. If you don't trust your ears, take a look at the meters here on the right. When I listen to Amanda, she peaks between minus 6 and minus 12. For the people of Marlow learn to swim. Whereas if I play Alex. They didn't feel like they could. His audio peaks between minus 18 and minus 24. Now instead of trying to set the audio levels for each one of the clips one by one. What I can do is to select them all like we did. Then go and click on the auto match button here. Look what happens to the audio levels of Alex. Let me zoom in a little bit. You can already see that the waves are smaller than these waves. If I just go and click on auto match, take a look at the waves here now. It automatically matches every single clip to minus 23 LUFS. LUFS stands for loudness units full-scale. We don't really need to know what it is. All we have to know is that when you click on auto match for a dialogue clip, it's going to make sure that the audio that you can hear will peak between minus six and minus 12. If you now play this. He could focus in school. They didn't feel like anyone really had their core. Now, if Alex was too quiet, this will make it louder or if something else, let's say like Amanda here was too loud, this would make it a little quieter. So the automatic function averages all the audio clips, they have a uniform level, it doesn't move too loud or too quiet at different parts of the timeline. This is the quickest way of ensuring that there's a consistency between the audio clips throughout the timeline. Let's have a look at how we can repair some common issues like background noise. For that, I'm going to zoom out first, and go and find a clip that's quite long. Let's say this last clip here in the timeline where Amanda is talking. I'll zoom in to that. I want to loop this clip. What I'm going to do for that is first de-select everything. Then go to the point where I want to loop to start from. Let's say here. I'm going to use my up and down arrows to make sure I'm at the beginning of the clip, I'll press up. Now my play is at the beginning of that clip. If I press I, that's going to set the end point. I can keep pressing down until I get to the end of this clip. Then press O to set the out point. What I'll do now is to go and play from into out. If remember, there was a button inside the bottle editor. If I click on this plus sign here, this is the play from in to out. I'm just going to click and drag this from there to say here. Then press Okay and then I can click on this. It will only play from in to out. [inaudible] herself out to us at some months ago to do a holiday [inaudible] she had to really force in. Now if I want this to keep looping, I think we'll have enough time to play with now we have 52 seconds to play with. But if you wanted this to keep looping, what you can do is to go and click on the plus button again. Here we have the loop button as well. So if I click and drag this to here, and I go and press Okay. If this is now enabled and we preview from in to out, when we reach the out point it's going to go back to the beginning and play again. So that's particularly useful if your clip is quite short. Let me show you what I mean by that. Let me go back to the beginning of the timeline. Let's say I want to hear what this section of the audio sounds like. Let me zoom back in. Now the quickest way to set in and out points around the clip that you have selected. You can highlight the clip, and then use the forward slash on the keyboard. That's going to put in and out points just around that clip. This clip is 12 seconds long. If I now preview from in to out, and then the loop is turned on, look what happens. We do a lot of very diverse programs all designed to allow young people to make positive choices about their lives, and not rely on having a label as an excuse not to do positive things. So we do a lot of very diverse programs all designed. As we can see, when we reached the end of that clip, you went back to the beginning and started playing again. Now let's have a look at how we can do some repair. I'll go to the repair option here first, click on this to enable it. As long as there's a check mark next to repair, these will be enabled. If you don't use this, you see they are all grayed out. So you need to make sure that this is checked. The first option is the reduced noise. This is the easiest way to reduce or remove the background noise. If I go and click on this, and then just go and do a preview from in to out. We do a lot of very diverse programs, all designed to allow young people to make positive. I'll hit Space bar to pause it now. I'll turn this off so we can compare. I'm going to turn this off and play again. And not rely on having a label. If you turn it on and play. As an excuse not to do positive. Let me do this actually while it's playing. I'm going to go and play this again from in to out. As it plays, I'm going to turn this on and off so it can hear the difference. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives and not rely on having a label as an excuse not to do positive. As you can hear, this cleans up the background noise and you can hear her much better. You can control how much of the background noise will be reduced by using this slider here. So if I push this all the way towards right, and then preview again this is going to have almost no background noise. We do a lot of very diverse programs, all designed to allow young people- If I turn the affect off. - to make positive choices about their lives and not rely on- And back on. - having a label as an excuse, not to do positive things. We do a lot of very diverse. But the main issue with this is that the higher the slider goes, the more robotic the person will sound. So we don't want to push this too far to the right. Yes, you will reduce the background noise, but it's going to affect the quality of her voice as well. I'm going to load this back down, let's say somewhere here. I'll just do another quick preview. As I play, I'm going to drag this left hand right to try and find a sweet spot where I can hear her clearly and not so much of background. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives and not rely on having. I think 2.5 here actually sounds good. Any value above this makes her sound a little robotic. I'm going to stick this to 2.5 and leave it there. The next option is the reduce rumble option. This setting will reduce the low-frequency sounds such as an air conditioning unit in the background. If you have any of those sounds in the background or when you talk, you have clauses such as the letter p, for example. If you say the word print, that p sound can be reduced by using this reduce rumble option. In this case, I don't have so much of a problem with that, so I'll leave this turned off. Next we have the DeHum option, which usually it sounds like the z sound, so the electrical interferences usually. Again, we don't have so much of a problem with that, so I'll leave that turned off. Next we have the DeEss option here. The DeEss is going to reduce the harsh ss in the speech. For example, if you have the word prints and you want to reduce that last sound, that's when you use the DeEss. Again, we don't have any of that problem here, so I'm going to leave this turned off. The next option here is to reduce the reverb. If you recorded your audio in a small room and you have lots of reverb or echo, you can click on this and turn it on, and then this will try and reduce or remove the reverb in the clip. Because this clip was recorded outdoors, we don't have that problem, so I'm going to leave this turned off. You should keep in mind that you should use these only if you need them. Otherwise, every time you turn one of these options on, it usually degrades your audio. If I don't need DeHum, for example, I should leave that turned off. Just like reduce noise here reduces the background noise but also affects her voice. I should be careful with all the rest as well here. Unless there's reverb, don't turn this on. Let's make our way down in the same list, and here we have clarity. I'm going to click on the word and then keep scrolling down, and the first option inside clarity is dynamics. Now, dynamics will try and make the clip sound richer. Let me explain what that means. If I go and turn this on and if I do a preview from internals. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives. Let me pause this. Let me now go and increase this so that it's more focused. What this will do is it will make the loud parts even louder and the quiet parts even quieter. It will extend the range, the dynamic range, of the audio clip. If I just go and push this towards right, preview again. We do a lot of very diverse programs, all designed to allow young people to make positive choices. Now, I've exaggerated this. That's why the audio is actually getting much louder than it should, and much quieter than it should as well. But the loud and quiet parts are now exaggerated. If I now go and push this towards left a little bit and then preview again. We do a lot of very diverse programs, all designed to allow young people to make positive. Now, if the result isn't great, what you can do is to go and click on this Reanalyze button and it's going to analyze the clip again, and then it will try and reapply the dynamics so that it will sound a little different and richer. We'll take a look. If I now play. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives. I will stop the playback, and in this case, I think the dynamics actually make it sound worse. I'll just go and turn this off. Next we have the EQ here, stands for equalizer. I'm going to turn this on. We can do an entire course on just the equalizer, so I'm going to try and keep this as simple as I can. The equalizer will let it target a specific range of the audio frequency. Without going into too much detail, I want to show you that you have some presets here. Let me just go and change this from the background voice to something like intercom. If I now preview this, she'll actually sound like she's talking through an intercom. We do a lot of very diverse programs, all designed. I can increase the amount of that. To make positive choices about their lives and not rely on having a label. I'll lower that down. Not to do positive things. Lots of very diverse programs, all designed to allow young people to make positive choices. I'll pause that there. There some some other presets as well. If I click on this again, for example, if I want this to sound like she's talking through the telephone, I can use this. Then if I preview. We do a lot of very diverse programs, all designed to allow young people to make. I'll pause that again. There are a couple of other presets you can check as well. I'll turn this off. The next option is the enhanced speech option, which is really helpful when you want to add a subtle boost to the speech. If I just go and turn this on, it might be quite tricky to hear this, but I'm going to turn this on and off as it plays and see if you can notice the difference. We do a lot of very diverse programs, all designed to allow young people. I'll turn it off now. To make positive choices about their lives and not rely on having a label as to choose not to do positive things. We do a lot of very diverse programs all. The enhanced speech adds a bit more clarity to the audio. There are two options, female and male. For Alex, I can select this and then turn the male on. For Amanda, we can use the female one. I'll come down here. The last option here is the creative option. If I go and click on this and scroll down, I can turn the reverb on and then make it sound as if she's talking in a large reflective room. If I now go and preview this. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives. We can exaggerate that by increasing this slider towards right. We do a lot of very diverse programs, all designed to allow. You have some other presets as well. If I click on here, there's, for example, the church preset. If I select this, bring it back down to, let's say, five and then preview again, this will sound as if she's in a church. We do a lot of very diverse programs, all designed to allow young people to make positive choices about their lives. Or maybe an auditorium. Not rely on having labels to choose not to do positive things. That's a fancy feature here. I'm going to turn this off now. The last thing I want to show you here is a clip volume. Just like clicking and dragging this audio level up and down, you can also make the clip louder or quieter by dragging this slider towards right or left. As I drag this towards right, the clip will be two decibels louder. As I drag it towards left, it'll be eight decibels quieter. If I play now. A lot of very diverse programs, all designed to allow young people to make positive choices about their lives and not. This is an alternative way of adjusting the volume of the clip. I'm going to reset this back by double-clicking on that slider, and that's actually true for every single slider here. If you double-click on the slider, that resets back to its default, in this case, zero. Or we can simply turn this effect off from here. Now if all of these clips were shutting the same environment using the same equipment, it would make sense to deselect all of these first and then click back on the tag here, dialogue tag, and that selects all the dialogue tags, I can then go up and then go and tweak one of these sliders. Let's see if I push this towards left to 2.5 again, it's going to reduce the noise by two-and-a-half on every single clip. I can come down here, enhance the speech. By the way, the reason why we see this exclamation mark here is because some of the clips have this option turned on. In this case, if you remember, Amanda had that turned on, and some other clips, like everything else, will have it turned off. I'm going to go and turn it off so it turns off for every single clip and then turn it back on so it turns it on for every single clip. But just for Alex, I want to change it from female to male. I'll just go back, select into Alex clips, so I'll add just these two, and then change it to male. Now all of our dialogue clips should sound better.
41. Adding Ambient Sound: In order to have some consistency on the timeline, we're going to use some ambient sounds. Now let me show you the problem that you'll run into here. If I just go back to the beginning and then play this. I don't know if you can notice, but when we cut from this clip to that clip, there is a bit of a sound difference. Let me just go and mute my soundtrack first so we can hear this a bit better. I'll go back and play this again for you. I want audio across multiple clips to be more consistent. For that, I'm going to go and add a new track to the timeline and use that track as my ambient sound track. I'm going to go and create a new track by either right-clicking anywhere here. If I right-click, I can add a track or if I want to add more than one track, I can come down here and add multiple tracks. Or you can go to Sequence, and then right near the bottom, it says Add Tracks. If I click on this, it will let me add both the video tracks and audio tracks. Now, I don't want to add any video tracks for now, so I'm just going to go and set this to zero. But I do want to add one audio track after the track called Cutaways. I can't see the name here because I made the track quite small, but I know I called that Cutaways. I'll just go to Placement and change it to After Cutaways. If I now go and press Okay, it's going to add one more track here, A3. Let me just make a bit more space for this and then zoom into my tracks. Now after my Cutaways track, I have Audio 3, which I'm also going to rename by right-clicking and then selecting Rename. I'll call this one Ambient. Now what I want to do is to go and disable the audio coming from these three clips, so let me scroll up. I'm going to select these three clips by holding down Alt, and then drawing a marquee selection like this. The reason why we hold down the Alt key is to make sure that the video isn't selected, but only the audio is. I let go there and now I'm going to right-click on one of them and then click on this Enable button and it's going to be disabled. This check mark here will disappear, and now I'm not going to hear anything from these clips. If I play, there's nothing. I'll pause the playback. Now I'll try and find the clip that I can use as the ambient sound. I'll go to Footage into B-Roll. I know some of these early morning shots are actually quite peaceful, so I'll just go and find those. Let me see which one that was. I know the Spider Web one, this one here, was actually quite nice sound-wise. I'll just go up and open this up by double-clicking. It will remember the last in and out points that I've used. I'm just going to go make this a little larger now. I want to clear these in and out points, so I'll just go and right-click and choose Clear In and Out, and then I'm going to play this to hear what this is like. If you just want to see the waveforms as you play, because in this case we're not really interested in the content of the video, you can just click on this waveform icon once and that will switch to view to show you just the waveform. If I now play this, I quite like that actually. What I'm going to do is without setting any in and out points, I'm going to send this from here to my timeline on to that ambient track. First I'm going to go and see that track, that's A3, the Ambient. I'm going to collapse the dialogue a little bit and then expand the Ambient track. Make a bit more space for the audio tracks here. Now I'm going to go to the beginning. I can either do an override to it by clicking on this button, or if you find it easier, you can now click on this waveform here and then just drag this from here onto the timeline, onto this Ambient track. If I let go, that just brings the audio portion of this clip into my timeline as an overwrite edit. If you click on the video portion, you'll bring the video clip as an overwrite edit here, like that. If you want to bring both the audio and video, let me just delete these two first, I can click on the video film strip here. If I now click and drag this picture to my timeline, that brings both the video and the audio to the timeline on to whatever track you like. No, I don't want that. I'm going to leave here. I just want the audio to come in there. If I now play this, that's what it's going to sound like now. Now this is a little too long, so I'll just go and make this shorter. When she starts talking here, I don't want this audio to be there anymore, so I'll just go and make this shorter, like that. If I now play. But the problem with doing that is that it cuts quite abruptly and you can't add a transition between clips if they're on different tracks. One way to work around that problem would be this. I'm just going to zoom in here. I can extend this track towards the right a little bit, so there's a bit of an overlap. Then I can add the two keyframes here. If you remember, you hold down Command and then click to create a keyframe and then Command click again to create the second keyframe. I can then push the second one down and I can do the same for this one, fading in. Let me just reveal the white line there as well by making this a little larger. That's my white line. I can Command click here before she starts talking, and then Command click at the beginning and then push this one down, and now as this one fades in, that one will fade out. We'll take a look. Now I want that overlap to be a little longer actually, so this was quite abrupt. I'm going to make this even longer. That's as far as I can go because that's the end of the clip. I'm going to make this a little longer like that, then if I play. I'm actually going to start this a little later, so I'm going to hold down Shift, click and drag this towards right. She'll start talking and then this will start fading down. Take a look again. Now, if I include the music in here as well, it's going to be less obvious and more pleasant to listen to. Let me just zoom out, enable the soundtrack. If I now play from the beginning by pressing the home key, this is what it's going to look and sound like. Our language has being here for good 70 years, maybe longer. Originally it was where all the people of Moreland learned swim. The beautiful resource for scouts, but they just- Having some consistency across multiple clips will make it less distracted for the viewer. I'd recommend you keep this in mind for all your projects.
42. Finishing Touches to Audio: Now I've gone ahead and added a few more clips to my ambient track. You can see them here, and I've also added some key-frames to them. Let me zoom in so I can show you. I've added these key-frames here as they fade out and then fade in, and I've also disabled the audio from the cutaway clips, so all of these for example are disabled now. I had to do that particularly for some of the cutaways. Let me show you what I mean if I zoom out, and try and find that clip I was talking about. I think it was this one here. Yes. Let me just go and enable this so I can show you what this sounds like. If I go and hold down Alt, and select this, and then right-click and enable, this is what that clip sounded like before I disabled it, so here we go. You hear how destructive that is? So just go ahead and disable all these clips that are getting in the way. I'm going to go and disable this as well, and you may have noticed that I don't have any ambient sound under this clip here, because this already has its ambient sound, so I'm going to leave this as it is. Let me just go and disable the soundtrack for a second here and then play this. I actually quite like that, so I'm going to leave it as it is. I'll just go and unmute this truck. One final thing I'd recommend you do before wrapping up your audio audits is to check the jump cuts. Let me show you what I mean. If I just go back a little bit. Let's just have a look at this Alex clip here, so I'm going to go here, and I'm going to play it. I'm going to actually disable the soundtrack first so we can hear what's happening on this dialogue track clearly, then I'll play. Now there's a bit of a weird glitch there. I don't know if you can notice. Let me just zoom back in. Just go here, press plus a couple times to zoom in, and if I play again, try to hear what's going on there, so I'm going to play this from here. He's taking a breath here, and then before he finishes taking that breath, he starts talking again, so that sounds a little awkward. I'm going to play this one last time for you to hear. Now to smooth out these parts, what I'd recommend you do is to add a transition here between these two audio clips and make it quite short. Here's what I mean. I'm going to hold on Alt, so that I don't select the video clips edit point, but just edit point of the audio clips. I'm going to hold down Alt and click so this gets selected, then I right-click, and then choose "Apply Default Transitions". This is quite long to start with, and you'll see why I say that if you just listen to this. That's now revealing some of the handles we hid away in the first place so we can now hear the word teacher for example. Have a listen again. In order to avoid that, I'll select the transition and then make this quite short like that, then try again. Maybe a tiny bit shorter there. If I now play this, that should be much smoother now. Yes, that sounds much smoother. What I would recommend you do is you go and check the edit points for every single jump cuts and see if this needs to be done for those as well. That's going to make a huge difference to the overall audio experience for the viewer.
43. Video Transitions: Now let's have a look at how video transitions work. Now, a video transition is when you want one clip to fade out as the second clip fades in. You can change that behavior. You can change how the eclipse fades out and how the second one fades in. Now the most common one of the transitions is perhaps the cross dissolve. Let's have a look at how that works. Let me first go ahead and zoom into my timeline, let's say between the second and the third clips. You see when I go from the second clip, the flower clip, to the long ridge map clip, it's going to be an abrupt cut. [MUSIC] Like this. Instead of cutting from the first clip to the next like that, if you wanted to gradually go from this clip to that clip. So as the flour clip fades out, the long ridge map clip will fade in. That's exactly when you use a transition. There are two different places where you can apply video transition. The first one is on the right-click on the edit point here. You get the selection tool, you make sure your cursor is on the edit point, then you right-click. But you'll notice when I right-click, the video edit point gets selected as well as the audio edit point. If I now go and apply the default transitions here, it will apply the default transition to the video and the audio. In this case, it doesn't really matter because we had disabled the audio anyway. But just to keep things tidy, I'm going to undo this, and then I'll deselect everything by clicking outside. I'll then hold down Alt and then click once on the video edit point here, so only that gets selected. Then I'll right-click on this and then apply default transitions. The default transition for video is the cross dissolve. This is what it's going to look like, if I just go and play it. [MUSIC] You see as the first clip, the flower clip, fades out the long ridge map clip fades in. The transition starts at the beginning of this, so if I go here, this is when the map clip starts fading in [NOISE] and this is when the flower clip finishes fading out. I'll go and play that again for you once more. [MUSIC] That's the first method of applying the transition. Let me just go and delete this transition by right-clicking on this and choosing clear. The second place where I can find and apply a transition is in the Effects Panel here. Not to be confused with the Effects Workspace up here. This is the Effects Panel. I'm going to click on this to open that up. Then just like the audio transitions that we looked at, we also have the video transitions here. I can twirl this down. Now we can see a lot more transitions here. I'm going to open up the dissolve folder. The one that we worked with is the cross dissolve. So if you wanted to apply a transition from here, all you have to do is to click and drag the name on top of the edit point, like this. Now if you make sure that your cursor is on this edit point here, right in the middle, it's going to make sure that the transition is symmetrical, as opposed to pushing your cursor towards left, which means that the transition will end at this point. Or if I push this towards right, it will only start at the edit point. I'm going to push this back to the center, and then let go there. That's going to give us the exact same results as we had before. If I go and play this, [MUSIC] that looks exactly the same. Now the advantage of using the Effects Panel on the left rather than applying the transition with a right-click is that we get a lot more options in here. For example, if you didn't want the cross dissolve like this, [NOISE] but you wanted to try out what the dip to black looks like. Well, again, click and drag this on top of the cross dissolve. It will replace it with the dip to black, because you can't have two transitions happening at the same time on the same edit point. I'm going to let go here. If I now play, you'll see this is dipped to black. [MUSIC] Or let's say you want to try the dip to white. If I click and drag this in here and play again, [MUSIC] that's what that looks like. The Effects Panel on the left will give us a lot more options. The reason why when you right-click and apply a transition, that the crust is always applied is because that's your default transition. That's what this blue highlight here represents. That's the default transition. If you wanted, for example, the dip to white to be your default transition, you can right-click on this and the only option you will get is to set this as the default transition. So if I select this, next time I go and right-click on an edit point - let's say, for example, if I go and right-click here and apply default transitions here - this will now be a dip to white transition. [BACKGROUND] I'll undo this as well, and then select this transition and delete it. That's how we can change the default transition. This is especially useful when you want to apply the same transition to multiple edit points at the same time. Say, for example, you want to apply the same transition, say the dip to black, to the first two edit points of the three edit points. Well, I can hold on Alt -so that it only selects the video clips - and then draw a marquee selection around these. Then, I make dip-to-black the default transition by right-clicking and then setting this as the default transition. Instead of now and dragging and dropping this every time or right-clicking and applying the transition, I can go to sequence and I can apply the video transition here and that's going to be the default transition, which is now dip-to-black. If I now go and play this, instead of the cross dissolve, we'll now use the dip to black as the default transition for the first three edits. [MUSIC] I'm going to go and press Command+Z to get rid of these. Then I'll go ahead and right-click on my cross dissolve, and then set this as my default transition again. Although there are tons of different options for the transitions, most of these you'll find are going to be quite cheesy. So I'd recommend you stay away from most of them. Let me show you a few examples. I'll click outside to deselect everything here, and scroll down. Then, maybe, go to this one here, called Page Peel, you'll see what I mean now by cheesy. If I just go ahead and apply this here and then play, [MUSIC] this is what that transition looks like. Or let's say if I apply the Page Turn, play again. [MUSIC] Or any of these others really. So if I go to Iris and then maybe apply Iris Diamond, play again. [MUSIC] The same with even the cool-sounding ones like the 3D motion. It sounds cool, but when you apply it actually, it looks like this. [MUSIC] If you're not careful with these transitions, you run the risk of making your timeline look a bit more Power-Pointy. So I recommend you use these carefully. In the next lessons, we'll have a look at some more settings of these transitions.
44. Transition Settings: In this lesson, we'll have a look at the settings of the transitions. When I say settings, I mean things like duration, placement, and the actual appearance or the behavior of the transition itself. Let's see how they work. Let's first go and apply a simple transition. I'm going to go to "Effects," and then search for my cross dissolve here. There it is. I then drag and drop this onto that point there. To see the settings of this, I'm just going to need to click on this once and then go to my "Effect Controls" panel, which is up here. If you can't see this panel, you'll find it in the Window menu at the top, and down here where it says Effect Controls. Now that I have the Effect Controls panel up, I'm seeing the settings of the transition. Now, this particular transition doesn't give too many options apart from the position or the alignment and the duration. For example, if I want this transition to be longer, I can just go and click here and then type in a new duration, let's say two seconds. That would be 200 or two full stop. That makes the transition two seconds long. Remember, you can also do this by right clicking on the transition here and then setting its duration here. I can type in, let's say one second and 15 frames, like that. Or of course, you could click at the end of the transition here and then drag out to make it longer or drag in to make it shorter. All of these methods will get you the exact same results. The second option is the alignment or the positioning of the transition. You see by default, this is going to be set to center at cut, meaning that it's equal on both sides. What that means is this. Let me just select this clip and then zoom in a little bit as well. This clip, instead of cutting off at this point, will actually be extended until here, and it'll start fading out from this point towards right. This clip, instead of starting at this point, will actually start at the beginning of this transition and start fading in until here. The distance between the left side of this transition is equal to the right side of the transition. Which means if this clip is being extended, let's say by 12 frames, this will also be extended towards left by 12 frames. Let me explain that in a bit more detail. Let me just go and select the transition and delete it, and then drag the same transition from here onto the same edit points, but instead of highlighting the center like this, I'm going to drag this towards right a little bit so that the clip on the right is highlighted, but nothing happens to the clip on the left. What this actually means is that the clip on the left will be extended as if this brown bit under my cursor is an extension to the clip on the left, and the duration or the contents of the clip on the right will stay unaffected. Let me drop this transition here, and then push my play head here. Just to make it easier, I'm going to go and mute the tracks here, so I'm going to mute this truck and also this truck here. Now, if I go and play this, you see nothing happens before we get to this transition. As soon as we hit that transition, this clip, the flower clip will start fading out, and the second clip, the language map on the wall clip will start fading in until the end of this transition here, until this point. That's because the transition starts at the cut rather than being centered at the cut. If I click on the transition, you see it says, "Alignment is set to start at cut." If I change it now to lets say, "End at Cuts", this is as if I drag this transition from here to the end of this first clip. Which means in this case, that the first clip will actually finish at this point. So if I go and play this at the beginning of this transition, the second clip starts fading in. If I push this forwards, you see at the end of the transition, the first clip finishes. Most of the times, you want this to be centered at the cut like that, but you can, of course, change it. If you want the alignment to be customized, let's say, for example, you want this to be towards left a little bit, or towards right, you can click and drag the transition manually like that or that, so it's not at the center, it's not starting exactly at the beginning or the end, but you move that around. As soon as you do this, you see up here, the alignment is now set to Custom start. I'll set this back to Center at Cut, like that. Now, depending on the transition that you apply, you see some different settings on each one. For example, if I go and find the different transition like Wipe down here, and if I drag this on top of the existing one, which will be replaced. If I now go and click on the "Wipe" transition, I now see different settings here. If I scroll down, you should then see even more options here. Let's first preview the transition, so I'm just going to go and push this forwards. You see this is what the wipe does, and you see by default, the wipe goes from left to right, but let's say you want this to go from the bottom up. Well, in that case, I can scroll up here. This gizmo here at the top will give you all that control regarding the direction of the wipe. If I click on this one, this will now go from South to North. If I now play, or if you want it go from top right to bottom left, Northeast to Southwest, if I click on this here, it's now going to do exactly that. If I go and play, you'll see it will go from top right to bottom left. This transition actually has a couple more controls. If I go down here, I can actually increase the border width from zero to, let's say five. That's going to add a five pixel wide border. Let me just exaggerate the pixel for more, let's say 25, so that's much thicker now, I can also change the color here. If I click on the color chip, I can make this any color I like. Now, that's that color, and if I play this, you see that's actually wiping with that color visible. I can reverse it. If I click on this, it's exactly the opposite now, so it's now going from the bottom left to the top right. You can also pick a color from the image, so if I click on this "Eyedropper" here, I can go and click here on this, let say, blue color. That becomes the color of my wipe. If I now go play, it's exactly the same color as this river shape here. That's a quick overview of the settings of the transitions. Depending on which one you apply, you may see different settings there, but feel free to explore and find what works best for you.
45. Applying Transitions Between Clips on Different Tracks: In this short lesson, we'll have a look at how to apply transitions between clips that are on different tracks. Let me just zoom out from my timeline. You can see my first cutaway shot here. If I push my playhead there, you'll see, by default, we'll just cut from this clip to this. Let me just go and mute this track as well so it doesn't bother us. You see, we'll just cut from here to here. It's an abrupt cut. Let's say you want a transition to be applied here. Let's say a cross dissolve, now, that's really easy as well. So first, we're going to search for cross dissolve, and then drag this, this time, to the beginning of this clip. You'll now see instead of a straight cut, it'll actually transition into that second clip. But there's a glitch there. So if I go back and play this in real time, you see that she actually jumps again. So take a look. Remember, we had a jump cut here, and we used this cutaway shot to hide their jump cuts. Well, now that we've added this transition, it's actually revealing that jump cut again because the transition last a little long. If I now go back, zoom in it some more, you see this transition starts at the beginning of the clip, which is good, but it lasts a little too long. So if I don't want to see this jump, I'll need to make this transition end before the jump starts. If I go and click and drag this manually like that, so the transition finishes before we see the jump, that's going to fix that issue there. If I go back and play, so we fade this cutaway shot before we actually see this jump. Here we go again. No jump visible there. You need to keep an eye on that. You need to make sure that the transitions don't go past the jump cuts that you are trying to hide in the first place. The same is true with any other transition. If I go and lets say apply the wipe. If I just drag this here, you see, this will start, but at that point, it's going to jump. You see, she's jumping there, and then the wipe continues. So you need to make sure that the wipe finishes before the jump happens there. If I now go and play, we don't see that jump anymore. That's how we apply transitions between clips that are on different tracks.
46. Handles: When you mark a clip with your in and out points, everything that's left outside that area is called a handle. Let me show you what I mean. If I go and open up any clip here. So let me just go into this and then maybe the interviews bin, and then maybe Amanda, and then open up any of these. Then I go here and set my endpoints. Then my outpoints here. All of these frames here are handles and all of these frames are also handles. The handles are what we need when it comes to using tools like the ripple ended tool or the slip tool. There are also just as important when you want to use transitions. When you do use a transition, let's say you send this clip from here to your timeline, anything that's left outside this range will be revealed when you apply a transition. For example if I apply a cross dissolve to the end of this clip, so that it transitions into the second clip. It's going to be centered by default on the edit point here on the cuts. Which means if the transition, let's say is four seconds long, it's going to play two more seconds of this clip, and then two seconds off the following clip from its end points. Let's see what I mean by that in practice. I'll go to my effects panel and I have my cross dissolve here already highlighted. If I go here first and then preview this area, you see this frame starts with her looking like that, maybe not the best frame. But as soon as I apply the transition here, I'm now adding a few more frames to this clip towards the left-hand side, as well as adding a few more frames to this clip towards the right-hand side. So if I zoom in a little more. You see this was the original frame, let me just zoom into this as well so we can see that a bit clearly. She was looking like that at the beginning of the clip. But now that I've added the transition here, if I go back, we're seeing all of these frames as well, so her mouth is open here, which I didn't actually want, but I'm revealing those frames. If I make this transition even longer, I'm exaggerating that effect even more. If I go back, you see, you can actually see her talk. This may not be what you want, so do be careful when you use transitions. You're going to reveal the frames that you hid away by setting your in and out points in the first place. This is also true for audio transitions. Let's say for example you start the clip by setting your in point just after she says something that you didn't want to hear. But as soon as we apply an audio transition there, you'll start hearing those bits that you didn't want to hear in the first place. So keep that in mind. Let's see a couple of more potential issues with handles. I'm going to go and delete this transition first by selecting it and then pressing delete on the keyboard. I'm going to zoom back out and then go back to the beginning, and I zoom in here. When I try and drag this transition from here to the edit point here, you see I can't drag this to the center. It forces me to start the transition at the beginning of this clip. Even if I try and go left, it actually cancels it. If I go here, it highlights the right side or the beginning of the second clip. If I let go there, the transition is applied. So if I play, it's going to look normal. Let me just zoom out from this as well. If I play this, you'll see it looks like a normal transition, but the reason why I couldn't center this, is this, let me undo that. You see this triangle here at the beginning of that clip? That means that's the very beginning of the clips, so my in point on this flower pen clip was actually at the very beginning of the clip. I didn't have any handles towards the left. This is as if I go back to the beginning here, and then press I and then set my endpoint right at the beginning, and if I dangle and try to apply a transition there, it doesn't have any handles, so it doesn't know what to do with that clip. In that case, what Premier does is to add the handles or reveal the handles on the previous clip. If I show you that again, right now, this long red boat clip has been extended until the end of the transition here. Like that. Now what happens if I force this to go left? Well, I can try that. I can push this toward left, and you see it doesn't allow me. But there's a trick. If I select this and malty effect controls, then change the alignment from start at cut so let's say, center at cut, and now, although it will be centered at the cut here, as you can see, the first part of the transition, so from here until here is going to have repeated frames off the first frame of this clip. So let me show you that. It may be a little tricky to see, but keep an eye on the picture here. If I go and play this, you see a frozen frame of that flower. The flower doesn't move. Then as soon as we get to the center of the transition, the flower starts moving. What Premier does is to take a snapshot of this clip or the first frame of this clip and it extends it towards here, so what you're seeing is just a picture or a still image of that clip. Now let me select this transition and delete that. If I go out and then push my play at here and then zoom back again. You see this edit point has an arrow pointing down. Well, that's not really an arrow pointing down It's two triangles bottled up. So if I separate them, you see there's a triangle at the beginning of this clip and there's another triangle at the end of this clip. That means that we used the last frame of this clip as our out points and the first frame from this clip as the in points. Let me push this back. That's why it looks like a triangle there. So what happens when you try and apply a transition to that? Well, it's going to have repeated frames. If I just go and drag this, this time it will allow you to do that. But it'll give you a warning saying that it's going to have repeated frames. If you're happy with that, just press okay, and what you're going to have now is this clip being extended until here with a frozen frame at the beginning, and the first clip extended until here, with a frozen frame at the end. This may be a little tricky because the camera was moving very subtly in this one, but take a look. The first frame of the sunshine through trees clip is going to be frozen. The trees aren't moving at all. At this point, as soon as we go across this middle point there, they start moving. But on the center point, the spider web clip freezes. You can check the metal rod here. You see this moving a little. But as soon as I got past that point, the metal area there is going to be frozen. So it's just a picture fading out. Can we do anything about these repeated frames? Absolutely. Let me just go and delete this transition again. The only thing we can do is to give this clip and the first one some handles to play with. If I make this clip a little shorter, but that's an issue now, I actually made the cut shorter. Let me undo that. Lets say without making this shorter, you want to give this some handles? Well, that would be done with the slip tool. Remember, if you just press the Y key on the keyboard, you'd get the slip tool. I can now go and click and then drag the clip towards left. I now gave that clip a second of handles at the beginning. If I click and drag this clip towards right, I'm now giving this some handles like that. Then I can add the transition between the two clips without having been repeated frames. Let me undo that once more. Then once again, and once again, so we get the original positions back. What's happening when I'm using the slip tool is if you remember, if I double-click on this, if I zoom out from here, I'm actually changing my in and out points without changing the duration of the clip. So if I click and drag this towards left, look what happens to my in and out points on the clip. In and out points are shifting towards right. This is exactly the same thing as clicking on these lines here and then dragging it manually left and right to set my new in and out points. Now that I've done this, I have all of these handles to play with. This is where I can add the transition. I can do the same for this clip. Double-click, zoom out. I can move this towards left now. So I have some handles at the end of the clip. Then I can just go and add any transition I like between the two clips, and now we won't have any frozen frames. The frozen frames will be represented with hatches on the timeline. Let me show you what I mean, so I'm going to unload it a couple of more times by pressing command z, there. Now we get these diagonal lines. This means that the frames are repeated or frozen. I just wanted to point out how important handles are when it comes to adding transitions. So if you're shooting something yourself, keep this in mind. You need to have some handles at the beginning of the clip as well as the end. Don't press the record button on your camera and start action right away. If you're interviewing someone, press the record button, wait a few seconds, then get them to start talking. Similarly, when they finish talking, you let the camera roll for a couple of more seconds, then stop the recording. These will give you sufficient handles should you need to apply transitions later on.
47. Creating Titles: Now there we'll look at how to create titles in Premiere. Now, I'm going to break this down into smaller chunks. First, we'll look at creating simple text that sits just on the screen, does nothing. Then we'll have a look at something called the lower third that usually displays the person's name alongside their occupation, and then we'll finally have a look at rolling titles. But first let's start with simple static titles. I'm going to use the type tool for that. This is the type tool, T is the shortcut. Let me just go and select it. With that selected, you've got your program panel here, and you create the titles or the text in one or two ways. The first way is to just go and click anywhere you like, like that, and this allows you to create what's called a floating or a point text. If I just go and start typing away, this will keep on going until I press "Enter", which will create a line break. Or if you want to create an area to wrap the text inside, let me just press "Escape" here and then press "Command Z" to undo that, and then one more time. If I want to create an area that the text can sit inside, I can actually with the same tool, click and draw a rectangle, and this will limit the text to be inside that rectangle. If I just go and keep typing, you see the text will actually wrap itself inside that rectangle. If you know that the text you want it to be inside a specific area, you use the area text like this with a rectangle. Otherwise, if it's just a title and you want to create line break yourself, you just go and click on a point to create the text. Let me just go and press "Escape" to come out of this again, and then press "Command" Z twice to get rid of that text. Now you'll have noticed when I created the text, something in the timeline also gets created. Take a look again. If I just go and click and if I start typing, let's say title here, you see this element gets created as well. This is the actual title clip in the timeline now. Now the title clip will be created on the first available video track. What that means is this. If I just press "Escape" again, and then press "Command Z" to undo that text, and then "Command Z" again to get rid off this element here. If I place my playhead, let's say here, then create the title. You see the title gets created when my playhead is on the first available video track. What I mean by available is whether or not something is in the way. Let me press "Escape", and then "Command Z" to get rid of that. If I place my cursor here, then create the text, you see the text will get created on this track here because that's the first available track in the timeline because the cutaways here are in the way. Let me go back again by pressing "Commands Z". I'll go back to the beginning and then create the text. But I want the text not to go on this picture, but on an actual black background. For that, I have to push everything out the way. The easiest way to do that is by selecting everything by pressing Command or Control on the PC followed by the letter A, so that selects everything. Then I can get my selection tool, and then push these out the way like that. Let's say by six seconds. Then if I click somewhere here to deselect everything, I can then get the type tool and if I click, now the text gets created on this first available track, which is the main story line. Now, I'd recommend you create a separate track for all your text elements. I'm going to push this onto video three. I'll actually rename this track by right-clicking and selecting "Rename" to be titles. I have my title here, I'm going to go ahead and click on this highlighted area, so I can start typing. Now, the name of this documentary is because our young people need it. Let me just go and type that. Like that. Now that it's in the timeline and also in my program panel, I can go and tweak the settings of it. For that, I'm going to go and switch back to my selection tool, and then let me just zoom into my timeline a little bit, and make it a bit more space here as well for the program panel. I've lost that track here, so let me just scroll up. There we go. Now, to see the settings of this, we had to open up a panel called essential graphics panel. That's going to be inside the Window menu, and down here, essential graphics. This panel on the right pops up. Let me make a bit more space for the program panel now. Now to see the settings of this text, I have to make sure that the text is highlighted by clicking on it, which is also the way you can move the text around. Then going to the edit menu on the right, so this lets us edit the text. Now, this text editor is very much working with layered files like in Photoshop or Illustrator. By default, we have a single layer here because that's all we created, but I can create more layers which I'll show you later on. But if you wanted to change the appearance of this text like the font, color, size, and so on, you can come down here and this is where you'll find the font. Whatever font you have installed on your computer, you'll be able to see it in this list. These are all the available font on my computer. If you know the name of the font, you can actually search for it. If I just click here and then I search for let's say, Helvetica. These are all my Helvetica fonts. I can just go and apply this one, for example. I can change the size of it if I click on this slider here, drag this towards right, I can make the text bigger or smaller if I go left. If you want the title to be on two lines, you can edit it by double-clicking on the text here, and that takes you back to the text tool as you can see here. At this point, it's just like any other text editor. I can click there, delete that space, press "Enter", so that sends it to the second line. Or if I press "Backspace", "Spacebar", I can then push this towards right with my arrows on the keyboard as well, delete that space, and then press "Enter". The previous one actually look nicer, so I'm going to go back by pressing "Backspace", then "Spacebar", and then use my arrow keys on the keyboard and then delete this space and then enter there. As soon as I'm done with that, I'll click back on my selection tool so I can reposition this. You see the text is left aligned. If you want to change it so that it's center aligned, it's this button here. If you want the text itself, this box to be right in the center of the screen, you can align the text here. This one will vertically align it to the center, and this one will horizontally align it to the center like that. Then if I make it bigger, you see it will grow from the center there outwards. You can make it small again as well. You can change the font color. If I click here where it says fill, if I click on this chip, the color picker, like any other color picker from Adobe applications work in two steps. First, you pick the color from this vertical strip. Let's say you want this to be blue. Now from this larger area here, you pick the shading of that color. Let's say you want that to be a light blue like that. Now you press "Okay", and it's going to update the text color here as well. You can have a stroke as well, so if I just go and turn the stroke on. If I zoom into this, you'll be able to see this a little better. If I scroll, push this into 100 percent. There's now a white stroke here which is really thin, so it's difficult to see. I'm just going to make this a little thicker. If I go here to the stroke width, set that to, let's say, 10. Now it's 10 pixels and it's much more obvious now. I can zoom back out now. That's what it looks like. I don't actually like that stroke, so I'll just go and turn it off. You can also add a background, or you can actually create a drop shadow. Right now it's not going to work very well because the shadow is by default a black and we are in front of a black screen. I'll show you how to change that later on as well. If you had a white background instead of black, the drop shadow could look nice. I'll show you how that's done later on. But for now, you see the text is created, and then in the timeline, we can treat the text pretty much like any other video clip. For example, I can make this shorter, longer. Because there's nothing underneath the text here, so if I scroll down, you see these clips will only start. Let me just make a bit more space vertically here, and then make this smaller. You see because there's nothing here, the text is going to stay there in front of black. But if you want the text to overlap the other clips, you can simply either extend it, or you can push this towards right. Now if I pushed my playhead here, you see the text is sitting on the actual picture. Regardless of what happens underneath, so all these cuts, transitions and so on, the text is going to be there all the time. If I play this, you'll see it takes us there all the time. I actually don't want that. I'm going to go push this text back, and I want the text to be exactly three seconds long. I'll go to the beginning, and then I'll push my playhead forward to three seconds. I'm keeping an eye on the time code here. You see I can't quite get this, but I can easily let go of my mouse and then tap the left arrow once. So that's three seconds exactly. I can then push this towards left so that the text is also three seconds long. I can now fade the text in. Just like any other video clip, I can add a transition to the beginning of this by either dragging the transition from the effects panel, or right-clicking at the beginning of this and then applying the default transition here. This will now add the cross resolve. If I go and play this, this is what I'm going to see. Of course, after the third second, it just disappears. Now, if I don't want that, I can add a transition here as well by right-clicking and applying the same transition here as well. It will fade in, you will play, then fade out. If you want the text to fade out after the first clip starts, now we can overlap them. If I go push this towards right, you see the text will be there and then the other clip starts in the background, then the text fades out. This could be quite a useful thing when you display people's names for example, which is something we'll talk about in one of the next lessons. Now, I actually want the text to be five seconds long. I'll just go and click here and then type in 500, and then push this towards left so it lines up with that. I want the rest of the timeline to start at that point as well. I'll get my track select forward tool, click here to select everything after this point. Get my selection tool, and then push these towards left until the first clip snaps there. I'll click outside of this select, I can zoom in a little. Now you see as soon as the text finishes fading out, the clip starts. I don't want this clip to start like that, so I'm going to add a transition to the beginning of this as well. I'll hold down Alt, so it only selects the beginning of the video clip, not the audio clip. Then I'll left-click, then let go of my Alt key, right-click, and then apply the default transition here as well. The text fades out, and then the video clip fades in. At any point, if you want to go and update the text, all you have to do is to select it, make sure your plane is on the text clip here so we can see what you're doing. Then double-click on the text here and then go and make some changes. Let's say I wanted to add the quotation marks here, go back to the beginning, add the same mark there as well, and then switch back to my selection tool to come out of that. That's how you create a simple text element in Premiere Pro. In the next lesson, we'll have a look at how to set the background to be a different color.
48. Creating a Colur Matte: The background of any sequence in Premier Pro by default is transparent. But instead of seeing the checkerboard pattern, which you may be familiar with from something like Photoshop, you just see black. This black area here isn't actually black, it's transparent. What that means is that if you place something in front of it, like this text here, it's just going to sit there and the background is going to be blank. Which means if you place something underneath the text, let's say here, that's going to replace the black and the text will sit on that. Let's have a look at how we can do that. If you just want to create a simple color, let's call it color matte, you have a couple of different options. The first one is to go here to this folded paper icon in the project panel, then it can create a color matte here. Or you can go to the file menu at the top, then new color matte, both of these will give you the same results. I'm going to create the color matte. By default, Premier is going to use the same settings from the sequence for the size, frame rate, and the pixel aspect ratio of this color matte. I'm not going to change any of these. I'll just go and press ''Okay.'' Next, I need to go and pick a color. Let's say I want this to be white. I'll click anywhere here and then just drag to the bottom left. Then press ''Okay.'' Now I need to go and name this. I'll go and call this white background. I'll press ''Okay'' and that white color matte gets created here. If I scroll down, you'll see the name is white background. Now sometimes if you had a different bin selected, this actually goes into that bin. If that happens, we had to go and double-click on that bin and then select this clip from that bin, right-click, cut it, and then come back out to your project panel and then right-click somewhere else and paste. I'll actually go and create a new bin called graphics. I'll place this inside that bin. I'll just go create a new bin, call this one graphics. Then drop my white background into that bin. Then I'll double-click on the graphics bin, and here's the same white background. I'll just go and drop this from here directly to the timeline and I'll let go. Because I pushed this underneath the text, that's what I'm seeing here. The white background is behind the text. Now I can select the text, open up the essential graphics. Then on the right, if I go to Edit, select the text here, if you can't see the settings or the text you've highlighted, make sure you highlight it here as well, then you'll see the settings here. I can add a shadow here. You now see what that shadow looks like. Let me just go and zoom in a bit more. This is with the shadow, this is without. Once you turn this on, you can keep scrolling down and you see the settings of the shadow here as well. If I now go in and say, make this a bit more opaque, I can change the direction from this wheel like that. I can change the distance like that and the size and finally the blurriness or the softness of the shadow there. This is with the shadow, this is without. I'll just zoom out, auto fit, turn this black on. That's what it looks like now. I actually want the direction to be, let's say at a diagonal angle. I'll just go set this to be somewhere here. Let's say maybe here. Then scroll down and make it a little less opaque. Let's say about 50 percent. This is before and after. I think this will look nicer if the text was white and the background was a different color. I'll do that now. I'll just go and double-click on the white background here. That will take me back to the color picker and I can give this any color I like. Let's say I want this to be same color as her shirt. I can click on the eyedropper here and then just go and click on her shirt, it picks at same color. I can press ''Okay." Then I can select the text, highlight it here, scroll down, changed a fill to white. Like that. Of course, if you do this, the white background here, which is no longer white actually. Let's go and rename this to be blue background. That needs they have the same transitions as well. If I go back, you'll see the background starts like that. Then the text fades in, then the text fades out, but the background would just disappear like that. If you want the background to also disappear at the same rate, you can add a transition to the end of this as well by right-clicking and then applying the same transition here as well and the text and the background will fade out at the same time. Now that's something for you to consider. I don't actually like this. I want this to be in front of a black background, so I'll just go and select and delete this clip from the timeline and you're back to square one. But I won't delete it from here in case I need it later on. There it is. That's how you create a different background color for your sequences.
49. Creating a Lower Third Title: Now let's have a look at how we can create what's called a lower third. A lower third is usually when we display someone's name alongside their occupation. The reason why it's called a lower third is because it usually sits on the lower third of the screen. Let's see how it's done. Say for example, we want to add the title and occupation of Amanda to this clip here. For that, what I'm going to do is to get my title. Then somewhere near the bottom left corner here, I'll just go and click because we will make the adjustments later on to be a bit more precise. Because this was the first available video track for this title to go in, that's where it gets created. But if I undo this and then go back a little, then add the title here. You see it will go here, because that's the first available track now. To avoid this, what you can do is to go and lock the tracks that you don't want the title to go onto, so the V1 and V2 tracks. Now regardless of the position on the play head, the title would be created on this track. Just to be on the safe side, I'll leave these two tracks locked. I'll then go forward, say here. Let's say we don't want the title to start right at the beginning, so maybe little forward, say here. I want the title to start here. With that, I'll just go and click somewhere near the bottom left corner here then we can just add the title. Let's go on and type in Amanda Foister, that's her name. Then I'll press "Enter" to create a line break. She's the director of the charity, so I'll just type in Charity Director like that. I missed the space bar there, so I'll just select this and hit "Space". There we go. Let's then switch back to our selection tool. I can then reposition this anywhere I like. Although you can place this any way you like, it's usually near the bottom left corner of the screen. That's why it's called a lower third, and usually, you set this text inside of what's called the title safe area. Let me show you what that is. Now, if you're going to right-click anywhere on the picture and then come down to here where it says Safe Margins, or you could also click on this wrench here and then click on Safe Margins here, this will bring up these safe margins. Now you see two rectangles, two frames. The one on the outside is called the action safe margin. The one on the inside is called the title safe margin. That's 10 percent from all edges, and that's 20 percent from all edges. These margins used to be more important and useful in the old days when the HD monitors weren't around. In those days, you need to make sure that anything that's important would sit within this action safe area, so the outer rectangle, and any text would sit within the inner rectangle here, the title safe area. Because everything that would be left outside the action safe here would be cropped out. You can think of this almost like a bleed area in print if you're familiar with that, and you'd leave yourself some headroom before the titles were visible so you'd place your titles inside the title safe area. Now, although nothing gets cropped out anymore with the HD monitors or the Internet, we still have this convention of sticking the text inside the title safe area here. It makes sure that the text doesn't go outside the title safe area. You don't have to stick to this rule, but it's just a convention that the video editor stick to now. Now I'm going to place this just in the corner of the title safe area so I can see the C here and the A start at the title safe area. Then the others are still inside the title safe here. But one big problem with this is that it's quite difficult to read the text because of the color. Now let's see what we can do about that. The color of the text or the appearance, including the font, drop shadow and everything, is actually coming from the previous text that we created. Premiere remembers the last time you used this Type tool to keep things a bit more uniform. In this case, we don't want the text to be like this. I'm going to need to open up my Essential Graphics panel making sure that the text is highlighted here. I'll then got to "Edit", select the text here as well, and then I'll just go and change this so that it's no longer bold. Let's say it's regular. I want to delete the shadow as well like that, which makes it even more difficult to read. If you look at the names here, it's almost impossible to read what it says. Now instead of using drop shadow, which sometimes is a good trick, so it makes things a bit more legible like that. Instead of that, lets say you want to have a rectangle that goes behind the text. Well, that's exactly what I'm going to create now. You don't create a new element for the rectangle like we did for the background color mats. Instead, what we're going to do is to add a rectangle element inside this graphic here. On the right-hand side, I'll go to where it says "Edit" and then click on this folded paper icon that will let me create any of these so I can create more text. I can create multiple text, an ellipse, a rectangle, or I can add an element from a file, like a logo or something else. I'll select the rectangle here, and the rectangle gets created. We can resize it by clicking on any corner, and then just dragging out like that. I'll place the rectangle in front of the text here. You see the rectangle actually covers the text. That's because I created the rectangle after I created the text. But I can swap them around. This shape here is our rectangle. I can click and drag this underneath the text so it's no longer in front of the texts, but it's behind it. I'm now going to make this even bigger and maybe even bigger like that. I actually want this to go all the way to the left so it's outside the screen to start with, let's say like that. Then to change the appearance of this, let's say I want this to be the same color as her shirt again. I can click on this "Fill", either pick a color manually by selecting this chip and then picking a color here. Or if I cancel this, I can use the eyedropper here, and then click on her shirt. Let's say maybe a dark area like this, and it makes this the same color as her shirt. If you want to see through the rectangle, so you don't want the rectangle to cover what's behind. You can come down here to where it says 100 percent, this is the opacity of the rectangle. If I down push the slider towards left, you'll see I'm making that rectangle more translucent. The further left you go, the more transparent or translucent it becomes. When it's at zero, that means it's complete transparent. The further right you go, the more opaque it becomes, like that. If you want to be precise with this, you can click here and type in a number. I'm going to set this to 80 percent. The other thing you can do with this is to set this to be a gradient. It's not a single color, but it goes from one color or one shade of a color to a different shade. In this case, if I click on this color chip here where it says "Fill", near the top left corner, you see it will say solid. If I change it from a solid to a linear gradients, it now brings up this gradient picker here. Right now it's going from blue to white. If I hit "Okay", you see that's exactly what's happening. It's going from blue on the left to white on the right. Let's go and change that. I'll click back on the Fill chip, and then we move this out of the way. I want this to go from blue to black. I'm going to click on this Color Stop here, and it shows me what the color is. I'll go and click and drag this to let's say black. Then when I press "Okay", it will now go from blue to black. If I make this 100 percent again, you see exactly that. It goes from blue to black. You can also change the size or the distance from where the blue starts to the black. You see these two dots here, that's your gradient editor. If I click on this one, this is the black one. If I push this towards right, you see I'm changing where the black is, so I'm pushing the black all the way out. Or if I push this in, you see it will make the transition from blue to black a little more abrupt. The closer these two dots to each other, the more abrupt the shift from one color to the next would be. The farther apart they are from each other, like that, the more gradual that shift would be. I actually quite like that so I'll leave this as it is. It's also possible to add more colors to the gradient. If I go and click on this, I can go and click anywhere here on this gray line. Let's say if I click here, that adds a new stop. If I click on the Stop, I can go and give this a different color. I'll just do this for the sake of argument now. So I'll just go and make this green. If I now press "Okay", you will now go from blue to green to black. If I push the black back in, you'll see it goes from blue to green to black. I don't quite like that, so I'll undo that. Command+Z a few times. I think I'll stick to this. Now what I also want to do is to change the size of the second line of text here. With my Selection Tool selected, I'll go and click on the text again on the right, then I'll double-click. I can highlight that line, and then I'll make this a little smaller, let's say like that. Because I've highlighted it, it only drops a size of the text, red is highlighted. Let's say I want this to be set to 90. I'll then go back to my Selection Tool. Now I want the text and the rectangle to be aligned. I had the text selected already. I'm going to hold down the Shift key and then click on the rectangle, so that's also selected. Then I can come up here towards this align and transform and I'll align them vertically. The text is exactly in the center of that rectangle. If I now click outside, I think the rectangle now is a little too thick, so I'll select it again and then make it slightly thinner from the top and the bottom. Then I'll do the same again. I'll highlight both of these. This time instead of using the Shift key I can actually highlight them like that. Then I'll align them again. There we go. Now that we have the text in there, you can actually treat this like any other video clip. If I click outside, you see the text sits there for as long as this clip is visible in the timeline. It will only start at that point like that, and then it will finish after this cutaway starts, which doesn't look very nice. I'll just go back and make sure that the text finishes before the cutaway, say here. Now if I play, you see the text will disappear then the clip disappears. But I don't want the text to appear or disappear like that. I actually want to give them some transitions as well. I'm going to go to my "Effects" panel, which I can't see here anymore, so I'll just go to "Window", "Effects". It popped up here so I'm going to dock this back to where it was before. I'll just go click on the name Effects and then just push it down here and let go. Then in video transitions, I'm going to apply, let's say, the cross dissolve to the beginning. You see now it will just fade the text in. Let me undo that once. I can add the cross dissolve to the end. But to the beginning, I can add the wipe. If I come down, find Wipe here, drag this to the beginning of the clip and let go. Now you see that the text will wipe on like that. If I play this in real time, this is what it's going to look like. If you wanted this to be slower, all you had to do is to make this transition longer. If I select the transition, zoom in a little bit by pressing the plus key on the keyboard. If I make this a little longer like that, that's just going to slow down the transition. If I play, this is what it's going to look like now. That's how you can create a lower third title.
50. Using the Same Title Multiple Times: When you create a title, let's say like this lower third we have on the screen, and you want to use it again for someone else, let's say like this guy here, you don't have to recreate the whole thing all over again, you can actually copy and paste the same title, and then change the contents. Now the easiest way of course is to highlight the title here and then copy it by going to Edit, Copy, and then move your play head to wherever you want to paste it, and then select "Paste". The alternative and I think the quicker way is by selecting the clip first and then holding down the Alt key on the keyboard, and then dragging it, and instead of dragging the clip, the Alt key will allow you to drag a copy of the clip, let's say here, and when you let go, this clip will actually be copied here. If I now play, of course it still has Amanda's name on it, so in order to change that, all I had to do is to make sure that this clip is highlighted, and then double-click here. I'll just go and type in his name, so it's Alex Benson, and then press "Enter", and he's an apprentice, so I'll just change that word direct her to apprentice. If this happens, you can see the font is going a little crazy. You can keep on typing, so apprentice, and then open up their Essential Graphics panel, and then let me make a bit more space here. I want the rest of the word apprentice to be the same size as the word charity. I'll just go to Edit, and then highlight the word charity, and I can see it's 90, so I'm going to highlight all of that word apprentice, and just make this 90 as well. There we go. Then I'll get back to my selection tool and just to be sure that I haven't messed up any audio positioning, I'm going to highlight both of these, and then align them vertically again, and I think now that this box is a little too big, so I'll select it and then shrink it down like that, and then I'll click outside, and this now if I zoom out is going to have exactly the same settings in terms of the wipe and the cross dissolve and the color and the appearance of the text. If I play this, take a look. That's how easy it is to keep things uniform so that you have the same field for all of the text or the lower thirds across the entire timeline.
51. Adding Rolling End Credits: In this lesson, we'll have a look at how to create rolling titles or rolling credits that will go at the end of the timeline. Now I created this in a text editor. Although, of course, you can create the titles in Premiere Pro directly, I'd recommend you do this if you have a long title like this one here, so you can do things like spell-checking properly. If you're doing this for your clients, I definitely recommend you ask the client to send you the credits and the names as a text file so that if there's a mistake in the titles or names of people, it's not your responsibility. Here, I have this. All I'm going to do is to highlight the whole thing by pressing Command A, and then I'll just copy it by pressing Command C or going to Edit, Copy. Then I'll switch back over to Premier and I'll go to the end where I want the rolling credits to start. Let's say, once she finishes talking here, I want the rolling credits to start, say, around about there. So I get my Type tool. The first available track is V3. That's where the titles will be created. I'll just go and click and draw a rectangle like that inside the title safe area, and all I'll do now is to go and paste it by pressing Command V or Edit, Paste. That will remember the last settings I used and it will paste the text with those settings, which is way too bigger, I think. I'm going to go back to my essential graphics panel. Then to edit, highlight the text, and I'll make it a little smaller, let's say, like that. You see, nothing is happening now because I'm still in the text editing mode here. It's waiting for me to highlight something or if I want to affect the entire thing, I had to switch back to my Selection tool, then change the size, like that. Even if I make this small like this, you can see the rest of the text isn't visible. In order to reveal the rest of the text, I had to go down here and then expand this box further down, and let go. Although I can't see it now, the text will be expanded. Let me just zoom back out to, let's say, 10 percent. The text will actually be in here, and I'm going to expand this a little more actually, and you will see if this is enough. If not, we'll come back and tweak it. Right right this is just going to be a static text. Let me zoom back in. You see if I go back to the end of my timeline and zoom in a little bit, this is just a standard text. If I just go and play, you see it will just start like that and it will disappear at down of the clip. If I want this clip to be a rolling title or rolling credits, I need to make sure that the clip is highlighted, but then I need to make sure that this title here, this layer, isn't highlighted. If I highlight the layer, that will show you the settings off that layer, so adjust the text inside that box. Whereas if I click outside sort the layer isn't highlighted, I'm now seeing the behavior or the settings of the clip itself, this pink clip. Here, I now see the role option. If I now go and turn this on, it's going to start off-screen, and it's going to end off-screen as well, and here's what that means. If I go back and play, the text is going to be invisible to start with, and then by the time we get to the end, it's also going to be invisible. In other words, it starts at the bottom of the screen and it ends up at the top of the screen. Now I don't know if you noticed, but the text was flying a bit too fast. Let me just play it again. If you want this to be slower, all you'll need to do is to extend the duration of the clip, and that will be enough. If I now go click and drag this towards right, let's say, that's about 17 seconds longer. So in total, that's 22 seconds and 17 frames long. If I let go, if I now play, you see it's going to fly much slower. When I pause it, because I'm now starting off-screen and ending off-screen, this scroll bar here is going to be visible as well. I can click and drag, and that's going to show us the rest of the text. If I want to make some changes, let's say, for example, each title here should be a little bigger, if I now go and double-click here, that will take me in, and if I double-click on this line and where it says directed and edited by, and then if I just make this bold, I can do the same for the second part here as well. Produced by, make that bold, and then I can scroll down, make all of these bold, like that. I'll speed this part up for you, and then I can get my Selection tool again. And now if I scroll up, you see all of those titles are bold. Now if I want to center the whole thing, I can just go and first set the text to be center aligned, and if I want the box to be aligned to the sequence, I can click on this second button, which will align it horizontally to the sequence. Now if I go back and play, and that's how easy it is to create rolling credits at the end of your timeline in Premiere Pro.
52. Adding Captions or Subtitles: In this lesson, we'll have a look at how to work with captions. Now, there are two different types of captions. One is called close captioning or closed captions and the other one is called open captions or open captioning. Close captioning is usually when you allow the user or the viewer to turn the captions on and off. Like if you go to YouTube, there's a button where you can turn the subtitles on, that would be closed captioning. Whereas open captioning is when you want to burn the captions or the subtitles onto the video so they're always there and the viewer can't turn them on and off. Let's have a look at how you can create them. I'm going to go to my file menu and then New, and then come down to here where it says Captions. Or I could also click on this folded paper icon then select "Captions". Both of those will take me to the same window here. Now, depending on where you are in the world, as well as the player that the viewer is using to preview your clips, you can choose a different standard. Now I'm not going to go through every single one of these. But I do want to focus on the open captions, the one where you burn the captions onto the screen so that the viewer can't turn them on and off. I'm going to select this. By default, the video settings of the captions will be the same as your sequence. I'll leave everything as they are and press "OK". That goes and creates a captions file here for us. Now I'd recommend you create a separate track just for the captions. Let's do that. I'm going to go zoom out from my timeline and you can see V3 is my final track. Or I can right-click anywhere empty here and then add tracks. Or simply, without adding tracks, I can drag this captions from here onto an empty track here like that. That goes and creates a new track for us where we had the captions. Let me zoom in now. You can see the captions clip is only three seconds long. I can make this longer, like that. You usually want this clip to be as long as the entire timeline. Although you can have multiple captions clips, for example, you can have one captions clip for her, one more for the guy talking. I'm going to have a single captions clip and I'll extend this all the way to the end of my timeline. I'll zoom out, extend this all the way until the end, like that. I'm just working with a single captions clip now. Let me zoom back in to the beginning. You can see this first black bar here it says "Type". Up here it also says "Type caption text here". Now let me zoom a bit more in. I'm actually seeing this text, that's the "type caption text here", up here. You can see by default this will respect the title safe area here. Now, let me just make a bit more space for that track. I'm going to push all of these audio tracks down. I'll expand this track only up, like that. Now first of all, if I want this text to start a little later, and I'll show you in a moment how to actually change the text. But if you want to start the text a little later, all you need to do is to click at the beginning of this and then you can drag that. That's when the text is going to start now. For a few seconds or a few frames, there's no text for the captions, then it starts. If I play this, we can see the titles and then at this point the caption starts. Now I actually want the captions to start not at the beginning, but when she starts talking. An easy thing could be to push this towards right the entire clip so that it starts when she starts talking here. Now we can see that they're lined up. If I play, I'm just going to mute my soundtrack. I'm just going to scroll down. There's my soundtrack, A4, I'll mute it. When I first play it. Longridge has been here for good 70 years. You can see the text starts right here where she starts talking. Let me just make a bit more space for my timeline that way. Then push my audio tracks up and then scroll up maybe. Instead of muting this track, I'm actually going to unmute it. Then start the track where we had the dialogue. I'll just go and hit this S bottom here for that track. That's all I'm hearing now. Now this is where she starts talking and that's where the text here appears as well. Now let's look at how we can actually change the text. For that, we use a different panel called the captions panel. I'll go to the Window menu, ring up Captions. If this is blank, all you have to do is to go and click on this captions clip here and it will populate the captions field with the contents of this clip. Now, I'm going to go and change the first text here from type caption text year to whatever she says. Let's listen to what she's saying. Longridge has been here for good 70 years, maybe longer. Let's start with that. I'm just going to go change this from whatever it says to Longridge has been here for a good 70 years or longer. I'll put three dots at the end of that as well. You see now if I go back and play. Longridge has been here for good 70 years, maybe longer. Now, I want the captions to last until the end of that sentence. First, I'm going to go click at the end of this caption here, and then drag it here. Let me make a bit more space now for this. Then go down a little. Now if I play this. Longridge has been here for good 70 years, maybe longer. We can stop it. Now you'll notice that the text is actually starting from the center, somewhere around the center, and it's growing towards right. Now to change the position of this text, all you need to do is to go to a captions panel. Let me make a bit more space for this so I can see the rest of the settings here. You see all these boxes here, this is how you control the positioning of your caption. If I click on the center one, that'll go right to the center of the screen. If I click on the top one, that goes to the top. If I click on the bottom one, that will go to the center bottom. If you wanted to manually adjust this, here at the x, which is the horizontal position, or the y, which is the vertical position. If I click and drag this x number left and right, you can see I can push it left or right. Y is going to push that up and down. Now I want that to go back to where it was, center bottom here. If we want this text to be larger, which I do, we have the settings here. If I go to size, let's say we set this from 76-120. Like that. As long as your text is within the title safe area here, you're going to have no problem. But as soon as you start typing something a little longer, let's say for example, we wanted to see the rest of our sentence. Let me play and hear what she's saying again. Good 70 years, maybe longer. Originally it was where all the people of Marlow learned to swim. She says, originally it was where all the people of Marlow learned to swim. If I just go in and type in the rest. Then if I click outside and then go back, you see the text here will start going off the screen. Now Premier doesn't like it when you have captions that go outside the title safe area. So if this ever happens, you either had to create line breaks manually, and by that I mean, for example, if I go to the end of the word longer here and then press "Enter" that create a line break there, and I'll probably need to do the same thing again, maybe once after the word "off". If I go to here Enter again, and then I can make sure that nothing goes outside the screen, or another option would be to make the text small, but that would be too tiny for us to read, or you can actually break this into small manageable chunks, which will probably be the best option. Having texts that's that long on the screen is a little difficult to read. So instead of having all of this at the same time, I'd had the first sentence, and then the first sentence would disappear, then second sentence would come on. Let me show you that as well. Let me just go and highlight this, so we can cut it by pressing "Command X", so we don't have to type it up again. There's a space here, so I can press "Backspace" to delete that. I'm just going to preview this once again real quick to see where we are at. Just being here for good 70 years, maybe longer. She says originally right at the end of this, so that's the correct positioning. Now what I'm going to do, is to go and click on this Plus button and that will create a new caption block right after the first one. Although my play head was there, let me undo that to show you. If I place the play head here, if I click the Plus, it will ignore my play head and it will create a new caption block right where the previous one finishes, which is a good thing. I'm going to go here and then paste that text by pressing "Command V", and I'll also need to make this longer, so I'll just go and play this to see where she finishes that second sentence. Years, maybe longer. Originally it was where all the people of Marlow learned to swim. This is where she finishes that second sentence, four I'm just going to push this towards right. Like that. [inaudible] years, maybe longer. Originally it was where all the people of Marlow learned to swim. it was a beautiful resource for scouts. I pause it. I don't quite like that Wipe, Actually. Let me just go and delete that Wipe. I'm just going to unlock that track, select the Wipe and delete it. This is what it's going to look like now. [inaudible] years, maybe longer. Originally it was where all the people of Marlow learned to swim. Of course there's a problem now. So we see her name, but the text is actually covering her name, so we can't really read it. For the first part at least, I'm going to need to lift the text up to the top. I'm going to select the text and then select the first one first, put that to the center top. Select second one, do the same. After that point, we can put the captions back to where they were at the bottom center. I'm going to hit "Spacebar" again to continue to playback. Longer. Originally it was where all the people of Marlow. Actually, one more thing I want to fix here is the second line. Now, because we had the second line here that's actually covering her face, I don't want that. So what I'll do is I'll go and select the second line here, cut it by pressing "Command X" and delete that extra space and then put three dots here, meaning that the sentence will continue. Then I want to cut this subtitle where she says, "People of." so let's find that point. It was where all the people of. I'm going to push this back here, so that when I click on the Plus, that's going to create the new caption right there. Then select and then paste and then put a full stop at the end of that. Now if I play. For good 70 years, maybe longer. Originally it was where all the people of Marlow learned to swim. Great. I'll now go and add the rest of this as well, so let's see what she says here. Swim. It was a beautiful resource for scouts, but they just couldn't afford to retain it. She says, "it was a beautiful resource for scouts, but they just couldn't afford to retain it. So let's go click on the Plus again and type that. Like that. It's fine when she finishes that sentence, playing again. Beautiful resource for scouts, but they just couldn't afford to retain it. There, I'll extend this all the way until there. You see because I went outside the title safe, it's actually going a little crazy, so I'm going to go and create a line break after the word "just". Let's go find that word here, "just". Press "Enter". That creates the line break. There's a space as well there which I don't want, so I'm just going to go and delete that. I can actually also send the text to be at the bottom, so let me just go click outside first or we deselect it and then click back on that and then send it to the bottom center. You see this is left aligned, so the second line of text is aligned to the left side of the first one. I can make it center aligned by clicking on this button like that. One more thing I want to show you is how to get rid off or change this black background. You see the black background makes it easier to read, but sometimes it's a little too your face and you might not want this. So if you don't want the black background, all you have to do is to come here and you see the three options here. So there's the background color, there's a text color and outline or the edge color. First, I'll click on the background color, it shows me it's black. If you want to change the color, you just click on this black chip and then give it any other color like so it will turn to that color. If you don't want any color at all, you'll just have to go and make this transparent. From here, you set that opacity from 100 percent to 0 percent. Now you have no background. Now, you see why having the background was important. It was making it easier to read. Now it's difficult because the background is light and then the text is white and it's quite difficult to read that. An alternative would be to use a stroke or an edge or an outline. By clicking on this "T" here, the last T, then I can set that color to be black and then press "Okay". Now you see because now it's set to 100 percent, that the edges are black, so it makes the text a lot more legible. Here, if the text falls onto a black background, you can read it because it's white. If it falls onto a white background, you can read it because it has black edges. You can also change the appearance of the edge. So if I go to here where it says "Edge", and let's say we set that to 20, that makes the edge thicker. You get to choose whether you want an edge or a black background. But I'd definitely recommend you use one or the other, otherwise it's quite difficult to read the text. If I now go back, you see because we didn't select these captions, they had the same settings as before. So if we want to change all of them at the same time, what you can do is to scroll all the way up, click on the first one and hold our "Shift" on the keyboard, click on the last one. Then if I click on the background color, it now says multiple values here because I had last one set to zero, the rest set to 100 percent. I'll just ignore that and set all of those to 0 percent, and then just go to the edge color, make them black and they're 100 percent, which is good. I'll change the thickness to, let's say 15 for all of them. Now you see all of the text will lead the same appearance. If there are no spoken words for a certain period of time, you can actually tell the captions to start and stop at specific times. Let me show you what I mean. Let's say, for example, if I zoom out here. There's no spoken word between here and there, so there's a bit of a gap where we see the quote from Churchill. If I go and play this, you see what I'm talking about. Longridge on the Thames to open up to everybody. There's no words here before he starts talking. To tell Premier not to have any captions here, what you need to do is to go and use the time code. I'm going to go click the Plus first, which will add the caption at the end of this. I'm not going to do this for the time being just to save some time, and I'll just listen to what he's saying. One of these children, they said to me that they didn't feel like they could focus in school. Let's just type in a few of those words. He says, one these children and so on. Let me just go back. You see this will start right after the previous one. To retain it. I don't want this to start right after that. I want this to start at this point in time. That's 29 seconds. I can actually copy this time code, select the time code, copy it. I can go here where we had the in and out points for this and I can paste this time code, 29 seconds, to the in point of this caption block, and then press "Enter". Then tell it meant to finish as well, so I can go to out, let's say we want this to finish on the 30th second, so I can square and type in 30 full stop. Now if I go back and play. Now although you might expect this to start on the 29th second, it won't. If I actually zoom out, you can see it actually starts here. This might seem like a random thing, but really what's happening is that it starting on the 29th second of the clip. The clip doesn't start at the beginning of the timeline. Remember, we pushed it down the line, so this is zero for the clip and 29 seconds after this point, this caption block starts. To avoid that, you have two options. You either make sure that the captions start right at the beginning and extend all the way to the end, so I can push this all the way to the beginning and then make sure this extends all the way to the end like that. But this means now I have to go and tweak the settings of the first captions off Amanda, all of these. If you don't make the video as long as your entire timeline, the alternative would be to do it by eye. So let me just go undo that once and then zoom back in. Now this is when Alex starts talking. I can push the beginning of this caption to there and then the end, say here. If I now go and play. One of these children. Like that. Of course we had the same issue here with the positioning of this caption, so if I let this play little more, you see this lower third comes up and these captions actually sit on it. That doesn't look too bad. But if you wanted that to look similar to what we had before with Amanda, now we can simply select the clip again, select that last caption, then we scroll down, select that last caption and then put that to the top. That's how you add and edit captions in Premier Pro.
53. Intro to Effects: We apply effects to clips to make them look different than how they were shut in the first place. This could be something like a color correction effect or making something blurry, removing a background or anything else. Let me now show you how you can apply an effect and change some of its settings. Now, first of all, in order to apply an effect, you need to go and find it, and all the effects are going to be listed inside the effects panel down here. This is where the effects panel should be by default, but if you can't see this for any reason, you can go to the Window menu at the top and then select Effects, and that's going to pop up here. Now remember this is different than the effects workspace. The effects workspace will actually shuffle the entire workspace around, which will also show you the effects panel, but that's going to shuffle the rest of the panels as well and at the moment, I don't need any of these panels, so there's no point in switching to the effects workspace. I'll switch back to My Workspace and then go to the Effects panel. If I know the name of the effect I'm after, I can simply go and search for it here. Let's say, for example, if I want to make the clip say black and white, I can just go and search for black and white. Let me just type that here. You see as soon as I type in black, I start seeing the effects being filtered. Now the effects will also show you presets like these. These are all the presets for a camera called GoPro, Hero3 Black. I'm going to scroll all the way down. These are all the presets that I'm not interested in, and Right near the bottom, I see the effect here under the Video Effects tab called Black & White on the Image Control. Now let's say we want to apply this effect to the clip I see on the screen. There are two main ways of applying an effect to a clip. The first, and perhaps the easiest, is to select and drag the effect from here onto the clip itself in the timeline and then when you see the clip getting highlighted like this, you let go of your mouse and the effect gets applied. Let me undo that by going to Edit, Undo. The second way and I think the more precise and the more secure way of applying an effect, is to make sure that the clip you want to apply the effect to is selected, and then simply double-click on the name of the effect. By doing this, you again apply the effect to the clip, but you don't run the risk of applying the effect to the wrong clip because if you drag and drop, especially if your resume now from your timeline, you run the risk of dropping their effect onto something else by mistake. Here's what I mean. If I'm not zoomed in like this, so if I zoom out from the timeline and let's say I want to apply an effect to that clip there, if I click and drag the effects there, you see, it's going to be quite tricky to find exactly that clip, especially if it's a short clip like that one there. You can apply it of course, but it's trickier. Instead, your best bet would be to select the clip, make sure that's the one that you want to apply the effect to, and then simply double-click on the name of the effect. Either way, you'll apply the effect to the clip and you'll only see the results when your play head is on the clip. In this case, my play head is on this flower clip. In the timeline, the clip still looks like it's got color, but in this view, the program view or the program panel, the effect is applied and I can see that that clip is black and white. Now, to see the settings of the effect or to remove it, or to disable it, what you need to do is to make sure that the clip is still selected and then go to the effect controls panel. We first apply an effect from the effects panel and then you control it by going to the effect controls panel. If you can't see this panel here, again, it's going to be under the Window menu and here we see Effect Controls. If I just go and click on this, I now see the effect controls panel. This panel, which we'll spend more time later on, shows you different information about the clip itself, its opacity and whether you want to do speed changes or so, and then the effects that you apply to the clip, together with of course, the audio effects which I'm not going to cover in this lesson. Now, we had the black and white effect applied. This wasn't there before, so if I go and click on the different clip, let's say like this first clip, you see everything I was seeing before minus the black and white effect. If I click on the second one, now, once you apply the effect, if you want to disable it, all you have to do is to go and click on this fx button next to the name of the effect. If I click on this, the effect turns off. This is similar to the eye switches here you have next to the track names. We can turn the entire track on and off by clicking on these eye switches. You can turn the effects on and off by clicking on this fx button here. This is a good way to compare the clips two states, the before and after states. We can turn this on and off, so this was before and this is after. Now, some effects like black and white doesn't really give us any control. It just turns the clip into black on white in this case. Some other effects will actually come with properties that you can tweak. I'm sure you know what I mean. I'm going to go and turn this effect back on. I'll come back to my effects panel again and I'll clearly search. This time I'll manually go and find an effect. You see here we had the video transitions that we looked at earlier. We also have video effects now. I'm going to go to Video Effects, and in particular, I want to do some color correction to this. I'll go to Color Correction, and here I see all the color correction related effects. Let's say I want to change the brightness and the contrast of this clip. Well, it's as simple as double-clicking on the name of the effect here. Because the clip is still highlighted, when I double-click on the name of the effect, the effect gets applied up here in the effect controls panel after the black and white effects. Now, the brightness and contrast doesn't actually do anything to the clip by default, unlike the black and white which turned the clip black and white. The brightness and contrast effect has some properties like brightness and contrast that are waiting for you to update them. Let's say for example, I want this clip to be a little darker. Well, I'll go to the brightness here, move my cursor onto this number here on the right, and then click and drag this towards left. I can click and type in a number. Let's say I want this to be darker by, let's say 10. I can type in minus 10, and that makes it look darker or a little bit, but I don't really know what 10 means there, so instead I'm going to go and click and drag left and right. So left to go darker, right to go lighter. I'm going to make it slightly darker. Let's say you also want to decrease the contrast. Contrast is the difference between the brights and the darks. I can see now that these are too dark, so I'm going to go to Contrast, click and drag this towards left to take out some of the contrast from that clip as well, like that. We first turn the clip black and white, then we made it slightly darker and less contrasting. Now, to see what the clip was like before the brightness and contrast effects, I can click and turn this off. This was before, this is after. Same with the black and white effect as well, I can turn this off. This is before the black and white effect, but with the brightness and contrast effects. This is with the black and white effect applied as well. If I want to turn both of these off, I just had to simply click and click, so this was before and this is after. If you decided that you don't want the effect to be applied to the clip anymore, it's really simple to get rid of it. You select it, and simply press Delete on the keyboard, or right-click on the name of the effect and choose cut, and that removes the effect from your clip. Same with black and white, I can select and then press Backspace or Delete on the keyboard, and the effect will be removed from the clip. That's how easy it is to apply, tweak, disable, and remove an effect from a clip. In the next set of lessons, we'll take a look at some handy effects that I think will be quite useful when it comes to color correcting and making your clips look nicer.
54. Lumetri Color: Part I: One of the most powerful effects in all of Premiere Pro has to be the Lumetri color effect. Now, it's got a funny name but bear with me. We'll explain what this effect is and you'll see why it's so powerful. Lumetri color is your go-to effects for color correction. Here's, how it works. Now, I'm going to go and search for it here. I'll go to effects and just search for Lumetri and you see there's going to be quite a few different presets. I'm going to skip all of these for the time being and scroll all the way down until I find the effect called Lumetri color. Now, I'm going to click and drag this effect from here to the clip or if the clip was selected like this, I could just double-click on the name of the effect as well, so that the effect gets applied it to the clip. I'm going to go to the effect controls panel and you can see this a Lumetri color effect. Now, actually want to apply the effect not to this clip but maybe to the clip off Amanda. Let me just go ahead and undo that once and then, scroll to the right. Select the Amanda clip. Put the playhead on top of that clip, so I can see what's happening there and then, I'll just go and double-click on the name of the effect here. I'll go and find a slightly more flattering frame for Amanda, so I'll just go and push this forward a little bit more, maybe something like that. Just so that we can see what's going on, I'll just go and turn off the titles for the time being. I'll just turn off this track and also the subtitles as well, the open captions. I'll turn this off, so I'm only seeing her. You can see now in the effect controls panel, because my Amanda copy here is selected, I can see the lumetri color effects. You'll also, notice there's going to be quite a few different effects for the audio, as well. These are the results of those fixes that we did for the audio earlier, so I'll skip this for now. I'll just go back, zoom up to my Lumetri color effects. Now, although you can use Lumetri color like you use any other effect, so we can just throw these down and you can see more of these settings here. It's usually easier to use the designated panel called Lumetri color panel for the Lumetri effect. Let me just go and delete this effect here, for the time being. I'll just select this and press "Delete." Instead, I'll go to the Window menu and then, come down here to where it says, Lumetri color. I'll click on this. This will give us exactly the same settings, as we would have in Lumetri color effect here. But the panel on the right is more streamlined and easier to control. Let me show you what I mean. Now, if I click on, let's say the basic correction, which if you remember, was the first option in the Lumetri color effect. Let me show you that. If I click and drag the effect here, on the Lumetri color here, the first option is basic correction. Then, we have creative, curves and that's exactly the same on this list as well. There's basic correction, creative, curves and so on. Let me just go and delete this effect once again. As soon as you open up the Lumetri color panel and you start making some changes to any of these, you'll see that the same effect will get applied to the clip, as if you just dragged and dropped the effect from here, on top of the clip and you'll see the settings of the effect here as well. Take a look. I'll go to basic correction, and let's say I just want to increase the contrast a little bit. I'll just click and drag this to the right and as soon as I let go of my mouse you can see that the Lumetri color here is applied, and under basic correction the contrast is set to exactly the same value as I did here with this slider. The Lumetri color panel on the right is nothing more than a more streamlined version of what you're used to seeing in the effect controls panel for the Lumetri color effect. I'll just go and delete this one more time. I'm going make a bit more space for the program panel here, like that, and maybe push the timeline down as well, like that, so I can concentrate more on this panel for the time being. Let's start with the basic correction tab. This tab will let you control things like the white balance, the tone, exposure, and the overall look and feel of your clip. Let's start with the white balance. Now, the white balance is how your white color in the clip is represented. If you have correct white, everything else, all other colors will fall into the right color space and everything will look natural. You can either use these two sliders for the white balance versus temperature and tint. Temperature will go from blue to yellow, cool to warm, whereas tint will go from green to magenta. Let's say for example, you want a distribute a little warmer. This will shot under the sun, as you can see, and I want to add a bit more warmth to the clip. Now, if I click on a temperature slider here, drag this towards right, look what happens to the clip. The overall color goes from bluish to more yellowish or reddish. I'm increasing the warmth of the clip. At any point, if you want to undo what you've just done, of course you can press Command+Z or if you want to take this slider or any other slider back to wherever they were in the first place. All you have to do is to go and double-click on the slider itself. If I double-click on this control point, that takes it back to zero. You can either control the white balance, like I said, with these sliders or if you have something that you know to be a neutral color in the clip, like a gray color, black, or white, you can actually use this white balance selector as well. If I click on this eyedropper here, I can now, move my cursor to anything that I know to be a neutral color. Let's say for example, this area here. If I then click, that makes that a neutral gray and everything else falls to the right color space. In this case, that area here, wasn't actually gray, so that's why everything's a bit odd. I'm going to go and undo that as well by pressing Command+Z. I'll manually increase the warmth of this clip a little bit. I'll click and drag this first slider towards right, maybe well there. Then maybe add a bit more magenta to this as well, so I'll click and drag this towards right, like that. Now, if you want to compare the current clip to what it was like before, you'll need to come up here to where it says FX next to the name of the effects and then turn this off. This was before and this is after. A slight change but it does make a difference. In the next lesson we'll have a look at how to set the tone of the clip.
55. Lumetri Color: Part II: Now let's have a look at how we can fix the tone of this clip. By tone, I mean things like exposure, contrast, highlights and so on. First of all, here we have the Exposure slider, this is going to control the overall exposure of the clip. This is similar to using F-stops on your camera if you're familiar with that. For example, if I want this to be one stop darker, I can just go and dial in a minus one here, and this is as if I made this one stop darker on my camera. Now, you can of course, click and drag the slider towards right or towards left, and interactively adjust this as well. Now, just by looking at this clip, I think it's a little too bright. So I just got to Exposure and drop this down to, let's say maybe minus 0.7. Again, at any point, if you want to reset this, you can just go and double-click on the slider, and that takes it back to zero. I'll undo that. Next we have Contrast. Contrast, if you remember, was the difference between the bright and the dark areas of your image. As I add more contrast, the bright pixels like all of these, will get even brighter, and the dark pixels like all of these will get even darker. We'll take a look. This adds a certain punch to the clip. I'll back off a little bit with this, so I'll just push this towards left a little. Maybe some contrast, let maybe around there. Next we have Highlights. This will control the brightness of the highlights or the light areas in the clip like these, maybe your hair or the highlight in the background, maybe this highlight here. If I click and drag this highlights towards left, you see the exposure of those areas are being affected more than the exposure of the darker areas, like these shadow areas here. While highlights will affect the exposure of the highlights, Whites will affect the exposure of the really bright areas. Like if you look at the sky, for example, there's almost no detail in the sky. Or here, there's almost no detail here, it's almost white. Now if I click and drag the White towards left, and that's the same with her hair as well, if I click and drag the White towards left, that's going to make those areas a little darker. Whereas if I push these towards right, you see those areas will be brighter. I'm going to push this left a little bit to make the White a little darker. Then we have Shadows up here. Shadows will control the brightness of the dark areas like these shadow areas here, or that part of her shirt and that part of her face and so on. If I click and drag the Shadows towards right, you see that the overall image is looking like it's getting brighter. But the things that are being affected more are the shadow areas. Whereas if I click and drag this toward left, dark areas, like all of these areas are getting even darker. I'm going to push us towards left a little bit to make it a little darker. Then we have Blacks. Blacks will control the exposure of the really dark areas like that area here, or these may be, or these shadows here that are really dark or that part, or these shadows. Take a look if I got to Blacks, drag this towards left, those areas are getting even darker, if you look at that part of the screen, you'll be able to see that a little better. Blacks will control the brightness or darkness of the really dark pixels. Overall, it may not look like you're done much to the clip, but if I go and turn the effects off, this was before, and this is after. Only when you compare the current state of the clip to its previous state, the state where you had no effect applied. You'll be able to see how much you improve the clip. So it's a good habit to get into just to turn this effect on and off to see what you're doing to the clip, like that. The last slide that we have in this basic corrections hub is the Saturation slider. Now, the saturation here will control the overall saturation of the clip. If I push this all the way to the left, the clip will have no color, so it will just turn black and white. Whereas if I push us towards right, you'll start introducing more and more saturation, so the colors will look more and more vivid. If you go too far with this, it will look a little awkward, like that. I'm just going to go and double-click on this to reset it back to its default. Now, if you want to take all of the tone settings back to their originals, you can click on this Reset button here so that you can start all over again. There's also the Auto button here which allows Premier Pro to give this a shot and see if it can improve the clip. This is an automated, as the name suggests, effect. If I go and click on this, it'll just have a go and see what it can do to the clip to improve it. If you're not sure where to start, you can always click on this Auto button and see what Premier thinks of this clip and then make further tweaks. In this case, it only changed Exposure to be a little darker and then the Blacks to be a little darker as well. But maybe you want the highlights here to be even darker. So I can go to Highlights, click and drag this towards left a little, maybe the whites to be a little darker as well. Then maybe a bit more contrast, and then maybe increase the shadows as well a little bit. Although you can be quite precise with the sliders by using what are called the scopes, which is something that I'm not going to cover on this course. You should usually look at the clip and see what it feels and looks like. If it looks right, it's usually going to be right. Color correction, for most part, is quite a subjective thing. If you want the clip to be a little darker, well, feel free, just bring the exposure down. If you want this to look like it was shot in a warmer environment, well, push the temperature up, so all of those are very subjective. In the next lessons, we'll have a look at the rest of the settings in the Lumetric color effects.
56. Lumetri Color: Part III: Now that we know about the basic correction tab, let's all look at the Creative tab. I'm going to click on this. That's what I'm seeing now. You can think of the Creative tab almost like the filters that you get on Instagram. These usually tend to make your clips look cooler. Let me show you what I mean. First of all, if you want to make the small preview larger, and I'll explain what this is in just a moment, you need to go and close a tab and then reopen it, and that will come back up with this larger preview area. That's just a weird glitch in the software. So if that ever happens, you lose anything, you usually turn that panel off and then turn it back on, and it fixes it. Now, what is this preview area? Now, the preview area is a visual representation of what you get under the Look drop-down menu. For example, if I go to Look None, now, you see all of these are different presets or filters, if you like. Let's say I want to find what this SL Big looks like. If I just go click on this, that's what it looks like. I'm going to undo that once by pressing Command Z. But instead of clicking here and then picking a preset and then clicking again and then picking a different one, I can just use these toggles here, the left and right toggles, to go through the different looks one-by-one, like that, and it is following the exact same order. Let's say if there's one that you like, just for the sake of argument, let's say, I like this one. All you had to do to apply this is to just go and click on the thumbnail here. That effect or that look is now applied to the clip. You can of course keep changing it. Let's say, if I go forward. Again, just for the sake of argument, let's say, I like this one. If I just go and click, that gets applied. Now, once you apply a look, if you think it's a bit too much, you can dial its intensity down using the slider. If you set this all the way to zero, this is as if the look doesn't have any effect at all. As you increase this, it's going to be more and more obvious. The look here is actually applied on top of the effects or the corrections that you made onto the basic correction tab, so they get combined together. Let me just go ahead and see what else is there. That looks interesting. I'm just going to go and click on this. That's what that looks like. I think it's a bit too much now, so I can just go and dial this down maybe by about 25 percent or so. If you just want to turn this Creative tab off or back on, you can click on this check mark here. So rather than turning the entire effect off and then back on, you can turn off this Creative tab. This was before, this is after. Now, as well as having some looks here, you also have some further adjustments. First one is the faded film. If I go and push this towards right, this will suck out the contrast information from the clip so it makes it look more faded, like that, and going towards left, and makes it look more contrasty or punchy. Maybe I can fade this a little bit, actually. Maybe say, by about 15 percent. Next, we have the sharpen auction, so I'm just going to go and click and drag this towards right. Now, in order to see what's really happening with this, I'll actually zoom in to let's say 100 percent, and then scroll up to her face here. I'm going to exaggerate this by pushing this left and then all the way to the right so I can check the results here. I can go left which makes it softer and then as I go towards right, it makes it sharper. I'll do this faster so we can compare the before and afters. Now, even if it's just a tiny bit, let's say I made this sharper by 25, it is still going to make things per part a little bit. If you think your clips are little soft, you can push the sharpened slider towards the right a little bit. But do be careful if you push this all the way towards right, it tends to create some harsh results like these, and that's not really always pleasant to look at. I'm just going to dial this back down to, let's say, 25 again. Then we have vibrance. Vibrance is very similar to saturation, but vibrance is more gentle on the skin tones. Let me zoom back out. As I pushed the vibrance towards right all the way, you see how pretty much everything is saturated but her face or the skin here isn't really affected as much. Whereas if I do the same saturation, see what her face looks like. I'll just go and double-click on this wiper and slider and then push the saturation slider towards right, and her face and the rest of her skin here is affected a lot more with the saturation. If you have people in the scene and you want to increase the overall saturation of the clip, I'd recommend you increase the vibrance rather than saturation. That will, like I said, be a bit more gentle to the skin tones. Maybe something like that. Again, just to see the before and after versions, I'm just going to go ahead and turn this off. This was before the Creative tab, this is after the Creative tab. Small adjustments like that will go a long way when you look at the bigger picture. At the end of this lesson, I'll turn this entire effect off, volumetric color effect, and then turn it back on so we can compare the original version to the affected version. I'm going to scroll down, and that same thing happened again, you see this preview area got smaller. Again, if this happens on yours as well, you just have to close the panel and then reopen it, and that will go back to normal. Because we are done with this now, I'm not going to bother. Then you had the two sliders here, the shadow tint and the highlight tint. As the name suggests, the shuttle tint will control the color of the shadows, the darker areas, and the highlight tint will control the color of the highlights, these light areas here. Let me show you what that looks like. Let's say for example, you want to add a bit more green or blue to the shadows. Think of the film matrix. Matrix has lots of dark greens in the shadows. Let's say, if I click and drag this towards left, that's what I'm doing, I'm adding green to the shadows here. Let me undo that so I can compare. I'm going to press Command Z, that was before, and then Command Shift Z, this is after. To go back, you press Command Z, to go forward or redo, you press Command Shifts Z. If you want to change the appearance of the highlights like these areas or the sky or that part of her hair, you can click and drag the highlight tint, let's say, to a warmer color, like that. Again, it doesn't look like much but if I just go and press Command Z, get the highlights here and then the sky, that's before, and that's after. I don't actually need to do this for this clip so I'm just going to go ahead and double-click on these little plus signs here and there'll be reset as well. After the creative, we have the Curves tab. I'm going to click on "Curves", so that's what I'm seeing now. If you used Photoshop before, you'll be familiar with the curves adjustments. The first one here is exactly the same as that. If you're not familiar with that, let me explain how this works. The curves grid here will let you control the highlights or the bright pixels on the right hand side, and then the dark pixels or the shadows on the left hand side. For example, if I want the highlights to be darker, I can click on the control points here near the top right of this diagonal line and then push this down. You can see, if you look at the sky and the rest of the highlights, they're getting darker and darker and darker, and eventually, they just go black. I'll push this back up. Whereas if I click on this one and then push this up, this is going to affect the brightness of the shadows. If I click and drag this up, you see the dark areas are getting lighter and lighter and lighter until they turn white. Now, this isn't very useful or helpful at all, actually. The reason why this is called curves is because it can control the highlights or shadows independently or any part of the range of this grid independently than the rest of the range. Now, here's what I mean. Let's say you only want the brightest pixels to be slightly darker. I can click on his brightest pixel here, remember, the top-right corner is white, the bottom left corner is black. I can click on the white controller here and then just push this down, and it does make the sky a little darker, that's great, but it also makes everything else a little darker which I didn't want. Well, I can click anywhere on this diagonal line and then push this back up. This is why it's called curves because every time you do this, you are creating curves. Now, what this control point does is it makes sure that nothing before itself is darkened, but only this section, let say, the brightest area to this section which you can consider as highlights are darkened. If I now push it up and down, you can see, it's affecting more of the sky than the rest. When it pushes too far, of course, this is still going to affect the rest, and if this is a bit too much, well, you can add one more point here and then push that down. That means now, whatever you do to this last point is only going to affect this curve here and this tiny curve here as well. If I click and push this up and down, you see, this bottom curve isn't affected as much anymore. If you want to take these points out, let's say you created a few of them by mistake like that, you can just hold down the Command key and then click on those points, that's control on PC, and then click on that one as well, and that one, and then you're just left with two. I'll push this back up. A common curve that we usually use is called an S-curve that would make the highlight a little brighter and the shadows a little darker, hence adding a bit more contrast to the image. This is what an S curve would look like. I'd click somewhere around here, about two-thirds of the way in, and then push it up. So this makes the highlight a little brighter but of course, it makes the shadows a little brighter as well. But I can then click on the shallow area and then push this down, so this makes the shadows a little darker. Then I can just go and tweak this a little more so I can push this here, so this is affecting the slightly brighter pixels. Now, if I turn this on and off, if I just go here, turn the curves off, this was before the S-curve, this is after the S-curve. This adds a bit more contrast to the overall clip. Now, I don't really want this, so I'll hold down Command and then click on this point and then this point as well. By default, because this white dot here is selected, it's going to affect the entire clip. Whereas if you want to affect only a specific color within the clip, let's say for example, you want the highlights to have a bit more red in them, I only can go to the red channel. Then remember, this was the highlights. I can click and push this towards left, and that's adding a bit more red to the highlights. You can see here, the sky and her face and pretty much every other highlights here like her hair and this reflection here is all turning a bit more red. This was before, this is after. If you want the shadows to be a little less red, for example, I can click and drag this towards right so this takes out the redness of the shadows, adding a bit more cyan to the shadows there, or this kind of bluish tint to the shadows. I'll push this back to where it was. Now, I think the more useful and interesting part of this curves adjustment comes down here where it says hue saturation curves. Let's say for example, you wanted to make a t-shirt a little darker. Well, you can come down here and then choose hue versus luma or luminance or brightness. What this will allow you to do is to specify a hue that say this tints of blue, and then it can make that hue a little darker. Let me show you how that works. I'll scroll down a little more. We have Hue versus Luma in view. This color bar here will let you control the brightness of a specific color or a range of colors. For example, if I want her blue shirt to be a little darker and I can see this shade is around about there, I can click there once, and that will add a new point. Now, if I go and click and push this down, that makes everything darker. I'll undo that once. If I only want this area to be darker but nothing else, I'll need to create two more points, one on this side, one on this side. Just like the curves example we looked at earlier. If I now click on this middle one and then push this down, you see only this range going from that green to that purple but it's more exaggerated in this cyan color here, only that's being affected in its luminance. If I push this up, I'm making that brighter. If you look at her shirt, you can see it's getting brighter. If I push this down, it's getting darker. This was before, this is after. Of course, it just so happens that the same shade of blue appears here and there in the background as well, so they get darker or brighter as well. Take a look. That's before, that's after. I don't want the shirt to be that dark actually, so I'll just go and push this back up. The second thing you can do is to change the hue of the shirt. For that, I'm going to go up to the Hue versus Hue sliders here. Again, it's somewhere around here. I'll just go and eyeball this. I'll click there once. I don't want to change the hue of everything. If I click on the single dot, push this up and down, you see everything is going a little crazy, so I'll undo that. I only want this range to be changing, so I'll just go and create some limiters if you like. I'll just click here, and then once more here. Now, if I click and drag this middle slider up and down, you can see the hue of that's changing. I'll go all the way down, you can see that's turning purple gradually. Now you see that part isn't turning purple, that's probably because I couldn't quite highlight the right area. Well, I can just go and push this purple one towards right a little more, and that's now including that in my selection as well. It's not only changing that hue to a different one, it's actually changing these as well. This was before, this is after. Again, I don't really want to change these colors, I just wanted to show you how this effect works. I'll just go and turn this off, and then turn my Hue versus Luma off as well, and then I'll keep scrolling down. The last two grids here are for the saturation. We can control the saturation of an area by its brightness, or the saturation of an area by its saturation. I'm not going to get into these now, but I just want to show you one more thing. I'll scroll back up, I'll turn on my Hue versus Hue, and I'll hold down Command and then click on this point, that's control-click to get rid of that, and I'll do the same for these as well. We basically just reset this. Let's say you couldn't quite work out what color this was in this bar. Well, what you can do is to click on this eyedropper here, and now Premiere's waiting for you to go and pick a color. If I now go and click on her shirt, it picks that color and not only that, it puts a range inside this Hue versus Hue slider as well. If I now go and click and drag this middle point up and down, you see it knows that I'm trying to adjust that color. This vertical bar, of course, is showing you what color you're going towards. If I go and push this further down, I'm going to go from that to blue, to purple, to red, and eventually to yellow. I'm going to set this to let's say green. If you go too far, you can actually see some imperfections there, like here, and that's when you have to tweak these limiters as well. I'll just go click and drag this towards left. I'm asking Premiere to include a bit more of this color, a bit more of this light-blue color, and a bit more of the dark blue color here as well, the purplish colors, because her shirt had a range of colors, not just one single blue. If you go too far, of course, that's going to start affecting the rest of the clip as well. If I push these too far out, then if I click on this middle one, push it up and down, you see this will start affecting the rest of the clip as well. If you have different blueish things in the background or this Kayak here or that Kayak there, they're going to be affected more as well now. That's how precise you can be with the curves. You can specify what hue, saturation or luminance you want for any specific range of colors. Let me keep scrolling down. We then had the Color Wheels and Match. If I click on this. Now, this will let you compare this clip to a different clip and then match them. Let me show you what I mean. I'm going to zoom back out in my timeline, and let's say, for example, I want this clip to look quite similar to this clip in terms of their colors. Let me just zoom in. Let me first apply a quick effect to this. Say for example, I got a basic correction. By the way, one other thing with this Lumetri Color is as you push your playhead left and right, [NOISE] you see whatever was under the playhead gets selected automatically. You don't have to keep dragging the effect again and again and again. If I'm here, I can just make an adjustment. Let's say I make this a little warmer, a little more contrasty, slightly darker, like that. I can then go to my flower clip, [NOISE] and then keep editing this, and it will apply the effect to that clip because the playhead is on that clip. Let me undo that. Now, instead of applying the effect right away, I want to go and preview what the previous clip was like. Now, instead of going back and forth between that clip and this one, I can come down to my Color Wheels and Match and then turn on the comparison view, and this will open up two views. The one on the left is going to be my reference. It's got its own timeline, so I can click and drag this towards left. Let's say I'm after that first clip there, here, and the one on the right is the one that I'm actually affecting right now. With that visible, I can now go and make any adjustment. Let's say if I go to basic correction, I can make some changes to this. For example, this is a little too warm compared to this one. I can go to the temperature, increase that, and I'm trying to match these two shots now. I'm doing this manually now. This looks a bit too bright as well, so I can bring the exposure down. Maybe the contrast down a little bit, maybe some whites down, like that. Again, I can turn this on and off. If I just got to basic correction, turn this off, turn it back on. I'm trying to get these two to look the same. I'm going to go back to my Color Wheels and Match. The second thing you can do is to ask Premiere to analyze a clip, the reference, and apply the analysis to this current clip. That's done by clicking on Apply Match. If I do that, it will first analyze the clip and once that's done, it's going to try make this clip, the current clip, look as close to this first clip, the reference clip as possible. It does that while looking at these three color wheels. Mid-tones will control the brightness and the color of the mid-tones, shadows will control the brightness and the color of the shadows, and highlights will control the brightness and the color of the highlights. The brightness of each range is controlled with these vertical sliders. For example, if I want to make the mid-tones a little brighter, I've pushed this slider up or down to make it darker, and the color is controlled with the wheel. If I want to add a bit more green tints to the mid-tones, I can click here, and then push this cross-hair towards left, like that, and that's going add a bit more green to it. Premiere does that for you automatically based on the reference clip. I'll undo that last change twice, so we just go back to the state it was in when we first applied the effect. If this face detection is turned on, it will analyze the clips and find out whether or not there are faces in them and it'll try and make sure that the skin tones look similar. That's what the face detection does. In this case, because neither of these shots have any faces in them, that's not going to make any difference. Then we have the HSL Secondary. HSL stands for Hue, Saturation, and Luminance. If I click on this, this will allow us to do secondary color correction, which is something I'm not going to get into in this lesson. I'll skip this for now, and the final one is the Vignette. Let me go back to the clip of Amanda. By the way, let me just go and turn off my comparison view. Let me just go to Color Wheels and Match turn off the comparison view, and I'll go to the clip with Amanda. [NOISE] Here. She still has that funny shirt, let me just go and kill that. I'll just go to Curves, scroll down, and then turn off Hue versus Hue, and keep scrolling down until we get to Vignette, I'll turn this on. Vignette is quite a useful thing when you want darken the edges of the frame. If I go to Amount, push this towards left, that's what vignetting is. I can of course, push this towards right so that the edges turn white. If you're doing a wedding clip or something, that could be useful. I'm going to push this all the way to the left, so as dark as it can get. To understand how the vignette works, I'm going to come down to here where it says feather and lower this all the way down to zero. This will actually help us understand how the darkening effect is created. It adds this mask circle in here or the ellipse, and then it softens the edges of it by increasing the feather. Now, to change the shape of that, I'll leave the feather set to zero for now. I can go to mid point, click and drag this towards left to make that smaller, or right to make it larger. I can also change this shape here from an ellipse to more of a circle. If I got to Roundness, push this towards right, that will turn more of a circle. If I push this further left, that's going to be more of an elliptical shape, and eventually it turns into a rectangle like that. If I leave this set to let's say, somewhere here, and I increase the feather. This is with the vignette, this is without the vignette. That's before, that's after. Let's now compare this clip to its original state. I'm going to go all the way up to this FX button here, and turn this off to see what this clip was like before, and turn it back on to see what it's like now. That's before and after. You can see just by using the Lumetri Color effect, you can change the entire look and feel of the clip. The Lumetri Color is such a powerful effect, and the good thing about it is that it's not too difficult to use or control.
57. Using the Same Effect on Multiple Clips: If you want to apply the same to effect to multiple clips, or if you want to apply the same effect to a multiple instances of the same clip, there are two options you can consider. The first one is to apply the effect to what's called the master clip. Let me show you what I mean. Here we had a clip of Alex talking, and let's say I'm going to make some drastic changes to this. Instead of changing any of these manually, I'll just go to Creative, and then is pick a look. Let's say something like this blue intense, and then I'm going to increase the intensity as well. Then I've got a basic correction, and then maybe increase the exposure as well, just so that I'm creating something that's drastically different than what I had before. Now the problem with this is if I want this clip to look like that, and you see, this is the first section of that clip. The second part here won't have that same effect applied. This is what the second part looks like. Now instead of applying the effect to the clip itself, I could have applied it to its master copy. Here's what I mean by that. Let me go back to this clip. I'm going to press command Z at a couple of times until the effect disappears like that. Now on the right-hand side, inside the Lumetri color effects, if I click on this button here where it says Master and the name of the clip. Let's go and open the clip up in the Source panel. If I now go and apply an effect, let's say for example, I change the temperature. Let's go on to change the temperature of the source. Which means if this clip is used more than once, all of those instances will have the same temperature applied. That's the same with any of these as well. If I go to the Creative tab here, for example, and if I select a different look, let's say if I got to look here and pick a different preset here, that will be the same thing as well. As long as you had this Master tab highlighted when you apply an effect or a preset like this. Let's go and apply the preset to all of the instances of the same clip. If you use this clip more than once, they all going to have exactly the same look. Let me undo that a couple of times. The second way of applying an effect to multiple clips is by copying and pasting. Let's say for example, if I go back to my Amanda clip, select it, go back to my Effect Controls. Let's say if I want to take this Lumetri color effect, let me just put the playhead on top of this. If I want to take this effect and apply it to the clip of Alex, I can select it, copy it by going to edit, copy. Then I can find the other clip I want to apply this to, this clip for example. I'll just paste, edit, paste. That will paste the effect that I copied from the clip of Amanda. Of course, if you want the effects to be applied to multiple clips at the same time, for example, you want that to be applied to this clip of Amanda as well as this. You can shift select them. Select the clip, hold down, Shift, select that one, and then Shift, select that one. These are all Amanda clips. I can then just go and simply paste. That effect is applied to all clips at the same time. If I select that you see, we see the same effect here, and the last clip with the exactly the same effect as well. and that's how we can copy and paste an effect from one clip to another.
58. Adjustment Layers: Let's say you want to apply the same effect to the entire timeline. Say for example, you created a sequence and you refine it all and now you want to export a version that's completely black and white or that's a little less saturated, or the overall image is a little brighter. You want to blow one effect to an entire timeline. The first thing that comes to mind, of course, is to apply the effect one by one to every single clip. Or we can highlight all the clips and apply the effect all at once. Although that would work, the problem would come about when you want to tweak the effect that you applied. For example, let's say you applied a Lumetri color effect to every single clip in the timeline. So we can make every single one of them slightly warmer. While you can apply it, change the warmth of every single clip or apply it to one clip and then copy and paste that effect to every single other clip in the timeline. But now when it comes to making an adjustment to the warmth of the clip, let's say you make it slightly cooler, you have to go and delete the old effect from every single clip, and then reapply the new effect to those clips. The solution to that is an adjustment layer. An adjustment layer is a blank layer like an acetate paper that sits on top of all the other layers or all the other tracks in the timeline. Then when you apply an effect to the adjustment layer that effect shows throughout the entire timeline. Let me show you how it works. First, to create an adjustment layer, you need to go to "File", "New", and it's down here Adjustment Layer. You see right now this is great out. In order to enable this, you need to make sure that your project panel is highlighted. Right now my sequence here is highlighted. If I go here and click on the "Project panel" now that it's highlighted, I can go to "File", "New" and create an adjustment layer. The second way of creating this is by clicking on this new item icon. Then I go here to adjustment layer. By default, it's going to have the same settings as the sequence which I'm not going to change. I'll just press "Okay", and here's my adjustment layer. It looks black, but it's not black actually it's transparent. The way they just really works is that you put it above all other tracks in the timeline. If you want all the tracks to be effected, you put the adjustment layer right at the top. That's what I'm going to do. But you can see I don't have an additional track here. Well that's no problem, I can still drag this here onto this empty area and when I let go, that's going to create that new track for us. Now, it's going to be five seconds long by default, and I want this to be as long as the entire timeline. I'm going to zoom out, and extend the end of my adjustment layer to go all the way to the end of my timeline, like that. Right off the bat, the adjustment layer isn't going to make any difference whatsoever. So if I select the adjustment layer here, and then delete it, you see the clips will look exactly the same as they did before. I'll bring it back by pressing command Z. You'll only see the effect of an adjustment layer when you actually apply an effect to it. If I go to the effects panel, and then let's say I want to make the entire timeline black and white, so I'll just go and search for black, space, white, here it is. If I click and drag this on top of the adjustment layer, now whatever is under the adjustment layer in the timeline will turn black and white. If I play this, you see every single clip in my timeline is now black and white. You can think of the adjustment layer like a global filter that you apply to the entire sequence. The only things that won't be affected by the adjustment layer, are the things that are above it. Say for example, we don't want the titles to be affected by the adjustment layer, so if I just go here to where we see the lower third, tone is track on, you see the title also turns black and white. If you don't want this, you will simply need to move the title above the adjustment layer. Here's what I mean, I'm going to push this up to make a bit more space here, I'll zoom in. If this title is above the adjustment layer here, that's no longer being effected by it. If you want none of the titles to be affected by the adjustment layer, you'll just have to lift all of them up above the adjustment layer like that. Now, the titles are still in color but everything else is black and white. If you decide that you didn't want it to be black and white but overall a little warmer, well, it's really easy. You just select the adjustment layer, go to effect controls, select your black and white effect, delete it and then go to a different effect let's say the Lumetri color effect. Apply that to the adjustment layer, and then go to basic correction and increase the temperature. The entire timeline is not going to be a bit warmer. If I now go here, you see that's a warmer clip, that's a warmer clip, and that's a warmer clip as well. This is with the Lumetri color, this is without. One more thing you can do is to use an adjustment layer and chop it up with the razor tool into smaller pieces, so that you can specify when a specific effect or set of effects will be visible. Here's what I mean. Let's say, for example, halfway through this Amanda clip, I want to click the term black and white. Well, I can use my eraser tool, chop the adjustment layer up in half, and then select the second portion in my selection tool, delete the Lumetri color effect from the second portion and then apply the black and white effect to it like that. Now at that point, this adjustment layer turns off. This is where we had the Lumetri color effect, and this one turns on, so if I go and play this, have a look. Seventy years maybe longer. Originally it was where all the people of This could be another useful way of switching effects, so there you have it. If you want to make a global adjustment to the entire timeline or a part of the timeline, your best option is going to be an adjustment layer.
59. Stabilizing Shaky Clips: The next effect I'll show you will save a lot of your clips. Just because your clips are shaky, because your hand held the camera when you were shooting them, don't throw them away. You can use this next effect I'll show you to save those clips. The effect I'm talking about is the warp stabilizer. Let's first have a look at this clip. If I just go and play this clip, you will see how shaky it is. This will be a bit more obvious if I just click and drag my play head left and right. You can see how the clip is shaky. Now, if I wanted to stabilize this, and eventually what I want to do is to add some titles on top of this. I don't want the clip to call attention to itself and the viewer is trying to read the text. I'm going to go to the effects panel and search for warp stabilizer. There we go. Here's the effect. I'll just go and drop this on top of the clip. Then I'll get a message here saying that it's being analyzed in the background. What that means is I can continue to edit the rest of my timeline because usually, the analysis takes a little while. It doesn't stop you from editing the rest of the timeline, I can just go forward and then do whatever I want to do to these clips. I'm going to go back to this clip and check what happens in effect controls panel. Here, in the effect controls panel, the warp stabilizer is applied, and this is the progress bar. Right now we have one minute left. I'll speed this part up for you so you can have a look at the results. Now that it's done analyzing it, that orange bar now shows us that it's now being stabilized and that's not going to take as long and once that bar disappears, we now know that the clip has been stabilized. Let's have a look at the result. Without changing any of the settings of the effect. I'll just scrub through the timeline so we can see how stable this clip is now compared to what it was like before. Take a look. You see the clip is still moving, but it's not shaking as much, which almost as if it was shot on a gimbal. Let me show you what it was like before. I'll just go and turn this effect off. If I do the same now, see how shaky the clip was. I'll turn it back on. Now if this isn't smooth enough for you, you can come down to here where it's a smoothness and increase this from, let's say 50 percent to say a 150 percent and that's going to re-stabilize. It won't need to reanalyze, so it won't take us long. But once that's done, it's now going to be even smoother. I'll take a look. All of those little motions caused by the handheld camera are gone. Now, let's say you didn't want to smooth this, but you wanted to make it look as if it will shot on a tripod. Well, that's also possible. Where it says result here, if you change the smooth motion option to no motion, it will re-stabilize it and the result is going to be a locked off clip. Take a look. If the clip was moving a little too much, and as a result, the perspective changes. This no motion option can sometimes cause some weird issues. For example, if I go forward a little bit, you see towards the end this weird thing happens here. That's because I was walking when I was shooting this so that the perspective is changing. It doesn't know how to make that clip look like it was a locked off shut because the contents are drastically different from one frame to the next. In this case, I actually don't want the no motion option, I want to have smooth motion. Then the smoothness is set 250 percent and that's going to be enough. I'll now show you a comparison of the two clips side-by-side, one with the stabilization, one without. I think the difference is quite obvious there. Don't throw away your clips because they're too shaky. You can always try and save them with the warp stabilizer effect first.
60. Masking Effects: Sometimes you want to use an effect and limit it only to a certain area. You don't want the entire clip to be affected but maybe a specific portion of the clip to be affected. Say for example you want Alex's face to be blurred out. That's when you need to use masks. Let's see how it's done. I'll first go and apply an effect to blur everything out. I'll go to Effects and I'll just search for blur. You see there's quite a few of these blur effects. The one I'm after is called the Gaussian blur, it's this one here. I'll just go and apply this to the clip. This effect will allow us to blur the entire clip out initially and then we'll mask it. With that effect applied to the clip, I'll go to Effect Controls, find the effects here and I'll increase the blurriness. I'll just go and push this towards right, so that's about 100 pixels there, and you can see everything is blurred out. But let's say you only want Alex's face to be blurred out. Well, the quickest way is to use one of these three buttons here. All of these buttons will create a mask. These will control the shapes of those masks. For example, if I want to create an elliptical mask, I'll just click on this once and you see the effect is now being masked so that the blur effect is only visible inside this circle or the ellipse. Now, this gets created in the center of the clip, but I can click and then drag this on his face and now just that area is blurred out. I can also click and drag these points around to reshape this, so I'm making it smaller now. If you want to rotate this shape, which I don't know, you can just go outside until your cursor turns into this curved arrow and then you can click and drag. That's how you can rotate the overall shape. Let me undo that by pressing Command Z. If you click anywhere inside the mask and drag, you'll be able to move the entire mask around as well. Now, once you create the mask, you can go back to your effect, the Gaussian blur effect, and then tweak the blurriness. If I just go and push this towards left, you see the effect will only show inside the masked area. If I go right, it's blurrier, if I go left, it's sharper. I'll just push this towards right a little more until his face is unrecognizable. If you lose the outline of your mask like I just did here, all you have to do is to come up here under your effect, you see the mask's name, you just click on that once and it will reveal the outline of the mask again. Let me show you some of the settings of the mask. Here we have the Mask Feather, this is to soften the edges of the mask. Let me show you this with a different effect so it's easier to understand. Let me just go and delete this Gaussian blur effect and I'll apply the black and white effect to the same clip. Let me scroll up. Drag the affects to the same clip here. I'm going to mask this as well, so I'll just click on this ellipse mask here. Now, only this section is black and white. I can click and drag this back on his face. The mask feather, like I said, will soften the edges of the mask. If I go and increase this, look what happens to the edges of that mask. It's less obvious now where that effect starts. Let me zoom in here a little bit. You can see you can't quite tell where the effect starts and finishes. Everything inside this range here, let me just scroll up. Everything inside this inner circle here, this dotted circle is going to be completely black and white, everything else outside this outer circle is going to be completely in color and pixels will gradually go from full color to black and white between these two dotted lines. Now, if I set the mask feather to zero, look what happens to the edges again. There's just a sharp change, it goes from color to black and white. Then you have Mask Opacity. If I go and click, drag this towards left, this is as if the mask has no effect now. It's like the intensity of the mask. If I want this to be 50 percent black and white, I can go to opacity, set that to 50 percent and the clip will get desaturated. I'll set this to 100 percent again. The next one here is the Mask Expansion. If I click and drag this towards left, it's going to make the mask smaller, if I drag it towards right, it's going to expand the mask. I'll just zoom out so we can see the whole thing, and then set the mask expansion back to zero. The last option in the mask is this inverted button. If you wanted everything else to be black and white but this area, you can invert the mask. If I just go click on this, you see the mask gets inverted and everything else goes black on white but his face remains in color. This could be particularly useful for things like blurring the backgrounds or making the backgrounds darker. Let's take a look at that example. I'll just go select this effect and delete it. Let's say I want everything else in the background to be a little darker. Well, I'll just go to Effects and search for Lumetri Color again and then apply the same effect again to the clip. Another way by the way of applying an effect is to drag it from here directly into the Effect Controls panel because I had the same clip selected, it's going to apply the effect to that clip, and now I have the second lumetri color effect. The first one, of course, was used to change the overall color as we looked at in the previous lessons. If I turn this off, this is what the clip was like in the first place and with that lumetri color effect, that's what we got that clip to look like. Now, the second one, all I want to do is to go to basic correction, bring down the exposure. But I want the darkening effect only to be applied to everything except Alex. I'll just mask it as an ellipse and then push this on top of Alex and then make it bigger and then maybe expand it that way and that way, and then maybe higher a little bit. Now I'm going to invert this mask like that so everything else is darker but Alex, and then I'll increase the feather as well. Right now this is such an abrupt change going from dark to light. But if I increase the feather, you see that effect isn't as abrupt. But I think this is still a bit too much. I'll go to the Lumetri Color effect exposure and instead of minus 4.7, maybe I'll just set it to minus 2.5. Now, without making it too obvious we're actually making Alex brighter than the rest. Let me just go and click outside so this mask outline disappears, so I'm just going to go click anywhere outside here. Now if I turn the effects off and then back on, you can see the difference. Without affecting Alex, we made everything else in the background darker. This works all fine because Alex isn't moving too much in the clip. I mean, he's moving his head around a little bit like this, but overall, he's more or less in the same place. If he was moving anymore than this, let's say for example he was talking as we were filming this, or maybe the camera was handheld, we would need to start keyframing the mask to move the mask together with Alex. That's something we'll talk about when we get to the animation part of this course. For now, since Alex isn't moving too much, a static mask is going to be sufficient.
61. Motion Properties: We already know how to apply and tweak effects. So that was to go to the effects panel, finding the effect, and then applying it to a clip like this flower pan. Then selecting the clip so that you could see in effect control's panel, its effect sittings. In this case, we applied the lumetri color effect to this in the previous lesson. If I turn this on and off, that's what the clip was like before, and that's what it looks like now. Now, as well as the effects here, the first option that you see is motion. Motion refers to the position, scale, rotation, and a couple of other properties that I'll explain in just a moment. Let's start with position. This is two values on the right, the first one is the horizontal position or the X position, and the second one is the vertical or the Y position. These are measured in pixels, if I click and drag any of them, let's say the first one towards left or right, you'll see the clip will start moving. If I'll click and drag towards left, you see the click goes left, as I drag towards right, the clip will go right. Now, if I do the same thing with the second property here, the Y property, the clip will start moving up and down, so if I click, and drag this towards right, it moves down, if I drag left, it moves up. Now, if I want to reset this back to its original, I can click on this curved arrow here on the right, and this will set the values back to whatever they were. Now these values are measured in pixels, and they tell you how far the center of the clip is, that area there from the top left corner of the sequence. From here to the center, it's 1,920 on the X and then 1,080 on the Y. These values are just halves of what you would get for a 4K clip. Now, if you want to see that center point, you will simply need to go and click on the word, position or motion, and that will reveal the center point here. This center point called the anchor point, as I'll explain in just a moment, is 1,920 units away from the top left corner on the X horizontally and 1,080 pixels away on the Y vertically. Now, if I just go and set these values to zero, if I just go, and type in "Zero" here, that's going to send that center point to the left hand side, and if I set this to zero, that's going to send that right to the top here as well. You can see zero and zero means the top left corner, I'll reset these again once more. The second property is scale, which is measured in percentage. Right now it's a 100 percent of the original size, I can click and set this to, let's say, 50 percent of the original size. You'll see the clip will get smaller, I can also click, and drag the value left, and right to make it smaller or larger. Again, if you want to reset this, you can just go and click on this arrow here, and that will reset it back to its default. You'll notice when I scale this, it scales horizontally, and vertically at the same time, which is usually a good thing. If I click, and drag this towards the left, you see it's a proportional scale. Now if you don't want this, you want to be able to scale this separately on the X then on the Y, you can uncheck this option here where it says, Uniform Scale. That's going to allow you to control the width and the height independently. I can make this quite thin, let's say, if I set this to a 15 percent, and still a 100 percent on the width. I don't want that now, so I'm just going to go, and turn on the Uniform Scale, and I'll set the scale back to, let's say 40 percent this time. Then we have rotation, which controls the rotation of the clip that's measured in degrees, right now it's 0 degrees. If I want to flip the clip upside down, I can set this to, let's say 180. Now the clip plays upside down, and this will all play by the way, so if I just go back and hit "Space bar" to play, you see the clip is still playing. I can also of course, click and drag the rotation left, and right like that, so it rotates clockwise or counterclockwise depending on which direction you're go in. Again, if I go and click on this arrow here, that will reset the rotation back to its default, which is zero. I don't know if you noticed, but the rotation happens from the center of the clip, from that point here, that point is called the anchor point. That's this value here. Now if I click and drag the anchor point values here, let's see if I push this X towards right, like that. Now that the anchor point isn't in the center of the clip, if I rotate it, it's going to rotate off the center. If I click and drag this value again, you see it's rotating from around that new anchor points. The last option here is the ant- flicker filter. Sometimes if the image has really thin lines or sharp edges, and you display that image on a TV monitor, it tends to flicker. This anti-flicker filter reduces or eliminates that flicker. Right now that's not the case, I'm going to leave this alone, but that's what the anti-flicker filter it. Now I want to reset all of these properties back to their defaults. Instead of clicking on these arrows one by one, if I come right up to here where it says, reset effect for the motion, that's going to reset all of these properties at the same time, that's this top arrow here that takes us back to square one. You can also change most of these properties with your selection tool inside the program panel. For example, if you click on one of these corners or the edges here, you scale a clip in and out. If I click and drag this towards right, I'm scaling the clip in. I can drag it towards left to scale this up. Again, if you can't see this blue line or the points here, you need to make sure that the clip is highlighted, and then you click on the word motion or scale or position, one of these, if nothing is selected, for example, if I click outside here, you see, I don't see those lines or the control points. The second way of revealing those points is to double-click on the clip in the program panel. If I just go and double-click here, that highlights the clip, and it also clicks on the word emotion for you automatically. Clicking one on the corners scales the clip. If you click on the clip, and drug, you can move it. You can see as I'm doing this, the position properties here are updating. You can also take your cursor just outside one of these corners here, and wait for your cursor to turn into a curved arrow, then click and drag, that way you can also rotate the clip. You can see the rotation here is changing. You can also click, and drag the anchor point here to say, here, that if I take my cursor to the corner just outside, click and drag, you see now that they could be rotating from around that anchor point. I'll go and reset all of these once again. That's how you change the position, the scale, rotation, or the anchor point of a clip.
62. Creating a Split Screen: When you scale down a clip, you'll notice that background goes black. Let me show you what I mean. If I select the clip here, and then let's say we scale it down from 100 percent to say 45 percent, you see the background is black. Now if you remember in one of the previous lessons, we talked about this background actually not being black, but being transparent. What that means is if you had something else behind this clip, that's what you'd be seeing. That's how you change the background color. For example, if you wanted this black to be white, you just place a white image underneath this flower pan image, and that will just appear to be white in the background. In essence, that's how you create a split screen as well. Let me show you what I mean. Let's say for example, we just go and find a different clip, but before that, let me just go and reset the scale back to 100 percent. Let me just go to the Footage Bin here, and then my B-Roll, and then let's say we have this clip here called Early Morning River. I'll just double-click to open this up, and I'm just going to take a small portion of this clip, let's say from say here. I'm going to set my in points to about there. I'll set my out points. I wasn't really being careful about the duration or the contents. Now I'll just bring the video portion of this clip to my timeline, so I'll just go and click on this film strip here, and then drag this on top of this flower pan clip. Of course I want them to be the same length, so I'll go to this Early Morning River, trim this here like that. Now they're exactly the same duration. Now because the early Morning River image is above the Flower pan image, that's covering it, so I can't see this image here underneath, but if I take this top clip, well to hit Effect Controls, set its scale to be something different than 100 percent, let's say 45 percent. Now the top clip, the river clip, is only 45 percent of the original scale, and I'm still seeing the flowers underneath because the flowers are under this early morning clip in the timeline. Now if I click on this early morning clip, and in fact, if I double-click here so I can see the control points and the outline like that, I can push this towards left. I'll show you in a moment how to do this precisely. I'll then select the clip underneath, and I can set this to be say 45 percent, and now that's smaller as well, and I can double click on this clip now, and then push this one towards right. If I just select this, push this left again like that, and that's essentially how you create a split screen. If I now go and play this, you see both of them will play at the same time, but I wasn't really being careful with the positioning of these clips, so let's see how we can do that precisely. Let me just go and select the top clip, and then reset its position. Select the bottom clip, reset its position as well. Because the scales are the same, both 45 percent that are on top of each other, so I can't see the clip underneath. If I click on the top clip, and then make sure I heard the word motion highlighted, as I click and drag this from here towards left, if I hold the Shift key down, that's going to lock that motion just to be on the left and the right axis. If I click and drag up and down, you see nothing happens, but the clip only goes left or right. So that's what the Shift key allows you to do. I can do the same for the second clip. I can select it, click and drag, and you see before I hold the Shift key down, I can freely move this. Whereas if I hold the Shift key down, it will lock that to only go left and right, and I'll do the same again for the first clip with the Shift key again so they get separated like that. If you want things to snap to each other inside the program panel, you need to turn on the snapping function in the View menu at the top. If I go to View, come down to here where it says Snap in Program Monitor, as I now click and drag, see what happens, these smart guides like in Illustrator, if you're familiar with them, they turn on, so I'm not holding anything down. I'm just clicking and dragging my mouse around, and you see the clips will start snapping around in the program panel. So I can add that on there and then maybe this one near the bottom left corner. If you want to see more clips in here, you would simply need to place them inside the timeline on the tracks above the Early Morning River image. Right now we don't need more than two clips, but that's what you'd need to do if you wanted to have more than two clips playing at the same time. You'll also notice as I click and drag this clip here, let me just go and turn off my snapping here for a second. You'll see that this clip is above the flower clip. That's because that's how it is in the timeline. If I put the flower clip above the other clip in the timeline like this, now the flower clip goes on top of this river clip in the program panel as well. So whichever clip is above the other one in the timeline will also be on top here in the program panel. Let me just push this back to where it was like that. Let's say for example you want to crop out all of these parts of this flower clip. So there's no point in this case let's say seeing all of the sides. Let's say we just want to concentrate on this flower here. Well let me just take the flower clip, and for the time being, I'll just go and disable this early morning clip here by right-clicking on it, and then unchecking this Enable button so it doesn't get in the way. I'll select my flower clip, reset it, so I'll just go to Motion, reset the entire motion, and instead of scaling it, I actually want to crop the sides of this. Well there's an effect for it. If I go to Effects, search for Crop, this is the effect, I can click and drag this from here on top of the flower image, and now we have the crop effect applied as well as the Lumetri effect which we applied earlier. If I now go to left, increase this, this is going to start cropping it from the left like that, and I can do the same from the right as well like that, and a bit more maybe say here, and now I'll move the entire thing towards left. So if I just go to Motion, click and drag this towards left with the shift key held down like that, then I'll go and turn this clip on, and I'll select that clip, reset that as well. Then I'll lower down the scale to let's say 50, and I'll push the position X towards right like that. We end up with a split screen again, but the layout is different this time. Here we have a portrait mode image, and on the right, we have a landscape mode image. So if I now go back and play, that's what we'll see, and that's how easy it is to create a split screen in Premiere Pro.
63. Picture in Picture with Opacity Masks: An alternative and a much more flexible way of cropping a clip is by using what's called an opacity mask. Let me show you what I mean. Let's just go and quickly reset everything we have done here, so I'll select this early morning clip and reset it. I'll also select the flower pan clip, reset its motion, and I'll also delete the crop effect from that clip. I'll select it and then press delete, so it's no longer cropped. If you click on the top clip here, and instead of motion, let me just go and collapse motion for a second actually. If I come down to here where it says opacity, try this open, here we have the opacity percentage. Now, if I go and click and drag this percentage towards left, look what happens to the top clip, this start becoming more and more transparent, so less opaque, revealing the clip underneath, so that's how we can superimpose images as well. If I now play, you see both of them will play at the same time. For opacity, we have what's called the keyframe enabled by default. We'll talk about what keyframes are later on in more detail. But for now, what I'd recommend you do is to go and click on the stopwatch icon here for a second, and then press "Okay", and then you go on and click these settings. Like I said, I will explain what the stopwatch is when we get to the animation part of this course. But for now, make sure that this is not turned on, which it will be by default for opacity. Now, I'm going to go and set this opacity back to 100 percent, so it's fully opaque. Let's say I want to crop it so I only see this tree in the background, that's really easy now. Instead of applying the crop effect which we looked at earlier, you can actually mask the opacity of the clip. If I click on this rectangle option here, remember that's going to create a rectangular mask, and I can now click and drag these points around, let's say if I click and drag this here, and this one here, and that one there, and so on. I could do that, but of course, I now lost the rectangle shape of this. Let me undo that by pressing commands a couple of times. What I can do to move both of these points at the same time is to click once on one of the points and then hold down Shift and then click on the second point as well. But you see when I do that, because this is such a small shape, it's actually still moving those points a little bit. Instead of actually clicking on the points to highlight them, you can draw a rectangle around them and that will give you the same result. Here's what I mean. Let me undo that again. Let's say I want to select that point here, but if I click on this, sometimes this is what happens. So instead, let me undo that again. I click outside and then draw a rectangle like that. As long as that rectangle touches the point I want to select, they will still be highlighted without actually clicking on the point. I'll do the same for this one as well. I'll hold down shift, go all the way outside so it's no longer showing me any funny cursors here. I'll then draw another rectangle like this with the Shift key still held down, so that highlights that point as well. If I click on one of these highlighted points, you'll see that both move at the same time, but they're moving freely. Well, if I hold down shift as I move this, it will look that to only horizontally like we looked at on the earlier lesson. I can do the same for the top two points. If I select these two with a rectangle like that, click and drag one of them up with the Shift key like that, and if I now want to move the whole mask towards that tree, I can click inside the mask and just literally drag it towards left, until I see just that tree there. Of course, this doesn't need to be a rectangle. You could use an elliptical mask as well. Let me just go and delete this mask by selecting it and pressing delete, I can click on this elliptical shape here, and now you are circular mask. If I go and drag this on top of the tree, I now have a circular mask around that tree. The final option is to use this Pen tool here. Then we undo that one more time, and I'll select the Pen, and the Pen will let us draw any shape we like. Let's say, for example, I want to create a mask just around the tree quite precisely. Let me just zoom in here actually so we can see what's happening. I'll just go zoom in to 100 percent, I'll then then double-click on the word program here, so that maximizes that panel, I'll them push my scroll bar to the left, and then this one up, like that. I still have the Pen activated because I clicked on the Pen before I double-clicked on the name of the panel here, I cannot click with the Pen and then click again, and then click again, and I'm drawing connected lines like that. You see, all these lines are straight connected lines. If you wanted to draw not so straight lines but curved lines, you can also click and drag. Let me show you what I mean. Let me undo that a couple of times. Instead of clicking like I did before, if I click and drag, it's going to draw these handles here. These are called the Beziers handles. I can click and drag again, say here, and you see I'm now ending up with a curve. If I now go click and drag somewhere here, I now have another curve there. If I click and drag, you see every time I click and drag, I'm creating a new curve there. If I go back to where I started from and then click and drag again, it's going to redraw that shape or the curve as well. In this case, I didn't really want this odd looking shape, so I'll just go and double-click here to come out of this program panel, and then select that mask and press Delete on the keyboard, we'll zoom out from this, and then just create a rectangular mask again, and then place this on top of that tree there, and then manually, by clicking outside and drawing a rectangle, manually expand this mask to go like that. That way, you don't need to scale the entire clip down to make it fit in that certain area. You can actually mask it so that this tree isn't smaller than its original size. If you now want to move the tree, let's say to this empty area here, you can just click on the word motion and then move the entire clip towards left, like that. Because all of these parts in the clip are invisible, because we masked them, it looks like we're just moving this tree, but in fact, we are moving the entire clip. That's how we achieve the picture in picture effect in Premier Pro.
64. Introduction to Animation: Now we talked about how to change the appearance of a clip. We made it look different in terms of color. We made clips look smaller, larger, we moved them around, we rotated them. But we didn't talk about how to change these properties over time. That's what this section of the course is going to focus on. How to create an animation. In other words, how to change a property gradually over time. Let's take this as an example. Let's say instead of fading this text in like we do here, let's say we want the text to start from the bottom of the screen and then gradually move up to the center, and then maybe wait there for a couple of seconds, and then move up right to the top and disappear. Once you learn how to do just that, you can animate any property you like. I'm not exaggerating when I say that. If you're able to make this text go from one point to another, you can make a clip go from full color to black and white, from sharp to blurry, from large to small, so you can change anything and they all work exactly the same way. Let's see how it's done. Like I said, I want the text here to start at the bottom and then gradually move up to where it is now. I'm going to first go and select the text. Let me zoom in a little bit in the timeline. I'll select the title here. Then in the effect controls panel, I'll go to the property that I want to change over time. Now, different than anything else that you're used to seeing in the effect controls panel, graphics, or titles that you create inside a Premier Pro will have slightly different settings here. Now, the thing that you need to keep in mind is to find the property that you want to change over time. You can see there's quite a few motion options here. Like there is a vector motion, there is this motion here as well. I'm not interested in these now, I need go and find the text which is here. I'm going to click on the triangle next to it. Now here, there is a position of the text. In this case, this is the thing that I want to animate. If you wanted to say animate the temperature of a Lumetri color effect, you'd go and twirl down until you see the temperature option there, and that's what you deal with. In this case, we just want to animate or change the position over time. In order to make any changes over time, you need to be using this mini timeline here. Now this mini timeline is way too small for the time being, so let me make a bit more space for this, let's go click here and then push this towards left. I have more to play with here. By the way, if you can't see this timeline at all, you may need to go and click on this arrow here. Sometimes this arrow is checked. If I click on this, you see the timeline disappears altogether. You might go and click on this again to reveal it. Now that we see the timeline here, this mini timeline that represents the timeline of a particular clip, different than the timeline that you're used to seeing here. For example, this timeline or this time ruler here shows you the entire sequence or the program. Whereas this timeline here, the mini timeline, shows you the contents or the timeline of just one clip. If I, for example, click on this clip, that's the beginning of that clip. If I click and drag this here, that's the very beginning of that clip, and that's the very end of that clip. If I click on this, that's the beginning of the title there, and that's the end of the title. I'm going to select the first title here and then go to the beginning, and that's the beginning of that title, and then this is the end of that title. Just so that it's a little easier to understand what I am showing now, I'm going to go and delete the dissolve affects here. I'll go and delete this cross dissolve by selecting it and now I'm pressing "Delete". Then this transition here as well, so that we can select the clip again. Then the beginning is now going to be completely visible. Let's now have a look at how we can make this clip move over time. There's going to be five steps that you need to follow in quite a specific order to get anything to change over time. The first step is to go to the time when you want that change to start happening. Let's say, for example, you want this text to start moving from the bottom upwards at the very beginning of the timeline. So I'm going to push this right to the beginning of this timeline. That was the first step so we specified when the animation is going to start. The second step is to tell Premier Pro what do you want this property, in this case, the position property, to be at this point in time. Where do you want this text to be at the beginning of the timeline? Well, I want this to be at the bottom. So I'm going to click on this y property here and then push this towards right to send that text to the bottom. You can go all the way, so if you want this to start off screen, you can go all the way like that. But just to make it easier to understand, I'm going to start on the screen and then we can go and tweak this later on. That's where it's going to start from. That was the second step. The third step is to record disposition, so Premier remembers it. To do that, you have to go and click on the stopwatch icon next to the property you want to animate. In this case, because I'm animating position, I'm going to click on this stopwatch icon here. Once I click, that's going to create what's called a keyframe. This tiny diamond shape here on the half of which we can see at the moment because that's at the beginning, is called a keyframe. Now, that was a third step. We recorded the position of this at this given time. The next step is to tell Premier when you want this object to stop animating, or in this case, to stop moving. Let's say you want this to take two seconds. Well, I'll push my playhead forwards by two seconds. I'm on the two-second mark here. I can check where I met either by looking at this, that or this. I'm now on the two-second mark. Then, of course, the final step is to tell Premier where you want the clip to end up, and that's going to be right near the center of the screen. I'm going to click and drag this value again, the y-value, this time towards left. That automatically creates the second key frame for us. You see that we had the first keyframe at the beginning, and then we moved forward, and then changed the value here just by clicking and dragging this number, and that automatically creates a second keyframe for us. If I now go back to the beginning and play, Premier Pro will interpret between those two key frames and it will make the clip, in this case, the text move from one point to the next. This is what it's going to look like now. Once you get the hang of it, that's actually really simple, let me do that once again for you. I'm going to go and disable all of this by clicking back on the stopwatch. It will give you a warning saying, are you sure you want to delete all of this? Yes, I am. I'm going to press "Okay". I'll start again. This time that say, I want the text to start from the left-hand side of the screen. Well, I'm going to go to the beginning of the timeline. I'm going to push the text to the left with the x-value here. Or of course, I can click and drag the text as well. I'm just going to keep using these numbers to keep things simple like that. I'm going to go to one second in the timeline there. Then I'll keyframe it, this is telling Premier where to start the animation. Once you click on the stopwatch, remember you don't click on this again unless you want to delete all the keyframes. You then go forward to tell Premier when you want the animation to finish. Let's say I want this to finish on two seconds and 12 frames. Then you click and update the value here. Let's say it will end up here. If I now play from the beginning, you see for one second nothing's going to happen. Then at this point, it will start moving and it will stop moving at the second keyframe here. If I play, that's exactly what's happening. Let me pause the playback. Now, if you wanted to slow down the animation or speed it up, all you have to do is to separate the keyframes to slow it down, or squash the keyframes closer to speed it up. If I give this animation more time to complete, let's say, for example, if I take the second keyframe, push this towards right, I'm simply giving it more time to go from that point to that point, which means it will have to go slower. If I go and play this, the same animation takes place, but it's much slower. Whereas if I push this closer to the first keyframe, and if I play again, it's going to be exactly the same animation, but faster. It's like if I give you 10 seconds to go from your desk to the kitchen, you'll have to go at a certain pace. Whereas if I give you two seconds to go from your desk to the kitchen, you'll have to run much faster. The distance remains the same, I only give you less time so that you had to do the same task faster. Once you get the hang of these keyframes, you can animate any property you like, and like I said at the beginning, I'm not exaggerating when I say that. You can animate literally any property on any effect you like using exactly the same method, just those five simple steps. Make sure you digest all of this information about keyframes before moving onto the next lesson. Because unless this makes perfect sense, the rest of these lessons are going to be quite difficult to grasp.
65. Pausing an Animation: Now we know how to change something over time. Let's see how we can pause it. Let's say, for example, here we had the same animation. So the text goes from left to right, and then we want the text to wait there for a little bit and then move on to the right-hand side and disappear off the screen. Think about how we can do that. Well, one thing that wouldn't work is if I just go and add one more keyframe let's say after two seconds or so. Let's find out when this keyframe is. If I just go back and this is by the way, how we can jump back and forth between keyframes. If I click on this button, that takes me to the previous keyframe like that, whereas if I click on this one, that takes me to the next keyframe on this property. That keyframe is on the one second mark. Let's say I want to go to three seconds, so I don't want anything to happen to the text for two more seconds. If I just push this forwards to three seconds exactly. By looking at the time code here, I can see I'm on the third second. If I just go and push this all the way to the right now, so if I click on this position property, push this to the right. By the way, when you're pushing these properties, if you hold the Shift key down, that will go faster, like that. But if I do this, what I'm going to end up with is that the layer or the text here is going to move from that keyframe, the left position, to this keyframe, the center position. Now from the center position to this keyframe, which is the right off-screen position. There's going to be no pause between the keyframes. Take a look. I don't know if you noticed that the first section is actually faster than the second section, because this gap here is smaller than this gap here. So the keyframes or the text rather has more time to go from here to here than it does to go from the beginning to the center. Let me just exaggerate this a little bit. If I just push this keyframe forwards towards right, you see that's going to happen much faster than this part. Take a look. I'll undo that, and in fact, I'll select this keyframe and delete it. If you want to pause on animation, what you need to do is to have a keyframe that's got exactly the same value as your last keyframe. Let me just go back to the third second again, here. To have a keyframe that's got exactly the same value as this keyframe, you can either copy and paste this keyframe literally by selecting this, and then going to edit copy, then edit paste, or you can click on this button here as well. This button between these two arrows will add a keyframe with whatever property value you have at this given time. What that means is if I undo this, is if my values are 1914 by 1117, and that's the same with all of these frames here, you see that doesn't change. If I now click on this, that's going to add a keyframe with those values. Let me just delete that keyframe again. I can also, like I said, select this keyframe, command C to copy it, and then command V to paste it as well. Both of those techniques will do exactly the same thing. Now that we have this third keyframe here, what that means is that between the first two keyframes, you'll get an animation like that, and then between the second and the third key frames, there is no animation because the two values are exactly the same. Then if I go forward again, and then add one more keyframe now by changing this value once again, let's say I want is to go off screen all the way to the right, like that. Now there's going to be an animation between these two keyframes, no animation between these two key and again, a different animation between these two keyframes. Let's look at it from the beginning. I'll go back. Play. You see nothing happens between the second and third key frames. If I want the paused section to be longer, all I'll need to do is to separate the third and the fourth keyframes from the first and the second ones. If I highlight them both, drag down towards right, like that, you see now the first animation takes place. This is the character's flying in and then nothing happens here. It's a longer pause now, and then they'll fly out. In the next lesson, we'll take a look at how to use the same technique in a bit more of a practical scenario.
66. Animating Lower Third Titles: You'll remember when we looked at the titles, we looked at how to apply this wipe transition so that the titles were coming in like this. 70 years, maybe longer. Now let's say, instead of wiping this title on, I want to move it from off-screen to where it is now, and then back off-screen again to where it came from. For that, I'm going to go and first select the wipe transition and delete it, so that the title is visible at the beginning of the clip. So it just pops on like this. What I'll do next is to highlight the clip and I'll follow the exact same five steps again. So at the beginning of this clip, I want the title not to be here, but to be off-screen. Now, because this title has more than one element in it. There's the text and its background as well. Instead of animating them separately, which you can do if you go to the Effect Controls panel, and then you hit the text here, which allows you to animate the text or the shape, which is this background here. Instead of animating them separately, if you come down to it as motion of the video clip, you can animate both of them at the same time. I'm going to go to the position of the entire video clip, and at the beginning, I want this title to be off-screen, so I'll just click on the X and then just drag this towards the left with the Shift key so it goes faster, like that. It's completely off-screen now. I'll then record this position by creating a key frame. Let's say I want the title to take one second to travel from where it is now to the final position. So I'll just go forward by one second. Right now I'm on 1320, so I'll go to 1420 there. Then I'll just click on this X again and then drag this towards the right with the Shift key again, so it goes faster. Let's say I want the text to end up there. That creates our second key frame. If I now go back and play, this is what we have. In two years, maybe longer. Let's say now, instead of fading out, which it does now, you see it fades out at the end, let me just go and delete their transition as well by selecting it and pressing delete on the keyboard. Instead of fading this out, I want the title to remain in place, let's say until here, and then go back to where it came from. Well, I can take this last key frame, copy and paste it. Let's edit copy and then edit paste. It's copied and pasted, that last key frame, so nothing happens to the title between these two key frames. Then I go forward again, let's say by one second so this was 1607, so I need to go to 1707 there. At that point, I want the title to go back exactly to where it came from. Well, I can take the first key frame, copy it, and then paste it. Now the title starts from that key frame, it goes to that key frame, and then it remains on that key frame because these two are the same. Then it goes back to the first key frame because that is the same key frame as that one. Here's what we're going to get In two years, maybe longer. Originally it was where all of the people of Mali learned to swim. The beautiful resorts- Of course, as the title's moving in, you can also add a transition to it. So at the beginning, I can now right-click and add the default transition. So if I select the title again now, you'll see that the cross dissolve will take place from here until here. As the title slides in, it will also fade in. If I do the same at the end, if I right-click and then apply the same transition there as well. If I select the clip again, you see the title will start fading out at that point. So if I now play, you see it will fade in as it slides in and then it waits there, and then as it slides out, it will start fading out as well, like that. That's how you can get a title to start off-screen and then slide on, wait, and then go back to where it came from.
67. Reusing the Attributes of a Clip: Now that we know how to animate the titles to come in and then go back out, we can take the same animation and paste it on top of a different title as well. Let me show you how. Let's say for example we want this title here of Alex to do exactly the same thing, so right now it's wiping on and then cross dissolving out. Let me just delete these two transitions first, so I'll select the wipe, delete that, select the transition, delete that as well, so that the title is just a static title like that. What I'm going to do now is to select the clip off the title for Amanda. It's this clip here, and I'll copy the entire clip. I'll just go to edit, copy, and then we'll deploy ahead on top of Alex's title, and then select that title and then I'll go to edit and instead of pasting it, I'll paste the attributes of Amanda's titles to this clip. I'll click on paste attributes and now it's going to ask me what I want to paste. Now I've only animated the motion, so let me just uncheck everything except the word motion here. Then I'll just go and press "Okay," and now this title clip is going to animate exactly the same way as this one, so let me just play this. It slides in, it waits, and then it slides back out. Of course the transitions are missing, so let me just go and add the transitions there. The shortcut to add a transition is Command D. When I do that with the clip selected, that will add the default transition to the beginning and then the default one to the end. That's also available if you've got a sequence and then you can apply the video transition here by pressing Command D. So now if I play this, that's going to look identical to Amanda's titles. They said to me that they didn't feel like they could focus. There we go, and that's how we can copy and paste the attributes from one clip to another.
68. Easing Keyframes: One thing you can do to make these animations smoother is to ease the key frames. Here's what I mean. Let me just preview this animation once for you, so I'll go back here and then hit space bar to preview. Seventy years, maybe longer. Originally, it was where all the people. You see how the title is moving at a certain pace and that pace doesn't change? If I go back and just preview this slowly, you see that the title is moving at the same pace from the beginning until the end of the animation. Now, if you want this to look a bit more organic, what you can do is to highlight the clip and then go to your key frames here and then you can right-click on that, say, the first key frame, and then come down to where it says, "Temporal Interpolation" and you have all of these options here. These refer to the speed of the key frames over time. Without getting too technical here, what I want to show you is that you can ease out an animation. That will be done on the first key frame of an animation, which will tell Premiere Pro to start the animation slowly and then gradually pick up speed. That's what I'm going to do with this one, so that will ease up from his key frame. But I want that to ease in to the second key frame as well, so I'll right-click on the second key frame and then come down to Temporal Interpolation and then I'll ease into the second key frame. Rather than just stopping, it's going to gradually come to a stop, so if I just go turn this on. If you now watch what this looks like, you'll hopefully be able to understand. Let me just go and disable everything else except this track here. I'm going to go and disable Amanda's clip, so we can only concentrate on this one. I'm going to back and play. Seventy years maybe longer. I don't know if you can tell that the clip is starting slowly and it's picking up speed and then it's slowing down again before it comes to a full stop. Let me play it again once more. Seventy years, maybe longer. Compare this behavior to what the clip is doing as it's moving out. The moving out part is still the same, I haven't changed it, so it's got no easing on the moving up part. Take a look at the second part here. Originally, it was where all the people of Marlow. It starts at the same pace and it finishes at the same pace as well. Whereas, the first part starts gradually, picks up speed, slows down before it stops. Seventy years, maybe longer. Originally, it was. I want to do the same thing for the second part as well. I'm going right-click on this key frame, Temporal Interpolation and I'll Ease Out from this and then right-click on the last key frame, Temporal Interpolation, and I'll Ease In to this. I'll go back and play so that we can hopefully see that the titles are moving a lot more organically than they were before. Seventy years, maybe longer. Originally, it was where all of the people of Marlow learned to swim. Let me now enable this track and I'll do the same thing for Alex's title as well. I'll go here, select the title, right-click on the first key frame, Temporal Interpolation, Ease Out. Right-click on a second one, Temporal Interpolation, Ease In. Third one, Temporal Interpolation, Ease Out, and the last one Ease In. That's also going to make it look smooth now. Said to me that they didn't feel like they could. As you can see, easing key frames is a quick and effective way of making your animations look more professional.
69. Animating Effects: In this lesson, we'll have a look at how to animate an effect. Now since you know how to animate a simple property-like position, you can animate, like I said at the beginning, anything you like, and that includes effects as well. Let me show you how. First, I'm going to go and delete this cross dissolve transition here. What I want to do is instead of this clip just appearing like that, I don't know where I want us to start blurry and then gradually come into focus as if the camera was out-of-focus when it was being shot and the focus ring was gradually rotated so that things would go in focus. Let see how it's done. I'm going to select the clip, go to my effects panel, and search for an effect. Let's say the Gaussian blur effect. Here it is, I'll double-click to apply it and now I go to effect controls panel. Scroll down until I see that effect. It's here. I can increase the blurriness, you can see the whole thing is becoming blurry where if I push this towards left is becoming sharp. Were to do this over time, I'll have to follow the exact same five steps as we looked at in the previous lessons. At the beginning of the timeline, I want this script to be blurry, so I'll go to the beginning first, increase the blurriness to let say, I don't know 100, and then keyframe it. Then I go forward, let say I want this to take one second to complete so this is five seconds at the beginning. I'm going to go to six seconds here, and then I'll set this to zero. That will create the second keyframe for us. If I now go back to the beginning and play, you see it will start blurry, and as it plays, it's going to go into full focus. If I want that to be faster, I can push this keyframe closer to the first one. Then if I go back, you see it's blurry at the beginning and they're sharp when we get to the second key. Let's say we know an update so it starts even blurrier. Now one thing you can do it is to select this keyframe and just go and increase it like that, so if I highlight the first keyframe, instead of a 100, if I type in, let's say 250, that's not going to update the first keyframe, but instead, it's going to update the existing keyframe your playhead happens to be on. Selecting a keyframe doesn't really do anything apart from letting you control the position, or copying and pasting or deleting a keyframe. If you want to update a keyframe, you need to make sure that your playhead is on the keyframe, then you can update the value to, let's say 250, and then it's going to change it from 100-250. If I now play this, it will go from really blurry to sharp. I can now slow this down, and if I now play again, you see it's going to be slightly slower and that's what it looks like now. Now, one thing you may have noticed is if I go back to the beginning, when I blurred the clips out, you see the edges actually turned black. Now that isn't really black, that's just transparent, so if I had something else underneath, I'd start seeing that other clip underneath because the edges are also getting blurry. To avoid that, you can click on this button here, which says repeat edge pixels, so it's going to repeat those blurred pixels to fill in those gaps. That's what that is. Now that I have this blur effect in place, I can also add a transition here at the beginning, so if I right-click, add the default transition, select the clip again, and then if I scroll down to see those keyframes, as the clips fades in, it's going to start blurry and then go to sharp like that. Instead of just using the cross-dissolve transition, you can combine it with a blur effect like this to get a slightly better-looking result and the same method works with pretty much any effect you like. Let's have a look at a different example. Let me just zoom out a little bit first, and then let's say we select this clip here and let's say I want this group to start black and white and then gradually turn to full-color. Well, let me just go and start with that lumetri color effect here, so I'll select this search for lumetri color. There we go. I'll then double-click to apply the effect, and right now nothing happens because we need to go and dial in some properties here. I'll go to basic correction. Now scroll down to saturation here and I'm going to start the clip. At the beginning of the clip, I want the saturation to be zero. It's completely black and white and then keyframe it. Then I'll go forward, increase his back to 100 percent. Now the clip will change from black and white at the beginning to full color here, so if I play this, take a look. Let's say once it turns into full color, you want to change the overall temperature. Well, you can jump to this keyframe here. This is when you want the temperature to start changing and let's say at this point in time, you want the temperature to be zero, which it is. You can keyframe it, go forward and then increase temperature. That's going to add one more keyframe here, and you see now it will go from black and white at the beginning to full color here. Then at this point, it's going to start changing the temperature so it looks warmer as well. Now I don't really like what I've done here, so I'll just go and delete the effect. I'll just scroll up, find the lumetri color select it, and delete, so we go back to square one. That's how easy it is to animate effects as well.
70. Animating and Auto Tracking Masks: Let's say you want to apply an effect to a clip and then limit that effect to a specific area using a mask and you want that mask to follow something. That's what we're going to talk about in this lesson. Let me select this clip first and let me just go and search for the Gaussian blur effect again. There we go. I'll double-click on the name of the effect to apply it. I'll then just go and increase this. You can see on this example, the background clip is actually showing through. That's because my repeat edge pixels is turned off. I'll turn this on, so I don't see that background clip. Now I want this effect only to be limited to let say, this trainer's face. Well, I can just go and add a simple elliptical mask here and then drop this on top of his face. To make this easier actually, I'll go to the beginning of the timeline here, this mini timeline so that's the beginning of the clip. I'll resize this so it covers just his face like that and I'll push this back on top of his face here like that. Now the problem here is because he's moving and the camera is moving, he's going to go outside that mask, so take a look. Because they're in a boat of there own, so there are not worried about-. There, he is actually going outside the mask. Let me go back. He's no longer being obscured by the mask. Let me go back to the beginning. Now to animate the masks position, what I'm going to need to do is to come down here to where it says mask 1. That's our shape here and keyframe it at the beginning of this clip. Keyframe the mask path so that initiates the keyframe here. Then I'll go forward a little bit. Let's say I'll go forward to here and then if I lose the outline of the mask, remember, I can click on the word mask 1. Then I can put this back to his face again. That's going to create a new keyframe here and what Premiere does is it interpolates between these two keyframes so it makes the mask go from one to the next between the two keyframes. Just like animating text or anything else, you can actually animate masks as well. I'll go forward a little more and then put this back on his face, which create a new keyframe. Go forward a bit more again and place this again here and then a bit more and then place this again here. Then keep doing that as well until the end, let's say place this here. Then right to the end there, I'm going to place this back on his face. If I play this, you see the mask is going to follow him. Now that's one way of doing it. You can animate the mask that way. Of course, if I now go and change the blur amount, let me just scroll down. If I increase the blurriness, you see only that part is going to get blurrier or sharper. That's one way of doing it. The second way is to ask Premiere to do this for you automatically. Let me show you that as well. Let's go and select this mask and delete it. I'll create a new mask. I'll just go and create a new mask from scratch. Place this on his head again and then make this slightly smaller like that. Then place it carefully here. Now that I have the mask in place, what I can do is to use these options next to the mask path property. Then get Premiere to track this mask forwards or backwards. If I want this play head to move forward from here, I'd click on this button. If I want the mask to be tracked backwards so I want to create the keyframes before this play head. I'd click on this button. Now in order to save time, I'm going to go right to the beginning and then place the mask on his head again. I only need to track this forwards. Now if I want Premiere to take over from here and track it automatically for the entire clip, I'd click on this button. If I'm not quite sure what the result's going to be like and I want to see this frame by frame, I'd click on this button. Every time I click on this button, that's going to create a new keyframe in my mask path property. Take a look. That's the first one that created a keyframe there. By the way, if things look muddled up a little bit here, that's because you don't have enough space. I can just expand this towards right, like that. I can click on the same button again. That creates one more keyframe, same button again and again. Every time I do this, it's sticking this mask onto that area and it tracks his face. Now, if I'm quite sure that this is going to work, or if I want to just test it, I can click on this ''Play'' button here and let it do its magic. Once it's done, you see you'll end up with all of these keyframes here. One keyframe per frame. if I now go back and play, you see, that's actually tracking his face pretty nicely. Normally, if I'm trying to track something, I'd start with this automated way by clicking on this ''Play'' button here and if it works, great, and if it doesn't, or let say for example, it loses track because someone is walking in front of the shot between him and the camera, you can pause it and then manually track those frames like I showed you at the beginning of this video. Let me show you one more effect that I think is quite useful when it comes to blocking up people's faces or maybe products or number plates or any sensitive information. Let me collapse this Gaussian blur. Go to my effects panel, and I'll search for an effect called mosaic. There are a couple of presets here, which I'm not interested in right now. I'll come down to here where it's a stylized mosaic. I'll then just go and double-click on this effect. You see this is what the effect turns the clip into simple blocks of colors. Now, I'm going to go to the mosaic effect and I'll increase the horizontal blocks we have. If I just click and drag this, you see I'm adding more blocks horizontally. I can do the same vertically as well, like that. Now I want this to be applied to let say this kid's face. I can just go and mask that. I can push this mask onto his face. Let's say here. Let me make sure I'm at the beginning of the timeline. I'll make this smaller like that and I'll reposition this. Then I'll just go and track this forwards. Once it's done, let's going to preview this. It's actually following him quite nicely. Although the original shape of what we were trying to track changes because he's turning around. The mask is still working and that's great. If I want to add one more mask, to let say block out this kid's face. I can go back to the beginning, create one more mask by clicking on this button again under the mosaic effect. Then that new mask can go here and then I can reshape this again. Place this on him, scroll down, and then I can track this mask forward as well. Now let's see what this looks like. I'll go back. It's working all fine until about here and at that point you can see that this mask is actually sticking to that chi arch here. I reckon that Premiere thinks that we are trying to track this chi arch, which is wrong. I'll go and find the point where it loses the track. I'm just going to go back a little bit. I think around about here is when it loses the track. What I'll do now is I'll highlight all of these keyframes after that point and delete them. Let me zoom in so I can highlight this as well. I'll highlight these key as well and delete these, are then manually places back onto the kid so this will update the existing keyframe there. Then I'll track this forward again. I'll do this frame-by-frame to see that it's working before I hit the ''Play'' button here. I'm going to try this forward by one frame. The mask is sticking to him again and it looks like it's actually sticking to him now. Now that it's working, let me zoom out by pressing minus on the keyboard and then I'll just go and press this ''Play'' button here to track it automatically forward. Now I think that's working because I can see at the end of the clip, this kid is still blocked out. If I now go back and that mask is following the kid again. As you can see, although the auto track is quite a useful function, it doesn't always work as precisely as you want it to be. In those circumstances, you might want to revert back to the method I showed you at the beginning of this lesson, which was to keyframe the mask manually.
71. Importing and Animating Photographs: In this lesson, we will have a look at how to import and use photographs as well as animating them in the timeline. In this section of the timeline, Amanda is talking about the floods and how they impacted the entire site, so let's have a listen. Flooding is becoming worse. About five years ago this site flooded to epic levels. Flooding was bad enough and the buildings were all submerged and underwater. But the floodwaters stayed and it stayed for weeks. What that did was it just decimated the entire site. It was touch and go whether Long Ridge would survive. Now, as well as this cut-away short here and also this one here. Let's say you want to see some photographs as well. Let's see how it's done. I'm first going to need to, of course, import those photographs, so just like anything else, I can import photos by double-clicking anywhere empty inside the Project Panel. Then inside my Premiere Pro Master class files folder, I'll go into Graphics. Here we have the flood photos. I'm going to import the whole thing. On the Mac, I'm going to click on "Import" without selecting a single image or on PC, by selecting the folder, you'll be able to see a button here that says "Import Folder". So you click on that, which is going to create a bin and import all of those photographs into that bin. Well, let's just go and double-click on that bin to open it up, and let's start with this first one here. I'm going to double-click on this photograph to open that up. By default, you see that the photograph is set to five seconds. It starts from here and the output is set to five seconds. But because this is a photograph, you can make this as long as you like. You can either do that here, so if I zoom out from this, I can get this any duration I like. If I just go here, that's half an hour long and if I press, "Alt" and set my out point, now my photograph is 32 minutes long or I could bring a five second photograph into the timeline and extend it afterwards. That's what I'm going to do. I'm going to press, "Command Z" to undo that length change. I'll just go back to the beginning and then zoom back in. Now, since this is a photograph, you can see that the audio option here is turned off. If you also look at the timeline, let me make a bit more space for the timeline. You can see there's no audio patch control either because we just have a picture here. I'm going to push this back down. I'll push this to where I want the photograph to start from, let say, here. I'll set my patch to be connected to V2 here. Then I'll do an overwrite edit that we'll send that five second photograph into my timeline here. The alternative, of course, would be to drag this clip from here onto the timeline. Let me show you that as well, let me press "Command Z" to undo that. If I click and drag the clip from here directly onto the timeline, I can drop it anywhere I like. Now you see because the photograph is set to more of as a square-like format rather than a rectangular format, which is what our program panel is showing us because that's the sequence settings, I'm getting some cropping here. If you look at the top part of this building, for example, on the original image that's much closer to the edge of the frame in the program panel. Let me show you what I mean. I'm going to select this photograph, go to my Effect Controls panel, and if I just zoom out from this one first, so let me just go to here where it says fit, zoom out, let's say 25 percent. If I then click on the word motion, you can actually see that's how large my photograph was. If I make this smaller little bit, I can get the entire photograph in but eventually, I'm going to start seeing what's underneath. I'm going to undo that. Similarly, if your original photo was much smaller, let's say that size, you would need to scale it up. If you scale it up, of course, you're going to start losing quality. So I'd recommend using high-resolution images to start with. Now that I have this photograph here, I'll show you how to animate it. Now I'm going to zoom back in. I'll just go here, select fit. What I'll do is to go to the beginning of this photograph, key-frame the position and the scale. Then I'll go forward, let's say to the end. If I go right to the end, I actually start seeing the first frame of this clip. I'm going to press the left arrow once to go back by one frame. This is the last frame of this photograph. I'll then scale this up to, let's say, 115 percent. Naturally, because we're going above a 100 percent of the original size of the image, we are going to lose some quality. But that's okay for now. What I have simply here is if I go back and play, the photograph is zooming in a little bit. Now as it's zooming in, let me just go back to that key frame by clicking on this button here. As it's zooming in, let's say I want to concentrate the viewer's attention more on this side where the building is. Well, I can click back on the word emotion. I can just click and drag this image towards left, right now it's snapping. Let me just go and turn that snapping off. I'm just going to freely click and drag. At some point, you'll start seeing the clip underneath because I'm going too far with this like that. Now that's when I know I went too far, so I'll just go back maybe about there. So there's a subtle moment now going from the center up to there. Take a look. If I go back to the beginning, as the image is getting larger, it's also going to move from here to here. That's going to create that zooming in effect. Let me play this. Site flooded to epic levels. Flooding was bad enough and the buildings were all submerged and underwater. Now Instead of cutting from this image to Amanda, let's find a different image that we can cut into. Let's say, maybe we use this one here. I can also directly drag this clip from here to my timeline to start when this first clip finishes. If I go here, that's what that clip is. If I now highlight it, I can see it's settings. I can go back to the beginning and then just check how big this clip can be. If I scale this down, that's about the same size as the sequence actually. I'm going to leave this alone. I'll just keyframe the scale but I want this to start a little lower like that then keyframe the position. Then I'll go forward towards the end and then press the left arrow once so I can see the last frame of this clip. Then I'll zoom back in, let's say to 110 percent this time. As that's happening, I'm going to push to clip up as well with the second value here going left, like that. If I now play, you see that this clip is going to start zooming in and going up as well, because the clip is going up, I'm seeing the bottom part of the clip. Now, if you want to try the transition between these two photographs, between these two, you might need to tweak those keyframes. Let me show you what I mean. If I right-click between these two and then apply the default transition, which is across this. If I play this, you see the image in the background, I don't know if you can tell. Let me just make this a little longer actually. I'll select the cross dissolve extend it a little bit. You see near the end of this clip, the first image here, this one is going to stop moving. Here you see the image in the background now stopped moving and the second one starts. That's because if I click on the first clip here, the transition is applied and these two keyframes are no longer lining up with the end of the clip. Because remember when you apply transition, you are revealing handles, so you're adding new additional frames to your clip. If that happens to you as well, you need to highlight these keyframes and push them all the way to the end of the timeline here. That way, you will ensure that this transition is happening while the clip is still zooming in. Of course, you need to do the same for the beginning of this clip. If I click on this clip, you'll have to select these two keyframes and drag them towards the beginning. It ensures that the transition takes place while the clips started zooming in. If I go back and play this again, from here, the photo continues to move until it disappears. I'm going to add the transitions at the beginning as well and the end. I'll select this clip. Just check that the keyframes are lined up, they are. Then select this one and then just check these keyframes are also lined up. I'm going to play this again from the beginning so we can take a look. This site flooded to epic levels. The flooding was bad enough. I mean, the buildings were all submerged and underwater, but the floodwater stayed and it stayed for weeks. What that did was it just decimated- That's how we import and animate photographs. This effect of animating photographs is also called the Pan and Scan effect or the Ken Burns effect, named after the famous documentary director.
72. Importing a Layered Photoshop File: Just like importing and animating photographs, you can also import and animate layered Photoshop files. Let me show you how. I'll go to the project panel again and then double-click somewhere empty. This time I'm going to go inside my longridge logo folder and in here I see three logos, there's a JPEG, there's a PNG with no background, and a PSD that's got the individual layers that separated. I'm going to bring in the PSD, then I click Import, now because this is a layered file, it's going to ask me to confirm what I want to do with these layers. By default, it's going to merge all the layers and just give you one object or one clip to play with. Well you can change that, you can say don't merge all the layers, merge some of the layers, I can select this, and I can say, for example, I don't want the background layer to come in, and these layers actually coming from the PSD file, so that's where I created this logo. I can uncheck the background layer so that the background layer won't be included in the clip that you import. You can also say bring in separate or individual layers, if I turn this on and let's say I just want to bring in the text and the rope icon here, I can just turn these off, and that's going to import two separate elements into my project panel, one for the text, one for the rope. Now the last option is to bring them in as a sequence. If I turned it on, and turn on all of these layers, what that's going to do is to create a new sequence from scratch, and it will add each one of these elements on individual tracks in that sequence. Let's see how this is done. I'm going to lead this set to sequence and then press okay. You can see now I have bin for longridge logo. If I open this up, I have the individual elements as well as a sequence here. This last one is a sequence, you can see from the icon that is a sequence. If I double-click on that sequence, and this will open that sequence up, and it may look a little too pixelated now because I'm zoomed in, so I'm going to go to as fit, change it to a 100%, this is the original size of the image. Now, it's still looking a little pixelated, that's probably because my paused resolution is set to something lower than full. If this ever happens to you as well, you can right-click anywhere in here and then go to paused resolution and then change it from whatever it says to full, and then you'll see this in full resolution. Now in this case, because this has no audio, there's no point for the audio part to take up any space on my screen, so I'm just going to push these down, and you can see I have all these layers one by one, so that's the background layer which is this clip here then you had the rope layer, which is that clip, and then the kayak layer, which is that one, lines that one, and then the text which is that one. In this case let's say I don't want the background, so I can select it and delete it, or if you're not sure, you can just turn it off. That's how we import a layered PSD file. In the next lesson, I'll show you how we can animate these individual elements.
73. Animating the Logo: Let's now have a look at how we can animate this logo. What I want to do is for this icon, the rope icon, and the kayak icon to fade in gradually at the very beginning, and then I'll see these lines coming up and then the text, finally. Let's start with these icons on the left and the right. Let me select the rope layer here. Then I'll go to the beginning of the timeline and I'll come down to opacity. You'll notice opacity already has the stopwatch icon turned on. I'll leave it alone. I'll just go and set this to zero, which is going to initiate the keyframe here. Then I'll go forward by one second. I'll just push this forward by one second and then change opacity to 100 percent. That's going to create a simple animation of this rope icon fading in. Now I want the exact same animation on the kayak icon as well. Well, I can select the word opacity, copy it by pressing Command C or Control C. Select the kayak layer and paste by pressing Command V. That's going to paste opacity from the rope to the kayak. If I now play this, they'll animate in at the same time, like that. You may also notice that the quality of the playback is actually going bad when I hit spacebar. That's because my playback resolution, which was on the right-click here, is also set to a quarter. I could change it from here, also, from here as well. For now, I'll set this to full. I'll go back to the beginning. Then when I play, I shouldn't see any loss of quality when I play this back. Great. That's done. Let's now have a look at these lines. I want to do something quite specific to the lines. Once the icons fade in, the kayak and the rope icons fade in, I want to start revealing this top line from left towards right. It's almost as if it's going to draw on. Then the bottom line here, the green one, will start revealing itself from the right to the left. It will draw from right to left. For that, let me go back to the beginning. For the time being, I'll just go and turn everything off. I'll go and turn off the kayak and the rope, and then the text so we only have the lines here. I'll select it. Instead of animating opacity as a whole, I'm going to go and mask it. Let's say, with the pen tool, and just click here, I'll draw a simple mask like this. I'll just go from here to there like that. Then I'll come back to where I started from and finish that mask off. The reason why I'm doing this is because I want to animate this point, as well as that point so that I can gradually reveal the shape. At the beginning, I don't want these points to reveal that shape, so I'm going to push these back to, let's say, here, like that. I'll then go to the mask path. Keyframe this mask path for the opacity. So I'll keyframe that. I'll go forward, let's say, about there, maybe one second in timeframes or so. I'll then click back on the word mask one and then just push this towards right. Then this one also towards right. All the way until that line is completely visible. Let's say like that. I'm being quite careful not to mess up the top part of this line. I'll just go and push this up as well a little bit like that. If I just preview this, let's see what we have. I'll actually want to see this with other blue outline getting in the way so I'll just go click outside and then click on play. That's looking good. It's just a bit of an issue here at the top. I think the mask is actually intersecting this line here at the top. Let's take a look. I'm going to select the mask. It is indeed doing that, so we just go and push this up here. That is going to create a new keyframe at this point, but that doesn't matter now. If I now go back and then preview this, that's doing exactly what I want it to do. That's the first one. I'll do the same thing for the line underneath, but this time going from right to left. I'm gonna go to the beginning. I'm going to take this layer, duplicate it, so I can then use a separate mask onto the bottom part of this. In order to duplicate that, I need to have a new track. I'm going to push this clip up to this empty area, which is going to create a new track. I'm going to turn that new track off. I'll turn this track on. I'll select this line's clip. Let me just go forward so I can see that line there. I'll select the clip and then hold down alt on the keyboard, and then drag this up. I create a copy of that on the empty track. The alternative, of course, would be to undo this, select this clip, copy by pressing Command C, go forward, paste by pressing Command V. That's going to paste onto the first available track that's highlighted here. Then I can just push this up into that gap manually. This one is going to be the top line. This one is going to be the bottom one. For that, I'm going to go to the opacity here, delete this mask, and I'm going to just select the mask and delete it. I'll go to the beginning of the timeline. I'll get my pen. Then this time mask the bottom one here from the right. I'll just go click, click, click, click, and then close this. Make sure at the beginning that the mask doesn't reveal any of this. I'm just going to go push this to the right. Then I'll keyframe the mask path. I want to find out how fast the top click was moving. So I'm going to go and select that first. This is when it stopped moving on this keyframe here. I'll pad the play ahead on that keyframe. I'll then switch back to my other clip here, and then select this mask. Then I'm just going to expand these points towards left. Like that. Of course, you might need to push this up as well so it doesn't cut off the top part. Let's see what that looks like. The same issue is happening here as well, it's cutting off the top part. I'll just go to somewhere in between and then push the whole thing up a little bit like that. If I now play, that's looking a little better now. If I deselect this and then play, you see both of them are animating at the same time, but one is going from the left to the right. One is going from right to the left. Finally, I'm going to get the text to fade in. I'll go and enable the text and disable everything else, go back to the beginning and then select the text, and then set the opacity to zero, which already has a keyframe now. Then go forward, let's say, one second again, and then change it to a 100 percent. Now, if I enable all of these tracks, you see the animations that we have here. I'm just going to turn off the background track, actually. If I play this, this is the animation we have, but I don't want all of these to happen at the same time. First, I want the rope and the kayak to appear, which they do. Then I want these lines to come in. I'm going to hold down shift and select these two, push them to the right a little bit, let's say, by 18 frames. Then once that's done, I'm going to push the texts towards right so that text starts a little later as well. Now if I play this, this is what I have. That's how we can animate a layered PSD file. In the next lesson, we'll have a look at how to take this sequence and place it inside the other one so we can see this logo animation inside our original sequence.
74. Nested Sequences: Part I: Now, that we've animated this logo, let's have a look at how we can use this in our original sequence. Let me just switch back to my original sequence here. Let's say, instead of having this cheesy title animation at the beginning, let me show you here, so instead of this animation, which looks quite like PowerPoint, let's say we want to bring our logo in here. For now, I'll just go and disable this text by right-clicking and then unchecking this enable button here, so it's gone. Then I'll go to my bin here for the Longridge logo and I'll find the sequence, this one, and I'll just drag the sequence from here, into here, but you can see that this sequence is a little too long, and I only have about five seconds at the beginning of this timeline, so if I let go here, that's going to mess up the first part of that clip in the timeline. You can see that bolt clip is actually messed up, so I'll undo that. In order to make the sequence shorter, you have to go into it by double-clicking and then trim these clips. Let's say, for example, you want them to be four seconds long, so we'd go to four seconds here and then make each one cut off at that point. The easiest way of doing that, if you remember, was to get the eraser tool here, and then hold down the "Shift key" so it can cut all of these clips at the same time and then you get the Selection Tool. Highlight them all, and delete. Now, if l go back to my previous sequence, if I now drag this from here to my timeline, you see that's only going to be four seconds long. If I now go back and play this, you'll see the logo animation we created in the previous lesson. Now, what we just did is called nesting a sequence, so we're nesting this sequence inside another sequence here. You'll notice all my layers have disappeared, I can still see them in the program panel but on the timeline, I only see one clip here. What's going on? Well, what's happening is that all of those layers are now grouped or packaged up inside one sequence, and that sequence is being used as one clip inside this sequence. But the really good thing about this is I can now go inside this sequence, this nested sequence by double-clicking and I can change anything I like. Let's say, for example, I want to change the color of this text here, so if I select the text here, and if I go to my fixed panel, and if I search for an effect let's say the change color effect there and if I apply this to my text, I can scroll down and I can go to let's say Color to Change, click on this "Eyedropper", and then click on the "Text", so it knows what color to change. I can then go to Hue Transform and then just drag this towards right, to change that color to something else. Let's say purple like that. As soon as I switch back to my effects sequence, that color here updates as well, so the two will remain linked. That's one really good thing about nested sequences. Let me just go and undo that. I'll just go into the sequence again, select that change color effect and delete, and then as soon as I go back to my effects sequence, that's also gone from here. Another thing about nested sequences is that you can apply an effect or transition or change any of these properties of all of these layers at the same time. If I have this nested sequence selected, I only see one scale and if I scale this up, all of those layers will scale up at the same time. For example, if I wanted this to fade out at the end, so if I go to the end, rather than all of these disappearing like that, I can right-click at the end and apply default transitions and now they'll all fade out at the same time, like that. I'll undo that as well. What I'll do actually is to go and turn on this clip here, so I'm going to go right-click, enable this, but I don't quite like animation, so I'm going to go halfway between these two keyframes where there is no animation. The reason why I place to play head here first is because if I put the play head here, then click on the "Stopwatch" and confirm this, the layer will remain here. Whereas, if I undo this, multiply head here, then click on the "Stopwatch" and then confirm that's where the layer is going to remain. Now, I can simply just lift this up or down, let's say I push this down a little bit and then my nested sequence up a little bit. What I can do now is for the Longridge logo to come on. Once the logo draws on, I can then fade this texting. I can go to here, start the text from here, and then make sure it finishes at the same time as the rest like that. Then I can fade this texting. Now, what I have is the logo coming in, then the text coming in, and they disappear like that at the same time. Now, let's say you want both of these to be slightly longer. There's no problem about the text, I can click and drag the text here, and that will be longer, but the nested sequence won't so if I click and drag, that's the limit of my nested sequence. That's because inside the nested sequence if I double-click these clips are only so long. If I highlight all these clips, make them longer, I can go back to my previous sequence. I can now make my nested clip longer as well. Now, I'm going to make this a little shorter, and then this a little shorter as well. Then apply the default transitions at the end, like that, and now what we have is the animation coming in, then the text comes on, the title comes on, and they disappear at the same time. Then the timeline starts. That's how useful nested sequences are in Premiere Pro.
75. Nested Sequences: Part II: Let's now have a look at a different way of creating a nested sequence. Now, in this example, what I want to do is, once Amanda finishes talking here, and then the subject matter changes. Here she is talking about the center, and then after where we see the sunshine through the trees clip, she starts talking about the floods and the actual purpose of this video. Before that point when she starts talking about the floods, I want to display some facts on the screen as text. While we see this clip here, I want to see some titles or text appearing on the screen. I'm going to add four different lines of text and I want all four lines to come at different times. You'll have the first line first, then the second line here, and then maybe the third line here, and then the fourth one, all coming at different times. But then I want all four lines to remain visible on the screen and then disappear at the same time. Now, normally, you would need to create four separate tracks for it, one track per line. If you want them to appear at different times, but they remain visible throughout the rest of the timeline, you'd create four separate tracks on top of each other for four lines of text. But that's not necessarily needed. Let me show you what we can do. I'm going to zoom out, go towards the end of my timeline, and find an empty spot at the end of the timeline, let's say, here. Since we already have four tracks in the timeline, from video 1 through video 4 we have four tracks, we can make use of these tracks and have four lines of text on top of each other and then nest them at the end so that you end up with a single clip, and then you can push that clip on top of that tree clip. Let me show you what I mean. I'm going to get my type tool and then click anywhere on the screen to start. I'll just add the first line of text, and that's going to be, In 2014, the River Thames. Let me just type that up. That's going to be our first text. Let me now come out of this by selecting my selection tool, and then I'll open up my Essential Graphics panel so I can see the settings of the text here. I'll go to "Edit", and then I'll make this text a little larger. I'll go to the size here, increase this to, let's say, 155 or so. Then I'll just place this somewhere here. I'm actually going to turn on my title safe area by right-clicking and then turning on the safe margins. I'll ensure that the text is inside the title safe area here. That's our first text. Now, I'm going to close the Essential Graphics now and I'll duplicate this text clip by holding down Alt and then dragging this up so I have another copy. Now push that copy down by holding down the Shift key, so it remains in the same line. I'll then double-click so I can update the text. The second line of text is going to be, Flooded to unprecedented levels. There we go. I'll now duplicate this again by holding down Alt and then dragging this up. That new copy, I'll just push that down here. I'll just get my selection tool, make sure that the top clip is selected. I'll then go to the text and then scroll down until I see position, there, and then I'll just click and drag this to here, and I'll double-click and type in the rest, Leaving the site decimated. I'll click outside. Hold on Alt, click and drag this up again. Select the top clip. Now, right now, I won't be able to see this clip because the track is disabled, so let me enable this. With the top clip selected, I'll go to the position of the text here. Now I will get my selection tool, push this down, and I'll go and update the last text as well by double-clicking and just type in the rest, Like never before. Right now, what I have is, if I just go back and play, is all four text layers will appear at the same time, like this. Now, what I want to do is to get each layer to appear one-by-one. Let me zoom in a little bit. I'll select the first layer here, and then right-click, and then apply the default transition. Then I'll do the same for these as well. The quickest way actually would be to highlight all of these. I'm going to highlight at the beginning of that, Shift click here, Shift click there. Then when I press Command, D, that will add the transition to all of these. They'll all fade in at the same time, but then I can stagger them. Let me just zoom in a little more by pressing the plus key on the keyboard. I want this one to come in a little later, like that, maybe when this transition finishes, and then this one when the other transition finishes here, and then this one when the final transition finishes there. Right now this is what we have. You can see actually I made a mistake. This layer comes up first. I wanted this one to appear first. What I'll do is I'll just swap these two around. I'll get my selection tool. I'll just zoom out. I'll observe the way, lift this up, bring this down, push this here, and then put them back in order, like that. Now, if I play, we have the first layer, and the second one, and the third, and the fourth one. Now let me adjust the position of the third and the fourth layers a little more. I'm going to select the third layer here. Select the position inside the effect controls here, and I'll just bring this down a little bit with the Shift key so it remains on the same line. I'll do the same for this as well. I'll select this, go scroll down, position, click and drag, like that. Now, although the order is right, I think this is still happening a little too fast. If I play this, I think we need to give the viewer a little more time to read each line before the second one comes up. What I'll do is to go and extend the timing between them even more. I'm going to press plus to zoom in. I'll just push this towards right, let's say there, and then push this one here, and then this one there, maybe like that. Let's watch this again. Now the time at which they appear is correct, but they all disappear one by one as well. I want them to remain on screen. So I'll zoom out, I'll make sure each clip is as long as this top clip here, because that's the one that finishes the latest. I'm just going to extend these, like that. Now if I play this back, they all remain on screen until the very end and they disappear at the same time. Now, instead of using four separate tracks for all of these clips, what I could do, now that I've built it, I can select these clips, right-click on one of them,and then go to Nest. What this will do, if I select it, is that it's going to ask me to name this nest. I'll just go and call this Flood Text, like that. Now, when I press "Okay", they'll be replaced by one clip here, the nested sequence. You'll also notice, inside my project panel I have a sequence, a new sequence. This sequence is now being nested inside my existing one. The animation is exactly the same. If I just click and play, you see exactly the same animation, but we end up with a single clip here. This is really easy to manage now. I can select this clip, cut it by pressing Command, X, and then go back to where I want this to be pasted. Let's say, it was here. Now I'm going to make sure that this track is highlighted and V1 is not highlighted. I can paste it onto V2. Now if I paste, it's going to paste it onto the V2 track. But of course I wasn't paying attention to the length of this, so it's now eating into that cutaway shot. I'll undo that. I'll go back a little more and paste it here so it's no longer eating into that second clip. Now, of course, I want the duration of this to line up with the duration of this clip underneath. So I'm going to make it slightly shorter to start with. I'll line up the beginning of this clip with this cut here, so I'll just go and push this here, and then I'll extend this back to finish here. If I now go and play this, take a look. Now the text is working. The only problem I think is that the appearance of the text it's too white and the background is quite bright as well here, and it's quite difficult to read the text. What I should do is to go and add some shadows or stroke around the text. That's another great thing about nested sequences. I can now double-click on this, that will take me into that sequence. I can select the title, go to the Window menu, open up Essential Graphics, go to Edit, select the text here, come right down towards the stroke, turned it on, make this black, and maybe set this to, let's say, five pixels. Now if I switch back to my effects sequence and close up my Essential Graphics panel, and make a bit more space here so we can see, and if I zoom in and I scroll up, and if I also change the paused resolution as well, if I right-click, go to Paused Resolution, set that to full, you can now see the text quite clearly. Of course, we need to do the same thing for the other text elements as well, like these. Let me just go and quickly double-click here, select the other text layer, open up my Essential Graphics, and then go to Edit, select the text, go right down, turn the stroke on, make this five pixels and black, and then the same for the other two as well. Select this clip, select that, come down to stroke, turn it on, set that to five, make it black. Finally, the top one. Select the text, scroll down to stroke on, make it black, and set that to five as well. If I now switch back and I zoom out, it's not easy enough to read the text.
76. Using Comment Markers: Using markers is a great way of helping yourself when you're editing complex projects. The main reason why I use markers is because I don't like having lots of sticky notes on my desk. Let me show you what I mean. For example, let's say this sequence is made out of multiple parts. The first part is where we see the opening titles here, then some environment clips here, and then the first person starts talking, and then a second person starts talking and so on. Now, instead of moving your playhead around to identify where something happens, you can leave notes on the timeline. Here's how you do that. I'm going to move my cursor right to the beginning. To add a marker all you have to do simply is to press the "M" key on the keyboard M for marker or click this button here, which is going to do the same thing. Or you can move to the markers menu and then you can add a marker here as well. When you do that a marker will get created here and also here in the timeline. I might not make too much sense right now, but bear with me, I'll explain what this marker is used for in just a moment. I'll add one more marker here when the first clip starts, let's say somewhere around here and I can actually see the clip by pressing "M" again, and then I'll go forward to where Amanda starts talking, I'll press "M" again. Then I'll go to Alex and M again and maybe add one more marker here again when we see the quote by Winston Churchill, I'll press "M" again here. Now let's see what we can do with these markers. I'm going to go to the beginning here and double-click on the first marker to open this up. Let's go to bring up the marker editor. Now I can get this marker a name. Let me just go and call this Opening titles. In the comment section, I'll just go and type in logo plus title. By default, the markers are said to be what are called comment markers. Let me show you what that means. I'm going to go and press "Okay" and now if I move my cursor onto that marker and wait a second, it will tell me the contents of that marker. The name was opening titles and the content or the comments were logo plus title. If I go and double-click, that opens that marker up again. Let me cancel this. Go to this marker and double-click. Let's call this one part one and in the comments, I'll just go and type in first clip and then press "Okay". Then when Amanda starts talking let's say that's going to be our part two. I'll just double-click here. I'm going to call this part two and in the comment section, I'll just go and add Amanda starts talking, hit "Okay". Then I'll go to here where we see the quote of Churchill. I'm just going to rename this to be Churchill. In the comments let's say I want to check whether this quote is actually accurate. I'll just go and type in: check accuracy of quote. Hit "Okay". Then on this one, I'll just go and double-click. This is going to be part three where Alex starts talking and I'll hit "Okay". Now that I have these markers here, I can simply jump back and forth between them by going to the markers section here, and then I can go to the next marker, which is Shift M, or to the previous marker, which is Shift Command or Control M. If I want to jump to the previous marker, I can just press "Command shift M" and again and again, or just "Shift M" to jump forward. If you want to remove a marker, let's say like this one, you click on that once and then right-click on it and choose "Clear selected marker" and that will take that marker out. If you want to clear all the markers, you right-click on one of them and choose "Clear all markers" which I don't want to do, or I click outside. That's how we can add, edit, and remove the markers. In the next lessons, we'll have a look at some more practical uses of them.
77. Different Marker Types: When you double-click a marker, let's say like this one here, it will show you the marker settings and we already looked at the comment markers here. Let me just move this out of the way like that. Another thing you can do is to change the color of the marker. Let's say, for example, you want to make all your markers related to audio issues white. I can click on this and then press "Okay" and you see the marker turns white. When you look at your timeline, if there's a white marker, you know that's something to do with audio. Or if you're part of a team and there's an audio editor, they'll know that they should look at the white markers to fix the issues. I'll double-click to go back into it. The other thing you can do with the markers is to set the duration of them. By default, up here, you see that the duration is set to zero. Let say, for example, you want this marker to be active for a second. I can just go and type in 100 here and press "Enter". You see now my marker has been extended to cover a one second range on my timeline. If I zoom in, so if you want something to start at a certain point and then finish at a certain point, you don't need to add two markers, you can set a range to the marker or a duration to the marker, and you can identify when it should start and finish. You can also move the markers left and right by clicking on them and just dragging them left and right like this, or you can move the beginning of the marker here. Let's say, you want this to start there, and you want the end of the marker to be here, and let's say you want someone, say, the person who does the color correcting for you to check this clip in detail. Well, you can double-click and then just go and change the name here. I can call this color correction needed, and then I can add a note here. I can say, "Please check that this isn't too saturated." Hit "Okay", and now here you see the name of the marker as well as the note. Now you notice I apply the markers and they appear in the timeline, which means if I move this clip around, just for the sake of it now, I'll just go and click and drag this clip towards here. The marker remains in the same place, but the clip moved around. Which means if you were to do this, let's say, you swap this with a different clip or you pushed this down the line, that marker will no longer correspond to that clip. Instead of adding a marker to the timeline, you can also add it to a clip. Let me show you how that's done. Let me undo that. Let's say, if I just zoom out a little bit, let's say I want to add a marker to this clip here of the map of Marlow. Let's say I want to check if there's a different angle on this. Well, I can click on this, and then with that clip selected, if I now press "M", you see that the marker is now created on the clip rather than on the timeline. To open up the settings of the marker, I can simply press "M" again without moving my play head, and now I'm seeing the settings of that marker. Now I can go and change the name, so check map. In the comments section, I can say, "See if there's a different angle of this map." I press "Okay", and now that marker is embedded inside that clip, which means if I move the clip somewhere else, let's say there, that marker sticks to that clip. Let me undo that. There are some other types of markers as well. Let me show you what they are. Let's say, for example, I go and double-click on one of these, as well as having a comment marker, which is a sticky note on the timeline or the clip, you can also add a chapter marker to specify when a chapter of, let's say, a DVD will start. You can add a segmentation marker. This will specify things like a commercial segment, for example, or you can add a web link. Which means if you embed this video on a website, when you hit this marker, you can specify a URL to be visited and the website is going to open that URL. This last option here is for flash users if there is any out there still. You can turn this on and then set this to be a flash cue point. As soon as you hit this marker, you can trigger a flash event. Now I'm not going to need to change any of this. I just wanted to show you what other markers are available. Most of the times, like I said, I think you'll be using the comment marker, but just be aware that there are other types of markers as well. I'm going to come out of this by pressing "Okay". Now if you want to see all your markers as a list, let's say, for example, you use the markers to set tasks for yourself. You can go to the Window menu and open up the Markers panel, and here you see every single marker that you just created on the timeline. I can click here to jump to that marker, click here to jump to that marker, and to this one and to that one. So that's an easy way of jumping back and forth between markers. For example, you can set tasks for yourself. So you can say, do this, then that, then that, and each one of those markers can be read and once you complete a task, you can go and turn them green. So that way, because you know you've color-coded your markers, anything that's red needs your attention. Anything that's green has already been done. In the next lesson, I'll show you how to use markers to identify beat of a music so that you can cut to the beat.
78. Using Markers to Edit to the Audio Beat: Now let's have a look at a trick that the music video creators use all the time. You can cut the video to the beat of the music by adding markers to the music clip first. Let me show you how. I'm going to go and double-click on the soundtrack, and as it plays, I'll just play the first few seconds of this. Let me just zoom in so it's easier to see. Let me go back to the beginning and then press Plus a couple of times. Every time there's a new beat, so it goes do, do, do, do, do, do, do, do, do, do, do, do, do, do. Every time that tone changes like this. There there. Every time there's a beat, we can lay a marker on the clip, and then you can use those markers to snap your video clips to later on. Let me show you how. I'll go to the beginning. Now try and do this yourself. As you listen to this music, try and click your fingers in sync with the beats. I'm going to hit ''Play'' and as it plays, I'm just going to click my fingers in sync with the beats. Now, instead of clicking my fingers, this time, I'm actually going to press ''M'' and that's going to drop a marker as it continues to play back. Let me go back to the beginning and I'll hit ''Play'' and as it playing again, instead of clicking my fingers, I'm going to press ''M''. Now that's going to be enough. Now what I've got in the timeline, if I look at the timeline, if I zoom in a little bit here, like that, I now have all of these markers that I can use to snap things to. Let me zoom into the timeline like this as well. What I want to do is for this clip to finish on this beat and this could maybe to finish on this beat and then that one to finish on the following beat. Let's see how we can do that. I'm going to go select this clip. I think it finishes on the beat already, anyway. Maybe it's off by one frame. I'll just select these two clips, and then push them left a little bit, so we get that lined up. Then I'll just select and push these to end up on that beat and then just zoom out again and then push this longridge clip to here. Now if I play, you see every change, every cut happens on a beat now. Take a look. There is one more beat there. If I move my cursor to that marker, I can cut this clip here as well. If I play again. Maybe I can fill this gap with this clip and then forget about the split screen here. I'll click and drag this clip from here to here, so it starts at that point. Of course, I have to select this clip and make it fill the entire screen again. I'll just go to Effect Controls, and then reset the motion, and I'll do the same for this flower clip as well. I'll go here, select it, reset the motion there as well. There's a gap here as well, so I'll extend the clip of Amanda slightly towards left like that. If I now go back and play, the cuts will line up with the beat. A longridge has been here for a good 70 years, maybe longer. That's how we can use the markers to cut something to the beat.
79. Intro to Speed Changes: In the next few lessons, we'll have a look at how we can change the speed of a clip. Now let's start with the easiest way. If you want to make a clip play faster or slower, all you have to do is to go and right-click on it and then come down to where it says speed, duration, and the reason why the two are in the same category is because when you make something play faster, it's going to be shorter and if you make the same clip slower, it's going to be longer. That's why speed and duration are linked to each other. Let me just click on speed and duration here and the first option here we have is the speed. So what percentage do you want this clip to play at? Let's say for example, you want this clip to be speed up by a factor of two, I'm going to go and set this to 200 percent and you see as I change the number here, the duration keeps updating. So when this was 100 percent, I'm just going to set this back to 100, you see the duration is 620. Whereas if I set this to 200, that's 310, so it's exactly half the duration and that makes sense, right? If I make the clip faster, it's going to be shorter, if I make it slower, it's going to be longer. Now, let's go and press okay and see what we get. I might go to the beginning and play this clip, let's all look at what we have. Now apart from her sounding like a chipmunk, which is also something you can fix by the way, there's an issue. We left a gap here, of course, because the clip got shorter, there's a gap. Now let's undo that in the press command set, and then I'll right-click again and then go to speed and duration again. Now when you do that, if you don't want to leave a gap, you turn on this option here where it says ripple edit, shifting trailing clips. So if I just go and make this again 200 percent and turn it on, if I now press Okay. You see, as well as making the clip shorter or faster, I should say, it closes this gap as well. This is exactly the same thing as, let me undo that again, as making it shorter without this option turned on and then right-clicking on this gap and ripple deleting it. But instead of doing it manually, it gives you a checkbox there that you can take and then it will do it for you. Let me undo that one more time. Now if wanted the clip to play slower, then just right-click on this clip, go back to speed and duration and if I set this to play, let's say at 50 percent, you'll now see that the duration is twice as long. But when I press okay, if I don't have this ripple edit, shifting trailing clips option turned on, it's actually going to cut the clip halfway through. So if I now go and play this, you won't get to the end of that clip. Whereas if I undo, right-click and then go back to the same option here, set that to 50 and then this time, turn on this last option. So we'll ripple at it by shifting the trailing clips. If I press okay and now everything is shifted towards right so you'll get to download this clip now. The next thing, of course, is the sound. When you slow down a clip or speed it up, you're changing the pitch of the audio and there's a way of avoiding that as well. If I right-click on this, come down again to speed duration. If I turn this option where it says maintain audio pitch, it's still going to be slow, but this time, instead of sounding like a monster, she'll actually sound like she's talking really slow. So take a look. For a good 70 years, maybe longer. Originally, it was where all the of people of Marlow learnt to swim. So we can still understand that it's her who is talking. The same would apply if you were to make the clip faster, so let me go right-click again, go to speed and duration. Let's say you play this at 200 percent, You remember if I don't maintain audio pitch and if I press okay, she'll sound like a chipmunk. Whereas if I right-click and then this time turn on this option for maintaining the audio pitch then press okay, she will just sound like she's talking very fast. That's what that maintain audio pitch option does. Now set this back to a 100 percent by right-clicking and then going back here to speed duration and then setting this back to 100 percent and then press okay. There was one more check there that I wanted to show you, and that was to reverse the clip. For example, let's say on this clip, she's actually coming down and let's say you want to reverse the clip to make it look like she's going up. Well, you can right-click on the clip, go to speed duration and then just turn on this reverse speed option, press okay. If I now go and play this, the clip will play backwards, and I'll pause it. If you made the change to the speed of a clip, any clip, you'll see that speed change next to the name of the clip in the timeline. So right now, this is set to a minus 100 percent. If I do the same for this clip here of Amanda, let's say if I right-click and then go to speed duration. Let's say we set this to 80 percent and hit okay, you see 80 percent next to the name of the clip. I'll undo that one more time. I'll go back to this clip, right-click, and turn the speed duration, reverse speed off. So the clip goes back to being normal. That's how easy it is to change the speed of a clip. In the next lesson, we'll have a look at how to change the speed of a clip partially. For example, the first half of the clip can play faster, whereas the second half plays slower.
80. Changing the Speed of a Clip Selectively: But you don't want to change the speed of an entire clip. You can cut the clip in half by using the Razor tool and then change the speed of the first portion independently, then the second portion. Let me show you how. Here we have quite a long clip. If I lean my cursor on this, it will tell me it's seven seconds and six frames long. Let's say I don't want to wait there for seven seconds just to watch the entire clip. I want to speed this up, but maybe until about here. When she's about to come down, I want the clip to be slow again. Now that's really easy. I'll get the Razor tool, cut the clip in here, and then get my Selection tool, right click on the first clip, go to speed duration, and I can make this, let say 300 percent of the original speed. I'll ripple edit by shifting the trailing clips, so this clip will actually shift towards left. Now, the first portion will play three times faster, whereas the last one will play at normal speed. Let's have a look. Of course, you can make the last part even slower. If I right-click on this last part, go to speed duration, l can set this, let say 50 percent. Just to exaggerate the difference between the two, I'm actually going to make the first part 500 percent. Now the first part is five times faster, where the second part is half the speed. If I now go back and play, like that. Now, that's what you may be after, but the issue there is that this cut here is really abrupt, so it goes from really fast, really slow, quite abruptly. If you wanted to soften that, you'll need to start using what's called speed keyframes and that's what we'll talk about in the next lesson.
81. Speed Ramping: In this lesson, we'll talk about something called speed ramping. That's the change of speed of a clip gradually over time. We'll keyframe the speed. Let's say for example, in this case, you want this clip to start fast, quite fast like we did earlier, and then slow down as it reaches the end. But I don't want that slowing down to be abrupt. I want that to be gradual. That's what I'm going to show you now. To do that, you need to come up here to the name of the clip and you're going to see a tiny FX button here. If you can't see this, you might need to zoom in. Remember, you can zoom in and out like this. Once you see this FX here, you'll need to right-click on this, and then go to time remapping and then turn on speed. Now, that's going to kill the thumbnail here and it's going to give you one line like the audio keyframe line that we're used to seeing. Now what this is is the speed of the clip. As I push this line up, the clip goes faster, and as a result, of course, it's going to be shorter. If I let go here, you see the clip is now shorter because it's playing at a 166 percent of the original speed. Whereas if I push this down, you see now if I go to, let's say 50 percent, the clip will be longer because it's playing slower. Now let's say you want to change that over time gradually. It's going to set this back to a 100 percent. There. Then let's say here until around here, you want that clip to play quite fast, and then at this point, you want it to slow down. Well, you need to add a keyframe. If you remember from the audio keyframes section of this course, you can hold down the command key on the Mac or the control key on PC, and then click on this white line to add a keyframe. If it was an audio keyframe, the keyframe would actually appear on this line. But because this is a speed keyframe, when you command click that will appear up here, it looks very similar to a marker. Now, adding a keyframe there creates two segments for speed. This is the first segment. This is the second segment. Now I can make the first segment play faster by pushing this up. Now the first segment is playing, let's say at 200 percent of the original speed. I can make the second segment slower by pushing this one down to, let's say, 40 percent. At this point, you can actually see that the speed goes from 200 percent down to 40 percent abruptly. This is exactly like cutting it with the razor tool. If I play this, you'll see what I mean. It slows down really abruptly. Let me just exaggerate this even more so it's easier to see. I'll make this faster at the beginning and then slightly slower at the end. Now if I play, you'll see it's going really fast at the beginning and then really slow at the end. Now to make that speed change happen more gradually, you'll have to separate this keyframe into two parts. Let me just zoom in here so we can see what's going on. I'll now multiply it out of the way. If I now click on this keyframe and then drag towards left or right, you see I'm now creating a gradual shift from one speed to another. It's now going from that speed to that speed gradually. Between that and that part of the keyframe, the clip will gradually slow down. The longer the distance between these two markers, the more gradual the shift is going to be. I'm going to extend this even more like that. If I now play, yes, it is going to go really fast at the beginning until here. Then it will start slowing down until there, and at this point, it will keep on playing at that slow speed. That speed change is now less obvious. There's one more trick that I want to show you with this. I'm going to zoom out a little bit. Let's say at this point, I want the clip to start rewinding back so I can see her going up again. Now that's also quite easy. I'm going to hold down command and click once again on this line to create one more speed segment. Now instead of lifting this up or this one down, I'm going to keep holding down the command key and then click on this keyframe, and you see when I click and drag, some arrows are pointing now towards left. Up in the program panel, you can see how far back you're going with the picture on the right. If I keep pushing this towards right, the right picture here, this one keeps changing. That's how far back I'm going to go, let's say, around about there. Then when I let go, that section now is going to play backwards, and then it will keep playing normally again. If I play again, it's now going to start going back. Then she'll start coming down again. Again, these changes are quite abrupt as well. It goes from this speed to the backward speed quite abruptly. I can break these keyframes apart like this, and then the same here as well. The change from that speed to the backward speed is much more gradual and the same here as well. If I now go back and play, it slows down, stops, and then rewinds, and then slows down, stops, and comes back again. That's how you do speed ramping or time remapping in Premiere Pro.
82. Advantages of Using High Resolution Videos: Before you export your project, you need to know a few things about the sequence that you're working with, in particular, its size and resolution. Let me show you what I mean. I prepared a quick animation for you so I can explain this a little better. Let me zoom into this. I'll play this for a couple of seconds then pause. What we have here are four different sizes or resolutions, or four different presets for a sequence. The largest one at the back is a 4K sequence or a 4K key size, I should say. This one here is a full HD frame. This one is what we call HD Ready. This tiny one here is standard definition television, SDTV. So far, we've been working with video files that were all shot in a 4K format so that the height was 2160 in pixels, and then the width was 3840 in pixels. That's what we mean when we say 4K. The height and the width are 2160 by 3840. But most other times you'll be exporting stuff in a full HD format. That's quite a standard and widely used format. Now, we also call full HD, 1080p as well. You may be familiar with this number, say from YouTube, when you click on the gear icon to change the quality of your video, it gives you an option to set that to 1080p most of the times. That's what we mean by full HD. The height of the frame is 1,080 pixels, and then the width of the frame is 1,920 pixels. Incidentally, the P here, it doesn't stand for pixels. It stands for progressive as opposed to an interlaced footage, but that's something we're not going to cover on this lesson. I'm going to skip this for now. For our purposes, it's enough to know that full HD means a frame size that's 1920 by 1080. We also have a format called HD Ready. This came out just before the full HDs came out. The size of this frame was 1280 on the width by 720 on the height. Then in old days we also had SDTV, which was 640 by 480. Today, we can pretty much ignore this last format here as it's quite outdated. Now, since all of the clips we used on this course were shot in 4K, they're going to fill in that large rectangle at the back. Let me now get rid of the rest of the formats, except for 4K and full HD. You can see now my 4K video is much larger than my full HD format. Let me just go and center the full HD here so we can see what's happening with the framing. Now, if I was to place a 4K footage inside a full HD sequence, is going to show me just that much of the clip by default. What are we supposed to do? Well, we have a couple of options. We can move that 4K clip in the background to reframe it within the full HD sequence like this. This would be more like a close-up of his face now. I can also move this up so I can concentrate more on, let's say his hands like this, or I can scale the clip down and then move it. Now, I have a different framing or I can even gradually animate this, like so. All of this is possible because the original clip we're using was shot in 4K and the final sequence that we want to export is going to be full HD, which is one-quarter of the size of the 4K clip. That gives us the option to reframe the clip within our sequence in any way we like. Now, we know the advantage of shooting in high definition formats. Let's have a look at how to put this in practice in the next lesson.
83. Changing the Size of the Sequence for Various Platforms: Now let us look at how we can take all the clips from this sequence and place it inside a sequence that's smaller than this. Right now, we are working with 4K and we're going to create a sequence that's full HD and place all these clips inside that full HD sequence. Let me first go to my sequences bin, and find this sequence. This is the "Effects" sequence, it's the final sequence I worked on. There it is. I'll just go and duplicate this. I'll rename that copy, final sequence, and in brackets, I'll just type in 4K. This is going to be the sequence that we use to export a 4K sequence if you need to. Let me just go and double-click to open this up. Then I can go to my "Effects" sequence here and close it. Now that I have this sequence and I know that this is 4K, just to confirm that I can right-click on the sequence and come down to where it says "Properties". I can see that the size here is 4K. I'll come out of this. I'll now go and create a new sequence from scratch by clicking on this button here, or going to "File", "New", "Sequence". The presets list, If you want to create a full HD sequence, the quickest way is to pick this preset here under the digital SLR folder and then "1080p", and it's the "DSLR 1080p25". This refers to the height of the frame, 1080 pixels, and then this is the frame rate, 25. You can also check that this is correct up here on the right-hand side as well. Now I'm going to go and rename this to be final sequence, full HD or 1080p. Then I'll press, "Ok". Now I have that version as well. I'm now going to go to my final sequence that was 4K, select all the clips in here by pressing "Command" or "Control" on PC and the letter A or you can go to "Edit", "Select All". Then we'll copy them. I'll go to "Edit", "Copy" and then I'll switch back to my full HD sequence. At the beginning of the timeline, I'll just go and paste it; "Edit", "Paste". All of the clips from the previous sequence are now pasted inside this full HD sequence. But the problem with this, of course now, is if I go back to the beginning and if I go to any of these clips here, you see that the clip is going to be cropped exactly for the same reason I explained to you in the previous lesson. Because the 4K footage is much larger than the sequence I'm using, it's cropping it. This clip is actually much larger. It extends all the way out that way, that way, that way, and that way. Now, the quickest way to get all of these clips to be the same size as your sequence is to have them all selected still and then right-click on one of these. Then there are two options here. One is called "Scale to Frame Size", the other one is called "Set to Frame Size". Now let me start with the first one here where it says "Scale to Frame Size". If I click on this, every single clip is now as big as the entire sequence. If I go forward, you'll see each clip is actually lined up properly with the sequence. Now let me undo that once by pressing "Command Z" so that the clips get larger again. This time I'll right-click and choose "Set to Frame Size". Now it looks like this is doing exactly the same thing as the first option. Although it's very similar, it's actually doing something quite different. Let me show you what's happening. I'm going to go back to one of these clips again of, let's say, Alex this time. If I undo this once by pressing "Command Z", if I go to my "Effect Controls" panel, and if I only select this clip here of Alex, like that, you'll see the scale of this clip is 100 percent. But if I right-click and then scale to frame size, now the scale here still remains at 100 percent, but the clip got smaller. This is actually a resampling the image. It's actually making the original image smaller, which means if you were to make this large again from here, you're going to start losing quality. Whereas if I undo this and then right-click and then choose the second option, which was to set to frame size, what's happening now is that the scale is now set to 50 percent. It's now giving you the option to scale this back up to anywhere up to 100 percent, let's say 75 percent, without losing quality because I'm not going over 100 percent. The second method, which changes the scale from 100 percent to 50 percent, requires a bit more computer power, whereas the first one, which resamples the image, doesn't require as much power as the second one. But for now, to have as much flexibility as possible, I'm going to use the second method. Let me undo that once more. I'll select everything again in the timeline by selecting the timeline and pressing "Command A". Then I'll right-click on one of these clips, and then choose "Set to Frame Size". Let's say you also need to create a sequence that's just a perfect square. For example, let's say you're going to post this on Instagram and you need a square format. Well, let's do that. Let me just go and create a new sequence. Now here, we don't have a square format, but we can already start with this and then come up to where it says "Settings", and then manually change the format here. I'm going to make the frame size 1080 by 1080. I'll leave the rest alone. I'll go and rename this to be final sequence, and I'll call this one by one. Press "Ok". Now I have a square sequence. I can go back to my final sequence that was 4K, everything is still selected, copy everything, switch back to my one by one sequence and paste. Now if I go back, you'll see everything is cropped again. Well, I can right-click and choose "Set to Frame Size". Everything is now set to the frame size because the ratio is different. The previous ratio was 16 by nine; this ratio here is 16 by nine, and this ratio is one by one. It's going to create these bars at the top and the bottom. Otherwise, it would need to squash or stretch the clip and it would make things look a little odd. I'll show you how to reframe all of these in the next lesson.
84. Reframing Clips: Now we have our large clips inside the smaller sequences. In other words, we have our 4K clips inside our full HD sequence, we can now select the clip, let's say this clip of Alex, and then go to the scale here and then rescale this. Let's say, for example, if you want this to be more of a close up, I can just click and scale this towards right, like that. As long as I'm not going above a 100 percent for the scale, I'm not going to lose any quality. Now that it's scaled up, I can now go and reposition this as well. Let's say like that and then maybe push this down. This gives you a lot of flexibility. You can also use this to fake a multi camera shoot. Let me show you what I mean by that as well. Let's say, for example on this long clip here of Alex, again, you want to cut this halfway through the speech, let's say around about here to a close-up. Well, it's really easy. You get the eraser tool, you cut it here, you get the selection tool again, you select the second clip, that's the one that you want to zoom into. I can now go and scale this up to, let's say, 90 percent. Then reframe this by using these numbers. Or you can actually click on the word motion and then click and drag the clip manually as well. Let's say you want it to go like that. Now from here, you will cut to this clip. If I play this, take a look. Then let's say at that point you want to cut back again. Well, that's really easy again. I can just get my eraser, cut it here, get my selection tool, select this clip, and then change its scale to let say this time 60 percent and then click on the word motion. I can reposition this, let's say, here. Maybe towards right a little more like that. Now if I play this, it will look like you're going from this angle to this angle, and then back to this one. So if I play this again, take a look. On the water, they then said to me, now I can feel like I actually have someone in my corner. You've listened, I'm having fun. That's a great way of adding a bit more flavor to your edits. Instead of having one clip playing for, let's say 10 seconds, you can chop that clip in half and then make one part smaller and the second part larger or move reframing around in any way way like. In the next lesson, I'll show you how you can animate this so it looks like the camera is gradually zooming in.
85. Creating a Fake Zoom Effect: Let's now work on our other sequence, the one by one sequence. I'm going to open this up, and I have the same clip here. I'm going to go and highlight the clip and make more space for this, like that. I want to get rid of these black bars here. The only way to do that is to scale up this clip, actually. Let me just go and do that. I'm going to go to the scale of this clip and increase this to, say, here. I'm also going to go and re-frame this so that it looks like it's in the center. I'll just go click on the position here, drag this towards left so Alex is in the center now. I want to start like this, then gradually zoom into his face. Now, that's really easy. I'll go back a little bit, let's say, here. I'll go and key-frame the scale and the position. I'll then go forward, let's say, here. I'll just go and increase the scale from 51 to, let's say, 65 or so, something like that. I'll then also go and re-frame this. So I'll just go and push this down, and then maybe slightly towards left, like that. Now between these key-frames, the clip is going to zoom in. Take a look. Spending an hour and a half from on the water, they then said to me, now I can feel like I actually have someone in my corner. If you want this animation to be smoother, remember you can add the ease options to these key-frames. So I can ease out from the first key-frames, and then the same for this one, and then ease into these key-frames. If I now play this, you'll see the camera is going to start really slowly, and then speedup in zooming in, and then slow down again before it stops zooming. Spending an hour and a half from the water, they then said to me, now I can feel like I actually have. The final thing I'll probably need to do here is to set the titles to be in the correct place again. I'm going to go up to the subtitles here, that one there. I'll then go and reveal my title safe zone. That was a right-click and then the safe margins. I'll just go and click on the word "Motion" and then push the titles down with the "Shift" key held down until here. That's how we can fake a camera zoom on a video clip.
86. Recreating Broken Animations: If you already animated some of your graphics or titles or photographs, when you rescale the frame to be the same size as the sequence, you'll run into a problem of losing your existing keyframes. Here's what I mean. If you remember, in our original sequence when Amanda was talking, you animated the titles for her. This is what it looked like. Two years, maybe longer. But now that I rescale the frames here, the title is no longer animate. Two years, maybe longer originally. Your existing keyframes are gone. To avoid this, I could have either locked this track, then selected everything and rescaled. That way, the titles will be excluded from that rescaling, but since I haven't done that, I'm going to unlock this, select the title again, and then manually, recreate animation. Here you can see my keyframes are gone. I'm going to go to the beginning of this title. I can do that here actually. I'll keyframe the position. I'll then go to the end, then I'll push this towards right. I can't see what's happening there properly because of the transition. I'm going to go and delete their transition for now. That's how far I want the text to go, a bit more maybe. There. Then I'll just go and add the transition back in. Now if I play this, this is what I have. For good 70 years, maybe longer. Originally, it was where all the people of. Of course, I got the speed wrong. I'm going to go select this. Push this keyframe closer to the first one. It slides in as it fades in. Then I'll go copy and paste this keyframe by selecting it, pressing Command C and then Command V. Then I'll select the first keyframe, copy that by pressing Command C, and I'll go forward and paste by pressing Command V. Now if I play this, you'll see it will slide in, wait wait there, and then disappear again as it slides out. You will also have the same issue with other titles. For example, if I go to Alex here, you can see that his titles are gone as well. I have to do the same thing for his titles as well. Or I can simply copy and paste the motion from the Amanda title. If I select the motion here, copy it, select the clip of Alex and paste. Now is going to do exactly the same thing. You'll also have the same problem with photographs that you may have animated. I remember, we had a couple of photographs here. Let me just zoom back out. Here we had those photographs. You see the keyframes I've added to these photographs, if I click on them, are gone. There are no longer any keyframes here. I'll have to manually go and create the keyframes for the scale and position again to create the pan and scan, or the Ken Burns effect. But I think you get the gist of it, I'll let you do that yourself.
87. Rendering Clips in the Timeline: You may be wondering what these colored bars are above your timeline. These are called render bars, and there are four different options that you may see. First, it may just be gray. In other words, there's no color at all. For example, if I go and select this clip and delete it, you see there's no color here at all. If that bar is gray or you have no color there, that means Premiere will be able to play this section of your timeline back in real-time, in full quality. Let me bring that clip back by pressing "Command-Z". If that bar is yellow like it is here for the entire timeline, that means that Premiere Pro is likely to be able to play this back in real-time, in full quality, but it might drop some frames here and there, so your playback might not be in real-time. If this bar ever turns red, that means it's likely that Premiere Pro is not going to be able to play this back in real-time, in full quality. Then if it's green, that means it used to be read before, and you've taken care of that part of the timeline, or in other words, you rendered it. That means again that Premiere is going to be able to play that back in real-time, in full quality. All of this will depend on the clips that you're using, as well as the effects, if you applied any effects, and the specs of your computer. Right now, because the clips I'm using are all 4K, Premiere is giving me a quick, gentle warning saying that I may be dropping some frames. Now, let's exaggerate this and actually try and turn that bar red so that we'll be forced to do a render before we can preview something in real-time, in full quality. Let me show you what I mean. Here, I'm going to go to the "Effects" panel, and if I come down to "Video Effects" and, let's say, "Color Correction", some effects, you'll see, will have this icon next to them, this playback icon here. This icon means that the effect is what's called an accelerated effect, which means in most cases it will need you to render this before we can preview this in real-time, in full quality. Let me just scroll down, and you see Lumetri Color, was one of those effects. If I apply the Lumetri Color effect to this clip, I will still be able to play this back in real-time, in full quality. But for example, the color balance effect, or maybe a different effect. Let's say, if you go and search for an effect called Twirl, you see this effect doesn't have that icon next to it. Meaning if I applied this effect to the clip, like that, that area here automatically turns red. Now let me just go and tweak the effect a little bit. I'll just go scroll down here, find Twirl, increase the angle. This is going to mess the clip up, but let's not worry about that just yet, that's what the Twirl effect does to the clip. Now, if you tried to play this back, take a look at what happens. I'll go here, hit "Space-bar", and check what happens to the playback especially when we get to this clip. It's not all those 80,000 young people who have a life-changing experience, but a significant number of them do. You see how I'm only seeing a few frames at any point? It doesn't do a preview in real-time, in full quality, and it takes a while to update the frames. That's because this Twirl effect is quite a memory-intensive effect, and Premier is having to process this on the fly and it's having difficulty doing that. Whereas the other effects like the Lumetri, for example here, that we applied to this clip is an accelerated effect, which means it can play this back in real-time. What do we do? Now, if you want to be able to see this clip in real-time or at least closer to real-time, you'll need to compromise on the quality. If you are getting this red bar, and you can obviously not play this in real-time when you press "Space-bar", like this. You see, I'm dropping some frames. If that's happening, you're going to need to compromise on the quality of the clip. The easiest way of doing that is by coming up here to where it says "Full", and you click on this drop-down menu. This is the resolution of your playback. You can lower down the resolution to, let's say, a quarter. Then got back again, and try and play this back again and see if this improves the speed of the playback. Now I can actually see some frames closer to real-time. Let me just exaggerate this a little more, so I'm going to go to one-eighth here, and then go back. When it plays you'll see the quality is going to go really bad, but the speed is going to be close to real-time. As soon as I stop the playback, it's going to take a couple of seconds, and then it will redraw the frame with full quality as well. Take a look. You see how the quality is bad? I'll pause it here. Look at the lines here, how they'll improve there, it just gets better when you pause it. That's because there is another option on the right-click here, it says "Playback Resolution", which is exactly the same thing as this guy here. I could change the Playback Resolution here as well. The second thing here is the Pause Resolution. If you don't want this clip to be at full resolution when you pause it, you can go here and change this to, let's say one-eighth as well. Now the quality of what you're seeing here, even when you pause it, is going to be one-eighth of the original quality. If I go back and play now, it's going to have no trouble playing this back. The speed is real-time. That clip, by the way, was a slow-motion clip, that's why it's playing like that. It's a little slower than normal, but it's actually playing at its original speed, so it is playing correctly. What do you do if you want to see this clip in full quality, in real-time, and you don't want to compromise on the quality or the speed. Well, let me just go back and set this back to full, and then right-click, set the pause resolution to full as well. If you now want to preview this in full quality, in real-time, you're going to need to render it. To do that, you got to the "Sequence menu" at the top, and you choose this option here where it says "Render Effects into Art", the shortcut is "Enter" on the keyboard. This will look at the entire timeline, and it will find all the red bars in the timeline, let me zoom out to see if we have any other red bars, we don't. It's only going to render out this section of the timeline and then it will create a new file on your computer that Premiere can link back to so that it doesn't have to reprocess this effect every time. Take a look at what I mean. I'm just going to go and press "Enter", and it's now processing those files. Once this is done, that red bar is going to turn green. That tells us that we've rendered that section. Let me just pause the playback, and zoom back in here. You see now that this red bar turns green, which means that there's a file on your computer that Premiere is referring to preview this area. If I now play this back, this is full quality now. See the speed of this. There is no issue now with the playback speed or the quality. But the downside to this is that you've actually created a new file on your computer for as long as this clip was. Let me show you what I mean. I'll open up the folder on my computer where I have all these files. I'll just go back to my desktop, and then open up my Premiere Pro master class files, and then my project files were saved here. Inside the project files, I also now have something called Premiere Pro video previews. If I double-click on this, this is my first project. That's the name of the project I've been working on. If I open this up, it's now created a file, an MPEG file here. That's just for that section. If I select and preview this, there's just that section that's in full quality. So Premiere is now referring to this file when it needs to preview that section of your timeline, and this file is actually taking up space on your computer. If I right-click and get the info, that file is 22 megabytes. Now it doesn't look like much, but imagine having to do this for lots of clips on your timeline. Now that's going to take a lot of space on your computer. Let me show you one other problem with that. I'm going to come out of this, and then go back here. Let's say, I don't like the amount of Twirl I have on this clip. I'm going to select this clip, and then change the clip's Twirl, let's say from 122 to let say 142 so it's a little more exaggerated. Now, this bar turns red again, because there is nothing on the computer that looks exactly like this now, so Premier can't refer or link to a different clip. It's going to recreate this if you want to preview this in real-time. Now you may be thinking, no problem, I just press "Enter" again, and let's do that. Press "Enter" so we can start re-rendering that. That's going to take a while to render again. Once that render finishes, it's going to start the playback from the beginning of my timeline again, so I'm gonna pause this, scroll to the right. You see this is green again, and it's playing normally. But the problem is that I've just created another file here on my computer, so that's the new file now I just created. That's also going to be about 22 megabytes. There we go. I've now added 44 megabytes worth of files on my computer just to preview this area in real-time, in full quality. You need to keep this in mind, is it really that important that you see this part in full resolution? If so, go ahead and render things. Or if you don't really mind seeing things at a little lower resolution while you're working, you don't need to render anything. You just go and lower down the resolution here, and then you'll be able to preview clips at a lower resolution, but closer to real-time playback without having to create additional files on your computer. These random files are needed for your final exports. You don't need to render anything on the sequence before we can export a sequence. If you change the quality of the clips here by using this drop-down or the right-click and the resolution options here, that's not going to affect your final export quality. That's something different. Once again, you do not need to render anything if you don't need to see them in full quality in, real-time.
88. Exporting Directly From Premiere Pro: Now we've completed our projects, let's have a look at how we can export this, so we can then use that video file on a different platform. The first thing we need to do is to select the sequence that we want to export, and that's as straightforward as literally just clicking on a sequence here or here. Any sequence you like, you need to make sure that it's selected, so Premiere knows what to export. Let's say I'm going to export this full HD, the 1080p sequence. With that selected, I'll go to the File menu, and then come down to Export and choose Media. That's going to bring up a new dialogue box for export settings. Now although this can be quite a complicated area, I'm going to try and keep this as simple as I can. Firstly on the left-hand side, you see what you are going to be exporting. Now up here on the top, you see your source. This is what's coming into this export dialog box, and the output is what you'll be exporting out, so this is eventually what you'll be getting out. Make sure that you selected output here which should be selected by default. I'll then come down here and this is the picture that we are seeing, so if you make any changes, you'll be able to see a quick preview here, and then down here, you have your timeline. Now the timeline doesn't include any tracks, so it's a single line here which you can click and preview like that. You're also not going to hear any audio in this preview. By default, Premiere is going to try and export the entire sequence from the beginning until the end. Now we can change that. Let's say for example, you want to export only the first 15 seconds of this sequence. Well you can go and find that the 15-second mark, let's say here, and then you can set an outpoint like this, and now only this area is going to be exported. That's quite a useful thing when it comes to doing test renders. Sometimes you will know what settings you need to choose here, so instead of selecting some of these settings and then waiting for let's say half an hour for the entire sequence to complete the render, you can do a test run therefore let's say 15 seconds, and check if everything is working fine before you commit to the final render. Now I'm going to undo that by going to add a source range. I'll change it from custom to entire sequence. It's not going to export the entire sequence. On the right hand side, the first option here at the top is to match the settings of your final video to the settings of your sequence. This is the quickest way of ensuring that you're exporting with the exact same quality as you've imported the clips into Premiere Pro. Although one disadvantage of this is that you'll usually end up with huge files, so I'd recommend not using this. The first thing you need to decide is what format you want the file to be in. Here we select the format. Format is nothing more than the extension of the file. For example, if you want to end up with a QuickTime file which is an extension of.mov, you'll need to select the QuickTime format here. If you want to export this as a set of JPEG images, you'll select this JPEG format here. If you want to export this as an MP4 file, so the extension is.MP4 which is probably the most common and most popular format on the web, you'll select this H264 format. For the purposes of this lesson, I'll select this H264 format so that we can export an MP4 file. Now that I've selected that format, I also need to specify the preset for that format. If I come down to here which is Presets, and if I click, you'll see a set of different presets for different platforms. For example, let's say you know that this is supposed to go onto YouTube. I can a scroll down and find the YouTube presets, and you'll see there are these different settings here, and because I know that the sequence was 1080p, I can select this one, so the YouTube 1080p full HD presets, and that's going to set the size of my final export to be the same as my sequence, so 1920 by 1080. Now as I change things, I can actually check what's happening to my source and output. My source is coming from the sequence called final sequence full HD 1080p, and then the size of that sequence was 1920 by 1080, and the frame rate was 25, and I can check that my final export, the output is also 1920 by 1080, and the frame rate is 25. It's important that these match, otherwise you'll have all sorts of different issues. For example if I go and select something else, let's say Vimeo 480p, now that's going to create these black bars now, and also the quality if you notice is a little worse. That's because the size of the output is only 640 by 480, so I'll switch this back to YouTube 1080p. If you're not sure whether this is going to go to YouTube or Vimeo or Facebook, you can simply go to Preset and choose "High Quality 1080p HD", and that's going to give you a similar results, but the file won't be optimized for those platforms. You'll end up with one file that you can use on different platforms as you like. Let's stick to the high quality 1080p HD, and then down here, we need to specify where the file will be saved and what it will be called, so I'm going to go and click on this blue text here. That's going to open up my finder window here, and I'll just go and create a new folder for my exports, so I'll just select this, create a new folder, and call this exports, and up here, I'll give this file a name as well. On Windows, that's going to be somewhere at the bottom. I'll just go and call this, "Because our young people need it," and it may be a good idea to specify the file size next to the name of the file as well. I'll just go and type in 1080p, and I'll press "Save", and it will now tell Premiere to save the file with that name at that location. I'll make my way down here, and next we have the option to export the video and/or the audio. For example, if you don't want to have any audio to be exported, you just going to uncheck this, and that's going to export no audio, or if you uncheck the video, you're just going to end up with an audio file. I want both the audio and the video now, so I'll turn them back on, and I'll keep scrolling down here. That was the size of my file which I'm not going to change now, and I'll keep scrolling down and I'll show you one important setting here that's quite crucial when you want to compress your files. Right now, if you look right at the bottom here, it says estimated file size is almost 800 megabytes. Now up here where it says bitrate settings, if I lower down this option here where it says Target Bitrate in Megabits Per Second, if I lower the slider down, you see that the estimated file size is going to get smaller as well. If I push this down towards left, you see that the estimated file size is now almost half the size. If I keep pushing this towards left, I'm now making my final file even smaller, but this of course comes at a cost of losing quality. You can think of this slider almost like an imbalance between quality and file size. The further left you push this slider, the smaller your file size is going to be, but the worst of quality. The further right you push this slider, the better the quality, but the larger the file size. Now although you can't push this slider all the way towards right to 62.5, there's usually no point in going that far. You're not going to be able to tell the difference just by looking at the clip between let's say 20 and 50, so I'd recommend not going anywhere higher than 20. That's just going to make your files unnecessarily large. I'm going to make this slightly smaller, let's say about eight, so that the final file size is going to be about 323 megabytes, and I'm going to skip a few of these options. I'll just go as a captions for now. By default, you see your captions are going to be burnt into the video. Now if you don't want these captions, you can just go here and turn them off, and now you won't see the captions anymore, and the other option is to create a sidecar file which means it's going to give the user an option to turn these captions on and off almost like closed captioning. For now, I'll just go and set this back to Burn Captions Into Video, and then the final thing I'll show you here is this publish option. Now although you can't save this file locally to your computer, you can also publish this over the Internet. If I go to Publish, let's say for example as soon as you export this file, you want that to be published on your YouTube page. Well you can scroll down and find YouTube here, and then put a check mark here. You'll also need to sign in, and once you sign in, you're going to see all your channels here, or you can create a new channel. You can also add this to a playlist. You can give the file a title, add some tags, and give it a custom thumbnail if you like, and then when you export this, it's going to publish automatically to YouTube as well, and of course there are these other options as well. You can publish to Vimeo, you can publish to Twitter, Facebook, and so on. For now, I'll just go and uncheck this, and next we have these options here. Now the first option here where it says Use Maximum Render Quality is going to make your clips look better if you scale them up higher than 100 percent, but it's going to take longer to render. Because I haven't scaled any of the clips up above 100 percent, there is no point in turning this on. That's just going to slow down the render. The next option here is whether or not you want to use the preview files you've created. Remember in the previous lessons, we looked at turning these red bars in the timeline into green by pressing "Enter" to create the preview files. Well if you'd spend the time and created the preview files, you can turn this option on, and then Premiere is going to use those preview files, so it doesn't have to reprocess those frames that need rendering. If you haven't rendered anything, this button is going to make no difference. The third option here is whether or not you want to import the rendered video back to your project. I'm not interested in doing that now, so I'll leave this turned off, and then you can set the start timecode. By default, this is going to start right at the beginning, so the timecode here right at the beginning is going to be zero, and there are different reasons why you might want to change this which I'm not going to get into now, so I'm going to leave this off, and you can also render just an alpha channel. An alpha channel is transparency that becomes useful when you do things like animations, so I'm going to leave that turned off as well, and the final option here, the Time Interpolation is only going to be relevant if you are changing the speed or the frame rate of a clip. Since we are not doing that, we'll leave that alone. Once you go through all of these, the next thing you need to do is to come down here and hit the "Export" button. As soon as you press "Export", that's going to lock your outer Premiere Pro, so you can't use Premiere Pro while this is being exported, but once it's done exploiting the file, it's going to free up Premiere again so you can continue working. Let me go and press "Export" and see what happens. Now depending on a few factors like your computer specs, the clips you are using, the effects you've used and so on, your render times may vary. This could be anywhere from a couple of minutes to a couple of hours, and that's not a joke. You usually render things overnight or during your coffee breaks.
89. Exporting With Adobe Media Encoder: In the previous lesson, we looked at how to export a sequence directly from Premiere Pro. Now, let us look at how we can use Adobe Media Encoder. I'm going to File, down to Export, Media, and this will remember all the settings I used last time. I'm not going to change anything. But instead of pressing "Export" here, I'm going to go, and click on this "Queue" button. This will launch Adobe Media Encoder, which is installed on your computer when you install Premiere Pro. I'm going to go and click on this button. Now, sending the information from Premier Pro to Media Encoder. Sometimes it takes a moment or so, for the Media Encoder to come up. I'm going to minimize Premiere to see what's happening in the background. Media Encoder is coming up. As soon as Median Encoder starts, you see that the sequence you sent from Premier Pro to here in this list on the right now, this is the Queue I was talking about. It will remember all the settings that you selected. For example, it will remember your formats, all the settings, and where you want to save it, and so on. But you can of course change them further. For example, if I want this to be a QuickTime file now, I can click here and then pick the QuickTime format, or I can just go back to Premiere Pro now, and then select the different sequence. Let's say my 4K sequence, go to File, Export, Media, and I'm going to set this to be, let's say a 4K export. Let's say I'm going to publish this on Facebook. I'll select this one, I'm then going to rename this, because our young people needed 4k. I can just click on this name here, and then let's change that last one to 4K, and hit "Save". Then I'll hit "Queue" again, and that will send that to my Media Encoder as well, and now, there's the second clip in the Queue. Now, I can go back to Premiere Pro, open up my Instagram one, the one by one sequence. Go to File, Export, Media. Now, there is no preset for Instagram, as you can see here. But what I can do is to go to this high-quality 1080p HD, and then come down here in my Video tab, and then uncheck this width and height, so I can control them separately. I can make the width 1080 as well. That's going to be my final export. I'm just going to go and lower the quality of this as well. Let's say something like five. The final file size is going to be about 200 megabytes. I'll rename this as well. I'll click here, and call this one, 1x1. Then press "Save", and then queue this one up as well. Now, that I have the three sequences lined up here, all I have to do is to go, and click on this "Play" button, and it's going to start rendering each one of these sequences one by one. Once that's done, I'm going to end up with three separate files, that I can use anywhere I like. The other big advantage of using the Media Encoder is that it doesn't lock you out of Premiere Pro. While these are being rendered in the background, you can switch back to Premiere Pro, and continue working.
90. Using the Project Manager: Now let's look at archiving, optimizing, and consolidating the project. Now, I'd recommend that you save a backup of everything that you shot for this project together with the reference files and things that you haven't even used. In this case, this entire folder which included everything that I shot for this project, all the graphic files, all the footage, sound files and everything else, I'd keep a backup of this folder. Because if you had this folder, you can always recreate this project from scratch. Whereas if you throw away some of the files that you think you won't use, now those files are going to be gone forever. Since storage is getting cheaper and cheaper every day, there's no point really in throwing anything away. I definitely recommend that you keep a backup, a full backup of your entire project somewhere safe. With that said, sometimes you want to consolidate a project. You only want to archive or backup the files that you've actually used. Maybe you need to send this project to someone and that someone needs to continue working on this. In that case, there's no point in sending them everything that you've shot. You just want to send them some sequences and with the clips that you have on those sequences, maybe they're supposed to do the color correction for you. Now let me show you how that's done. I'll go back here to Premiere Pro, go to File, and come right down to where it is Project Manager. Now, the Project Manager is a quick way of packaging your entire project up. First, we select the sequences that we want to include in this package. Let's say for example, I only want to package up the final sequences, so I'll select the three sequences here. Down here where it says resulting project, is where you decide whether you want to collect the files, the original ones, and then copy them to a new location, or you want to change the format of the files to something else. Now, I'm not going to use the second one, so I'll just go and select the first one here, which will copy the files from my project to a new location, and then I'll just go and specify that location here. I'll click on "Browse", then I'll just go up to my Desktop, Premiere Pro Masterclass, and I'll just go and create a new folder here. I'll click on New Folder and call this consolidated project. Hit "Create" and I'll hit "Choose" here, and now all of these files will be copied into that location. On the right-hand side, you have some more options. You can exclude the clips that you haven't used in any of these sequences. For example, we may have imported, let's say, 60 clips in total, but only used 50 of them. This first option will let you decide whether or not you want to take those 10 clips and copy them to that new location as well. In this case, I'm going to exclude them. I don't want the clips that I haven't used to be included in that new location. The next option and a few more of these here are grayed out, that's because these will only be available when you select the second option here to consolidate the clips, which I'm not going to do now. Consolidating will actually let you trim the clips as well. If you have a clip that's let's say two minutes long, but you only used 10 seconds of it, you can take only the 10-second portion from that clip rather than having the entire two-minute clip, which would save quite some space on the hard drive. I'm going to skip that one. This option here lets you decide whether or not you want to include the audio conform files in that final location. Audio conform files are what Premiere Pro creates to enable you to preview audio files quickly. Now, you can always recreate them from scratch as long as you had the source files, so I'm going to go and uncheck this. The third option here where it says include preview files is quite useful where you've already created preview files. If you remember from one of the previous lessons, the preview files or the random files were created when you turn these red bars into green by pressing Enter on the keyboard. Now, because I deleted those effects so there are no preview files needed here I'm going to uncheck this as well. Then we have this option to rename the media files, the media files being the ones that are being copied to match the clip names. If you import to the file and the file is called, let's say Movie 1, and then you renamed it inside a Premiere Pro to let's say Interview 1, this option allows you to use the new name into Interview 1 as your file name. I'm going to lead this on. Now, then come down here and then click on Calculate. What this is going to do now is to analyze the project, so it will look at how many clips you've imported and how large those clips were, and based on the options we've specified here, it's going to tell us how large the final file size is going to be. All of the files I've imported to the project were 2.74 gigabytes, and the resulting project file size is going to be 140. I'm going to be saving about half the file size. I'll just go and press "OK". Then it's going to ask me to save the file before I can continue, I'll say Yes. Now it's copying all those files to that new location. Once that's done, if I go back to my finder window here, inside the consolidated project, I have my copied first project, and these are all the files I used inside this project, so all of these clips, the images and everything, and then there's the project file here as well. If I was to send this project to someone, all I would need to do would be to send them this folder and then they'll have everything they need to see what I'm seeing on my screen here. When they open this file up, they can continue from exactly where I left off.
91. Relinking Offline Media: What I'm seeing right here is bound to happen to every single editor up there at some point in their lives. This is when your Media goes offline. Let me explain what this is and how to fix this problem. Unlike some other applications you may be familiar with, let's say like PowerPoint or Microsoft Word, Premiere Pro relies on having access to the original files all the time. What do I mean by that? Let's say, for example, you have a PowerPoint presentation and you want to have five images inside the presentation, you simply go and import those images into that slide, and then that's it. You can delete those images from your computer, but PowerPoint presentation is still going to have those images embedded to it, which means that you'll be able to see them all the time. Now that's not the case with Premiere Pro. Because the video files tend to be quite large, Premiere Pro doesn't actually import anything to the project. What do I mean by that? Let's say you import a video file to Premiere Pro and the file is, say, 200 megabytes. Your project file doesn't grow by 200 megabytes. Let me show you what I mean. Let me just open up my Finder window. If I go to the project files here, the project file that we had been working on so far is only 3.4 megabytes. But you remember, the files I've imported were almost three gigabytes. Now, what's happening here? Every time you bring something into Premiere Pro, you are creating a link from Premiere Pro to the file that sits on your computer or the hard drive. So Premiere Pro relies on having access to those files at all times. If you break that access or the link between your project file and the source files, Premiere is going to give you this warning saying that the media has gone offline. Now, the reason why I'm getting this warning now is because I went to my desktop and I change the name of this folder where all my files were in. From Premiere Pro Masterclass Files to Premiere Pro Masterclass. I just deleted that last word files from here, and Premiere lost the link between the project and these files. Now let's go back to Premiere Pro and see what this warning is telling us. Now it says that the media is missing for these clips. For example, there's a clip called Aerial View 2, and the file name that it was using was also Aerial View 2. mp4. The last known file path was my Desktop Premiere Pro Masterclass Files and the 3D Renders and so on. But because there is no longer a folder on my desktop called Premiere Pro Masterclass Files, there's a folder called Premiere Pro Masterclass, but not one called Masterclass Files, it's lost a link. So what can I do? Well, I can come down here and click on "Locate" and now it'll take me to the last known location. I will just go to my Premiere Pro Masterclass this time. Let me just make this a little larger. It will tell me that the last path was this. So it was inside the 3D Renders and Aerial View 2. I'll just go and double-click here. Here's my file Aerial View 2. I'll just go and select this, and then click "OK". Now, that's going to link that file, and because this option here where it says relink others automatically is turned on, it's going to relink every other file as well. So if I now wait for this to finish, once that's done, all the files are going to be connected. But for some reason, this last one isn't connected. I can go and hit "Locate" and then go back again to Premiere Masterclass and Music. That file was called Once again. So I'm going to go and select that one, and then hit "OK". That gets connected as well, and you're back in business now. However, let's say I go and add that word Files to the name of the folder again. Let me open that up, and then go to my desktop. I'll just go and rename this to be Premiere Pro Masterclass Files. When I switch back to Premiere Pro now, again, it's going to give me a warning saying, "Hold on a second. I was using some files and they're all inside a folder called Premiere Pro Masterclass. Where are they now?" Well, I know where they are now, so I'm going to click on "Locate". Go to Premiere Pro Masterclass Files, and then I'm going to go to this file that is looking for Aerial View 2. That's inside 3D Renders. Aerial view 2, select that and press "OK". That's going to relink all the other files again for me. You'll run into the same problem when you delete a file or you unplug the hard drive that the files are on. Let's say, for example, I won't find this file on my hard drive first. So I'm going to go and right-click on this file, and then come down to where it says Reveal in Finder. That's going to be revealed in Explorer on Windows. This clip is called Flower Pan. Let's say I'm just going to delete the file. So I'll select this and then delete. Now, when I switch back to Premiere Pro, that will give me a warning but this time, only for that file. Everything else in my timeline is still working fine, but that file has gone missing. If I know that the file is missing, obviously now I can't locate it. I can select this option here where it says offline. This is you telling Premiere Pro, "I know that this file has gone missing. Don't ask me this again." I'm going to select offline. Now we can continue working in Premiere Pro, but when you want to see that file, if I go back, that's going to give you that warning again. Now, let me go back to my trash and then bring that file back. I'll just go right-click and put it back. Then I'll switch back to Premiere Pro, and now it won't automatically recognize that file. So what I need to do is to right-click on this clip and then come down here, and I'll choose Link Media. It's going to take us back to the same place again. I'll click on "Locate". It's going to take me to the last known location of that file. But now I have quite a few of these files here, it may be quite tricky to find it. Instead, if I click on this button here, where it says Display Only Exact Name Matches, that's only going to show me that file there. So I can select it and then press "Okay". Now that file is relinked and it will remember all the in and out points and their effects and anything else like animations, key frames I may have applied to it. In summary, if you can avoid relocating or renaming files after you've imported them into Premiere Pro, you should definitely do so. Otherwise, you'll start pulling your hair when your media goes offline.
92. Conclusion: That's it. Congratulations for completing the course. I really hope that you found the training helpful and inspiring. Now it's your time to go out, shoot, and edit your own videos. Remember, you can always reach out to me if you have any questions, or you'd like to share your work with me here or on social media. Finally, it would be amazing if you could leave a review about your training experience for other students to benefit from. Once again, thank you for learning how to use Premiere Pro with me and I'll see you on the next course.
Ozgur Gorgun, Adobe & Maxon Certified Instructor
