Premiere Pro Video Editing Masterclass [Updated for 2026]

1. Welcome to Your Premiere Pro Video Editing Course: Welcome to the Premiere Pro course. I'm so excited to have you here. In this video, I just want to give you an overview of what to expect from this course and how to have a great experience taking it. The first thing to do is to make sure you have the latest version of Adobe Premiere Pro installed on your computer. Every year or so, Adobe releases a new version, and we'll make sure to keep this course up to date with any brand new features. And you'll see those lessons titled as An update lesson when we do have new features. In the next lesson, you'll download all of the supplemental resources that include things like video clips, music, project files, graphics, other things you'll be using throughout this course. So make sure you have those downloaded. Next, I want you to just look over the outline of the course so you understand the flow. First, you start with the basic editing, then you move on to things like adding audio and video translitions, editing your music and audio, adding title cards, graphics, and moving through the entire process. Within each section of the course, I have just the basic lessons that teach you the essentials, but I've also included what are called bonus lessons that give a more in depth training on different editing techniques. Some of these bonus videos might be a little more advanced. And so if you're taking the course and you don't feel like you're ready to take those lessons, feel free to skip them and come back to them when you are. With that, I think we're ready to jump right into Premiere Pro. So let's get going. It's going to be fun. 2. Download the Course Resources: Hey, friend, I am so excited to dive right into this course. The first thing you'll need to do is download the course resource files. I've put them in a zip file here in this lesson. Download that zip file and unzip it. Typically, that's just by double clicking it or right clicking and choosing to unzip it. There you will find a folder with a bunch of subfolders with different assets that we will be using throughout the course. Many of these are assets that you'll be using for the travel vlog video, and you can see an export of that video that we will be doing and basically recreating in the crash course, as well as the full course. In the course, there might be times where I add resources for a particular lesson in that section or in that specific lesson. I will make sure to note that in those lessons. But for now, just download this Master folder, which contains most of the files you'll need, and I'll walk you through how to actually use them when we get to the projects. Thank you so much, and we'll see you in the next lesson. 3. Welcome to the Full Premiere Pro Course: Welcome back to the full Premiere Pro course. I hope you enjoyed the crash course because now you know the basics of getting started with Premiere Pro. If you skip that section, that's perfectly fine, too, because we're going to be starting basically from scratch and learning Premiere Pro. And the way we do it is going to be much more in depth. I'm going to include the basic process of editing, but so many more advanced tips, quick tips that will make you a better editor. We'll go into much more detail, as well. So if the crash course was a little too fast for you, then that's what the rest of the course is for. We will still be using our Premiere Pro resources, and you will find the project file that we'll be using called Learn Premiere for the rest of this course. That's a great resource to refer to. You'll also find all of the same video clips, but some additional null ones, including graphics, audio, sound effects, and things like that that we'll be using in this part of the course. You can see the difference in what we've created with the crash course edit. Compared to our final edit that we're going to be working on, there are a lot more subtle editing techniques, tips, and tricks that I've implemented in editing this version of the Travel log intro that we'll be showing you how to do in this part of the course. Still wanted to make this course flow, like how you would edit a video, and you'll see that in the structure of the sections of this course. However, there's also going to be a bunch of quick tip and advanced lessons that teach you other concepts and things that you need to know as an editor outside of this main project. It's okay to skip some of those lessons if it doesn't pertain to what you're learning right now. A lot of the techniques will definitely make you a better, more advanced editor, so you can refer back to them when you want. Or just watch everything throughout as I've structured it. Thanks so much for being here, and we'll see you in the next lesson. 4. How to Get Adobe Premiere Pro: How do you get Adobe Premiere Pro? You'll need to get that from the Adobe website. So go to adobe.com. You'll need to sign up for an account. Under creativity and design, you can find the Premiere product. You can sign up for this one individually. So if you click By now, you can get this one individually for a monthly fee, or it's included in the full Creative Cloud Pro account, which includes a bunch of other apps, many of which I use as a video editor, like After Effects, even Photoshop, Light room to edit photos. All of these apps help me as a creative content creator. Can also grab the free trial, which is a great option if you're just learning Premiere and you want to test it out, but you're not sure if you need to commit. Either way, you'll sign up for an account. I'll give you a download for Premiere Pro. You'll also get a download for the Creative Cloud app, and this is where you can keep your apps up to date. You can see all the apps that you have. You can see the version of the app. For example, if I click into Premiere Pro, I can see that I'm using version 25.5 right now. Now, this is a common question. What version are you using? What if I'm using an older version? What if I'm using a newer version? Premiere Pro has changed over the years, and that's why I've updated this course three or four times completely since I created the first version. However, many of the basic processes for editing have remained the same. And so even if you're using an older version or a newer one, most of what you'll learn in this class is still very applicable to you. So don't get hung up if you have a new version that's slightly different or an older version that is slightly different. That being said, when there are new tools and features, I will make sure to update this course, and I will let you know in the title of that lesson that this is an update that you know that it might be a little different from the original version of this class. And of course, if there's anything that is different or you're confused about or a new update that I haven't covered, let me know and I'll get to it. Thank you so much. Go ahead and download Premiere Pro if you haven't already, and then we'll get to opening up our project and understanding the Premiere Pro workspace in the next lessons. 5. How to Start a Premiere Pro Project for the First Time: How do you start a Premiere Pro project for the first time? We're going to see how we open a project that's existing, but you'll likely be just wanting to start a project from scratch most of the time. To do that, go ahead and open up the Premiere Pro app. So whether you're on a PC or a Mac, open up that application. When you open up Premiere Pro for the first time, you'll see a big create New Project button in the middle. Also one in the top left. Click on that to start a brand new project. I will also just show you that they have this new templates option here that opens up Adobe Express templates. And if you have an Adobe account, these are great templates for different types of videos that will have title cards, graphics already built into them. We will go over some of these more in the future, but you want to learn how to start things from scratch. So click that new Project button. Here we have the new project window. You'll give your project a name. I'm going to call this travel blog. You can choose the location. I'm going to put it on my desktop. We're not going to use a template, and for now, I'm going to click the skip Import mode and choose Create. We'll look at that Import mode in the next section. Now we've created our first project. So everything's blank. You're probably confused as to what all of these different panels are. Just know that this is now a project. You could think of it as like a document in Word or any other app that we'll be working on. We also have this project file now on our desktop. And we can always open up Premiere Pro and this specific project just by double clicking it or right clicking and choosing to open it. Similarly, we can do that with our project file here. Before I do that, I'm going to go ahead and close this project, which you can do by right clicking the Project tab title and choosing close project. Many of these things you can get to from the file menu at the top. I have it hide from my screen. Usually, you'll probably just seen this, but I hide it just to keep the screen clearer and cleaner for the course, and you can choose close project. If you have opened a project in the past, you'll see that it appears right here when you open up Premiere Pro. So you'll see all your recent files, which is super helpful. Whether Premiere Pro is open or not, though, you can go to an existing project. Double click it to open. Once you open up Premiere Pro, with a project, you start to see some other things going on compared to the new project. Going to go ahead and close this little pop up. You might see Windows like that when Premiere Pro gives updates and wants to notify you of something. So that's how you open an existing project and start a new one. Throughout this course, I'll be referring to this project that we've been working on, but I'll also be building the entire project from scratch with that other one. To open another project, while one is open already, you can go back to the home screen and choose the project, or you can just go up to File and Open recent and open that project. And now we can have two projects open at the same time. Alright, let's go to the next lesson where I'll give you a tour of the workspace so that you know your way around. 6. Get to Know the Premiere Pro Workspace and How to Customize It: This lesson, my goal is for you to understand what is going on in this screen. But first, I want to get on the same page. This button up here is the Workspaces button, and it has a bunch of layouts for Premiere Pro. Notice that Premiere Pro has all these different panels, and you might not know what any or all of these do. But if I change the workspace, it creates a different layout. I can go to essentials, and some of them are a bit obvious for what they do. If I'm working on editing the audio, I might open up the audio view. I want you to choose the starter view. It's the first one at the top, and to make sure we're all at the same space, if you've opened Premiere Pro in the past, go to the bottom and choose reset to saved layout. That means that we should all see the same thing on our screen right now if you're following along. So let's go through these panels and show you the basics, and throughout the course, we'll be opening up new panels, changing our workspaces, and you'll learn more. But right now, I just want you to get comfortable with the basic layout. Here we have the panel for our project. You can see that it has folders in Premiere Pro. They're called bins, and these bins can be opened up by double clicking them. And when I do that, it opens up a new tab up here, and you can see that this window up here, which is highlighted in blue, has multiple tabs, and you can just get to them by clicking on them. You can also change the view of this by clicking this button here to List view. I prefer this view for a lot of times when I'm just organizing files and footage, which we'll be doing more of and it's just easier to go into and find different assets. However, you'll notice that if I go back into my video bin and let's just go into my B Roll bin, that when you're in the icon view, compared to the List view, you have a preview of what these look like. And so you can even use your mouse to scrub through just hovering over it and see what this looks like. To close a tab, you can just right click and choose Close tab, close Tab. And you can also adjust the size of a window. So if you hover over the edge of a window and drag up or down or to the side, you can readjust the size, which you'll be doing a lot of. For example, this next window in the middle is our program monitor. This references what is on our timeline right here. This is called Final sequence, but that is just the name of the sequence we're editing this project on. I'll talk more about sequences in upcoming lesson. But here, if I press play on my timeline, you can see what's happening in our program monitor. You can play that by pressing the Play button here or this space bar on your keyboard. Also, lots of buttons here. Don't get overwhelmed yet. There's lots of things, there's lots of options. We'll be going over this in more detail as we move on. But just know that this is the program monitor, and that's showing what's on our timeline. The timeline has all kinds of stuff going on. So you can see here I can zoom into the timeline just by clicking the end of this little Zoom scroll bar. You can move around the timeline by dragging that to the right or left. You can also use a keyboard shortcut, which I highly recommend getting used to for zooming in and out, it's just the plus and minus keys. You can make this bigger because there's some things that are hidden on our timeline that we can't see because it was too small. The only thing I want you to know right now about the timeline is that you see that there's different tracks V one, V two, V three, and then below this line, there's A one A two, A three. The top is video tracks, and the bottom is audio tracks. And so for this project, you'll see that we have tracks that contain video clips. I click in this timeline up here where I scrub through it, I take the timeline indicator, this little blue bar. This is our spot on the timeline that we're paused at or we're stopped at. Here we can see on the screen, some of these elements. We can see this title card, which right now is purple. We can change the color of all of these things if we want. Video clips are blue. If I zoom out and move over here, I have a bunch of layers. I have dust scratches. I see my photo, I see a paper texture, I see a white mat. All of this builds upon itself to create this look. Below this, we have our audio. We have a green music track. We have some audio from our video clips. We have a sound effect going on, so that's all happening down here in these tracks. To the left of this, we have our editing tools. So lots of tools will go over. You'll see things like the rectangle tool, the text or type tool, lots of tools to do everything we need to edit, add titles, graphics, that kind of thing. As I'm clicking around, you might notice something happening up here in what this window is called the Properties panel. And if I move around to a different clip, you'll see that we can change properties here. We'll learn how to do all of that, but that's how you scale things up, rotate them, crop, add text, change your text, change your font. All of that happens up here. The last thing here on this view is the audio monitor. As I play through this, you'll notice we have these green bars bouncing up and down. Those are our audio levels that are bouncing up and down, super important to pay attention to when you're adjusting the volume of talking versus ambiance, so that you have a nice sounding video. That's where I'm going to leave it for now. We are going to dive into so much more. Just remember that you can change the workspaces here. And also, if you need to open a panel, which is what these are called, for example, behind project, we didn't talk about it, but there's an Effects panel, which has all the effects that we might want to apply to our video. If you don't see a panel that I'm using in the course, you'll find those up in the window, and then down here are all of our panels. Example, there's a source monitor panel, which is often very important because if we go into our video clips in our project panel, we can double click any of these video clips and preview it up here. We're going to learn how to edit these, add them to the timeline all coming up. But for now, I hope you feel a little bit better about what's going on in Premiere Pro. And I will see you in the next lesson. 7. Start Editing Videos Fast with this Premiere Pro Crash Course: Welcome to this Premiere Pro Crash Course. If you're in the full course, this is a great way to just quickly get started and learn the basics. Download the resource files if you haven't done so already. And when you open up that folder, you'll see a bunch of files that we'll be working with in this video. You'll also see an export folder. This has two video clips, and in the crash course, we'll be working on this video that you see here. So this is a great reference that you can refer back to as what we're creating. And in this video, we're doing a lot of things. We're cutting our video clips. We're adding audio. We're leveling background noise. We're adding sound effects, we're adding transitions. We're playing with photos. Color correction, title cards, and we're going to learn all of that in this video. In this folder, you'll also find a project files folder with two projects. One is the Learn Premiere, which is for the full course, and one is the Crash Course project. I'm going to go ahead and open that up because we'll take a quick tour of Premiere Pro before we learn how to do everything from scratch. Can follow along and open up this project. And by simply double clicking that project file, it opens Premiere Pro. Now, if your screen doesn't look like this, let me just get us on the same page. Up in the top right corner, you'll find a workspaces button. Make sure you're on the starter workspace, and you should see something that looks very similar to this, even if you're using an older or newer version of Premiere Pro. So quick tour of my Premiere Pro crib here. Right in the middle, we have our program monitor, and we can see the video that we are editing down here in our timeline. So this panel down here is our timeline. It has a bunch of tracks, and here you can see clips. I can zoom in and out with this little bar down here by clicking and dragging to the left or right, or using the plus and minus keys on my keyboard next to the backspace. I can press the space bar on my keyboard to play this sequence. And what I'm playing down here is now playing in our program monitor. Up in the top left, this is our project panel. This is where we organize all of our assets. We can change the view from a list view to that icon view. We're going to build all of this from scratch in the next part of the video. But here you have folders for videos, photos, graphics, and within these folders, we even have some subfolders like music and sound effects. And this sequence that we're working on right now, that's this timeline, that's under this sequences bin. We'll talk more about what sequences are as well. And then over here, we have a properties panel. When we click on our clips, we have a bunch of properties that we can adjust here. There are loads more panels. There's loads, more tabs that we could view. For example, behind our project tab, we have an Effects tab. This is where we can find a bunch of effects. And any of these panels, we can adjust the size by increasing or decreasing them by clicking on the side and dragging up and down or to the side. We can close panels by just right clicking them and choosing to close the panel. Can find panels up in our window menu that we might need. For example, we might need to go find the Lumetri Color panel. That sounds kind of daunting, but this is where we do color correction and color grading. And that's where that panel is. If you ever have changed things and you want to get back to how it was in the beginning, click the Workspace button here, and then with a specific workspace selected, we can choose to reset to saved layout. Now that gets us back to square one. In the bottom left, we have tools that we'll be using things like razor blades to cut, text to add titles and new generative extend to actually create AI extensions of video clips. On the bottom right, we have our audio meters. So while we're playing, we can make sure our audio is a good level. And then, lastly, we'll also see, and you might have this on your screen already. I have it hidden just to keep the screen clean for this video. You have your file menu, lots of stuff we're going to find up here. So what I'm actually going to do is close down this project and start it from scratch so that you know how to do that with your own projects. But you can always come back here, open it up and see what we've done in this edit and refer to it as we build out this entire project from scratch. So let's close down this project. You can do that by going up to File and close project. Now that you know a basic understanding of the layout of Premiere Pro, we're going to build this project from scratch. When you open Premiere for the first time, you should see something like this where you have a new project button in the top left. If you've created projects in the past, the recent ones will be down here. But to start a new project, just click that new Project button. A panel pops up where we can give our project a name. I'm going to call this Travel crash course. You can change the location on your computer where this project is going to be saved. I've selected my desktop, but you can put it on an external hard drive, wherever. We're going to skip Template, and we're also going to skip the Import mode. We'll learn all about that in the full version of the course. And then just click Create. And look at that. We now have a Premiere Pro project, but it's blank. We don't have anything going on in here. So the first thing we need to do is Import media. The easiest way that I've found to do that is to actually open up another finder or documents window so that you can go through your documents and find the right video clips or audio clips that you want to import. You can also do that by clicking the Import Media button here and finding it in a window. But I find it easier in the finder or documents window just to find the folder, and you can literally just take an entire folder and drag it into this project panel. And now the structure of our folder stays intact. So if I go to the list view, you can see that we have an audio folder, and underneath this folders with music and sound effects. Could have come in here and let's just go in for the photos, for example, find specific photos that we want to bring in and drag those in. That's one way to do it. And within Premiere Pro, we can now create a new bin or folder and name it whatever we want photos and put these photo files into that bin. But if you have things organized on your computer files, which I definitely recommend, you can literally just now bring in the folders you want. And for me, I'm going to bring in all of these, the graphics, photos and video. And then within here, I'm going to create a sequence folder, which we'll talk more about sequences in a second. And now we have our basic structure for our project. We can always go in and rename by clicking in or click and then press the return key on your space bar to change the name if you want a custom name. I'm going to undo that. And if you double click into a folder, notice what happens, it opens up a new tab in this panel. That can be helpful because we can change the view of this tab now to be able to visually see our clips or our photos if it has any visuals and we can get back to that project tab here with all of our folders. You'll notice that I didn't bring in all of these folders and that's just because I'm not using the learning video clips or exports or these project files within this actual project that we're building from scratch. Now we have all of our media assets in our project. Now I'm going to click this button at the top of name so that this is in alphabetical order. A quick note of importance, though, we imported these video clips and photos into Premiere Pro, but they are still referencing the original files on our computer. So if you delete the files from your computer, if you had them on an external hard drive and you unplug that external hard drive, it won't be able to reference them and therefore edit with them. So you still need to keep those files on your computer. Alright, I bet you're ready to actually start working on an edit. So let's get to it. We're going to need to create a sequence. A sequence is a version of the timeline where we can start laying our clips together. The easiest way to create a sequence is to find a video clip. Usually, this is the main video type that you are going to be editing with. You are brand new to this, then this might be a little bit confusing, but video clips have different frame rates. They have different resolutions. You've probably heard like four K or standard HD, and Premiere Pro does a pretty good job now at being able to work with all kinds of clips on the same sequence. However, you typically want your sequence to match the resolution and the frame rate of your main camera. So for this video, we are going to be using the B Roll folder which I can open a new tab from a trip to Japan, and we're going to use this footage to create our sequence. So to create a sequence, I can literally just drag one of these clips into this space down here. And that's going to create a new sequence. Now, if I change this to List view, you'll notice that we now have a Japan one sequence in this Roll bin. So BRL is like our background sort of B footage, and the icon is different. I'm going to move this into our sequences folder by going to my main project bin or window and move this up to sequences. And I'm going to rename this. So I'm going to call this video draft one. The way you use sequences, different people use them differently. Some people use sequences as drafts, so you can always refer back to a previous draft as you move on. Sometimes on a big project, if you have interviews and chapters and lots of things going on in your video, maybe you'll edit different segments of your video on different sequences so that it's more organized, it's simpler. And then at the end, you'll combine it all. It's really up to you as a way to organize the way you edit, but just know that now we have this sequence that we can add footage to and start editing in our timeline. If you need to create a new sequence at this point, though, you can't just drag it into the timeline. What you could do, say I'm taking my A role now, which is some talking head footage, I'm not going to use in the crash course, but in the full course, instead of dragging here because now I'm dragging it onto this existing sequence, I can drag it into this new item button. It looks like a little posted note. That's going to create another new sequence. That's how you create a new sequence from scratch from your project panel as well. I'm going to undo that. So command Z, Command Z on a Mac, that's Control Z on a PC. The beauty of creating a sequence this way by dragging it into the timeline initially or into that new item button is that our sequence matches the settings of our video perfectly, and that's a good thing. So now we have our sequence. We need to start adding video to our sequence. Some editors like to start putting music down and editing from the beginning with music. And that's great if you're doing more of a montage style video that's really edited to the music. Other editors like to just find the right parts of every clip and put it down onto your timeline and then edit it to the music. It's really up to you, but let me show you now how to bring your clips down onto your timeline. You can do it one at a time. Or let me zoom out. You can select multiple clips. Say, I want to put all of these on the timeline, I can drag that down onto the timeline. Notice, as I'm clicking and dragging, I can move this to a different part of my timeline, and I can even put this on a different track. So a quick note about tracks is that in our timeline, we have V tracks, that's video tracks, and we have audio tracks. Top video on the bottom audio. When we bring down this video clip, it has audio attached, so it has that audio track. If I brought down a photo, for example, it doesn't have any audio attached to it, so it's just going to be a video clip on my video track. Whatever's on the uppermost track is going to be the thing that's seen on top. It's kind of like layering the position of things on top of or underneath your layers. And so if I have this clip here on my timeline, but put this other video clip on top of it, which I can do by clicking and dragging over there, now this one shows. But note that the audio from both clips will be heard. And similarly to the photo, if I take a music track, for example, and bring this down on my timeline, it's just an audio clip. So I can't put this on the video track, but I can put this on an audio track. I'm going to extend this timeline panel so I can see all of these tracks a bit easier. So that's how we start to put clips on our track. Now let's talk about editing those clips. First, I'm actually going to delete all of these other clips, and we're just going to have these first two clips that I've added. There's a couple ways to edit a clip. One is with our regular selection tool, which is basically our normal mouse, which you can see is highlighted over here. I can go to my clip and hover over the end of a clip, click and drag in or out to extend the beginning or end of the clip. So this clip right here is us on this boat tour. We're writing, which is nice, but then I do this quick pan up, which I don't like that motion. So I might just use the start of this clip, so I'm going to drag this second part until before I pan up. Get rid of that pan. That's bad. Okay? So now we just have this part of the clip. And then say we want to cut to the next clip, you'll notice that. Now there's this black part of our timeline, which at the top, we have our time 0 seconds, 4 seconds, 9 seconds. Can also see the time going in our timeline up here in our program monitor in the blue. But now I want to cut from this clip to another clip. If it's this clip here on our timeline, I can find the right part of this clip, and I can shorten it and just find that right point, move it, but it up next to it. And now we have those clips back to back. So some editors edit this way. They go through their clips, they add them to their timeline, and then they find the parts of the clip that they want and then edit it down on your timeline. Another way to do this, though. If you want to find the exact spot that you want from a clip before bringing it to the timeline, you can double click your clip, and it opens up the source monitor. Notice this is behind our program monitor. This gives us a preview of anything from our project bins. And here we have a timeline where we can scrub through play through, and we can find the beginning and end of the part of this clip that we want to bring into our timeline by setting in point. That's I keyboard shortcut or pressing this button here, playing through to the end and pressing O on our keyboard. And keyboard shortcuts are so important as an editor to start using because it makes you a faster editor. How do we get this down to the timeline? The easiest way is just to click in the video up at the top and drag it down. Now it has just selected that part of the clip that we set in the source monitor, which you can see back here. But as soon as we start playing our timeline, it switches to the program monitor. Now, it probably makes sense to cut from this clip on the boat to the next clip on the boat. So I'm going to move this clip behind. I could select these and drag them, or if you have a blank space on your timeline, you can click it and press the backspace or delete button. And so now that removes that gap, and we cut from one boatshot to the next boatshot. That's the source monitor, and that's great for previewing and selecting parts of a video. It's also a great place to preview music, so we can click our music or double click and then just play through it. There's four music tracks that you are welcome to use. These are public domain audio tracks that you can use in your own videos. And so that's how you can preview things using that source monitor. Now, speaking of music, I'm going to bring down a music track onto my timeline, and I'm just going to put it down onto my Track two audio. So now we have this song that we can use to start editing our video two, but it's really long. So I want to shorten it. I'm going to show you two quick ways to shorten a music track. And this goes the same for any clip on your timeline. We can use the razor blade tool to make a cut point at any point on our clip. So basically with music, generally, what I want to do is, if I want to shorten it, I'm going to cut out a big section in the middle so that it has the start. But then it still has the ending from the song. So what I can do with the razor blade is now hovering over this. I can click and then I can click towards the end. And now back with my selection tool, I can delete that center part, and now I can take this last part and put it in. Now, I realize I did a bit too much because I want this This is, like, a great little social media video or something like that. I want it to be about 14 seconds or so. So now I can place that end of the song. Ending around 14 seconds. I can extend this further like this and the start, so it meets up. So now we have this song that's about the right length. Now, you can play around with the positioning of this, but something that you'll likely want to do is add a little bit of a fade between this cut that I made so that the two sides of the song blend together, and usually that makes it sound a little bit better. And you can do that by clicking that little icon right here at the end of a clip. See that right there, and dragging across that cut point or that transition point. So with that transition, it sounds a little bit better. Now, because I can see the wave form, that's what these bumps are. That's the visual representation of the beats of the song. And if you want to see that even better, I can extend the height of these tracks by clicking over here and dragging up or down. I'm going to delete this transition we added. Whoops, I deleted the whole thing. I got to select just the transition and press Delete. Now I can see the beats, and I can try to make a cut or match the cuts to where the beats are. So see how there's this one beat here that has that flat top, and then there's one right here that has the flat top. I might just try to match that up like that and that transition is much better. So again, add that cross fade like that, and that almost sounds like that's how it was made. So that's how you shorten a song one way. Let me show you a different way. I'm going to make this track a little bit smaller. I'm also going to mute this track. And I'm going to bring down the song again. And then I'm going to take a special tool called the remix tool. If I click this one right here and hold it, and then hover down to remix Tool, I now have this magic tool that if I take the end of a music clip, I can drag it in, and I can literally change the length of the song to whatever I want. And now it's going to analyze that clip and it has a little bit of wiggle room. It can be shorter or longer by about 5 seconds to customize it to the right length. So you might have to play around with it, but now you can see that it's actually made some automatic cuts and transitions here in the song, represented by these little squiggles, And those are actual edit points where it remix the song itself, and it made it the exact length we wanted without having to do this other process of making cuts, adding transitions. And so depending on the song, this does a pretty good job at quickly adjusting the length of a music track to whatever length you want. So that's how to add music to your timeline and also how to adjust the length of the song. And for a lot of us, we're editing to music, and that's why I wanted to teach that before we continued with our edit. I'm going to actually take my selection tool and delete this song on Track two and move this one up to Track two now and unmute that to clean up my timeline. And now what I can do is I can start to edit to the beat of the song. And with this song, because it has those hard beats, it's easy to do that. And by editing to the beat, it makes a video more dynamic. So what I do is I listen to the song and I try to think, when would a cut be? So let me show you and tell you when I might think a cut might happen. Cut, Cut, Cut, Cut, Cut. So you can play through your music. This is where it's actually good to be like a drummer. And you can hit these cuts from one shot to the next at the major beats of a song. And that's a quick tip to make your videos just that much more engaging. Cut. So right here on this beat right here, I'm going to cut to this next track or clip. And then same thing right here, I'm going to cut to the next clip. Now, you'll notice that when I did that, I moved this clip over, but there's still this little bit of the clip from the previous shot over here. I'm just going to delete that. Bom, bom, bom. So play around with it. You don't want it to feel too repetitive. When there's faster beats, you might want to make some faster cuts. Then when it's slower, you might want to slow down the cuts. So basically, what I'm going to do now and I'm just going to speed through it is I'm going to lay down all of the video clips from my B roll in a way that I think makes sense. So I have a lot of clips from, like, super busy areas in Japan. And then I have some more, like, coming shots like this of these temple. I'm going to start in sort of the hectic business, and then at the end of the video, I'm going to transition to some of these more slow shots. So there's going to be a quick time lapse of me doing that. Follow along if you can on your own. Now I've edited my basic video sequence to the beat of the song. You'll notice that I use some of the same shots but just made cuts in between the spots to kind of add to that editing to the beat. I like that sort of style. But I've left this gap in the middle, and I wanted to talk about adding these photos to this part of the video. So I'm going from video to photo. So I have all of these photos here, and I thought it would be cool. These aren't my photos. These are just stock photos. You know, in an ideal world, I have these photos from my trip, and I'm trying to tell the story of this night, in a sense, from these video shots at night in Dtenbur in Osaka, where food is king. So these photos, I think will add a lot to it. So you'll notice that when I put this photo on my sequence, it doesn't match the size of our sequence. It's kind of small, and that's because the resolution of these photos is quite compressed. But to change the size of anything on your sequence, you can go to the properties panel. And here you can find your scale, position, all these things, including cropping. Where you can make this adjustment. So for our photos, I'm going to actually scale it up to about 140% or so. So now I'm going to continue with the story of my next photo. So making sushi, and I'm going to cut to sushi on the plate. Maybe eating the sushi next, I'm going to have to adjust the timing of this. Now, this one's a different aspect ratio. It's vertical, so I'm actually going to delete that one and change it to just a different photo. I kind of like how I created it in the first version of this project where they were all the same aspect ratio. So now I have all these photos, and now I press the C key on my keyboard. That's a quick shortcut to get to my razor blade tool, V back to my selection tool so I can edit or actually just cut out the end of that photo clip. If I want to quickly match the scale of this photo, which is at 140%, the rest of these are at 100%, and you can see as I click them, they're all at 100%. Well, I could go in and go to each photo and adjust that, or I can copy this property, but I can't copy it from the properties panel. I have to open up a new panel. Scary, right? Not too scary, though. If you go up to Window, search for the Effect Controls Panel. With these panels, I didn't mention this before, but we can move these around. So if I want to take this panel and move it over here, for example, I can drop it in this window, and it becomes a tab in this panel or this window, depending on where you drop it. If you want a new window, you put it to the side, you can hover over the side, and that opens up a brand new window. I'm going to put it over here on being behind the properties because it kind of makes sense to be there. And here we can see that we have this drop down for motion. It's the same properties that are here, but now we can actually take the motion property and copy it. So I'm command seeing Control C on a PC. And now I can select all of these photos and paste it. And so now you can see the photos now have 140% scale, same with our property. So that's how you can copy any sort of property to another clip. Now, these photos are cool, but I want a background. In my original edit, I added a white backdrop, which you can do by clicking the new item button and choosing color mat. It's going to match the video settings of your sequence you're working on. And now we have a color picker that we can choose and create any colored backdrop, basically. I'm going to call this white Mt. And now this is an asset basically that's in our project panel that we can put onto our timeline. So I'm going to make this shorter and put this underneath our photos. Now in the full course, we do a cool animated paper texture backdrop. But just for you for now, we could also throw in a paper texture as a backdrop instead of just a plain white background, that might look kind of cool. And a quick tip. If you ever want to swap out something on your timeline with something from a project bin, option drag while you're clicking this into any of these clip so with the option or Alt on a PC selected, I can actually just drop it into that clip on my timeline, and it swaps it with this paper. Another quick tip is, if you have an asset that does not fill the frame, which this one doesn't, you can adjust this with the scale, of course, or there's these quick transform buttons where you can fill it to the frame. Fit it is going to fit the longest edge, whether that's vertically or horizontally to your frame, but filling will just zoom it in as much as you need to fill that entire frame. So now we have this cool sort of paper texture backdrop. So now we have our music. We have our audio. We have our visuals all pretty much edited to the beat of the music. I'd have to make a few tweaks here and there. Next up, we're going to fix our audio because if I mute this music track and I listen to our Bal audio, you can tell that some of it's louder and some of it's softer. I could go in and manually adjust the volume of each clip by going into our track, and you can click this little bar in the middle of each audio track and sort of increase or decrease this to make the waveforms match. But there's an easier way to do this with a lot of clips. Going to need a new panel open and that's called the Essential Sound Panel. You can get that up in the window Essential Sound, or you can get to that quickly by clicking this little talking head icon. You might see a different icon depending on the type of clip. Like, down here, it's music. Either way, I can click that, and it opens up Essential Sound. Now, Essential Sound will automatically tag your different clips as either dialogue, ambiance, sound effect or music. Sometimes it works well, sometimes it doesn't. What I want to do, though, because in this panel, we can do a bunch of things like removing background, matching the loudness. All kinds of effects will go over in the full course. But for this purpose, I just want to use the Essential Sound Panel to match the loudness of all of these clips. But Premiere Pro has tagged these as dialogue. These aren't really dialogue clips. Dialogue is more like a talking head, an interview, a vlog, me talking. So I want to change the setting from dialogue to ambiance. And the way I can do that is by selecting all of these clips, and then I'm going to clear the audio type and under preset, I'm going to choose ambience default. Now all of these are ambience. And you'll notice as you change the type, you can see if I choose music or if I select one and go change this to dialogue, for example, the dialogue settings have different properties than our ambience. Let me undo that, though, because I want this to be ambience because now I can select all my ambience clips and edit them together. Going to do that with loudness. Now if I click Auto Match, what it's going to do is going to read. Now, did you catch that? Did you see how cool that was? If I undo that, pay attention to the waveforms. Auto Match automatically makes all the waveforms about the same level. Now you might have to go in here and tweak things. Sometimes you might want louder ambience or background noise. It just gets you to sort of a standard level. And this is also how you can adjust the level of your music clip. You can do that here on the timeline with this bar where you're increasing or decreasing it. Or in the Essential Sound Panel, you have this clip volume, which is basically the same thing, but just a different method. And so now if we play back this, our audio levels are matched and you don't have that abrupt change in something loud versus soft. However, we do have this super quiet background or really no background noise of these shots in the sort of like this restaurant photo sequence. And that's why I've added some audio sound effects of a restaurant. So I can go in here, listen to it. Set a preview in point, outpoint and drag the audio down to my timeline, and I might have to extend this. But same thing. Now I want to actually match the loudness, but it can't be dialogue. If it's dialogue and I match the loudness, it's going to set the loudness a little bit louder than our ambience because it has these preset levels for the different types of audio. You have to make sure that you have it set to the right tag. You can click the clip, clear that and choose ambience. Or if you have multiple selected and you don't have these options to tag, you just go to preset default, and now we can automatch the level of our background noise in the restaurant sound effect will now match the background noise of our video clips. Eol right. And just like we saw earlier when we were editing our music clip down manually, we can go in here and add little transitions between these clips to smooth out those audio transitions even more. You can do this with a keyboard shortcut to multiple clips by selecting all the ones you want to add this cross dissolve to and pressing the Command Shift D keyboard shortcut. That's Control Shift D. And that applies this sort of default transition between all of your audio clips. Now, you kind of have to be careful with this because sometimes between the shorter clips, it gets kind of hard to move them around. So you might want to go in here and do a little custom one so that it's the right length. But you can click these transitions, move them around, extend them, however, want, as long as there's enough clip on each side of the transition point to fade in and out. That's a big dilemma that a lot of students kind of find themselves in. They're trying to add audio transition or a video transition, and there's not enough space to do that on the clip because you're at the beginning or end of a clip. Speaking of transitions, let's add some video transitions. The default transition for video is similar to an audio cross fade. And you can add a default transition by selecting that Cut point in between two clips or selecting the two clips and pressing the Command D. Now that's going to add this cross dissolve, which has a preset length to all of the cut points that you had selected. So you see that it had added this cross dissolve at the start as well, which if there's no other clip, it's just going to be a fade on. And I don't like that. So I'm actually going to select this transition and delete it. But again, I can select multiple clips and press Command D and add this cross dissolve, and I can extend it, make it shorter, longer depending on clip. But for me, because I'm editing to the beat of this music, I don't want to have these cross dissolves. Those are more softer transitions. I like the cuts, bump, bump, bump. Let's turn on our music. Bump, bump, bump, bump, bump, bump. So I like those hard cuts for this video. So that's a lot about audio editing. There's a lot more that we'll cover in the full course. I'm going to go ahead and close down this Essential Sound Panel. And next we're going to do a quick color correction or color grade to our clips. The next thing I'm going to show you is how to apply a bit of color correction or grading to our footage. And you can tell that I'm actually teaching this crash course in the process that I would edit a video. We added our clips, we added music, we edited to the music. We adjusted our audio to make it sound good. And now let's make our video look good. I'm going to change the workspace, and now you can see how this actually works, and I'm going to change to color. And I did that because it brings up the Lumetri Color panel. Now, don't get too scared of this little ghost like blob over here. We'll cover that in the full course. And because it's kind of scary looking, I'm just going to close that panel. And I'm going to make my video panel as big as possible, the program monitor. So just like we saw with the properties, the Essential Sound Panel, when I click a clip down here, we have our Lumetri color panel pop up with a bunch of adjustments. We have these drop downs that we can open and close, and here we can see things like adjusting our white balance, our exposure. And as I change these sliders by dragging them up or down, double clicking to reset, you can see it change on our monitor. Shot this on the DJI Osmo camera, which is a really good camera which just kind of shoots everything in a well exposed, nice color setting. So I don't have to do too much color correction, but I do want to add sort of a style to that, and I can do that easily under the creative tab. Here we have what are called Los, and you can click this drop down to find one that you like or preview it here by clicking these left and right arrow buttons over here. And if you find one that you like, say I want something that's a little bit like flat, I liked one of those Fuji ones in the beginning. Maybe like this one here, that's kind of a cool look. If I click on it, it applies to the clip. Until I click on it here, it doesn't apply. I can actually adjust the intensity of this. It made everything flat, a little bit not as contrasty, a little desaturated. And I actually like it, but I might just back that off just a little bit, or you can kind of crank it up if you want, above 100, but I'm going to just move this back down to 70 or so. I can see what this looks like on and off for just this creative look with this little ticker right here, on and off. Or if I've made a change to everything or for different drop downs in the Lumetri tab, I can just turn on and off the whole effect here. And I just did that change to the temperature white balance for you to see that. And so now I have this kind of cool effect, and I want to copy it to these other clips. Well, how do I do that? Do you remember how to copy different properties and things? That's in the Effect Controls tab, which actually is open here in the top left. If you don't have it open, you can find it under Window Effect Controls. Now, just like we saw the motion before, we have a Lumetri Color effect. And here we see that Effects button. 8. Importing and Organizing Your Media: Welcome to this new section all about importing and organizing your footage. I'm going to go ahead and close the Learn Premiere project. What we're going to recreate is basically what you see here, though, in our project panel. So I'm going to close that project. I have my travel vlog up. So how do you import media? Well, there's a big Import Media button. That's probably the easiest way is just to click that button. And Pas, one of the biggest critiques I have as a premier pro teacher is that I say the word button, button with a D. Yes, I know it. I am trying to use that hard T button, like a proper boy. That's just one thing I've gotten bad reviews about, and I wanted to get that out of the way. Alright, so clicking that Import Media button, you can then find any media that you have on your computer, on an external hard drive, wherever, click it. You can select multiple files by Shift clicking. You can use the Kaman button on your Mac or Control button on your PC to select different ones and then just choose Import. You can also import an entire folder. Now, we don't have that Import media button anymore because we have our files in our project panel already, but we can right click and choose Import. We can also go up to the file Import button. You can press the short keyboard shortcut Command I. The way that I like to do it best is just by going to my documents and opening up a window with my documents outside of Premiere Pro, finding the folder or the video clips that I want, and just literally dragging it into Premiere Pro, into the app. And you can see when I do that, it adds this folder of Brule right in here with all of the clips that were also in this folder in my documents. So what I like to do is stay very organized, and I would recommend trying to be as organized as possible, where what I see in my documents, generally matches what I see in Premiere Pro. So I'm going to delete these clips from my project for a second, because I'm just going to show you that if I have my video organized here in subfolders and I import the master folder for video, it automatically has everything organized. So I'm going to switch to list view so you can see that now all of these clips are organized into their respective folders. You can organize this in the Premiere Pro panel. You can create a bin or a folder here by clicking that button. I'll call this photos. Now I can take from my finder, I can choose the photos, all of them, one of them, and drag them right into that photos folder. I can move them out of the photos folder. I can move one and you can just customize all of this right here in your project panel. So I'm going to bring in my audio. I'm going to bring in my graphics. I'm not going to bring in exports. That's a folder that I keep in my documents, just for any exports. The final video files that I've saved or exported from Premiere Pro. I'm not going to bring in the learning video clips for now. These are clips that I'll be using in other specific tutorials later but not related to the g. And then the project files I'm also going to skip. Those are not assets that I'm bringing into this project. Those are the project files themselves. You may have noticed in my other project, I had a Bin for sequences. So sequences are something we'll talk about coming up and we'll show you how to start a sequence and what sequences are in the next lessons. But for now, just having that Bn there is great. Let me show you one other view which can be kind of helpful. If I go into my B role, for example, and then I go to the freeform view. Let me make this panel bigger so that you can see more. What this view allows me to do is just literally move clips around, so I can organize them in a way that might make sense. I can say, these are shots from Dotenbury. This is the boat tour, which is also near Dotenbury. Here's the Osaka Castle Temple. This is a night shot. Maybe we put all of our temple shots over here. And it's just a visual way to map out your files. And you can always get back to the icon view here, and it doesn't change anything. It doesn't change the order or anything like that. Just the free form kind of stays saved as you have moved things around into different buckets. So that is another option that you might find helpful. You'll notice that when I was in one of these subfolders, there's this little up folder button. I click that and I go back one level or one layer to my project panel. I'm going to go ahead and reset to saved layout, and next we're going to be learning about sequences, but there's going to be a little quick tip lesson on how to import using this import window, which can be a quicker way to start a project and a sequence from scratch. So check that out for a more advanced tip. 9. Advanced: Using the Import Window to Start a Project: What is the import mode? If you click to create a new project, and then let's give it a name. I'll say travel Import. Same place. But I don't skip the Import mode and then click Create. This is a import mode where you can do a lot of the heavy lifting of finding footage to import and organize ahead of time. So this is a different way rather than finding the files after the fact. As you create your project, now I can go to any folders, any devices. This could be an external hard drive. This could even be an SD or memory card with footage on it. And from here, we can just find the footage and files that we want. We can select entire folders. We can go into specific folders and find specific music clips that we might want to bring specific or entire folders. All of that you can find here. You can change the view of this if you want that list view. You can search for files here. But basically, it's going to be all of your folders, just like they're organized on your computer. On the right, you can change the setting. So starting at the top, you can add these to a new folder or new bin. Name that. I'm going to skip that for now. You can also choose to copy media. You would only really want to do this if you were importing from a memory card. So say you film some stuff, you plug your memory card into your computer, rather than just backing up your entire memory card, you can actually go find it under devices, and you would definitely want to copy that media then to probably the destination would be same as project, or you can choose a location and you can create a folder for where you want your media to be copied. And that way, that media is backed up to your computer or to your external hard drive. And you'll need it to be backed up because once you take your memory card out of your computer, Premiere Pro will have no files to reference, and it's the same with an external hard drive. You have to have your media accessible, whether that's on the computer or on an external hard drive for Premiere Pro to reference when you are editing. When you're importing footage, you're not actually making a copy into your Premiere Pro project file, it's just kind of reading it from your other place where it lives. You can choose to create a new sequence, and when you do this, it adds all of your footage to that sequence. So I'll just call this Travel log opener, for example. There's also some great tools here for automatically transcribing, media analysis. These are more advanced things. But for example, if you are editing a talking head video, an interview, a podcast video, anything like that, your YouTube video, where you're chatting or talking, it will automatically transcribe it for you so that it has things like captions and translations and even text based editing. All things will go over in the future. Media Analysis is a newer feature where you can actually just search and Premiere Pro can intelligently find files for you based off of your searches. I'll have a separate lesson on that. So all that being said, though, you find all the files that you want to import, and then you just click Import. And now we have a new project file with all of the footage we've imported, and all of that footage has been added to our timeline. Now, this is not the way that I technical now, this is not the way that I like to edit and create projects. I like to do it a little bit more organized. This makes a lot of sense if you're doing something a bit more simple where it's like one camera and it's sequential and you know that the shots are going to be in order. Otherwise, I want to add them to the sequence automatically, and I would just probably use the other import method that I showed you. However, I did want to show you this because you can always go back to this import view, and there are ways to make it more organized. For example, if I do choose music, but I add this to a new bin called audio, then choose Import. You'll see that it's added to an audio bin here. So you might want to go import one type of asset at a time, and you can just visually see it here rather than going and doing it from your finder, for example, that we did last time. However, I prefer this method that I taught in the previous lesson. But I did want to cover that import window because Adobe keeps kind of pushing that and trying to make it work. All right, see you in the next lesson. 10. Starting a New Sequence the Easiest Way: How do you start a new sequence in Premiere Pro? First, you have to understand what is a sequence? If you have the Learn Premiere project open, you'll see that I have a sequence called Final sequence, and that's likely open on your timeline already. If that's ever closed, you can get to that sequence by double clicking it. You can think of a sequence as a timeline that you are editing a project on. And within this project, you can have multiple sequences. The way you use sequences and why you would use different sequences will be covered in a future lesson. But I just want to show you how to start a sequence the right way in this lesson. I'm going to close this sequence, and I'm going to go over to my travel vlog project that we're creating from scratch. We have all of our bin set up, but we have no sequences yet. To create a sequence, the easiest way is just to drop media into this area down here in your timeline. The best clip or media to use is going to be if you have talking head footage, use your main camera of talking head, or if it's going to be primarily visuals, then use that footage. For some of you, you might just be using the same camera for your entire project with the same settings, and that's easy. Then just use whatever. But as an editor, we often run into an issue where we are thrown a project with footage from all kinds of cameras. Here we have stock footage, for example. This footage is going to have different frame rates, different resolutions. So you have to decide which file to use. See these settings with this little scroll bar over here. There's all this information about your different files, and you can see your frame rates. You can see the resolution. So here we have four K footage. Our Arle footage is not four K. It's just 1920 by 1080. So for a video where I'm going to be using my talking head footage, all I need to do is take one of those clips and drag it into the timeline. And here we have a new sequence. You can see that there's a sequence icon here added, and the title of the sequence was just the name of the clip I used. I'm going to move this to sequences, and I'm going to just rename this Vlog one, for example. Another way to create a sequence if one's already open is to drop a clip onto this little new item button. This little new item button allows you to create a bunch of things, but dragging a video clip onto it creates a new sequence, just like we saw with the other one, new sequence was created, same name as the clip we used. All this blog two. Now we have two sequences created one with our talking head footage and one with our visuals. Premiere Pro used to have a very hard time working with different types of footage, if the frame rates were different, if the resolutions were different, now Premiere Pro is pretty good. You can use footage from all kinds of different cameras and everything all in the same sequence, and we'll learn how to add footage to our timelines in the next lessons. But the key takeaway about creating a new sequence is generally you want the sequences to match the settings of your videos, and the easiest way to do that is by just dragging the clip into the new item button or into the timeline to create that sequence because everything's going to be matched. 11. Advanced: Creating a New Sequence with Custom Settings: If you're creating a sequence from scratch, you can choose this new item button. Go to the sequence. And now we have this new sequence module where you can go in. There's presets, for example, if you have a four K preset or HD tent preset, some social presets, you have the settings tab where you can customize literally everything. So you have your frames per second, the frame size, the video format, color preferences as well. This is very advanced stuff that you might need to get into, and we'll talk a little bit about this in a future lesson. And when you click Okay, it will create that sequence for us. But what happens is then if we add a clip of ours, what's going to happen is it says there's a mismatch because the settings from our sequence don't match the footage we're adding to that sequence. Here we do have the option of changing the sequence settings so that it will match our footage. But if you know that you are trying to edit a specific sequence with specific settings and you click Keep settings, it's going to keep the ones that you set up. And the last thing I want you to know is you can always change the settings after the fact. For example, if I open up my vlog sequence, I can go to my sequence menu and go to sequence settings and get that same module where I can change things. And now I can go ahead and change the frame size, for example, to 38 40 by 21 60, say, I want this to be a four K sequence. If I click Okay, what's going to happen though, you'll notice that footage that I had already added to this sequence is not four K footage, so it's not going to be the same size as that sequence. Whereas on this one, if we did the same thing, if we go up to sequence settings, and we drop the frame size down, say, maybe we want it to be smaller. Okay. Now this clip is zoomed in and we don't see the full clip. There's going to be times we want to do this, and we'll cover those in future lessons. But generally, you want your sequence to match your clip and the main type of video that you're using throughout your video project. Alright, hopefully that's clear. We'll be covering more about sequences coming up. 12. Quick Tip: Why and How to Use Different Sequences: So now we know how to create a sequence, but why do we use different sequences? This is a common question that I get. So this is a little bit more of an advanced topic. Sequences are yours to be creative with. Some people use sequences as different drafts of a project. So you'll see if I go to the Learn Premiere project, under the sequences Bin, don't look at nests for now. That's something a little bit more advanced, but that will be covered in the future. Here we have different course sequences, and as you go through them, you'll see that things change on the timeline, and basically what it is is like drafts of the project. So here in the Sequence one, we just have some video clips, and then we jump to Sequence five, which has some transitions, music, photos. And if you go all the way up to sequence 13, we have more graphics, titles, all kinds of stuff going on. And then I have my final sequence that has everything. And notice when I double click them, they start opening up here on the timeline. I can reorder these just by dragging them around. You can even open up two sequences at once, which I don't know. I've done that in the past sometimes for certain things, but generally, you don't need to have both of them open. And then you could also just close these with this X button or with the Command W keyboard shortcut. Great to use keyboard shortcut. So creating drafts of a project is nice because what happens is, as you start to make edits, you can only undo so much and you might not want to undo everything, but you still might want to refer back to an original version of the project. For example, when you're working with a client, generally, you're going to send them a draft of the video. They'll give you notes. You'll then make changes to the edit. And then the client's going to say, actually, I do want that clip that we had in the first version. If you only were editing one sequence and you didn't have drafts of that sequence, then it would be much harder for you to go back and find that clip. Whereas if you saved a copy of that sequence and called it draft one, for example, and then you made your changes to a new draft, which you can do by simply copying and pasting the sequence here in the project file. Right click duplicate is another option, and it creates this copy. Note, though, if you do copy and paste, it's a little confusing because now we have two sequences with the same name. So maybe you want to call this V two, and this first one you would call V one. And then you would make your changes to V two, and you would always have the V one to go back to. Drafts, that's one reason. Another way to use sequences is just to organize your editing, especially if you have different types of editing going on in the same project. For example, you might be editing an interview, and you might want to create a sequence with just all of the interview footage, edit that interview on there. And then on another sequence, you might have another interviewee, for example, where there's multiple people interviewing, and you just edit that interview on that separate timeline rather than putting it all in one timeline and editing. Another way to use sequences is if you have a series. For example, you can have a Travel vlog series where you have episode one, Episode two, Episode three as different sequences. And the benefit of doing that all within one project is then you can reuse the same graphics, the same audio and music effects and everything in one project, rather than creating a new project for every episode and re importing and reorganizing everything, you can have it all set up here, and then you just create a sequence for every video that you're working on. So those are three of the ways that you can use sequences in Premiere Pro. I'm sure you can think of more in different ways, and I'm sure as you work through your projects, you'll start to use them creatively, however it fits your needs. There's no one right way to do it. I do know some people who just have one sequence. They edit the project on one sequence. They make all the changes to one sequence, and that is fine. I also know some people who use projects and create copies of the entire project for different drafts. So here in our documents, we have our travel blog project that we created that we're working on here. Maybe we finished a draft, and then we can actually just copy and paste and make a separate copy of the project for the next draft. I don't find that to be as efficient or effective myself. I use sequences to draft, but I just wanted to throw it out there that some people use that option, too. All right, I hope that this covered what sequences are, what the differences are, and why you might use multiple sequences in one project. Thank you so much and we'll see you in the next lesson. 13. Adding Clips to the Timeline: Welcome to this new section where we'll be doing some editing fundamentals, getting going with our edit. In this lesson, we're going to learn about the timeline. So I'm actually going to start from scratch with our sequences and add our B roll shot to the timeline. So now we have this new sequence that I'm going to re title by clicking and pressing the return key to get the text editor to change this to Travel intro one. I'm just going to save it as that. And now we have our video clip on our timeline. If we want to add another clip to our timeline, we can go to our B Roll folder or any video clip and find the one that we like, and we can just start to drag it onto our timeline. Now, I'm holding it as I drag it and notice that I have the options to put it on Track one, Track two, or Track three. Once I place it on my timeline, I can move it to a different track. I can click and drag it to a different track, but notice that I'm only moving the video now. I'm also going to have to move the audio separately to the other track if I want both of them on Track two, for example. So now if I play through this, it goes from this first video, Japan one cuts to Japan eight. And that's because whatever is on top on the topmost track is going to display in our video. However, with audio, we're going to hear both of it. So you got to be careful. If you have multiple clips on your timeline, the audio from all tracks are going to be heard. And technically, all the video is seen. It's just that this Japan eight video is on top. So that's the one that we're actually seeing here. Couple quick sort of navigational things about our tracks is that they have these eyeball toggles right here that turns on or off the track. We have a mute button down here, which is similar. Like, it mutes the audio for a specific track. So say you have a video where you're putting your talking head video on track one. It's not the right size, so I'll give you a quick tip right here. If you select that clip in the properties panel, you can click the Fit button, and that will actually scale up that video to the size of the sequence. And that's because this footage was 1920 by 1080. This is four K. Now we have all of our B roll on track two. You might want to just turn off the audio for the B roll, at least for the time being while you're editing it. Of course, be careful if you have those things muted or toggled off when you're exporting your video because then it won't be heard or seen if those are off. Can also lock tracks so that you can't click those clips and mess anything around. Sometimes I will edit my whole project. I have all of my talking head video edited, and then my B roll edited, and then I'm adding things like title cards and graphics. And so I want to lock the tracks that I don't want to edit. S is to solo a single audio track, so it's like muting all of the other tracks. You can do that individually by going through and muting all the other tracks you want, but S just allows you to listen to that one track while you're playing back. And you can add tracks. You can easily add tracks by just dragging a clip up and see how that adds it to the V four video track. I can move the audio track down down here. Notice this mix volume track. This is the audio level for the entire project that you're working on. We'll cover more about audio in the future, know that this is a quick way to increase or decrease the entire audio level. You can also click in there and put a specific number in here. I often don't use that for adjusting audio myself. We're going to learn a lot more about our time line and these other options and buttons, but let's get into actually editing our project, and we're going to look at how you can do that right in the timeline coming up next. 14. Making Your First Edits: Let's get to actually editing our videos. We're going to be working our way towards what you can find in the course sequences folder, this sequence number one, where you have a number of clips that are edited down to this song. Oh, how do we do this? I'm going to go ahead and go back to our Travel vlog project, close down these other sequences so it's not confusing from the other video. And now we can go into our track. We've had our footage down on the timeline before. And let me show you how you can make an edit to this clip because the whole clip is showing now, and I don't really want the whole thing to show. There's a little bit of camera movement in there that I want to edit out. And I really just want this very first bit before I tilt up like that. With my mouse, I can hover over the ends of this clip on the timeline and just drag in, click and drag in from the right to get rid of that end part or click and drag from the left to remove the first part, pressing the plus key on my keyboard to zoom into the timeline. And I don't want that tilt up, so I can again, click and drag in on here right before I start to tilt up. So now I have this exact perfect part of the clip that I want for my video. What a lot of editors do if they have a B roll visual heavy edit is they just throw all their clips onto the timeline like I just did here, and then just play through it and edit to the parts of the clips that you want. You can click and move your clips over so that there's no dead space in your video. If there's a gap in your timeline, it's just going to show black here. You can also just click into that gap and highlight it and then press the backspace to close that gap. So that's one way to find the right spot for your video and edit the clips. But maybe there's a time where you want two parts of a clip. So for example, let's go to Japan six over here. I can use my razor blade tool. I could play through this and say, Okay, I want about here, so I can use my razor blade tool to cut and then go forward, cut. Then I'm going to jump ahead to right when I pass this guy and say, right about this mark, I'm going to cut and go till then and cut. So now I've cut that clip into a bunch of different pieces, and I'm going to delete the parts that I don't want. And so if I delete that gap in between, we have this one Japan six clip but two parts of it. Of course, you could have brought it down twice on your timeline and use your mouse just to drag in and out points. That's the start and end of a clip. But using the razor blade tool is just much more efficient. So if you wanted to start editing this into a real video, you might find a music track that you like, which we have four in here that you are very welcome to use. They are all public domain songs that you can use. You can preview them by double clicking and then playing in the source monitor. So we have a few different vibes going on. And once you find one you like, just drag it onto an audio track. And so now we can start editing to the music. Okay. In the next lesson, I'm going to show you how to find the exact right part of a video clip before you bring it onto your timeline using the source monitor. See you there. 15. Previewing Clips and Making Selects in the Source Monitor: Let's be a little bit more efficient in our editing. Well, we have a preview here in our video bin using that icon view. It doesn't allow us to just select a part of a clip and bring it down to the timeline. We can do that in the source monitor. Opening up a clip by double clicking, we can play through this clip and set what's the in and out points by using the keyboard shortcut I for in and O for out. You can also use these buttons, Mark in Mark out there. Now what's going to happen is when I bring this clip onto my timeline, which I can do by clicking into the video itself and dragging onto our timeline or by clicking one of these dragging only the video if I don't want the audio or only the audio for some reason, if you want that, it brings just that portion of the clip. When I'm looking at my timeline, I know I'm going to mute the video track really quick, actually, both of these. I know that this is just part of a clip because if I brought the whole clip down, let me just bring another clip down, you'll see that these clips on the timeline at the beginning and at the end have these little corner icons or markers. That indicate that this is the very beginning of a clip. There's no more to the left, and there's no more to the right. However, for the Japan for clip that we brought down to our timeline, I'm going to just make this a little bigger so you can see this track. So you can increase or decrease the size of tracks just by hovering over the middle over here on the left side and make it bigger or smaller. Now I can extend this to the left or to the right. Okay? So now I can just go through my clips and I can play through them here, press I on my keyboard for Inpoint, outpoint, and then drag that onto my timeline. That way, I'm not doing all my editing down here, but on my timeline, I already have close to the parts of the video clips that I want. 16. Advanced: Source Patching: Now a quick little advanced tip, this highlighted area over here is called source patching, and this applies to what's happening in the source monitor. For example, if we have a clip here in the source monitor and another way to bring this onto our timeline is this insert button or comma on the keyboard, when we do that, it splits the timeline at where the playhead was, see where the playhead is. It's going to split it right there. If I was over here where the video clips were as well as the music, it would split it right there and squeeze the new clip in between. Overwrite over here is similar, but it's just going to paste it over. So if the playhead is on top of another clip and you use period or overwrite, it's going to paste it over. If there's nothing there, it's just going to paste it there. But these source patching highlights tell Premier which track you want it to paste to. So if I insert now, it's going to split it but paste it on Audio Track two Video Track two over here. If I insert it, same thing. But now we can go ahead and insert clips without worrying about covering up something on Track one. So a practical example of this would be you edit your interview footage or your talking head video on Track one, and then you're going through all of your Broll up here in the source monitor and you're just overwriting it, but you don't want it on Track one, you want it to be on Track two or Track three or whatever track you're using for your B role. But that is the source monitor and how to better and more efficiently find the right parts of a clip and add it to your timeline. And the next lessons, we'll be going over some of these other editing tools which are super important and also help make you a more efficient editor. 17. Quick Tip: Turn on Snap in Timeline: A quick tip is to use the snap in timeline feature. This is probably already highlighted and enabled. When that is on and you're bringing a clip down onto a timeline or moving a clip around on the timeline, you'll notice that it snaps to the ends of other clips. It'll also snap to where your playhead marker is, which is super helpful. If this is off and you're moving things around, it's a little bit harder to get it as precise, which sometimes you want it to give you that flexibility. But if I know, for example, if I zoom in here, I really want to end right on this specific frame, for example, I don't want to be moving this around and accidentally cut off a frame. I don't want to be moving this around and accidentally cut off a frame, and this helps me with that. Another more practical use of this is something that we'll be getting into now as we start to edit our video to the music, which is a common editing technique to make cuts on the beat of a song. So if we listen to this, we can hear it. Bump, bump, bump, bump. You hear that? You can also see that in the waveform and you can extend these tracks to make them bigger to see it more easily. So we know that this hill right here is one of those beats. And if we have our playhead there, we know that we can just easily snap this to the playhead. Same thing here. Snap. So that's just a quick tip. If you're ever having trouble aligning clips, check if that's on or not. 18. Quick Tip: AI-Powered Media Search: Another quick tip for finding the right footage or assets in your project is to enable the media intelligent search. You can do that by clicking this button up here and turning on analysis. This is something that was an option in the import window as well. So depending on how many files you've imported it will take a minute to analyze the file. But basically what it's going to do is use AI to search through your footage to see what's in your images, what type of image it is, what type of music it is. You could choose just visuals, texts, metadata. So if you're looking for four K footage, for example, or something else, that's going to be in the metadata or something that was shot in October, that's going to be in the metadata, and now you'll be able to actually search that very easily. So once this is done analyzing, I'll show you how this works. Has finished processing. I'm going to actually put this panel here in this window, and now I can search. I can search for Osaka. And it's going to actually bring up all of the footage or assets that are shot in Osaka. Amazing, right? So it will bring up these sequences. You can see with this icon here or video clips here because it knows that these assets were in Osaka. Search for night, and it's going to bring up any shots that it thinks will be at night. Now, this is not going to be perfect, but it's pretty darn amazing. So if you're editing a long video and you're looking for a particular shot that might go along with something you're saying or the person saying in the video, this is huge, water, all shots that have water in it. Restaurant brings up the photos of the restaurant. It's pretty incredible. There's also the sound effects that was brought up because that's in the sound effects folder is titled Restaurant. So the new search panel is going to be super helpful for finding assets, especially if you've imported a bunch of content, and it's not as organized or it's just so much that you can't find things easily by going into your folders and finding hundreds of files. Maybe all the file names are just random numbers and digits from the camera file. Oh, super helpful. That's the search panel. Just know that you're going to have to turn it on here if it's not automatically on. You can turn it on automatically by going up to Premiere Pro settings. Under Media Analysis and transcription, check on the Analyze all imported media to visually search your projects. If that's checked on, it'll automatically do it. Click Okay. All right, so enjoy that little quick tip, and we'll see you in the next lesson. 19. Advanced Editing Tools: Ripple, Slip, Slide, Track Select: In this lesson, we're going to go over the rest of the editing tools. We've seen the selection tool and the razor tool. Let's go through them. This next one is the Track Select Forward tool. So when you bring that up, you'll see that our mouse is now a double arrow, and wherever we click, it's going to select all of the clips that are at this point and to the right. So even though our music is to the left of where we click clicked, it's still going to select it because it's right below where I'm clicking. If I click over here, for example, it's going to do the same. Now, if I only want to select one track of content, then I can press the Shift key and now click and it's going to select just the track that I'm on. V to get back to my selection tool. So say these two clips are on track two, I go back to A, which is Track select forward. Shift, and now I can just select those ones. Now, the audio is selected with the video because the audio for these clips are linked together. We'll learn more about linking and unlinking in the future. We can go the other way too by clicking and holding this button and choosing the track select backwards. Same thing, backwards. Shift to select a single track backwards or with no shift, it selects everything backwards. Next, we have the ripple Edit tool, and you'll see that there's several here. We're just going to go over the ripple Edit and rolling Edit tool. All right, so let me mute our music so we can see this. If I zoom in here, if I use my selection tool and I edit the start of the Japan ten clip, say, I don't want the beginning of this, so I'm just going to drag that to the right. Nothing happens. It just drag to the right. What happens if I use the ripple edit tool is I can take this drag to the right, doing the same thing. But then what happens is everything else shifts back to close that gap automatically. Let me zoom out so you can see that. Ripple edit to the right, everything else shifts to the right. If I ripple edit to the left, everything shifts to the left as well. And so it's just removing those gaps automatically, and it's one step less than going like, Okay, I'm going to edit this, and now I have to close this gap or select these and move them super quick. Now, there's a quick keyboard shortcut that you can use to get to that. If I'm hovering over the end of a clip and I press the command key and see how it highlights in that same tool as the ripple Edit. Now I can do that by when I'm clicking with the selection tool, I can get that ripple edit tool and then letting go of command goes back to the selection tool. Next, we have the rolling Edit tool. It's basically the ability to edit both sides of your clip at the same time of your edit point. Say I want to edit this shot so that it lasts until this beat on the timeline. Well, I could with my selection tool, via on my keyboard, move this and then move this. But with the rolling edit tool, and on your keyboard, you can just shift this over, and it moves both the Japan two clip and the Japan four clip. It adds more to Japan two, and then it cuts off some of the earlier part of Japan four. So it kind of just moves both sides. And the best way to really understand how these work is just to play around with them. Get in your timeline and start playing. The next tools are the slip and slide tool. Remember the slip and slide, fun and dangerous. So with the slip tool, I love this tool because say we have this edited to the right length. This Japan ten clip is the right length, but I don't like the point within this clip where it's showing. See how there's this guy in the bottom right. Maybe I want to cut in right after he leaves the frame. Well, again, I could do that with my selection tool. I could shift this around, keep shifting this around until we get to that point where he's off the screen right there. And that takes about five or six, clicks and drags to get there. However, if I undo that, you can see that I can use the slip tool to just click onto this clip and drag left or right. Now notice in the program monitor, you have a preview of the start and endpoint. The bottom left little video clip is the start point and the right clip is the endpoint. So I can shift this, slip it to the left so that the start point is right after he leaves the frame, and then the endpoint is obviously where it ends. I can keep going through this. And if I hold the shift button down while I do this, it increases the rate at which it's slipping. Then you can just easily find the exact spot in the clip where you want it. Pretty cool, huh? So that's the slip tool. The next is the slide tool. Okay, so what does the slide tool do? This shifts an entire clip to the left and right, and it also adjusts the endpoints of the surrounding clips. Similar to this rolling edit tool. This is taking an entire clip and moving it to the left or right on the timeline, as well as editing the out and in points of the clips that are surrounding it. So this might be helpful in some cases, often I rarely use that tool myself. I do find myself hitting that wide keyboard shortcut to use the slip tool quite a bit. Those are some more powerful editing tools that will help make you a super efficient editor. We'll be going over the rest of these tools as we move along with the course. See you in the next lesson. 20. Quick Tip: Quickly Swap Footage on Your Timeline: Do you want to quickly swap out one shot for another? Say, we're editing this, and we've already edited the project to the music, for example. Maybe this was exactly right. But we don't like this temple shot because it goes from the boat shot to the temple, back to the boat. Maybe we want to go from the boat to this city shot back to the boat. What I can do is actually with this clip selected, find the clip that I want to use in my folder or even if it's in the source monitor, and then option drag. I'm holding the option key on my keyboard, alt on a PC and drop it onto that clip. And what happens is it swaps that clip for this one. Now, depending on where the endpoint is on the clip, it's going to start at that endpoint. This is where having the slip tool is super beneficial because I can just say, Okay, I really like this temple shot. I'm going to swap this clip here. But I'm going to use the slip tool, Y on my keyboard to shift it around to then find exactly where I want it to play within this already predefined timing on my timeline. That's great for all types of assets. You can swap audio files, you can swap video files. Super easily, just make sure you're holding the option key down after you click the file up here. You don't have to actually have a clip selected already. As long as you have the option key selected, as you're dragging it down onto your timeline, you can swap it with anything down here. All right, hope you enjoyed that quick tip, and we'll see you in the next lesson. 21. Use AI to Extend Your Footage with Generative Extend: The Generative Extend tool is really Premiere Pro's first foray into helping us use the power of AI with our edits. This tool allows us to extend video clips past the endpoint. So for this shot here, tilting down from the temple, I cut it off right there. But I probably should have kept rolling. And I need those extra frames to finish my video with. It's just timed perfectly, and I need more frames. So I can use that tool to click and drag the video clip however long I need it. It's going to process it in the background with Adobe Firefly. That's their AI power behind AI. And then once it's done, we will be able to see what it looks like. As that's doing that, I will also show you that it will add a folder with the files it is generating next to the project file. So the project file that I created for this one, travel vlog is on my desktop, and so it created this folder with the generated clips here. So it hasn't generated the video clip, but it would appear here. When you go into the video files of the full project, you'll see this folder here, which includes one that I already created using the generative extend feature for another clip in our original Edit. So let's see what this looks like when it's complete. All right, so that has generated, and you can see that as we play through it, pretty darn good. Now, of course, depending on the complexity of these shots, it's going to look better or not. The action, the people, the things in it will look more realistic or not. You can see there are some things that are a little bit imperfect. But if it's a quick video and a quick cut, nobody's going to know. That's the power of generative extent. You can use it for both video and audio tracks as well. So play around with it. It does take a little bit of time, but it's super powerful. See you in the next lesson. 22. Adjusting the Volume of a Clip: So far, we've been dealing with mostly our video clips. But to get to the next step in our edit, which is basically our video clips edited down to our music, there's a couple audio things that you should know. And in this video, I'm going to show you how you can adjust the level of your volume for your clips. You can do that two ways. Well, actually, you can do it many ways. And in Premiere Pro, you can do most things like ten plus ways. But the easiest ways are, see how there's these little lines in the middle of the audio track. You can actually just drag that up or down. And one of the latest features in Premiere is it actually shows us the waveform going up and down with it. And you'll notice that on the right, when we play this, we can see that level going up or down if we are increasing or decreasing it. So let's actually mute that first track. We'll talk more about proper leveling and where your level should be, but that's just a quick way to increase or decrease a clip volume, and you can do that for each individual clip, as you can see here. You can also find this in the Essential Sound panel. Now, I don't want to scare you because we've been dealing with our fairly simple layout of Premiere Pro, but there are so many panels, and you can get to them in multiple ways. But to get to the audio panel, you can click this button right here. Going to open up the central sound panel, and that also has a clip volume button. And it's different than this bar because that bar is still going to stay in the same place. This is just going to increase or decrease the volume based off of this slider here. Whenever you're increasing or decreasing volume, it's red as indecibel. That's how it is calculated. Plus 3 decibels is going to increase it. Well, 3 decibels, that amount. So so it's going to take you a little bit of time to understand. Okay, well, how much should I increase it based off of where it's at right now or how much should I decrease it? And you'll just have to play around it. And it's also going to depend on the clip. This clip right here has much louder background noise than this Japan clip right here. We'll learn how to quickly match audio levels and do all of that stuff in the audio editing section later on. But now you know how to increase or decrease the level of a clip. Two ways. See you in the next lesson. 23. Making a Song Shorter to Fit Your Video Length: Another thing you'll need to know with music specifically is how to edit it down to be shorter. Most times songs aren't exactly how long we want them. Depending on the song, this can be easier or harder, but you're basically going to want to make a cut somewhere where there's a beat or right after a beat. This song kind of ends pretty abruptly, but we can even see in the waveform. There's this blank spot right here between these beats. We can make a cut and now we can go back and move this clip. Say we want our video to be about 15 seconds long, delete this second part of the song, and then figure out exactly where we want to add this. So I'm going to look through the waveform of my video. And I can see these plateaus right here. I'm going to go ahead and cut this right there and then move this over And that's pretty good. Now, the problem is that this ending has the other sort of keyboard elements to it, which doesn't match the first part of it. But in terms of the beat, it works. This is where I might use my rolling edit tool to click this and just roll it to the left. And you can see that that waveform is pretty similar. And now I can just put that cut anywhere. And then that new sort of keyboard electronic sound comes in a little earlier. And we can even smooth this out with a little fade. We'll talk more about cross fades in a future lesson, but to add a quick fade, just click this little square on the end of your audio clip and drag it to the other clip, and it's going to create a fade. So that's pretty good. We can even add a fade at the end and a fade at the beginning to have it fade in and out. So now we have our music the right length for the video we're trying to edit. There's a remix tool and other advanced ways to do this we'll talk more about in the audio editing section. But just for the basics, that's a good way to adjust your music. And, of course, it's going to depend on the song. Some songs that aren't as repetitive or that have lyrics to them are harder to edit down. But for the ones that do, that's a pretty easy way to do it. 24. Exercise: Making Your First Edits: Welcome to this little exercise video. This is your chance to put into practice what you've learned so far. Take a look at the sequences folder in our earned Premiere Pro. Go ahead and look at Sequence one or sequence two and you'll see that I've edited these clips to the beat of the music. So some are a bit longer, and then some are cut at the drum beats that are quicker. You'll notice this music track looks a little different. I use the remix tool to shorten this. We'll cover that in the future. You can use the method that I taught you in the previous lesson about cutting down your music, but get it to a place where your video is about ten to 15 seconds long with the clips cut down to the music like this. I'm muting that audio for the B role just because it's way too loud. Alright, have fun with that, and we'll see you in the next lesson. 25. Syncing Video and Audio: We've been working a lot with the video clips, but I also have this talking head footage, and I want to show you how to quickly sync audio from two cameras or just multiple sources. Maybe you've recorded a talking head video, but you've recorded audio with a separate recording device. It works either way. Here we have the talking head A shot and we have the talking head B shot, which is the same moment but shot on a different camera. It's not synced, though. I could come in here and look at the waveforms and try to move these clips around Are you heading to Japan? That's pretty darn close. A keyboard shortcut to help with this is Command left or right on your keyboard. If you have a clip selected, that helps you nudge a clip one frame at a time to the left or the right. But a quicker way to sync footage is if you have it on your timeline on two different tracks, select the tracks you want to sync and you can only do this with two. Right click and then go down to synchronize. It gives you a few options, but to automatically do it based off of the audio, choose the audio track option and click Okay. So now it has sink, sunk, sink sinking the B clip to the A clip. Are you heading to Japan with your? Now, if we toggle this on and off my top five places you can see that is synced up. Pretty cool, right? Sometimes it's not perfect, so you might have to sync it, again, right click and then make a minor adjustment yourself. Now, let me show you what happens if this is set to two. It's going to move the track a video clip. Two where the track two clip is. So that's what that's about. Stay tuned Stay tuned to learn how to have the Now, a quick tip just for reference that you should be doing with your footage is clapping or having a clapper so that you can easily sync if you don't want to use this option or do it manually. It helps you visually sync up two clips. Now, there is an issue here where it's slightly off because the talking head A camera is 2997 frames per second, whereas the B camera is 239 8 seconds. It's getting a little bit into the weeds, but a quick tip is that you should be shooting at the same frame rate with both cameras to be able to sync it much easier. However, as editors, we are often given all kinds of footage and we're meant to fix it in posts. So we got to figure out how to do it ourselves. Sometimes, whether that's manually or using the automatic sync method will work just fine. For watching this lesson. I know it's a little bit of a sidestep from our original edit, but I thought it was a very important concept to teach you here in this section. See you in the next lessons. 26. Adjusting Video Properties: Scale, Position, Opacity, Crop: Welcome to this new section. It's a short one to introduce you to the idea of properties. We've seen a little bit of this before, but up in the Properties window or tab, you'll see a bunch of options that can help us move our footage around, scale it up or kind of zoom in, rotate, change the opacity, crop. All that's here. And if you have a clip selected, you can adjust any of these by clicking and dragging to the left or right. If you hold the shift key while you do that, the rate at which it changes increases. Scaling up, that's kind of how you would zoom in. So say we have this clip, but we want to kind of center it to these gates, we can zoom in and move over to the right just a little bit. Maybe it's a little bit off in terms of our rotation, so we can rotate it. You can also click into these numbers and type in any specific number that you want. Opacity is basically the transparency of a clip. So 100% opaque is fully seen, whereas if you drop that, it becomes more transparent and whatever's underneath it will be seen. So for example, if we have one of these clips on top of another one, so let's move this clip on top of this one, you'll be able to see the bottom one come through. As we play it. So that might be cool. For some things a lot of titles and effects and graphics, I use opacity. We also have our crop, so we can crop in the sides. Volume, we saw that before. There's a quick mute button to mute just this clip. And if we've made a bunch of changes, but we want to revert it, you can click the reset button, and it will revert everything in that section. We'll look at adjusting speed later, but where this comes in handy is if you are working with clips or photos that are different resolutions or sizes, say we want to export this four K sequence and we're using four K footage, but we want to add our talking head footage to it, it doesn't match because it's a lower resolution. We saw earlier that you can fit it to the frame or fill it to the frame, which does the same thing for this clip because the aspect ratio is the same. But if we put a different shaped object onto our timeline like this photo, filling the frame will fill everything, but it cuts off the top and bottom of this photo. Fitting it will maximize the scale, which you can still see here under scale, it increases, which you could have done manually, but here it does it automatically. And it will fit the frame to the max width or height, but it won't cut anything off, like it did here with the fill where you're actually kind of cutting off the top and bottom. And those fit and fill buttons are super handy to use nowadays. Just note, though, if you're exporting something at four K, but you're only using a resolution that's lower, the quality is going to suffer. You can't just export at four K and expect this video to look four K. We are doubling the size, the scale of this ten ADP footage to meet the four K resolution standard. And therefore, when we export, it's going to look a little pixelated and not super high quality. Sometimes you can get away with that, though. That's the Properties panel for video clips. It's going to look different for your audio clips and your other assets. If you're using text or other things, different options will appear here, but that's where you edit a lot of the well, properties of each asset. All right, see you in the next lesson. 27. The Direct Manipulation Tool: Another tool that's related to our properties we just saw is the direct manipulation tool here. When you have this turned on and you click on any of your clips on your timeline, as long as your timeline playhead is over the clip you have selected, you'll see this blue box. That means we can actually just click here in our program monitor and edit it. So we can click and move it around, and you'll see the position properties changing as we do that. We can click on one of the edge handles and drag it down or up to scale it up or down. We can hover over any of these points and get the rotation tool to rotate it. Remember, we can reset that very quickly. And that's a quick way to change the placement of videos or other visuals on your video. So here we can Places to visit in Tokyo, Osa inked up. So that's pretty cool. So a practical example of this might be where we are showing a clip for example, this clip here of us going around, but we're talking about it in the background, but we want to have them side by side. So for example, let's actually take the volume of this B roll down really far. Let's fit this initially to the size of the screen. But let's turn on the direct manipulation tool. Let's scale this down. We're going to move this over to the left, and then here this talking head footage, we're going to scale it down and we're going to move it to the left. Did I say left before? I meant right. And now we have these two clips next to each other. Not perfect, though, right? So a couple quick things you can do to make these match. One is pay attention to the scale. So this is 1920 by 1080 footage. 50% scale will be exactly half of your frame. For four K footage on this sequence, it would be 25%. You can hold the command key down when you're dragging these elements around, and you'll see these red lines appear. Those help you lock the positioning of these elements to other visuals in your frame or to the frame itself. Let me just move this over to the side for a second. And you can see if I do it now, it's only giving me those red lines to center it horizontally or vertically, or when I get up to the edges and I'm aligning it to the edges. As when I have both of these on here, it's also giving me those lines to align to the tops or to the bottoms, to the centers of the other assets on here. But now we know that the video on the left and the right are perfectly framed up. What if we want to do a split screen and have them fill the frame? First, let's have these fit the frame like we have them here. Let's move this over to the right, and often I'll just use that position position to move to the right. And then I could go in and either crop left here or I could change this tool to the crop tool and crop over to the right. Now say we want it to be about there, we can then go into our talking head footage, go back to the transform tool and drag to the left. Now, holding that command key, makes sure that we don't accidentally move it up or down. It kind of locks us to that axis. And so now we have the split screen with me on the left talking about what's going on on the right. So the crop tool and the transform tools allow you to manipulate your images right in your program monitor, which can be super helpful to create split screens and things like this. All right, thanks for watching and we'll see you in the next lesson. 28. Creating a Colored Background': How do we add a background to our video? We saw that in our original edit with the sequence of photos that cut between each other, and we do that right in our project window. We can click the new item button and choose Color matt. It's going to match the sequences for the sequence you're working on, and then you can choose the color just by using the dragger here, the color picker, adjusting the hue and the color. Or if you have a specific brand color or Noah hex number, you can use that, or if you have a graphic or something in your video frame, you can use the eyedropper to pick that color right there. I just want a white background, so I'm going to choose white. Click Okay. I'm going to rename this white mat so that I can use it in the future if I want a white background. I'll put this in my graphics folder, and now if I drag this onto my timeline, you can see it's just a white background. And if I put that underneath my photo, now we have a photo with a white background. This would be helpful if you were doing things like split screen and you want to add different backgrounds instead of just a black background. You can change the color after the fact by double clicking this icon here and changing the color. Just note that will change all instances of this white mat. So if I double click this here, change the color, it changes that color for all of the mat. So if you've used this mat on other sequences or later in the sequence, if you want to create a different colored mat, you have to create a new one here. So that's how you create a backdrop in Premiere Pro, and now you can basically get up to sequence four in your project. Sequence one was just cutting down our clips. Sequence two was editing our music down. Sequence three was adding our photos, and then sequence four included the AI generative extend that I did. So if you're following along yourself, you can get to a point about here before we start adding video and audio transitions which are coming up in the next sections. See you there. 29. Quick Tip: How to Copy Property Adjustments & Effects: Just a quick tip for copying properties from one clip to the other. Say we have this photo on our timeline, and we want to add these other ones. We can add them here above our white background, but the size is different because we made an adjustment to this one. And so we could go in and see, Okay, this is 144%, and we could go in here and change that. But an easier way to do that is to copy those settings. To do that, we can't do that in the Properties panel. We have to open up what's called the Effect Controls Panel this is a powerful panel that used to be what we did most of the properties, and you still have those properties and can't adjust them here. The scale 144, we can change that. The crop, the opacity. But we can also copy these settings now. So I can take the motion settings, copy it with Command C, and then go to my other photo or photos and paste them. You can do that with pretty much any setting that's here. So we'll see more about the Effect Controls panel coming up because when we start to apply transitions and effects and things like that, it's going to be in here where we can make some edits that we might need to make. But I just wanted to show you how you can quickly copy properties from one clip to the next. That's in the Effect Controls panel. 30. Introduction to Video Transitions: So far, we have a sequence with video edited to the beat of the music. We've added some photos, and they're just hard cuts between the clips. There's no transition. I guess, a hard Cut is a transition sense, and it's a popular one that I use for pretty much 99% of my transitions. However, there are other transitions that can help get from one shot to the next in a more creative way. You can find these transitions in the Effects panel under video transitions. You won't have all of these because some of these ones come with other plugins that I've downloaded, but you will see some like the dissolves. And if you don't see this panel, you can always go up to Window and then open up any of the panels that you don't see that I'm using. Cross dissolve highlighted in blue is our standard. To apply this to any transition, you can paste it on the ends of the clips. So here, if I drop it into the middle, it's going to fade out Japan eight into Japan four, just like that. That's a very nice, subtle, soft transition. Let me undo that. I'm dragging this down, you'll notice that I have the option to drag it more to the left, more to the right or right in the center. And so if I put it to the left, what's happening is it's fading into each other, but it's starting at this point. And then at this point, right when the Japan for clip starts, the Japan forklip is now the one that is 100% opaque versus if I do it the opposite way, the fade only starts at this point, and then Japan four is 100% opaque at the end of this transition. Once the transition is on my timeline, I can move it around by dragging to the left or right. I can speed it up or slow it down by increasing the length of the dissolve by clicking the ends and dragging to the left or right. Now, an important thing to note is that sometimes you have issues with adding transitions to parts of clips. To showcase this, I've extended these two clips to the ends. We can see that with this little corner that is highlighted. There's no footage to the left. There's no footage to the right, and of course, we can use our generative extend tool, but we're not going to do that. And so if we put these clips butted up to each other and we try to add a cross dissolve, it's going to add it, but it's not going to work. It's going to have a freeze frame for that second clip fading in until the second clip actually starts working. And then the first clip is going to stay frozen from this point to the end. And so you're going to run into that. Maybe you have part of this clip selected here, so you have a little bit to the left of this cut, for example, and we can drag this on. But we're not able to put it in the middle anymore because Premiere Pro is like, Well, I can't put it over to the right because there's no more Japan eight clip to the right of this cut point. So we can fit it in here, but we're not going to be able to move it over to the right. That just has to do with where the ends of your clips are, and I find a lot of students having issues, understanding that from the beginning. So you have to make sure that there is some room to dissolve or to transition for these clips in these clips to have it work properly. Now, I said that the Cross Dissolve is our default transition because there's a keyboard shortcut for this. When you have a transition clicked on, which you can do by clicking on that Cut point, you can press Command D, Control D on a PC, and it adds that cross dissolve. Does it at a standard default length. You can customize this by going up to your Premiere Pro menu settings down to timeline. Here you have 30 frames as the default. We can change this to seconds and say we want it to be half a second because that's the one we are always using. You could change that. Now if I delete this transition just by selecting it and pressing the backspace, you can Control D, add that transition right there. Now, you can add transitions to multiple clips at the same time by selecting multiple clips and pressing Command D, and you can see that has added to all the clips that we had selected. It even added a dissolve at the end of this clip, which a dissolve at the end or the beginning of a clip is just going to be a fade, a fade on from well, whatever's underneath this clip, which is just black for this one. So that's how you apply transitions. We're going to look more at different ones and also customizing them in the next lessons. 31. Advanced: Editing Transition Properties: Most of these transitions have some sort of properties to them that we can adjust. If I go down to our slide transitions, which you'll have and look at something like the push transition, if I apply that here to this transition, first, see what that does. It pushes this clip onto the frame from the left side, from left outside of our frame, basically. I can customize that by clicking on the transition and going to our Effect Controls panel. Remember, we saw that before. So here we have the settings for the transition itself. And up in this box, it has this little rectangle with these little arrows, and it shows where we can change it from west to east, which is what it is to east to west. So now it's going to transition that next clip on from east to west, from the right to the left. I think that looks a little bit more natural. I might make this a little longer because the motion in our video is kind of slow, so I want the motion of the transition to be slower as well. There's other properties here, we can add a border between the clips. So if we add a border by increasing the width here and then change the color, maybe we want a white border. I mean, maybe that's kind of cool. It's just a good example of how these transitions have properties. And then if you want to copy a transition to another clip, say, let's go just take one of these next clips here. We can click onto that transition, copy it, and then paste it to the next transition. There you go. Kind of cool, so you don't have to re edit the properties. Let's look at another one really quickly. I'm not going to go through all of them because they all have their own properties, but once you get how you adjust properties, you should be able to kind of figure it out. I'm going to add this Crosom. So this is a pretty common type of transition where you're zooming in and then out of the next clip. This transition has a really cool customization where you can set the point on the frame where you're zooming into. Right now it's zooming in and it ends right at this wall right here, but I want it to move up to the right. So this is a representation of what our frame is. And if I just move this up to the right just a little bit, let's go to this part in the video transition. I can move this around, and it will get right to that point where we're zooming into that structure and then out of this one. That's pretty cool. These transitions are pretty basic. The other one I'll just mention is dip to black. This is a fade to black. So cross dissolve blends the two images together. Dip to black is like a fade out. So it's going to fade out and then back up, and then dip to white does the same thing as that, but with a white. Both of those are pretty common, but if you want a quick fade out, remember it's dip to black. In the next lesson, I'm going to go over the film impact transitions, and there's a better way to visualize what they are than looking through them here in the Effects panel. That's coming up. 32. Film Impact Effects & Transitions: 2025, Adobe purchased film Impact, and they added their extension with the standard install of Premiere Pro. And you'll find that under Window extensions. You can see that I have a few other ones, but you won't see those, but you will see the film impact dashboard. This is another panel that can be put anywhere you want. I'm going to put it up here in this panel for now. And now we can visually see a lot of the effects and transitions that are within this pack. Today, we'll look at the transitions. So you can click Under transitions. You can see some are categorized here or you can just click on the top one to see all of them. And to apply any of these, let me delete these ones down here really quick. You can just select two clips and then apply. And that's going to apply that transition. See how that's a little bit different. Let's find one just a little more unique. So you can see that applied That's pretty cool. And that's how you apply them. Similarly, you can go ahead and adjust the length of them once it's on here by clicking and dragging, you can move it around to the left or right, depending on as long as you have more clip available to the right and left of the Cut point. But these are just more visually engaging and modern than the ones that come standard with Premiere Pro. You'll notice, though, if I delete this and I have this transition highlighted and I try to apply one, it doesn't let me do that. I don't know if they're going to update this, but they only let you apply them if you have the two clips that you want to add this transition to selected. Similar to our other transitions, these ones also have properties we can adjust in our Effects Control panel. Look at all these properties. There's so many things going on from the position of the transition, the feathering. Some of these, I'm not even sure exactly what it means. You can play around with them just by dragging them around. We can adjust the hue to change the color of this transition. There's also a surprise me button within all of these, which is pretty fun, which just kind of changes it up just to give you something more unique so that you're not just using the same transition that everyone else is using. I'm going to find another one to show you some more properties, and you can find it under Smart Tools. They also have this search bar up here. So if you're looking for something specific, you can type it in up there, and you can also favorite them by hitting the little heart button. And then when you come back, you see under favorites all of your favorites. So let's apply this motion camera transition, which is pretty cool. It just adds a little bit of motion zooming in and out to this clip. That's cool. But we can adjust those settings here. Now, there's lots of sort of advanced things going on, easing in, easing out. That's like how fast it sort of ramps up and ramps down. But again, we have this surprise me feature that just adjusts it. And now we have it sort of zooming out from that side, which is kind of cool. Let's change it up again. Now we have that spin. Now, once you have one that you like, you can copy this exact transition by selecting the transition on your timeline, going to your next cut. Maybe you want to apply it here as well, and we can now adjust that. Now that's looking pretty cool. So that's just copying those transitions with the same effects. This is a little bit shorter because it was bumping into this other transition we already have, so we can make these both shorter so that they're the same length. I'm going to add this mosaic one really quickly just to give you one more example of the properties. So see how this kind of mosaic fades in. If I select that, we can see that we have controls for what the shape of the mosaic is. We can change the number to have more or fewer we can have the wipe control, so it's coming from the top to the bottom. We can change the angle, say, we do 90, and so it's going to come from the left side now. That's kind of cool. So all kinds of controls here that you can dive into. So play around with them, have fun with these transitions, and like I said, favorite those ones that you like because then you can always get back to them up here in the favorites. Thanks so much for watching, and we'll see you in the next lesson. 33. Audio Transitions: In video transitions. Let's talk a bit more about audio transitions. So I'm zoomed in here to our travel intro with our audio from our B roll, and it's pretty abrupt if you're just listening to it and it cuts from one clip to the next. So we saw we can add a quick cross fade by hitting these little buttons on the audio and dragging over the Cut point. But we can adjust these to do different things. First, if we do have a cross fade that we add, you can click into it by clicking on the side of it and copying it to another transition. You can also change the way the audio ramps up or ramps down. When you have this selected and you're extending it, you can drag your mouse up or down, and you can see that it adjusts the graph of this transition. If you want a more gradual fade, you can do that by dragging down. And so if you drag down, you can kind of visually represent this with the audio from the first clip fading down slower, more exponential, and then the audio from the second clip coming in slower. If you want it to be less of that fade, you drag your mouse up and you get more of an abrupt everything. The volume of both comes in faster and leaves faster. I usually find the more gradual ones better. Can see these same types of transitions in the Effects panel under audio transitions. We have our constant power crossfade, which is just our typical cross fade. It's the same thing as what we're doing now. And that's the default that we see highlighted here. So if we use our keyboard shortcut Command Shift D for audio transitions, that applies there. You can also always right click and choose to apply default transition, and that will apply the default transition. Because this was a clip with audio and video, it applied it to both. The constant gain and exponential fade transitions are basically what we've been doing with dragging this up or down. You can see that it's basically just an adjustment, and you can still adjust it however you see fit. You can replace any of these by just dragging it over, and you can see constant gain is just a linear ramp up. It's just straight from no sound up to the max sound. There's no gradual fade to it. I typically just use the constant power. That's my default, and I find that sounds good. However, sometimes when I'm ramping in a sound, I have it come in a little slower, so it's not as abrupt. So those are audio transitions. So what you should do now is go through our sequence and make sure that the audio doesn't cut from one thing to the next too abruptly by adding some of these cross phase between the B roll. 34. Intro to Audio Editing: Welcome to this new section on audio editing. So in this section, we're going to learn how to make our audio sound better. We're going to learn how to balance it, make our clips match, understand how high or low our volumes should be or the level should be for things like talking versus background noise versus music. We're going to dive into the Essential Sound Panel to do a lot of this, as well as looking at effects and the audio effects here, to do it manually. So lots coming up here. You can see that I've changed the layout of Premiere Pro. I still was on the basic starter setup, but I've put the Essential Sound Panel on the right side, which you can get to under Window Essential Sound and add a panel to the right side. If you don't have that, you can just drag it over all the way to the right like this, and that will put that panel to the right. I'm going to put that where my properties panel is, as well, and just rearrange so that we have this open with our program monitor and our timeline. In this section, I will be working with the Travel intro edit that we've been working on. I'll also be working with the talking head video, some of the other video clips, as well in here, including our iPhone clip. So make sure you have all of that accessible if you want to follow along. So get ready to jump into the Essential Sound Panel coming up next. 35. The Essential Sound Panel: This lesson, I'm going to go over the Essential Sound Panel and go over all of the basics. In the follow up lessons, I'm going to show you how to practically use it for the projects we're working on. I've added the iPhone video clip, which is in your video A Roll folder so that we can practice with it. So with the Essential Sound Panel open, if I click on a clip, Premiere Pro will likely tag it with the correct audio type. You can see it was auto tagged. You can also see it here on the timeline in the audio portion of the clip that has that little icon there. And if you ever click that button, it will open up the Essential Sound Panel to easily get to it. If you don't have the right tag selected, you can clear the audio type or if you need to do it manually. Now you can see the different types. We have dialogue, music, sound effect, and ambience. Pretty self explanatory. But if it's like background, that's ambience. Anything with talking that you want to actually hear the talking and dialogue is dialogue, and you can select that. You'll also notice there are some presets. These are things that you might want to play around with. You can create custom presets, and I'll go over those in a separate lesson. For each type of audio, you can see when that's selected, you have different editing options. You see here with dialogue, I have enhanced speech. If I don't have that selected, and it's music, for example, I have different options here, and all of these are drop down menus that you can open up. For dialogue, though, this is where we're going to be doing most of our editing. The first thing that you can do is called enhanced speech. This is a great tool for making your audio just sound amazing automated way to do it. So with your clip selected, if you click Enhance, it's going to process this audio and do an automated equalization and background removal and enhancement to make it sound better. And it's the easiest way to with one click of a button, make pretty much any audio sound better. Once it has processed, you can adjust the mixed amount less to more. And the more you do it means that the more process it's going to be, but the less background noise you're going to have and the better it will sound. However, hands start to feel overprocessed. So generally, I would say stick with a lower amount at the beginning and then only push it up if you need to. Now it has processed and we can play through it and listen. Video clip shot on my iPhone. Handheld, so it might be a little wobbly, so we can test out a couple effects on this like warp stabilizer. You'll also learn. As I drag the mix amount, you can hear the difference. Filming with the internal microphone. Windows are open, birds are chirping. You might hear some background noise, but we can fix that up. So that's the enhanced speech. And for this audio that was shot just with the internal microphone on my iPhone, which actually sounds pretty good. I open. Birds chipping. Sound even better. Now, as you can hear, if I push it all the way, but we can fix that up, you'll also be learning. It starts to feel like I'm in a box in a tunnel. This will change depending on what your clip originally sounds like. So play around with it. But one important thing is if you have multiple clips, you want to apply the same mix amount if it's the same recording environment. You don't want, like, different mixes for the same audio. I'm going to turn that off for now. Loudness. This is a quick way to level your audio. You select a clip, you can auto match it, and you'll see that it is matched to a target loudness for dialogue, negative 23 UFS. LufS is a way of measuring audio that is heard by the human ear. It's basically the perceived loudness of audio to the human ear. And Adobe has decided that for dialogue, it should be set to negative 23 lefts. So if you're working with a sequence of multiple people talking, or if you want the volume of all of your talking across all videos in your YouTube series to be the same, for example, then this is a great way to auto match it. When I play this, you'll see that the audio levels are bouncing up and down in our audio meter here. I am just filming with the internal microphone. Windows are open, birds are. The green line is a second by second representation of how hot or how high our audio is. That yellow line kind of is the peak point that sort of stays there, so we can kind of see I am easier around what level our audio stays at. For dialogue, typically between negative six and negative 12 is pretty good. And that's what will happen when you use this automatch feature. So it's a quick way to auto level your dialogue. Now, with any of these effects, you might have to fine tune it, but it's a good starting point. Now, repair. This is a great option if you don't want to use the enhanced speech or maybe if you want to do some minor tweaks. Toggling any of these on will apply this effect to improve the audio because I am just filming with the internal microphone, windows are open, birds are chirping and depending on the clip, you'll want to push that up or down. If you hover over any of these tools, you can see what it is, like, reducing rumbles. That's that low sound that you get background noise from audio that you might want to decrease. Chirping, you might hear some background noise, but we can fix that up. You'll also De hum is a background noise that you get from electrical interference that you might have, so that might help you. DS, it's that sound. You'll be learning how to fix up the color that you get at the end of that S. And then reverb It's nice to have reduce reverb if you're in a room that is echo. And that happens, especially when you're recording with a microphone that is picking up that background noise as well. The one that I use most here is reduced noise. However, that has been replaced for me by the enhanced speech for most of my work. Moving on, we have clarity. This is going to enhance the clarity, the clearness of vocals of voices. And so you can, again, play around with this and to improve the audio be Listen to what filming with the internal microphone. Windows are open, birds are chirping. What's happening in the background is that it's pushing up some of those higher frequencies, reducing the little muddiness of a voice. Here's some background noise, but we can fix that up. And that can help quite a bit, depending on your original track. EQ, this is equalization. This is going to bring up or down certain frequencies. So the frequencies are like the lower sounds versus the higher pitch sounds. And in a graph, you have the lower frequencies on the left. So think of things like rumbles or low background noises versus the higher sounds, which could be like wind noise or high beeps or things like that or just the higher end of a pitch. So you can see with these different presets how that might adjust different frequencies. You'll also be learning You can adjust the amount of this with this amount slider. So it increases or decreases that effect that you're applying. Vocal presence is a great one to start out with. You can see that some of these are more like stylistic effects. Microphone, Windows If you want me to sound like an old radio podcast voice, it how to improve the audio because tries to make it sound like this audio is coming from a podcast. Of course, this is going to be different for every voice, every person, how you record it. So you're not going to be able to just use the same thing for every person and make it sound the same or make it sound good. Vocal enhancer does some of this automatically. Whether you have, like, a higher pitch voice or a lower tone voice, you would select which one. So for me, I would probably pick low tone. I am just filming with the internal microphone. Windows are open. So with all of these effects under clarity, it's just trying to make the words, the dialogue sound clear. Under Creative, this is where you can apply effects. Like if you want to add reverb. Birds are chirping, you might hear. That might be helpful. Like, for example, I was editing a concert video for my dad who was in a band and they had a little reunion, and I recorded the audio. It was outdoors. But for the video, they wanted to have a little extra reverb. So you can turn that on, choose which type of reverb, whether you want it to sound like it's in an auditorium. Ground noise, but we can fix that up. Which is kind of crazy for my dialogue, but for a concert, sounds pretty good. Or just a little bit of reverb. You'll also be learning how to if you want to sound like you're in a hall presenting to a group of people or something like that. So these are more effects that you can apply to add that reverb. We saw that we had the clip volume down here before, but that's just going to increase or decrease the volume of this specific clip, and then you can also mute a clip from there. So that's the basics of the Essential Sound Panel. I know that's a lot, but there's even more when it comes to editing music and other types of dialogue, which we'll be getting to next. 36. Quick Tip: How to Edit Multiple Audio Clips at the Same Time: Here's a quick tip for editing multiple clips with the Essential Sound Panel. If multiple clips are tagged as the same type of audio, you can select both of them and then apply any of the effects that you want. This is great if you're selecting multiple dialogue clips and you want to match them all. However, Premiere Pro doesn't do a perfect job at selecting the tag. For some reason, it chose sound effect for this second talking head clip. To actually set the type for multiple clips, it almost looks like you can select all of them and choose one of these. But what's going to happen is what that does is when you select a bunch of clips, say you have a bunch of clips on your timeline, this allows you to automatically select all of the dialogue clips, for example, which may be helpful, but if they're not properly tagged, then that's not good. So to set the tag for multiple clips, highlight all of the ones that you want, and then under preset, go to the type that you want and choose default. This means it will set it as that tag without any effects applied to it. Now we can select all of these and apply any of our effects that we want to apply. And this is important so that we are applying the same effects throughout our video to the same type of clip. So this came up when I was editing the Travel intro video. I want all of these clips to be tagged as ambience. But it tags some as sound effects, some as dialogue, so I'm going to select all of them and change it to ambience. And now I can auto match the levels for all of these two negative 30 lufs which is the ambience level that Adobe has chosen, it should be. So you can see with this on and off the difference in the audio waveform. Now, one last thing, quick tip for this too, is notice that while the waveform changes, if I play through this, the first clip is still kind of quiet. And the reason is because we adjusted the clip volume with this volume bar here. So this volume bar applies on top of what we're doing in the Essential Sound Panel. So if you do make adjustments with that clip volume bar, it's basically overriding what's happening with the automatch Loudness setting. The proper way to just automatically level things is to go in here and select all of them and then do the auto match first. And then if you need to make any tweaks or adjustments, then you go in and adjust the audio level with this bar or with the clip volume down here to make an adjustment. So hopefully these quick tips help you edit multiple clips at the same time properly. 37. Editing Ambience and Sound Effects: If you have a clip tagged as ambience, you'll notice we had the loudness. We saw that. We have creative reverb. That's the same as with dialogue. But we also have this effect called stereo Width. With this turned on, if you're listening with your headphones or with two distinct speakers, what happens is it tries to expand the audio, so it sounds more like it's coming from two separate speakers than from the center. So let me go to actually a longer clip so that you can really hear what's going on I I choose this one and clear this and set this to ambiance. Wow. As I adjust this or as you play around with it, especially with headphones, you can see here you can hear the difference. Then lastly, we have Ducking. I'm going to talk about Ducking in the next lesson with music. But let's bring down a sound effect just so you can see what the options are for sound effect. If I set this on and I'm going to choose clear that audio type and do sound effect. We have loudness. Same thing. We have loudness. It's going to adjust it to negative 21 lfs. Now with sound effects, I don't think you should depend on this auto match feature because sometimes you want sound effects to be louder or quieter. That can be a good starting point if you're bringing in assets from all types of different stock sites or recording them yourself to get them all at the same baseline. But then you'll really want to go in there separately and adjust the audio level with the clip volume or with the bar here. And then you have your creative and you have your pan. So panning to the left speaker. Or the right speaker, which is kind of similar to that stereowi where it's panting to the outside or the center. So that's kind of a cool effect if you want to have something sound like it's coming from the left side of the screen or the right side of the screen to get that stereo effect. So that's the Essential Sound Panel for sound effects and ambience. 38. Editing Music in the Essential Sound Panel: I like this inventing flights music. It sounds pretty epic. I've placed this on my vlog intro track because I want to show you how with the Essential Sound Panel and Ducking, we can automatically have the audio levels of our music track increase or decrease. This is something that you might practically want to do if you're putting it behind someone talking, and when they're not talking, you want it to be a little louder. But then when someone is talking, it decreases. First, though, if you tag your music as music, you'll see that you have an auto match setting. Is another good starting point, negative 25 uffs. But depending on how you prefer your background music, it might not be quiet enough. So if I play this, you'll hear it. Are you heading to Japan with your family? In this video, I'll go I feel like it's still quite loud, compared to the volume of my dialogue, but it's a good starting point. And I'll show you in a future lesson about editing an entire tracks audio. But what I'll do with music is I'll put all of my music on one track, and you'll notice with the waveform that these are very different levels going on. I select all of them, and now I auto match them, now all the music has a standard baseline, and from there, I can edit them either individually or all at once with the track mixer, which I'll show you in a future lesson. But for this example, we have this music, and what if we want it to automatically decrease when I start talking? Like, right now, it sounds good. Are you heading to Japan, but as soon as I start talking, I want it to decrease. That's what Ducking is all about. So if I turn on Ducking, we have these options for Duck again. So do I want it to decrease volume against dialogue clips? Yes. Do I want it to decrease against other music clips? That maybe if I have sound effects, do I want it to decrease? Probably not ambience or any untagged clip? Depends on your choice. But for me, I'm just going to duck it against dialogue, which is typical. When you turn it on, it has these default settings and you can customize all of them. Sensitivity is basically how sensitive it is to the dialogue. If it's really quiet dialogue or louder dialogue, the more sensitive it is, it's going to duck against all types of dialogue. Sometimes this is good. Sometimes, if it's too sensitive, then it might duck against things that you don't want it to be Ducking against. But start with the standard six. Duck amount is how much lower you want the audio to be negative 18, maybe that might be good, but you might want to adjust this. And then the fade duration is how fast it increases or decreases. If you want a more slow fade to be louder or quieter to go up and down, or if you want it, sharp, as soon as they start talking, a quick cut, you would decrease this. And then the fade position changes when it starts to fade. I think the easiest way to see how this works is to actually generate the key frames which you'll need to do to actually apply this. So I'm going to open up this audio here so you can see it a little bit better and click Generate key frames. Now it has these points in here that actually tell it to go down when it's talking and then back up. And you can see that in the waveform as well, the audio levels going down and up when I'm talking. You can see here that it was sensitive enough that even when I clapped back here, it ducked. So let me play this so you can hear what this sounds like. Are you heading to Japan with your family? So it brings that down quite a lot. So we might not need it to decrease as much. Maybe it's like negative eight or so. We can try that. But notice that we have to click Generate key frames again for it to apply. And then that fade duration was pretty long. I might shorten that up so that there's a shorter fade time. Are you heading to Japan with your family? That's pretty cool. I think it fades a little early, so I'm going to increase the fade position. And you can see that move the key frames up closer to when I start talking. Let me go back and undo that and generate again, and you can see that position shifts the key frames so that it fades a little bit closer to when I talk and maybe back up that duration a little bit, back up longer. Are you heading to Japan with your family? Pretty good. I still actually think the fade position could happen right when I start talking. Are you heading to Japan with your family? In this video, I'll go over Mt. And then here it will go back up and Kyoto. We got B Roll going on, a title clip or whatever we have. Stay tuned Stay tuned to learn how to have the. You'll notice that it ducks against this little mistake I have here. So a really practical thing that is important is you have to make sure talking head video is edited completely before you duck. If you are not done with your edit and then you do this, you're going to have to regenerate keyframes every time you make an edit. So this is something you do at the very end of your edit after the visuals and the talking is all done. But that is Ducking. We saw Ducking was the same with ambience, so you can do that with ambience. And again, you have to choose what you want it to duck against. Typically, you want it just to duck against dialogue, but there might be cases where you want it to duck against other things as well. All right, so that is music. That's Ducking. I hope you enjoyed this, and we'll keep diving into audio editing in the next lesson. See you there. 39. Quick Tip: Remix a Song to Make it Shorter: Here's a quick tip if you want to automatically adjust the length of a song. Take your song and put it on your timeline. So we'll just take the Motions song. Its standard is 152 or so, about 2 minutes. Now, in the Essential Sound Panel, we have this duration tool. So before we edit it down manually, which oftentimes works good and maybe even better than this method. But with the duration tool, we can turn that on. And now we can stretch or remix this. Stretching is better for things like background noise, ambience, maybe a sound effect because it's going to actually change the playback speed and pitch, which can work. But for music, you'll want to use the remix option. You can set a target duration. So say you want your music to be 30 seconds, you put in 30 or you can just click and drag to the left or right, and you can see that it will analyze and it will automatically make cuts. So you see these little zigzag lines here in the timeline on that clip. Are you heading to Japan with your family? In this video, I'll go over my top five places to visit in Tokyo Osaka. Sounds okay. It doesn't sound perfect to me for this song. You can increase or decrease the segments or variations to try to adjust this so that it sounds better. There's not as many cuts. So this might sound better. Heading to Japan with your family? In this video, I'll go over my top five places. That sounds more natural to me. And then you could also play with the variations which will adjust which parts of the song it uses more melodic, one beat, one note parts versus harmonic, where there's multiple. So that's just going to depend on the song and your preference. Notice, though, there's also this plus or -5 seconds in parentheses, caveat. If you put a song down and you want it to be super specific, like, I got to make sure this is on remix. And then you can see that it has the remix duration here, which is 19. Even if I decrease this, I can get close potentially, but it might not be perfect. So sometimes if you need a very precise length of song, then you might have to customize it yourself. But this is a quick way to do it automatically. There's actually a tool that we can use to do this. It's under the ripple Edit tool, Remix tool. We might have seen that before. If you click on audio track and you increase or decrease the length of it, it's automatically going to apply this duration setting in the Essential Sound Panel. To open up that Essential Sound Panel, you just have to click that little icon there or go up to Window and open it under Essential Sound Panel and then you can customize the duration. Oh, hopefully this helps. We're going to dive way more into depth into the Essential Sound Panel in the audio editing section, but I thought this quick tip would be helpful now because it's a cool way to quickly adjust the length of music for your videos. 40. How to Create and Use Audio Presets: How do you create a preset? It's pretty simple. Say you're editing the same audio over and over. Maybe you are a content creator, you're filming in your house with the same microphone. Every time you go in here, you auto match the loudness. You do a quick little repair to induce a little background noise under clarity. You have your setting set to EQ for vocal presence. Drop this down, et cetera, et cetera. After you make all of your changes, you can save a preset by going up here to the save settings as preset button and choose this. So this would be my office vlog setup. Click Okay. And now when I go to a new clip, I can select it and choose from a drop down my office vlog setup, and it's going to apply everything that I adjusted here to that clip. It's a great way to make your editing more efficient. Say you are often doing Ducking for your music. You can set a Ducking preset, throw this clip down here. It's going to be music. We're going to turn on Ducking. We can change those effects or whatever to however we want. Generate key frames. And now we can save this to Phil's Duck or whatever. Now, if we throw down a new video track on another part of our video, we can actually just apply Phil's Duck. Now notice for that, we still have to generate the keyframes, but at least the settings are all applied for us. Now, to delete any presets, select that preset and then click this trash can button to delete it. Can also see that there's all kinds of other presets here. So depending on the type of audio, you might find one that you sound like better. Clean up noisy dialogue is a good one for background noise. If you're filming outside or anywhere super noisy, this is a good one to start with. And these are all good starting points. Now, a lot of these I've created. So I have like a Zoom call podcast one. I have one with my road NTG microphone when filming in the garage. I have one I created for the real estate photography course because I was filming it in a different room, different microphones, different studios. You won't see all of these. But play around with these. Sometimes they're good starting points like the cleanup noisy dialogue or the podcast voice one is also another good one to start with. That is presets, how to create them, how to delete them, and how to use them. I hope this helps, and we'll see you in the next lesson. 41. Adjusting Multiple Audio Clips at the Same Time: Here are more ways to adjust the volume of your clips or really the audio levels. So we've seen before how we can do that automatically in the Essential Sound Panel. For most of you, that's the right way to do it. But there are other ways that can be more customizable. So I've added all my original clips to my timeline, and in my timeline itself, I can select multiple clips, right click and choose one of these audio options, audio gain so here we have different options for increasing or decreasing the level of our audio. And remember, we do that by decibel, so three, six, 12 decibels, it's going to increase it at that amount. So we can just increase all of our audio by, you know, 6 decibels, for example. And if I do that, you can see that the waveform goes up. I don't want to do that, though. I want to make all of this audio basically at the same level, and I could do that by normalizing all peaks too, and I'm just going to leave it at zero DB for now and click Okay. And so now Premiere Pro goes through. It looks at the peak of each individual clip, and it sets that at the standard rate or level of zero DB. And you'll notice that here, like this clip has a little spike here in this audio. And so that's what it's going to set at that zero DB. Same with this one right here. Will. That was a little bit of microphone noise. If I had trimmed that out and we redid that, pay attention to what happens on that clip. Same thing, normalize all peaks, and now it brings up that audio quite a bit because that peak wasn't in there. So it's just looking at the audio that is on your timeline and adjusting your clips from there. Now you might have seen that other option, which is the normalized Max peak two. This is going to look at all of the clips. It's going to find the one part in all of the clips and set that to zero, and then everything else is going to be adjusted based off of that. So let me actually undo this. So we have our original audio settings. Now, notice if I go in here and I said normalize Max peak two, let's just bring it down to negative 12 dB. This is a background noise. I want it to be quieter. It decreases everything. It looks at all of the clips, sets the max peak to negative 12 dB, which is probably one of the ones here. You can see that in our audiometer that this clip is peaking around negative 12. And then everything else is adjusted the same amount. So if it decreased this by negative 12, then it decreased this clip by negative 12 versus if I selected all of these again and I did the original option and I normalize all peaks to negative 12, then it brings up some clips to negative 12 like this one. At least the peak of this clip should be around negative 12 right there. There's that little point in there that's around negative 12. Same thing for this clip, negative 12. So that's another way to level out multiple audio clips at the same time. In the next lesson, I'm going to show you how to fine tune this manually with the Pen tool over here. 42. Advanced: Fine Tuning Audio Levels with the Pen Tool: Say we're editing a clip, and we like the general audio levels, but then there's one little part where it spikes. What we can do is use this pen tool to actually come in here, custom and set our points on our audio clip and move them up or down. So to move this little part here where there's that peak, I'm going to set those four points. Then I'm going to select in the middle with my selection tool and drag that down. And you can see that the audio waveform is actually moving up or down. And so I want that to be about the same height as all of these other peaks. And then same thing. I'm going to go here, set my four points. And this is how I can really customize my audio and get them all to be the same. Now, some of this is just background camera noise I would probably want to just remove anyways. But you can imagine that if you have a sound effect or a music track and you really want to customize how it increases or decreases, how it fades in, even, this could be like a custom fade in. Instead of just using your standard fade like this, you can actually create a custom fade with these points and just drag it up or down exactly how you want it to fade in or out. That's the pen tool and how to customize audio levels right on your track. 43. Audio Track Mixer - Edit All Audio on a Track: Imagine we've edited an entire project and we have all of our music on one track, all of our sound effects on one track, and we want to increase the level of the music track, the entire track itself. We can actually do that in the track mixer. So open up the audio Track mixer. Here we have all these adjustments by track. So we'll look at the effects later on. But the main thing right now I want you to look at is these audio meters and these bars. This is kind of like a audio mixer tool right here digitally. So if I play through this, you can see the audio coming in from each track. So we see that our ambience is going, our music is going. And I can bring down the level of this music with this little adjustment right here, just drag that down. This is what I find the easiest way to balance actual audio for my video is because usually I have all of my music on one or two tracks. And so I put it all there. I level it all so that it's the same baseline with our loudness adjustment in Essential Sound. But then I go in and I play through it and I adjust it accordingly here. Me for music, I like it to be like 15 to 20 decibels lower than my dialogue. That's a preference. You can have your music louder or softer depending on your preference. But this way, I can see, Okay, my audio for my music is bouncing around negative 27. If my dialogue was bouncing around ten, that would be good. This is also how you can increase or decrease the entire mix of your entire project with this mix adjustment here. So this one's going to increase or decrease the entire sequence that you're editing on. And that's actually, what you did down here, we saw this line before with the mix adjustment down here. This is increasing it or decreasing it. So that's a good way to do sort of like a final mix adjustment. If all of your audio is too quiet, you can bring that up here. One last quick note is you can actually go in here and type in a specific decibel level that you want to bring up or down an entire track. So that's how you can edit an entire Audiora audio levels with the audio track mixer. 44. Adding and Adjusting Audio Effects: Over the years, the Essential Sound Panel has replaced a lot of the audio effects that you can see here in the Effects panel. In the audio effects folder, you can see there's effects for things like reverb or EQ, compression. These are all great effects, and I still use these sometimes when I need to fine tune them. The way you apply these to your clips is to find one that you like. So maybe let's just go ahead and throw in the distortion effect. Drop it onto the audio clip in your timeline. And now when your effects controls, you can find it and adjust it. So if I go down here, I can find the distortion. Oh, I'll go over my. And then many of these will have an edit option that brings up another menu or window panel where you can actually top five make these adjustments. Places to visit. So this is probably more like for music if you want to add distortion, you'll notice though, that our clip already has so many effects applied to it. That is what's applied over in the Essential Sound Panel. So say I cleared this audio tape, What happens is it removes those effects. If I go back and I apply one of our defaults, for example, or change and make any adjustments, it's going to apply that effect over here, which is another place you can customize it. However, I think visually customizing it over here is easier. Remember what we can do in the Effect Controls panel, we can copy effects. So maybe we have some sort of effect we changed and we want to apply it to another one. We can just take that effect or multiple effects and copy them and paste them to the next audio clip. That might be something that you need to do. But I just wanted to explain that because people might be confused as, Oh, why are there already all these effects applied to my audio? So let me go back and show you another one that I sometimes use. Under compressions, I use dynamic processing. So now with dynamic processing, this is some compression, which will basically increase the volume of lower sounds, but not the higher sounds. I often add something like smooth vocals to my vocals. This is getting pretty advanced in terms of these different effects. You can also come in here and customize them. And what this is doing is when there's audio that's negative 40 decibels, it's going to bring it up about, well, that distance from the standard line that I have. In Tokyo, Osaka and places to visit. In Tokyo Osaka go over. So you can play through this and see what that sounds like, and you have your other presets. A lot of these you can see are for things like musical instruments. And to delete an effect, just select it and delete it. So that's how you apply audio effects. Each one's going to be different. And honestly, I do pretty much everything over here in the Essential Sound Panel now. So I'm not going to go over all these individual effects because for most video creators, you're going to be able to do it in the Essential Sound Panel. Of course, if there's anything that you're confused about or you really want to know, let me know, and I'll try to add it to the course. Thanks so much for watching, and we'll see you in the next lesson. 45. Applying Audio Effects to an Entire Track: To apply an effect to an entire track, if you have the audio track mixer open, there's this little arrow where you can drop that down. And now for Track one, Track two, track three, we can actually apply an effect to all of the audio on that track. This is just a different way to edit things. This might be easier than going into the Essential Sound Panel for all of your dialogue, for example. Maybe you just throw all your dialog onto one track, and then you come in here and we do add a little bit of denise. We can open that panel up, choose light or heavy noise reduction, or we can just adjust it here with this slider. We have places to visit, and now that's applying to all of the clips on Track one. It's not applied to the individual clips themselves, though. So whatever you adjust here, which you can again, open up by double clicking, will apply to the whole track, and you can add several. Say we want to add reverb to the entire track. Five places to visit. Let's go ahead and add some vocal reverb. In this video, I'll go I don't know, maybe maybe that's pretty cool. So this is actually very beneficial when you are editing a longer video, maybe with multiple different interviews, different people talking, or you talking in different areas, but you want to sort of apply a similar effect to all of that audio. It's easy to do once here versus doing it individually over here. And even though you can select multiple clips and edit them together, as we've seen before, if your track has hundreds of clips on it, sometimes it's hard to go in and select all of those, and you can do it right here in the track mixer. Oh, that's how you apply effects to an entire track in Premiere Pro. 46. Exercise - Editing the Audio in Our Travel Video Project: In this video, I want to make everything practical that we've learned right now and apply it to this little travel intro that I'm editing. So what would I do to move this project along? So first, I want to level all of this background audio. So I'm going to select it all. I'm going to make sure, and it already is ambiance. That's great. And I'm going to automatch that. I still think it's a little loud. So, what should I do? I could either take the clip volume for everything here and bring that down quite a bit. I need to turn my music or my audio up just a little bit. And I think my music is a little bit low for this particular video. So in my track mixer, I'm going to bring that back up. And that's pretty good. I'm going to add the default transition for all of these audio clips by selecting all of them. Command Shift D to add that cross fade. Some of these I might customize, like this one that is leading out of or leading into the photo section. I want that audio to come up pretty quickly. And then for some reason, the audio for this Osaka Castle clip is not there. It's muted or something. So what I'm actually going to do is go find that clip that is the Osaka Castle. I believe that's the extended clip. No, that's not that one. That's Osaka castle. If you ever need to find a clip in your project, maybe the name of the clip is different than what's here, I can right click it and choose reveal and project. That's actually this Japan seven stock clip. Then one thing I notice is that at the very end of this, let me delete this transition for a second. At the end of this Japan four clip you hear me talking in the background. Because this is just background audio and it's not synced to this video clip that you're seeing here. I'm actually going to go ahead and slip. Where is my slip tool down here? Why am I keyboard? Just the audio. Now, if I do it now, and drag to the left or right to get rid of that little audio, say, I want to move it to the right. That changes when the video starts. I don't want to do that. I just want to edit the audio. To select just the audio, I can option click it or Alt click it, and now I can slip that to the right. It's not going to be synced with the video anymore, but that's perfectly fine with me, because I don't want to hear that part of the background noise. Yeah. Pay attention, though. Because I slipped it and now I added this cross fade, I need to make sure that it's far enough to the right that little voice of mine so that when I cross fade it, I still don't hear it. Nice. The other thing that I don't like is that it sounds so quiet when I am showing the photos. So what I want to do is actually add that sound effect of the restaurant that I added to our folder. I like to have all my sound effects in the tracks right beneath my vocals or my background noise, and I like to have my music, like, further down. Just visually, it's easier. So I'm moving my music to track three, but there's a problem because I adjusted the volume of Track two and now my music is on track three. So what I'm going to actually do is take this. I'm going to cut that and then paste that number. So it's exactly the same on track three. So now we have a clean track two that I can put my sound effect on. And so now what I can do is I can just kind of make a cut here and here. And then, again, use my why to slip this background noise till I see it fit. It's a bit loud, so I need to go to my Essential Sound Panel. I'm going to go to make it ambiance, default, Automatch. So it still should have the same levels as these other clips. Actually, it's still louder because I had decreased these clips by negative 20. So I'm also going to decrease this by negative 20 or so. That's pretty good. I might add a little fade in at the beginning and end. Maybe I actually want to make it a little louder. Now notice, I increase the volume here just because my mouse was over here. I could have come over here and increased the volume, as well. I think that part of the clip is fine. Like, I could slip it and see. I don't like those clinks so much, so I want to find a part in the clip where there's not those clinking noises. There's like a chair squeaking. Let's find another part. And I just kind of like how that adds a bit to this photo series of these photos. Now this is looking great. If I wanted to I kind of want to see what this looks like, just if I have this music and B roll over me talking, Are you heading to Japan with your family? So what I can do is I can actually copy all of this to another sequence. So if I select that and copy it, Command C, I can paste it here. Now, I'm not going to have my track adjustments here. I also have the talking head two footage audio here. I also have the B camera audio here. So I would actually have to make let's go ahead and just make this the negative. I think it was negative 8.3 or something like that. Just for now, for kicks and giggles, I'm actually going to just duplicate this over to the right so that I have it there saved if I need to get back to the original audio and edits because what I'm going to do is I'm going to option select the audio for the B camera, delete that. So I want to move all of this B rule on top of my talking head footage and then the audio underneath my talking. There's a problem because all of this ambience is on Track one, and I need it to be on track two. There's a keyboard shortcut that I can use to quickly do that. First, if I option click and drag, I can select just the audio, even if it's linked to the video, and still holding Option on a PC, I can press the down arrow key to move that one track down. The transitions to the audio for the photo sequence might have gotten a little mixed up, but that's okay. Now I can select all of the visuals by option dragging and press up still with the option key selected. And so now all of this can be dragged over my talking head video. Are you heading to Japan with your family? In this video, I'll go over my top five so now this little intro is getting closer to our final edit. The audio sounds pretty good. The music levels are good, and we are ready to move on. I hope that this practical look at this edit is helping you as you kind of put together all the skills we've learned from this section in the Essential Sounds Panel, and we will continue to work on our edit, coming up with things like titles and graphics, as well as color correction and grading, which are a few of the last things before we export this and share it with the world. See you in the next lessons. 47. Adding & Adjusting Titles with the Property Panel: Welcome to this new section all about titles and graphics. In our project, we're working our way to sequence six that you can reference as sort of the point we're going to get to with this title card, and I'm going to be building it onto our travel blog project that I'm working on. So how do we add a title? The easiest way to do it is by choosing the type tool, clicking onto our program monitor anywhere and starting to type. Hello. We'll call this Japan. You'll notice that now a new graphic has been added to track three. And the reason it was added is because it has a standard length, and it lasted into this point where the photo three is on track three. If I was over here and added a title, notice that it added it to Track two. Alright, so now we have our title, but we want to adjust it because we can't see it. It's really hard to see. Let me get in there and delete that equal sign. And you'll notice that I have my properties panel open. We can use our selection tool to go in and manipulate the size and position of our title here. But to change the font, color, everything else, that's going to be in our Properties panel. So Properties is where we edit our graphics. You'll notice that we have a Japan title card here pop up, and that's because we can create several layers right within this one graphic on our timeline. For this one, let's just go through our options. First, we have our text. So if it is a text layer, then we can change the font. So we can change something fun, silly, iconic. Typically, I want to find a font that is bold and I can actually see the text on the video screen. So you can change the font. Some of these fonts you'll have, some you won't. Whatever fonts you download and install on your computer should appear here. Different fonts will might have different styles. So let me just go to, like, a standard one, like Helvetica. So if I pick a Helvetica font here, underneath style, they have all of the styles down here. And you have your additional styles over here, like if I want to make it italics or all caps. Notice this says faux bold and Fox italic. It will make pretty much any font italic or bold. But sometimes fonts have a specific way that it's italicized or bolded in their actual style. Like, bold oblique is probably going to be different than just bold and then using the fo italics. You can all caps, if you want all caps, small caps. Create superscript subscript underline, all of your standard sort of text editing options. You have your font size here, which is a different way to increase or decrease the size of the text. So you can either go in here with your selection tool and increase or decrease there. That's not actually changing the size of the font, that's changing the size of the text layer itself. And then we have all of our paragraph settings as well. So left line, center line, the tracking or spacing of our text if we want to expand it or make it closer together. All of these are just the ways that you edit, what your text looks like, very similar to what you would find in any other text editing application. Under appearance, we have fill, so this is going to be the color of the text. You can use the eyedropper to find a color on your screen, which is cool, or click in that color box to open up a color picker where you can choose your color picker, just like we saw with creating a background, or you can put in a very specific hex code, for example, if you have a brand color that you want to use, and then click Okay. Stroke adds an outline. You could change the color that same way, and then you could change the width or size of that stroke here, and then the style, whether it's out or inside the bounds of the font or centered within and outside. So that's more of a preferential thing. Background will add sort of a background box that you curve the edges to, you can adjust the opacity of, you can expand it or not. So that's kind of cool if you want a quick background. And then shadow is similar. You can add any sort of shadow you want with the opacity, the angle, the distance. All of these things are similar to what you see in other Adobe tools. You know, blurring that shadow, that's kind of cool. And that can help make your text stand out from your background, actually, which is kind of nice. Notice on the stroke and shadow, you can actually add a separate stroke. So, hey, you want to go crazy and, you know, get super stylized with a second stroke. That might be something you want, and you can do the same with your shadow. I'm going to skip mask with text for a separate lesson. The align and transform tools are super helpful for aligning your text to your video. So if you want to center it horizontally and vertically, you just click those buttons. Super helpful. You can also use the positioning of your text here and adjust it, which is nice, as well. Scale. So you saw that I was adjusting the scale down here. That's adjusting the scale here under a line and transform. You have your overall opacity for this text. And we'll talk about these other options in a more advanced lesson. But that's pretty much the basics of creating and editing text. The last thing I want to show you, though, is that you can layer on text within the same graphic. So if I click the new layer button, I can choose a shape or text. So maybe I want another text layer. And when you add a new text layer, it will repeat the style that you've created. So we'll just call this vlog. Then I want to go in here and I want to change the scale up, and maybe we will change the interior color to something a little bit different. And I can move this so I can see while I'm editing it. Those are very funky colors. I don't like that, but it's just so bad I need to change it right now. Something like that maybe better. You can change the positioning, whether it's in the foreground or background and move it back. The one on top is going to be the one in the front. And then, lastly, I'll show you the shapes. So you have rectangles, ellipse polygon. You could also bring in a logo or an image from a file here. Show you that later. But once you create a shape, it pops it up on our screen. You can increase the size, which is cool. I'm going to put this in the background, and now we can have a custom shape. We can round the corners of our shapes with this feature down here under a line and transform, which is something that I like to do. You can also hover over those little points right there and get that tool, and that's the rounded corner tool. And that just softens those corners. We can change the color, and here is where you might drop the opacity of this shape or something just so that blends with the background just a little bit, but it also makes our text stand out. And now we have this graphic right here. And if I just took this graphic, copied it, and pasted it, it appears here as well. And all of those different assets, the different texts that we've added appear in here. And then one last thing, if you want to add a shape from your tools, you can use one of these tools down here. So if I want to add a circle, use that circle tool, drag it onto my program monitor. Notice one last thing before I let you go is if I don't have this graphic selected, and then I use the shape or text tool, and then I add a shape, it's not added to this existing graphic, it's added to a new one. And maybe sometimes you want that. You want a separate graphic, but if you want it to appear in this graphic, then you have to make sure you have this graphic selected before you add anything to your video. All right, we'll see you in the next lessons as we get deeper and more advanced into these tools. 48. Using Motion Graphic Templates: Don't have to create your titles and graphics yourself from scratch. There are a ton of templates you can use that you can find under the Graphics Templates panel. So opening that up, you can see the ones that are pre installed on your computer. You're not going to see all of these because some of these I've downloaded from stock video sites like In Vato or I've actually created myself for different series like my Photo dash series that you can see some templates here. Those are created in after effects. Here are some lower thirds that I've download Premiere Pro does come with some pre installed. For any of these, you can drag them onto your timeline, onto the track that you want to apply to. This graphic was created for a 1920 by 1080 sequence, and this is a four case sequence. So first, to edit this, we can go to our properties panel. Skip this for just a second because we can go down to transform and fit it to the screen or scale up right here. Now, going back up to the top of this, each of these templates are going to have different properties you can adjust. Sometimes you'll be able to adjust the text, sometimes the colors, sometimes different things. So for this, for example, I can put in you Rock, thank you for being a student. And that's going to change the text right here. This has a shield design slider so I can actually slide through, and it has three options, which is pretty cool. And then it has all the options for the colors. So to change in any of these colors, I can go in here, say you're editing for a specific team, you could change the color, and now it changes. To quickly change this yellow to match that blue, I can take this eyedropper and just hover over and click that blue. Pretty cool, huh? This has different, you know, blur. That's kind of neat. That blurs the background a little bit. Different properties for different things going on. I'm going to delete this one and show you another one just to show you what the other options might be. Here I have the angled lower third. So this is a title card. Maybe you want to add a little name to someone who's talking. Let's go back to the Properties tab. And here it's a little bit of an older style. It has all the text applied, but to edit the text, we're going to have to actually go in to that text itself, double clicking or using the text tool. Philip Philip Ebner. And to match the original style, I'm going to actually all caps that. And now we have this. And a lot of these come with transitions at the beginning or motion. That is automatically applied to these title cards. You'll also find a bunch of stock ones here. So here we can go to Adobe Stock and find free ones. And these are going to be a lot more modern and dynamic. For example, we have this social media transition. Let's drop that down. It's gonna load it from the website. And again, this one is also 1920 by 1080. So let's go in and fit it. And so what you would want to do is put this over a cut. So here on my sequence, I have this cross dissolve. Let me delete that for a second. And I'm going to put this right over the middle of that cut so that it comes on and then comes off onto the next shot. That's pretty cool. And you didn't even have to do anything. You didn't have to create this, but you can control it. So there's global controls, like if you want to change the size or position, but also the color controls, again, we can customize this to fit our brand or anything like that. Glitch. I don't even know what glitch is, but No, it adds a little glitch to the animation. So those are the graphic templates and how to edit them. Again, each one's going to be a little bit different. Some are going to have more customizations than others, but now you know how to apply them to a timeline and actually edit them. I wanted to see what the season greetings was. Look at that animation pop up. Cool. To import a graphic template, you can go to the My templates button, and then you could install a motion graphics template, and this is where you would find it from whatever site you download it and import it there. And then it will appear in this list, which you can search through. You can show only local templates that are installed on your computer, which will help you find ones that you use. You could also favorite certain ones. So say you always use this social media transition, you can star it, and then when you click your favorites, it's going to appear here. That's probably the hardest thing about this is finding the ones that you want and reusing them. Make sure you star the ones you use so you can easily get back to them. That is the graphic templates option, and working with them. I hope you enjoyed it, and we'll see you in the next lesson. 49. Advanced: Animating Your Titles with Keyframes: Let's create a basic animation to make our graphics more dynamic. We could add any transition we want from our Effects panel, and some of these might make it look good. Like, if we want to have a slide and we'll go add that slide, it's going to slide in from the left. But if we want to be able to customize it totally ourself in terms of the timing, we need to open up the Effects Control panel and start working with keyframes. Key frames are a way we can tell Premiere Pro that we want one property settings to start at this point and then end at another point. And that can be applied to pretty much any property. For example, we can tell Premiere Pro that we want the position of our Japan text to end here, but we want it to start off the screen. How do we do that? It's all with keyframes. In the Effects Control panel, we can open up our text layers which you see that we've created over in properties and go down to transform because we want to animate one of the transform properties. And one of the easiest ones to understand is position. Then we need to set keyframes. We need to set a keyframe for where it's starting and ending. I've set up this text, I've changed the colors to match the colors of the boat, which I thought looked pretty good. And I'm going to move these to my final position to start because even though we're moving, I kind of want to see that lady waving down there. So maybe something like this looks good as it goes along. And what I want to do is have this title fly in. So this is the final point of this text. So I'm going to go toggle animation here with this little stopwatch. I'm going to put my timeline indicator where I want it to end the animation and then click that keyframe button or that stopwatch. That doesn't do anything because it's just telling Premiere Pro. Set this title at this point, at this time. But if I move my timeline indicator, and now I move my graphic off screen, whether it's with my mouse or using the transform properties here all the way off screen, now it's telling Premiere Pro between these two times or between these two keyframes, which I can zoom into with this little scroll bar down here, animate that title onto the screen. And we can do the same thing with the other one where maybe we want the log coming in from the right side. So selecting vlog over here or going up to the log text here in our Effects Control panel and setting a keyframe for position here, then again, going back to the start and moving it off screen. Now we have our two text letters flying in. We can adjust the timing of this. Say we want the log to come in a little bit afterwards. We can then select these keyframes in this little timeline view in the Effect Controls panel and drag them to the right to actually move them later so it appears a little bit later. Spreading them out will slow it down because we're saying take a little bit longer to do that animation. And then one of the last things I want to show you for this video is to adjust the ramping or the easing of this motion because right now it's just moving at the same speed across these keyframes. To make it look a little bit more natural, I'm going to select them, right click and under temporal interpolation, I'm going to say ease in. And this ramps the speed up and down. And you can see that with the vlog text compared to the Japan text. As I play that, it's a more natural sort of ramps up the speed and then ramps down to a stop. And I'm going to do the same thing for our Japan title flying in. Select them right click Ease in. There's a bunch of other options that adjust the speed and the style in which it ramps up. But for now, easing in is probably the easiest one and the best one to play around with. So now we have this animated title card where it flies into our screen making super customized and a little bit more dynamic. So now you know how to animate in Premiere Pro, and any kind of animation is going to work the same. As long as it has a stopwatch here in the Effect Controls panel, then it's going to allow you to create those keyframes to create an animation. One last thing too is you can actually animate from over here by setting key frames. So if there's ever a property here that has this little icon, that means that you can animate it. You can see right here the property of position is being animated. It's just another location where you can animate. But once you set a keyframe, for example, let's just scale up or down the Japan text. If I set a keyframe here, I go over here and increase the size. To see how it is doing that on the timeline, I have to come up here to the Effects Control panel, and now I can see under the Japan text my scale property. And from here, I can adjust the timing. So maybe I want it to scale up the whole time so I can just select the keyframes and put them at the beginning and end of the entire clip. I'd probably want to match that kind of scale to my log text as well. Alright, in the next lessons, we're going to learn some super advanced things like responsive design time so that the animations we add automatically adjust if we extend our clip or make it shorter, as well as creating a title card with a shape layer that will automatically adjust the size depending on what the text is in front of it. We'll see you in those lessons. 50. Advanced: Response Design Time Tutorial: Hey, we've created this super awesome effect, and we want it to exit. We can simply copy and paste keyframe. So what I'm going to do is for each of these keyframes, copy them. So right before I want it to exit, I'm going to copy the second keyframe because this is telling Premiere Pro to keep it at that position. Then at the very end of my clip, so the last point of my clip, I'm going to copy the first keyframe and paste it. So now it comes out the same way that it came in. If I want to match the exact frame where this animation comes in and out, I can actually use and let me expand this a little bit so that we have more view of this. We can use these left and right arrow buttons to jump to the keyframes and it moves the timeline indicator to the keyframe. So if I want to start the vlog exit animation, I can go to this keyframe where I did it for the Japan text, and then now copy this and paste it, and now I can go to the next one, the exit one and copy and paste. Okay, so that was the basics of just how to exit this animation. But this tutorial is really about how we can adjust this so that maybe I want to make this shorter. But when I do that, you'll see in my timeline up here, I actually cut off those keyframes. If I extend this, you can see that I extend past that, which is fine for the exit, but maybe I want to keep this title card on the screen longer. So let me undo it to this point where we have the entrance right at the beginning, and then we have the exit. This is what's called responsive design time. Now I can set the introuration of this graphic to be set after the animation. So I drag this time to the right. And you'll notice as I do this, this little part gets highlighted. So you want to make sure that all of the animation is highlighted at the beginning that you want to be responsive. And then same with the last one. I want to increase this so that everything is highlighted, all the keyframes. It won't work if all the keyframes aren't could also see this little highlight on the timeline itself. And now look at this magic. If I extend this the key frames move. So awesome. I can make this shorter, and the animations gets shorter, but it's the same exact animation. Longer. Tai card, this is perfect because we want tal cards that we might use over and over, whether that's like a subscribe button or an intro or a lower third, we want to be able to make it responsive to whatever video or clip we're adding it to, and that's how you do it. So basically, the key is to set your key frames for your animations for the intro. And then if you have an Otro to the Otro as well, and then just make sure that keyframes are covered by this intro and Outro duration. This role option, that has to do with creating credits. Don't worry about that right now. That's going to be in a separate tutorial. That's not related necessarily to responsive design. So now you know how to create this responsive graphic. In the next lesson, we're also going to work with some responsiveness in terms of shapes to text size. We'll see you there. 51. Advanced: Response Design Position Tutorial: A common dilemma as a video creator is you have a title card or graphic you've created, but then you need to change the text, and you want the sizing and positioning of the shape around it to stay similar, but for the new text. For example, if I change this to Ron Swanson, I want that shape to get whiter. But if I don't have it automated, then I have to come in here and do a bunch of steps to make it whiter than reposition. And that's just too many steps for me. So we have a feature called responsive design position, which will basically pin the positions shape or size of it to another either layer or to the video frame itself. For this example, what I want this shape layer to do is to be pinned and there's this little drop down here to the text layer of Philip Ebner. Then I have to decide which parameters do I want it to be pinned to? Do I want it to be pinned to all of them? So that's the height, width, and width, or just some of them? This is going to change depending on what you want it to look like, and I'll show you an example. But now that this is pinned to the text, if I go into my text, notice what happens Ron Swanson, Whoo. That is so exciting that that shape moves and changes automatically, and the spacing is all the same. I can even go in here and make another line, and it will do the same thing. Now, let's go ahead and see if I don't have the top and bottom pinned. And then I go into this text, and let's just and then let's just make it bigger. Notice that that text starts to go above the shape layer, and that shape layer, or let's make it smaller, and that might be a better visual representation of this, it's not pinned. And so for this example, I want everything to be pinned. So let's go back to our shape layer. And now clicking that middle button twice, we'll pin it all, but I want it to be pinned to the Ron Swanson. And so now if I drop the scale or even the font size of my text, that shape automatically response to those adjustments. So that's responsive design, position, super helpful for creating graphics that can be customized and changed, but saving you lots of time while you do it. Thanks so much for watching, and we'll see you in the next lesson. 52. Create Scrolling Credits in Premiere Pro: How do you create scrolling credits like this? It's actually pretty simple in Premiere Pro. First, you're going to need to create your text. So go take your text tool, add your text. Alright, so now I have a bunch of random credits that I might want to include for these credits. I'm going to change the font size. I'm going to center them paragraph wise, and then also align them to the center of my screen. I'm not too concerned about where they are in terms of the vertical point because there's another setting that will override it. And I need to get out of this text layer so I can click off of it, or if you're just off of your text layer or graphic itself and just click onto that clip in your timeline, you'll see this roll checkbox. If I click that on, it automatically creates a scrolling credits for us with whatever we have in this graphic file. And you'll notice that it has this little scroll bar right here, which is super helpful because then I can go in here, and if I need to add something, I can come in here and add my next credit, catering s next. Wow, that's fancy. But then once I get off of that view of the scroll, it jumps back to how it is in the actual clip. And so now we have a bunch of parameters we can adjust here. For example, you can have it start and end off screen, which is typical. But for some reason, you might want to have it start on screen and then start rolling. And then if you have it start on screen, we can actually move this down, and then it's going to start scrolling. So now we have our scrolling credits. We can make this longer or shorter just by extending the length of the clip on our timeline to get, like, a timing that looks good. You want it to be slow enough that it doesn't look like jumpy. Something like that might be good. It automatically starts off the screen, but for some reason, if you wanted to start on screen, you can check that off. Maybe a practical reason to do this. Maybe you have a title that says the Premiere Pro master class. And then we put some spaces in between that and our other text, and then I'm going to take this and actually move it up just a little bit. So it's kind of like centered on our screen. Something like this. Whoops, moved I need to add one more paragraph space. So now it's going to come on at the very beginning. I need to go to the first frame actually and move this up, holding that command key. Remember that keyboard shortcut, that really helps us center things. And so it's going to come on here like this and then start moving all of a sudden. I want it to stay on here like this before it starts moving, I can adjust the pre role setting. So maybe I want the pre role to be like 2 seconds before it starts rolling. So we can add a custom fade just with a Command D transition, so it fades on, and then it starts moving. Now, that movement was a little abrupt, so we can adjust that too. We can do the ease features. So remember we saw easing in with our animations. That's also going to sort of slow into position that animation a little bit better. See, now that really slows and ramps into that with that 4 seconds. Maybe take that back down to, like, 2.5 seconds or so. And now that starts going off. And then sometimes, like, at the end, you might end on a year or a special note. So again, you can add, if I come into my text, I can add, let's just well, actually, I want to see it. So let's go ahead and unchecked offscreen. And let's go ahead and add a title for. Thank you for watching. And we'll make sure this is spaced properly. Something like that. So it's centered when we're done. So now that ends on screen, and let's add some post role, so it stays on for 5 seconds or so. So now we have this credits that has a title at the beginning that fades on. The pre role keeps that title on the screen, and then it scrolls. And then it stops the animation there. Which we should have an Es out to like 2 seconds or so to match the Ease in. And then we have a five second post role until we maybe fade it out slowly like this. So now we have the super custom credits. I've never seen credits as epic as this for a course, and that's going by way too fast. So let's extend the whole length of this, and it's going to be responsive. So we still have the same pre role animation and post role animation. But now it just slows down the role itself. It gets to the end, and it eases into right there, boom. That's like magic right there. Pretty cool. I mean, of course, if you just want it to roll off the screen or on screen, you just keep those on. And then it would go all the way like so. So that's how you create rolling credits and how to customize them with a pre roll post roll ease in, ease out, and all of that fun stuff. Thank you so much for watching, and we'll see you in the next lesson. 53. Downloading and Using Motion Graphic Templates: This lesson, I want to show you how to use motion graphic templates, install them and make sure it's all working. I use In voto elements to download stock footage and motion graphic templates. You can see this one here, this typewriter effect. If you have an account, you can download it. If I go back to titles, you can see all kinds of different title effects and animations. And these are going to be motion graphic files that you install and Premiere Pro and customize. I've downloaded this file, which is a folder, and one of the most important things you need to do if you ever download a Motion Graphics template is make sure you have all of the fonts that are a part of it. And most templates will come with either the files themselves or links to the fonts. And so, for example, this one needs the Pop&sFont. And so I've gone to that website and I'm going to make sure that I have PopNs installed stalling fonts on a PC and MAC is pretty simple on a Mac. You just have to select the TTF files. These are the fonts files themselves and double click them, and then it's going to open it up in your font menu and you can click to Install. Looks like I already have this font installed, so I go through all of those and make sure they're installed. Next, you're going to find the MogertFle. These are the actual motion graphic files that have the extension dot OGRT. And to install them, we can literally just drag them into the graphics template folder, or you can go to the Plus menu and find the files here and then click Open. The motion graphic will appear here in your templates. So now if I drag this to my timeline, it's going to play it. So if I put this over like a video clip, for example, you can see what this looks like. And just like we've edited templates in the past, if you go to the properties with this clip selected, now we have our text editor where we can edit our text. And similarly, we can change the font. So it might come pre installed with cern fonts, but for most of these, you can adjust the font to your liking, adjust the size. Notice how for this one, for example, though, the box in the back is not responsive to the vertical size of this graphic. So if you're trying to make it bigger, you might have to adjust something else, another parameter like our scale parameter down here. So that's how to install and edit graphic templates. Remember, each graphic template is going to have different parameters you can adjust. Like, for example, this one has a typewriter speed. Looks like the background length you can adjust, the cursor style. Maybe I want this to be a period or something like that. And that can all or a vertical line. And now this is customized to my video. So that's how you install and edit graphic templates files. Thanks so much, and we'll see you in the next lesson. 54. Exercise: Finishing Up Our Video Graphics: There's a quick check in on how we're doing with our original project and at what point you could be based off of our sequences. So checking out sequence six is where I've added the title cards, and you can see the text that I have here. And you'll notice something interesting. So I have Japan and then top ten as two layers of text. But within top ten, I have two different styles of text. You can do that by double clicking into your text, selecting whichever specific text you want and then changing the text properties, and that's only going to apply to what is highlighted in your text box. If you just have the entire text selected and then you make a change to the font or whatever, it's going to change everything. I added this Tata card at the beginning and then just a little Tata card at the end. Something that after watching this, again, I don't really like is that it's a little hard to see the Japan top ten logo or title here at the beginning. So as a video editor, I have to think, Okay, what are ways we can improve this? Another thing I really quickly want to show you is that it's not until sequence 11 where I was putting some final touches that I added both a sound effect and a transition. And I actually used one of the film Impact transitions to bring in this text. It's called stretch wipe, and you can find that again in the Window Extensions film Impact dashboard. And on here, you can actually apply some of these transitions to your text layers to really any layer, but it looks pretty good on text. I added that stretch wipe effect right here at the bottom to this text, and I think that's a cool way to intro and outtro it. And then I added these little whoosh sound effects that are included in the project files under audio sound effects. There's a wish wipe and a wish sound effect. You are free to use those in your videos, and that just adds to the quality of the transition of something coming on and off the screen. It just makes it more impactful. Back to sequence six, though, just as an example, what are some other ways we can make this text stand out? Well, we could go in and we could go in our text, and one way is to add a stroke. That could work. Adding a background is another. But when I add a background to the individual text, I don't think that is going to be easy to manipulate and make fit properly. So what I'm going to do is actually create a new rectangular layer. I'm going to increase the scale of it here down in the line and transform and then put it underneath our Japan ten text. Looks like I have to make it a bit wider. And when I align this to the center, I can actually see that my Japan top ten text is not centered, so I can shift click both of those and sort of center it to this new rectangle that I know is centered into our sequence or to our video settings. I like the rounded corners. I could come up with a fun color, or I could make it all black and maybe even just drop the opacity just a little bit. So it looks kind of like a sign. Maybe even adding a stroke on the outside could make it look kind of cool. Whenever I'm making these elements, I play around with the colors, maybe adding, that looks pretty good with the stroke being that color of the top ten. So this would be one way to make that text stand out. One thing that I don't like about it, though, is it's covering what's on our video, which is really impactful. I think when you start this video is you're in here, you're watching, you're on this boat. You see this lady waving at the front, which is cool. So, of course, later on, we'll have transition to have this on, but we might want to move the entire thing around. Instead of doing that individually with each element and resizing it, we can actually click off the elements by clicking down in this blank space, clicking off on our timeline and going back to it. And now we can transform the whole entire thing. With our direct manipulation tool, we can also turn that on as well. And so we can move this around. Maybe we want to put this, you know, in the top right corner or something so that our video is seen better. Now, I'm not sure if I would like that. Maybe we just make it come up later, and it's still in the middle. And with the direct manipulation tool over here, we can actually just click onto this layer and edit it. Maybe we want it to transition on after we see the wave, and then it flies on or something. And right here, it's in the middle, which isn't in a space of the video that I care too much about seeing. So that would work, too. But regardless, I think having some sort of background, at least for this shot looks better so that we can see our title because using the font that I use, it's not a very easy to read font. With the white font, it's also not easy because it doesn't contrast from the background. The background's very busy. Are all things you have to think about as an editor, and if you have a title card, you want to make sure people can view it. So just I wanted to make this video so that you can hear and see more of my process of what I would be doing as I actually edit a video like this, and I hope it helps you out. Thanks so much, and we'll see you in the next lesson. 55. Text-Based Editing in Premiere Pro: Welcome to this new section of the course, all about the text panel that will allow us to do things like powerful text based editing, adding captions, and quickly editing any text and any graphic on our timeline. In this lesson, I want to go over text based editing. I've opened up the text based editing workspace. You could also just open up the text panel, but this layout's very nice because now I can transcribe my sequence. And if you have any talking or dialogue, it will now pop up here on our timeline. Is broken out by time, so you can see on my timeline that this clip starts at 2 seconds and 11 frames. If I move this over, for example, it will start at zero. And now we can actually edit our videos by text. So instead of listening through my video, which I can do, and then it highlights the actual words that I'm saying, I can actually see it here visually. Okay, on this second clip, I actually made a mistake. It says Stay tuned to that. Stay tuned to learn how. So here, listen to that. Stay tuned Stay tuned to learn so I can literally just highlight this section of the text and delete it with the backspace on my keyboard. And look what happened on my timeline. I deleted that segment. It also has these little ellipses where there's blank space, and I could just select that and delete it. So I'm going to delete all those pauses that I don't want. Now, of course, it's not going to be perfect. I'm going to still have to go in here and clean it up a little bit, close these gaps. Could edit this end part out, but we have a pretty close final version for the edit of this talking portion of the video. So this is just a short example with two clips where there was only one mistake. But you can imagine that if you did an interview and it's 30 minutes long, it takes a long time to listen through that. And there might be a lot of parts where you don't really necessarily need to listen to it. Maybe it's you asking a question to an interviewee, or maybe it's a repetition of a question. And you know because you see it here on the text panel that you can just delete an entire question by highlighting the whole thing and deleting it. Super, super easy. Now, notice what happened, though, when I did edit any section. Maybe I want to just get rid of this whole first sentence. I can do that, but it deletes everything in that part of the timeline. And you can see when I highlight it up here, it highlights that segment here on my timeline, and it's going to everything in between this in and out points on all tracks. So text based editing is something you'll want to do at the beginning of your project, not after you've added a bunch of B Roll and graphics and things like that. It's your first step. Alright, that's text based editing. We'll move on to the other features here in the next lessons. 56. Create Captions (Subtitles) in Premiere Pro: Reading captions in Premiere Pro is a breeze now. Now that we have our transcript created from the last lesson, if you didn't do that, when you open the text panel, just click the Transcribe button. We can go over to the captions tab and choose to create captions from transcript. Go ahead and click that. It's going to open up this caption preset where you can change the default style to a different one. We'll be able to customize caption formatting later. You can also set some of your preferences ahead of time here, but let's just go ahead and create the captions now and then we'll be able to change it later. It automatically spaces out our captions here and you can see as I play through this, how they appear down at the bottom of the video. You can see them appear here, timed out in the new captions tab, which is different than the transcript tab. If you ever need to change a word, you can go in here. And instead of video, if I actually said, I don't know, video, you can change that or maybe it thought I said video, but I said video. So you can change that here by double clicking into any caption. Notice that it added this new subtitle or captions track that's here on our timeline as well. Now, how do we change the style of these captions? Well, if we go into any of these captions by double clicking them or opening the properties panel, here you can change everything from the font let's choose Helvetica bold. You could change the positioning. So if you want to move it a little bit up or down, you could use one of these position features right here, change the fill, the stroke, if you want to add, like, a background line, for example, or shape behind our captions to make them stand out a little bit better. You can adjust all of that here. Now note, though, that this is only applying to this first caption here. And if I go over here, you'll see the next one doesn't have that applied. What we need to do is with this first one selected with the changes we've made, select this redefined style. Select all captions on track and click Okay. So now all captions will be edited to match that style. If you ever create a style that you want to save as a preset, you can choose the open style browser and then choose Create style from text selection. We'll just call this course style and that appears here in this menu. Now, for example, if we go to another sequence, let's go to the iPhone clip sequence, which has me talking. Here we would have the create captions from Transcript button. But when we click that, it has a different menu because it doesn't have a transcript yet, it's going to have to transcribe it initially. It gives us this option for speaker labeling, which is awesome because if you have separate speakers, if it's an interview, even if it's in the same video, it will determine that. I will actually label the speakers separately for you. Then you just click Transcribe. It's going to go ahead and transcribe it. It's going to add those captions as we saw here. And now we can go in and apply the style that we created to this clip and make sure that we do it to the entire track. So we're going to redefine that style, and there we go. Now we have all of our captions on our timeline ready to be used, whether that's exported, burned into the video or exported separately as an caption file, which we'll cover in the export section of the class, which is sometimes necessary when you're exporting videos for certain platforms or distribution method. Last thing I want to cover. If you ever want to split a caption into two so that you have maybe the first part of the sentence in the first and then the second one, what you can do is go and find the spot where you want to split. I'll go over and then go up here and click split caption. That splits that caption into two and you'd have to go in here and then go ahead and delete the end of that one and the start of this one, and now we have these two captions rather than one long one. That's how you generate and edit captions in Premiere Pro. This is something you really should do at the very end of your project at the end of your edit. You don't want to be messing with adding lines here, taking out lines there. Say I delete this clip here, it doesn't automatically delete my captions, and that's just going to be a headache to have to edit my captions along with still making tweaks to my main edit. It's possible, but for best practice, you do this at the very end of your edit once everything's lockdown. Thanks so much for watching, and I'll see you in the next lesson. 57. Quick Tip: Quickly Edit Any Graphic Text in Premiere Pro: The text panel, we also have a graphics tab, which is awesome because it's a quick way to change the text that is in any of our graphics. It displays all of the graphics that are on our timeline. This is our Travel Intro one sequence where we've been playing around with different titles and the credits that we've created, and you can see them all here and I can actually go in and make any edits to them. For example, maybe I don't need snacks and catering by Philip. I would go in here and I can literally delete that here. Rather than going into the actual file here, editing it, editing it in the program monitor like that, Ron Swanson, say, I want to edit that Ron Swanson title, I can just go in here and change it just like so. So a practical example of this is, you finish editing your project. You have this graphic title card. I'm going to copy and paste this several times. I'm putting this over the different clips of all the people that are a part of this video, and now I can just go into my graphics panel, and I could change this to Ron Swanson, who was also starring here, Keanu Reeves, also participating in this course. Don't believe anything I say. And now we have these title cards automatically changed. And remember, because we had responsive design position, the background shape looks amazing, too. And that's going to work for any of these. So, this is now we went to France, we could change this, change this to France, and it still has our animation at the beginning that we could use for our next project, for example. So that's the graphics panel. It's a super easy way to get to the different title cards and text that we have throughout our sequence and edit them all right here. Thanks so much for watching, and we'll see you in the next lesson. 58. Translate Captions to Any Language in Premiere Pro: Want to quickly translate your captions to any language? You can do that in our text window. So if you've created your captions from a transcript, you'll notice that there's this drop down menu guide and I can choose translate captions. It'll auto detect language, or you can select if it's not detecting it easily, and then you can choose which language or language is you want to translate it to. So I'm going to select French. You can choose if you want it to be a specific subtitle format. Style. If you've set up your styles, you have some advanced preferences. Depending on the language, sometimes there's more characters per word, and so you can adjust how many characters are in each subtitle that pops up, as well as the minimum duration in titles. If you want subtitles to be a little bit longer on the screen, you can extend that single double lines, all of that, you can adjust here and then choose translate. It's going to upload and translate those captions in the cloud and add a new sequence right here. Or track rather. And now we have our amazing translated caption giving you the ability to quickly reach people who speak another language. Pretty amazing stuff. And then remember, if you want to change the style of the subtitle, you can just double click into any of these. You can adjust the style here or the text, say we want to pick another font, for example, change the position. Maybe we want to add a background. Around those corners, expand it just a little bit. All of this depending on your style. And then once we have this, we can create a track style for this by clicking the Plus button. Choose create style, red background. I'll call this, and then I'll choose Okay. And now, if we go back to our sequence, this has applied that style to the entire track. Pretty cool. I do not like that red background, though. So I'm actually going to remove that background. I'm going to update the style, so redefine it. Click Okay. And now all of our subtitles have been adjusted. How you can reach more people around the world using Premiere Pro. See you in the next lesson. 59. Introduction to the Lumetri Color Panel: Welcome to this new section all about color correction and color grading. This is a very important section for us video editors because color correcting allows us to fix the exposures and colors in our footage and giving it a grade gives it a quick style. I'm going to be working a lot in the Lumetri Color Panel. I have the starter setup, but then I've added the Lumetri color and put it on the right side, similar to how I did with the audio editing panel, the Essential Sound Panel. You can find that up in window Lumetri Color. And we're going to be going over all of this, but I wanted to give you a quick tip in this first lesson for my sequence that I've edited in the earned Premiere project, all I did to give this video a style, which I believe I started in sequence five was to give it a quick grade or style, which you can find under the creative drop down in the Lumetri Color Panel. When you select a clip on your timeline, all of the options will pop up. And these looks are what give your video a style. The one that I chose was the Fuji F 125 Codak 2395 style. And you can see a bunch of other options in this list. You can see a preview of what that looks like here, and you can click these little right and left arrow buttons to shuffle through them. And you can see sort of the different styles. Some are more saturated, some are flatter, some are more contrasty. If you find a style that you like, you can just click it here and it applies to that video clip. I actually has a slider here that you can increase or decrease the intensity of the effects that it's applying. So if you find one that you like, maybe you like these cold dish contrasty colors, but it's a little too strong, you can just bring that down. We are going to look way more into this, and we're going to start with our basic settings where I do most of my correction. So go ahead and open up your project that you're working on, just your travel blog sequence or whichever one you're following along with, and we're going to be working with the unedited uncolor corrected footage. The starting in the next lesson. See you. 60. White Balance Adjustments: How do you white balance your footage? This is the first step in the basic correction Tab. I've actually imported the learning videos from the downloadable resources. These are videos that you'll be able to use for this section, as well as a section on advanced Color Grading coming up, and you can see those here in this bin that I have. And I've put the color correction one here. Cameras nowadays are pretty good at automatically getting the white balance, right, but sometimes it's not perfect. So there's a couple ways to correct your white balance. The easiest is if you have something that is a neutral gray color, like a white or even just a gray with no color, no saturation in it, you can use the eyedropper to select that on your screen. And what that's doing is it's telling Premiere Pro that change the colors so that this is pure white, and then it balances everything off of that. So you saw that what happened here, our temperature and our tint sliders adjusted, and that's what actually changes when you do white balance. So your temperature going from cooler or to brighter, depending on which object you select will change this slider. But we know that because this original shot was too cool, which was improperly shot, that we can also manually do it or make manual adjustments with this slider. The tint is a green to magenta slider, and oftentimes cameras will have a slight color cast of green or magenta, depending on where you're filming, also depending on what type of lights you're using, as well. And so you can see that the background, even though these cabinets are white, the lighting on the background might not have matched the foreground as much as it should have, and we're using different color temperature light bulbs. And so depending on where I click this, I get a different white balance adjustment. And so we'll need to go in this clip, for example, and make a slight adjustment with these sliders. Let's take another clip, for example, I've added the talking head A and B clips to my timeline, and to edit the colors for any clip, I have to make sure that I am clicking onto it on my timeline. So this clip has also multiple color temperatures. It has this warmer light in the background, but it also has a lot of daylight coming from a window shining on the right side of my face. There's a cool daylight bulb that's coming from the left side a little bit, and the white balance is pretty good. I want my footage to be balanced to the daylight because that's the main light that is shining on my face. Now, my shirt is pretty close, but still, if I white balance to my shirt, now my shirt is perfect white, but everything else is a little bit too warm. So it could be a good starting point. This is why people hold up a white card or a white piece of paper at the start of a shoot so that you have that footage that you can perfectly white balance too. I would literally be holding up a card in the middle of this video at the start this lighting setup so that when I come into Premiere Pro, I know I can get perfect white, and that's because the lighting on me is different than the background. We're talking about color correction where we're trying to make the colors look natural. But white balance also plays into color grading, as well. If we want a little bit of a warmer tone or a little bit of a cooler look, we can make that adjustment purely for creativity as well. Also under white balance, we have saturation. This is just the vibrancy of all colors. Depending on what camera you're using, what your settings are. If you're using more of a raw camera setting, you might need to boost your saturation a little bit. I wasn't using a raw setting on this camera, so the colors look pretty well saturated, but this is where you would make that adjustment. So that's white balance. And in the next lessons, we're going to move on to exposure under our light settings. 61. Light (Exposure) Adjustments: This lesson, we're going to adjust our exposure. The talking head A footage is pretty well exposed. I'm going to turn on the track with my talking head B footage because this one's a little bit darker. The settings on the camera were just different and so it filmed at a darker exposure. In our basic settings, still, we have our light settings. We have overall exposure. This is going to bring everything up Contrast is going to make the darks darker and the brights brighter. So we have, like, highlights, and then we have shadows, and then the whites and the blacks being at the edge of our exposure. Highlights is just going to affect the highlights, shadows just the shadows. And then whites, like I said, are those brightest parts, and Blacks are the darkest parts. You can see that as soon as I bring up the Blacks, the video starts to look faded. That can be a style that you like, that sort of, like, faded film look. But what's happening and you have to be careful is if you want pure blacks in your footage, then you can't bring up this because now everything the exposures off. For a clip like this, I would come in and first, because I can see that the whole thing is a bit underexposed, bring up the overall exposure. Now, if I go too far, you can start to see that my face and the shirt starts to get overexposed. It's too bright. If I go too far, you can really see what happens. Still feel like the overall video isn't as bright as this other one. So the original clip, and if I'm trying to match that exposure, I need to bring something else up. I can start with my shadows and I can bring my shadows up a little bit, which is nice because that brings up the overall exposure without bring up the highlights. But then it starts to look less contrasty, because remember, contrast is sort of how dark your darks are, how bright your brights are. More contrast means darker darks, brighter brights. And if I'm lifting my shadows, then I'm decreasing the contrast. So I can add a little bit of contrast back by taking my black slider and pushing that back down. And then I'll probably play with my highlights and C, bring that down just a little bit. Whites are another slider that you generally don't want your whites to be overexposed unless it's a stylistic thing. And that's looking pretty good. I think something that's the same on these two cameras is the camera B is not as saturated, so I can boost the saturation just a little bit to 115. And maybe it's a little warmer. So let's warm that up just a tiny bit. And that's actually looking pretty good. Maybe a little hint of an increase in exposure. Now, I've been clicking and dragging these sliders. You can also come in here and type a specific number so that you can get super specific with that 1.9. That is looking pretty darn good, considering these were shot with different cameras and different exposures, maybe a little bit green on that camera B. And that's pretty good. We'll look at a more advanced way to quickly match footage as well in a future lesson. But that's the basic light sliders. And one other thing to note is that you can toggle this on and off up here at the top of each of these tabs. You can turn this on and off. We skip the input let, which is more advanced topic we'll look at later. Is an auto setting, so let me reset this and then click Auto, and it will try to automatically set the settings. And that looks actually pretty good in terms of a color correction. It doesn't match this, though, so I could make tweaks or I can do it completely custom like I did before, which I think looks better. But the autobton can save you for a quick edit. So that's the basics of editing exposure in Lumetri color. I hope you enjoyed, and we'll see you in the next lesson. 62. Creative Adjustments: In this lesson, we're going to learn about the Creative Tab. I've moved back to my travel intro sequence. Also, just a quick tip. You want to try to make your visuals of the program monitor as big as possible so you can really see what's going on. If you're a pro editor, you're getting a separate monitor so that you can have that program monitor up there, so you can really see what you're doing. I have my display sort of blown up so that the text and the buttons on here are easier for you to see. But generally, things are a little bit rearranged and I can make this program monitor bigger on my screen. All that being said, let's look at this clip, which is a cool one because there's a lot going on. There's lots of colors, and I think the Creative Tab can give us a really cool style. Haven't applied any adjustments to the basic correction. This is the DJI Osmo camera, and these cameras are amazing. Even in this low lighting, the colors and exposures look pretty natural. And thanks to Japan being such a nightlife city in these places, so many lights, it's not too dark. In the Creative Tab, the first thing, as we saw in the first lesson is we have this dropdown for a look. There are many looks that are pre installed with Premiere Pro, but if you have a file, you can install it by clicking the brows and installing it that way. Apply a look, the first thing is to find the one that you like best. There is this little preview video monitor down here, and it's just a quick example of what it looks like. It's not applied until we go in and tap it, and then it's applied to the clip. I actually really like the SL gold rush look for this one. I feel like it amplifies that warmth that's naturally in this video. It also adds a little bit of contrast, which I can see by turning this on and off here, which I just kind of like. Again, you can increase or decrease the intensity of this look. It's kind of like a preset. If you use light room for editing photos, you can increase or decrease the intensity. The looks, we have other adjustments that can be applied in conjunction with a look, but they can also just be applied by themselves. So let me go to this next clip, for example, Japan six on the timeline. Same clip, but separate part of it. I have a faded film slider. So this is very similar to bringing up the blacks and the shadows, but it's just a quick way to get that faded film look. Sharpening, is going to try to sharpen the edges. It's not going to make something completely out of focus in focus, but if your footage is a little soft, this can help depending on the camera. Like the DJ Osmo, something like I used here, already adds quite a bit of sharpening, similar to, like, a Gro Pro. So you won't really want to add sharpening. But if you're using a mirror Liz camera and if you're using, like, a raw film style that doesn't apply a lot of compression or sharpening, then you might need to add a little bit of sharpening here. There's also a vibrance and saturation slider here. Saturation is the same as what we saw in the basic Tab. Vibrant. If you're a photo editor, you know what this is, but this is a more natural way of increasing or decreasing the saturation of colors. What vibrance does is it looks at the colors that are not as saturated in your footage and saturates those before it saturates the other ones. So in this clip, we can see that the reds and the yellows are very saturated already. And if I increase our saturation slider all the way, you can see that just goes crazy and is way too saturated. But if I bring up the vibrant, it still brings up the saturation of the yellows a bit. It's also bringing up the blues and the purples and the greens a bit faster or at a faster rate than the yellows. And it's a little bit more of a natural way to bring up the saturation or the colors in your footage. So play around with that. The shadow tint and highlight tint, this gives the shadows or the highlights of your footage a specific tint. So for example, something that a lot of people do is make the shadows cool and then warm up the highlights, and you get this really kind of classic blue to yellow style in your footage. And you could adjust the balance to this if you want the balance of the highlight or the shadow tint to be stronger going from left to right. So this kind of helps you tweak that adjustment there. Double clicking any of these settings will reset them. So that's the creative tab. In the next lesson, I'm going to give you a quick tip on applying the same style or edits that you've done to one clip to another, which is super important. 63. Quick Tip: Copying Color Adjustments to Another Clip: What if we want to apply what we've done to one clip to another one? It would not make sense to go in and see the adjustments that we've made and then go to the next clip and try to plug in the right numbers. We can copy what we've applied here, and if you've been watching this whole course, you know that that's going to be found in the Effect Controls panel. You can find that here. You'll see that as soon as you apply any adjustments here, you'll see the Lumetri color effect pop up. So if I click on the talking head B two clip that I haven't adjusted, there's no effect. But if I make a little adjustment over here, there's that effect. And here you can also delete that effect from it if you want to because what I want to do is I want to take the effects that I've applied in my original clip, copy that, so I can select that there. And now I can go to my next clip and paste it. That's the quickest way to apply what you've done to one clip to another one. Notice, unlike in the Essential Sound Panel, if I select multiple clips on my timeline, I can't edit multiple video clips and do color correction in the Lumetri Color Panel. So the way to do it, take that effect, copy it, and then paste it to your next clip. And depending on what you're doing, a lot of times what I'll do is I'll do like a very basic edit or if I'm doing like a style, I'll just copy it and paste that basic initial edit or look that I've applied to all of my B Roll footage, and then I'll go in and make adjustments later on. I'm going to give you a more advanced way to do this with adjustment laters coming up. But for now, that's the basics of copying and pasting your color correction to another clip. See you in the next lesson. 64. Advanced: Applying Color Correction with an Adjustment Layer: In this lesson, I want to give you a more advanced way to apply a color correction to multiple clips, and that's with an adjustment layer. And you'll notice that I paused in going through all of these tabs because the curves, color wheels, HSL secondary, especially, those are pretty advanced features, and we'll get to those. But this is more important for you to understand right now. We saw that you can copy and effect from one to the other. But what if we have a ton? It's still not too hard to go in, copy this, go to a bunch and paste it. But what if we then want to make an adjustment to this look and apply it to all of these? We'd have to go individually and do that. You can do this better with an adjustment layer. In your project window, you can click New Item and choose adjustment layer. You want it to be the same size and settings as your video settings or your sequence settings. And that appears here in our project. Now I can put this down on my timeline. Now, I got to fit it in here between before those photos appear, so I'm just going to make it shorter and apply it on top of these clips. And notice that I'm putting it underneath my title card because what's going to happen is anything that I do to this adjustment layer will affect what's underneath it. And so what I'm going to do is I'm going to actually copy the Lumetri color effects that I've done to this one clip here because I found a style that I like under the creative looks, copy that, and now I'm going to apply it to my adjustment layer. Now I'm going to move over here on the timeline so you can see that it will apply to the clips below. So I'm pasting it to that adjustment layer. Now this color edit or this color look is being applied to all of these clips. Now, something to be careful about, though, now, is that it's also applying to the original clip that I had edited. So I'm actually going to go to that original clip and delete the Lumetri color effect. I think I have it on this clip, as well. I don't know if I made any adjustments. But now this just acts as a separate layer, and I can actually go in here and make adjustments, so I can go in and say, Oh, maybe it is a little bit too cool and warm it up a bit. That applies to everything underneath this layer. Now, this might look a little bit too much for some of these other clips, and maybe that's not exactly the look I'm going for, or maybe I want to just go in and drop the intensity of this look. And if I do want it to be a little bit more intense on these clips, I can actually split this adjustment layer and just for the night clips, bring it back up to 100. But just remember that this adjustment layer is for the daytime clips, and then this one is not. That one's for night. And so we can actually just now copy this layer over here to these other clips. And the easiest way to copy a layer on your timeline is just to option drag it and then let go. And now we have this adjustment layer on top of all of these other clips. Remember, though, if I make any changes to this layer, for example, and I want it to match the original one, I'd have to go and edit this one, but now it's only two clips that I'm adjusting. Or you can just edit one, make your adjustments, then copy the new effect over here. So adjustment layers are great for all sorts of things, but color correcting is one of them, making it more efficient to edit multiple clips at once. Thank you so much for watching. I hope this all makes sense. If you have any questions, please don't hesitate to reach out. But for now, enjoy, and we'll see you in the next lesson as we continue to dive deeper into more advanced topics in Lumetri Color Panel. See you there. 65. Advanced Color: Lumetri Scopes: Welcome to this new lesson where you'll understand how to look at these Lumetri Scopes and understanding what's happening related to our color correction and exposures. To open this panel, just go to Window Lumetri Scopes. There are different types of scopes and views here, and you can change them by going to the settings icon and checking on the ones that you want. We'll be looking at the Vectorscopes, as well. But for now, just look at this vectorscope and let me just scrub through the timeline to see what is happening. Notice that, as I move my hand, something actually changes in there. That's interesting. If I click this clip right here, let's turn that track on. Also, when I move my hand, something's happening. This is a visual representation of the exposures and the colors in our clip. So you can see in the middle of this clip is this little blob, and that is my face. There's a lot of red in my face. There's not so much green and blue, and that's why the green and blue is lower. At the bottom, we have zero, and at the top, we have 100. And you can see that if I actually just take my exposure slider down here in the panel, drop that down. Look what happens. That decreases or increases. So when there's a high exposure element in your frame, that's going to be visually represented here in this graph. And same with a dark or a black, it's going to be low on your graph. Oh, if you have a video that has something that should be pure black in your frame like my hat. My hat should be black. It's basically there's no exposure there. And so how do we use this to expose properly? This is going to depend on where you're filming. Here on this shot right here, this talking head shot, notice that it has quite a range of exposures from the dark shadows of the background, my hat to the bottom corner to the highlights and the brighter exposures underneath the light over here. This light right here, that is represented by this really warm highlight up here that hits the hundred up here. That's overexposed. If something's underexposed, it will hit the zero line. And so if I take this and I drop down the blacks, for example, look at there's a lot completely underexposed. You're correcting footage like this, you generally want a wide range of exposures like you see here, all the way from the zero to ten to 100. Now, if I was outside, for example, and I was filming something more like this castle here, let me turn off this adjustment layer. Everything's much brighter. There's not as much difference in the exposures. This is a great clip to look because you can see the reds, those red colors represented. And every color in our video is made from the RGB, the reds, the blues and greens. That's the combination of colors that creates all of our colors. And so that's why these are represented here. Here we can see on this clip, not so many colors, a lot of grays and neutrals that are represented by this white and a lot of bright highlights in those street signs, but still a lot of darks in these people down here as well. So if you have a shot that has quite a range of exposures from shadows to highlights, blacks to whites, you should see some hitting the top and some hitting the bottom. If your exposure is super far down like this, for example, originally, what you would want to do for this shot is bring it back up. And so if I go look at my talking head B footage, and let me just reset this Lumetri color panel, you'll notice that everything is too dark, represented here. The highlights are too dark, and I want my highlights to be hitting up here around that 80 90 mark. If it's too high, it's going to be overexposed. And especially in my face, which is represented right here in the middle of this frame because this frame matches, like, what's in the middle is in the middle, what's on the right, is on the right. I don't want my face to be overexposed. Maybe it's okay for the background light to be overexposed up here, but not my face. So you're just using this as a reference to determine if you have the proper range of exposures in your shot. We'll also be using these scopes for things like advanced color correction of skin tones, and that'll be in a separate lesson. But as we work through the rest of these tools in the Lumetri panel, I'm going to leave this up so that you can see what's happening and you'll learn from that context. All right, thank you so much for watching, and we'll see you in the next lesson. 66. Advanced Color: Curves: This lesson, we're going to learn about curves. Again, if you're a photographer, you know what this curve is and does, this is another way that you can adjust exposure in your frame. Here's a line at the bottom, we have our darks, at the top, we have our highlights or whites and we can actually click and add points in here. If I take this and add a point in the middle, now I can take that point and drag it up or down and you can see that increases or decreases the exposure. But instead of doing it in a linear way where everything is increased here with the exposure tab, it does it at a more ramped natural way. You can really fine tune the exposures in a very smooth way. Might have heard of what's called the S curve. S curve adds contrast. So you can see that now this curve looks like an S, and it's super, super contrast. So that's crazy, but I just wanted to show you, for example, what that looks like. But adding a tiny S curve is maybe a way that you want to add contrast. And again, it's better or at least more customizable than going here to our contrast slider and just adding contrast. Notice what's happening over here in the scopes where if we add contrast, our exposures expand, whereas if we decrease contrast, everything gets flatter, everything has a more similar exposure. It's a great visualization of that. Within the curves, we can edit the overall exposure by clicking this white button here, and again, reset things by clicking. Or we can go in and edit specific colors of our frame. And so if we take the reds, which it's going to look at every pixel of our video and bring up the reds or decrease the reds in terms of more like saturation, not so much as the exposure. And visually what this looks like is that the red exposure of every pixel is decreasing. And so that more like the saturation of red is decreasing. And so if you want to give your video a little bit of a green Matrix look, you can just bring down the reds. That's a uk way to do it. You can also create curves and adjust the reds. Maybe I just want to bring the reds down in my shadows. You know, that creates kind of a color style and a color grade. So we're moving from color correction to grading where we're giving more of a style, and all of these curves do the same. So sometimes you film something and it is a little bit too green or it is a little bit too blue. And so you can play around and really fine tune your white balance or just the style you're doing with your edits with these curves. Dropping down, we have these other options, huge saturation curves. Notice what the title is because this is super important. Hue versus saturation, hue verse Hue and Hue versus Luma, and Luma verse saturation and saturation verse saturation. All of these work the same, but it's applied to whatever it says here. So an example of this is, let me take this eyedropper and select this blue up here. So it's just selecting the blue up here in this globe. I select that color, it puts three points on this line, and I can increase or decrease these points. So if I take this point in the center and drop it or increase it, look what's happening. It's increasing the saturation of just that blue, of just the blues. So you can also click and drag this whole line up, but that's the same as increasing or decreasing the saturation of everything. But this is how you can find a specific color with the eyedropper or just select points in here and really fine tune your saturation of specific colors. So for me, for example, I often have a lot of red in my face, and it comes off kind of weird in video. So I will come in here and either set a custom point like I did here by setting three points or use the eyedropper to find that red in my face. And I can always zoom in here to look at that closer. It's set to fit. So when I adjust the size of this window, it will increase or decrease. But if I want to zoom in, I can change the percentage And then I could take my hand tool here and actually move around the frame. So I'm not actually moving the video itself. I'm just moving the frame. And now I can see my face, I can really more fine tune where I pick. So like right on my nose, for example, and then I could drop that saturation just a little bit. You don't want to go too far, but that looks pretty good. And if I can turn that on and off here, it's just a subtle thing, but for me, that often helps. So what's happening is hue versus saturation. I'm selecting a hue and then I'm adjusting the saturation. Hue versus hue is going to actually change the hue. So if I go in here and I select this gold back here, it selects that sort of brownish red. If I adjust this, now it's going to change the color of that color. But obviously, this also changes the color of me. So you can use masks and things, which we'll talk about in a separate lesson to change the color of an object to do that for a single element in your frame. All of these work the same now. So LUMA is the exposure. So I think a better thing to look at would be one of these clips here. Say we want to bring up the exposure of the reds in this shot. We can select this shot, make sure we have that shot selected and not the adjustment layer, so it's just applying to this shot. Choose our eyedropper and click that red. And now you can see that it will bring up or down that luminance. Maybe we don't want to do luminance, but that's what will happen if we do that. Maybe we want to do more of a saturation adjustment and make those reds really pop in this shot like that. And then these other ones luma versus saturation. So if I select luminant, so this line from left to right is the darks on the left, the brights on the right. So if I make an adjustment here on the left, and I can just customize where these points are, I'm bringing down the saturation of the darks and the shadows, whereas the highlights I have super saturated. I mean, that looks kind of funky. I wouldn't do that, but that's how that works. Sometimes bring the saturation down of your darks and shadows is a cool style. Now, lastly, we have sat versus sat. This is a bit confusing. But basically, this is going to find points or the saturation levels on our video. On the left, we have the lower saturations. On the right, we have the things that are already pretty saturated, and we can go in and fine tune the saturation levels of that saturation. So if I take this whole left side, for example, it's going to bring up the saturation of things that are not so saturated already. So it's kind of like vibrant we saw earlier, bringing up the saturation of the things that aren't as saturated, which is kind of nice. I rarely use this one. The one that I use the most is that hue versus saturation where I'm finding a specific hue, like this blue and bringing up or down to make that pop or Hue versus Hue where I'm finding a specific color and I'm adjusting and making a change to that color. But again, I'm going to do another tutorial on how to do that better for a specific object and not so it's applying to the whole video. So those are the curves. I hope you enjoyed this lesson and we'll continue moving on to color wheels and match in the next one. 67. Advanced Color: Color Wheels & Match: Next in Lumetri Color Panel, we have color wheels and match. We saw a similar thing up in the Creative Tab with these color wheels, where you can apply a specific tint to a portion of an exposure. So for example, in this video here on Talking Head A, if I move this color wheel and I click and drag in the middle, I can add that color tint to the shadows. So if I want to make the shadows more blue, I can do that. And then I can go to the highlights and do the same. I can add yellow. Then the mid tones now is separated to the middle exposures, and I can adjust as well. We also have these sliders on the left or right that are exposure sliders, and you might be like, Well, why would I use the exposure slider here versus going to the basic panel and adjusting the exposure of the highlights versus the shadows, et cetera? And the answer is really depends on what process you prefer. Generally, I do most of my exposure adjustments here. And for the color wheels, I do that more for a style. So maybe your style is that you always have your shadows a little underexposed, but then add a little bit of blue. And then your highlights, you overexpose your highlights a bit, and you add a little bit of gold. Now we have those adjustments here that can kind of be applied on top of your first color correction pass that you do with basic correction. So you're going through your edit, you're doing all of your basic correction then to give your footage sort of a style, you apply this color wheels and match settings to all of your clips as well, kind of on top of your basic corrections. And I'm going to show you a quick tip video about that on how to apply a separate Lumetri color effect coming up next. Skipped over this, but the color wheels and Match has this separate thing we're doing, which is the comparison view. If I click this, what happens is it opens up a new screen right here with a reference to a video that's on my timeline. Here's a little timeline scrubber where I can scrub through the timeline, and it's actually scrubbing through this timeline that we're working on right here. So why would you use this? A, I actually did have this track on. Let me disable this clip right here by right clicking and enabling it. And I want to better match the talking head A footage to the talking head B footage or vice versa. What I would do is probably click my Talking Head B video so that I'm adjusting that one. And then on my timeline, I would put the timeline indicator or just scrub through to this shot. And so now I can see both shots at the same time, and I can either go ahead and make adjustments. And I can make adjustments here in this color wheels and match drop down or back up here in this panel and try to match it. But there's also an automatic match option. Let me go ahead and just delete this Lumetri color effect that is applied to this talking head B footage here. Now I can apply a match to the colors of this footage to this one. It's referencing one on your timeline and it's going to apply it to the one that you have selected. If I click Apply Match, now it's going to apply the color settings here. To this new footage. And if I turn that on or off, you can see that it does actually do a pretty good job at matching the colors and exposures of my face. I can change the view here so that I can see a different sort of view of this. And, of course, I kind of want to make this bigger. You can actually click and drag across this view right here, and I feel like it didn't do a perfect job. But at least now I can go in and make some changes myself. I can come in, I can go to my basic correction and bring down my saturation. I think the saturation is a little bit too high. I can warm it up just a little bit perhaps to match the colors in my face. I could bring down the exposure just a little bit. I think there's a little bit too much magenta in my face right there. We're working our way towards a better match here. I bring up the shadows, bring down the overall exposure. And that's starting to look pretty darn good if I look at both shots. Now maybe what I would do is just play around with on my timeline, just editing from one shot to the next play absolute best trip, especially if that's pretty darn good. In terms of the look on my face. So the colors on my face is pretty good. I think the overall look is a little bit cooler in this shot. So I might just cool this back down just a little bit. The background is a little bit warmer in this shot as well, and that's something we can get a little bit more advanced with a mask and just editing the background itself. And I'll be going over how to edit with masks later on. But at least now we have a pretty good base point for comparing and editing these two clips. And this is great for not just using two cameras, but also if you are working through a sequence and you want to, you know, compare this original footage that we have here on the right side to another shot. And try to match the blues or match the reds. This shot right here is a little bit desaturated. So maybe if we want to match the saturation or the style of this color, we can do that here and see how that automatically applies some adjustments, and the colors look a lot more similar to this original clip. This is also how you can copy a style from a movie that you like where you take a screenshot of your favorite movie, Matrix or whatever movie has a very epic color grade, reference that on your timeline and then apply the match. Alright, so that I know was a lot going on, but this is a very powerful tool for matching color, but also giving a grade. I didn't mention what this checkbox is for face detection. This is just telling Adobe to prioritize the facial color correction in a shot if you have that checked on. If not, it's just going to look at the overall colors of the video and then apply a match based off of that. Versus looking at the face and making sure your skin tones are properly edited. But I can actually already see if I uncheck that and apply a match for overall, that actually looks a lot better. So you might want to play around with whether you have that on or off to get a better match. All right, thank you so much for watching, and we will see you in the next lesson. 68. Advanced Color: HSL Secondary: This lesson, we're going to look at HSL secondary. To get out of the comparison view, we can go into the color wheels and match and turn that on and off. Or you'll notice that there's this little button down here that pops up when we turn that on and we can check that to turn that on and off. There are buttons down here that you can customize. If you click this plus button Editor, you can actually find different things like sporting a frame like a screenshot or the comparison view that you can actually drag onto this little panel. You could rearrange them, and now you can do a comparison view for things that aren't necessarily in the Lumetri color panel. Anyways, I just wanted to show you that because for this one, and I'm going to fit to screen now, we're going to look at the HSL secondary panel, which is a great way of editing something very specific in a shot. For this example, I'm actually going to bring in this four K color correction footage, and I'm going to put it on a new sequence. So let me just drag that into the new item button. And now we can clearly see how this works. The first thing we need to do is set a key. So a key is basically a selection of a color in a frame. And so if I take my eyedropper, I can find a specific color like the red of this little buggy. And when I do that, you can see that a bunch of little selections appear on H, Hue, S, saturation, and L luminance, okay? If I turn on the checkbox here, it's a little preview of what has been selected. If I undo this and select another color, you'll notice that a different selection was selected, and now we have this selection here. Very similar to making an adjustment in photo editing when you select a color, we can do that with video as well. And so now with this selection, which I think is easy to see with this set, we can make an adjustment to just that color. Maybe we want just these blues to be more greenish or more warm, and we can see what that looks like with this on and off. Notice, though, that the edges of this selection aren't perfect. It hasn't selected everything. And if we zoom in here, we can see that the edge is not being affected by these adjustments. So we want to actually clean up this selection, which we can do by making an adjustment here. And we can do that by clicking the ends of these little arrows to increase the selection of the hue or fade it even more. Or the saturation. So maybe we need to increase the saturation and the luminance. So the luminance is really where we're going to fine tune that because some of this was just slightly underexposed or over exposed over the original exposure of the selection. And so now we have a pretty clean selection of all of the blue in this frame. We can also use these eyedropper plus or minus to find the parts automatically with the eyedropper of parts that we want to be included in this selection, and it will automatically adjust for us. We can also refine our selection with the denoise and blur options. Denois will kind of fix if there's little speckles of things that weren't selected, and blur will kind of blur the edges just slightly, you can go crazy with it, but that kind of blends it in a little bit better as well. Again, whatever we apply down here will apply to what the selection is. You can open up the three way color grater, and we can adjust things like the shadows, highlights separately. This is one way where you can actually really change the color of an object. I like that you can always go back and sort of adjust these selection settings because I can still see that parts of this are not being selected, so I have to make some adjustments to make sure that everything is selected that I want. So that's what the HSL secondary editor is. Now notice that I can only do that here in this Lumetri color effect to one color. What if I also wanted to apply these adjustments or do something different to something else in my video? I'm going to actually have to apply a separate Lumetri color effect to do that, and I'll show you how to do that in the next lesson, which will be applicable for a lot of other things as well. See you there. 69. How to Add & Adjust a Second Lumetri Color Effect: Can add a separate Lumetri color effect by going up to this drop down and choosing to add another effect. You'll notice now in my effect control panel that I have two Lumetri color effects. This can get quite confusing, it's important to rename them. If I go up here, I can go to the original one and make sure it's the original one by seeing the edits I've done here and renaming this to HSL one, for example, and you see that it was renamed here. And now I can go to the second one. I can rename it, which you can do. But now I can make a second HSL secondary edit to this red, for example. So if I make that selection, let's expand our selection just a little bit until, you know, we are selecting just the red that we want. So I don't want to expand into the yellow, which you can see, as I expand this fade into the yellow, that selects more. But I can go in here and maybe get the back edge of this and the front edge of that just a little bit. That's what's great about that eyedropper. And now I can go ahead and make any adjustments to the reds. So making it more magenta, blue, et cetera, drop the saturation, make it black and white, go in here, change the color, make it sort of a pink little Tikes car instead of a red one. And now we have these two effects. Just know that if I ever want to go back to editing this original one, I have to go up here and change it in the drop down so that I'm editing that original effect here. I'm going to give you another practical example of using a second Lumetri color effect in the next lesson, where I'm also going to talk about masks. An example of what I do is I create a mask to edit the background of a talking headshot like this. Different than perhaps what's in the foreground or me in that frame. So I'll see you in the next lesson for that. 70. Advanced: Using Masks to Adjust Part of a Video: Something that I like to do with my talking head videos is to sort of blur the background and the edges, maybe even desaturate or brighten up them. And you can do that with a mask. But say I've already made some adjustments to the basic edit of this video. I can't do that with a mask on this Lumetri color effect because we have our mask options here, and let me just click one just to show you what happens. Is now I have whatever's being applied in this panel to just what's in this mask. And so let me just desaturate so you can see what's really happening. This is just being applied to what's in this mask. And I want that original edit to stay on this clip, and I want to add another effect. So if you watch the last lesson, you remember that, you can add a Lumetri color effect in this panel. And now I'm going to rename this and I'm going to call this background. And now I'm going to edit the background with a mask. So I'm going to create an ellipse mask. I'm going to adjust this. And sometimes I do like to just change a setting here so I can see where my mask is more clearly. And I actually want to invert this so that it's selecting the outside. And I'm going to feather my edge quite a bit. And this is just a style I like to add to a lot of my talking head videos to help focus the attention on me and not the background. And so now let me reset my saturation. And you can see, like, practically what I might do here where I might, like, increase the exposure. Like, I think that style looks kind of cool. And I'm going to just actually click off that mask, so I don't see that mask line, but I can kind of see what's happening, maybe even increase the feathering even more. Maybe decrease the saturation or even go into creative and drop our sharpening, which kind of blurs the background. That's cool. So now I can turn this effect on and off in my Effects Control panel. I can also do that up here to toggle that on and off. And you can see what that does to the background. Maybe I want to highlight this little orange glow of the lamp. And so I'll create another effect. I will rename this lamp glow, for example. And in my lamp glow effect, again, I will create a mask. This time, let me just redraw the mask. I'm just clicking and dragging to create sort of like a circular mask. I want this to be where the light is, so I probably actually should move it like this. You can click these little handles that appear when you click and drag to adjust the curve of those points, feather this out. Again, it's hard to see what's happening or what this might do without any adjustments here. So I'm just going to go a little crazy, warm it up, maybe even boost the exposure. And again, click off of the mask so that I can see it. I can really overexpose that background, which maybe looks kind of cool. I don't know if I need to blur it anymore, but yeah, I'm going to leave that. But this is kind of like a little cool effect that applies to just that lamp in the background. I could even add another mask. When I click the Bezier tool, it starts a new mask which kind of looks like I'm applying it to everything. But if I go up here in this top corner, for example, and just create a mask, again, what's happening is just being applied up here into this mask, as well as this other mask, and I can fade this out. And maybe I can make it look like there's sort of, like, another orange light coming from this side. Maybe that orange is too much. Maybe I boost the shadows just a little bit. And this might have been something that I'd probably create a separate mask for because I kind of liked the original warm glow that I created over here. So I'm just going to delete that. But you can see that you can just create another layer, or you can apply what's happening in this mask to another area of your footage. For example, if I had another actual practical lamp in my shot on the right side, I could just add another mask for that over there, and the same effect would kind of apply over there. So now you can see that with these turned on, it's kind of a cool little style that I'm creating for this shot. This is also how you can actually track an object or a person or anything moving. You can create a mask around an object, and it will actually stay attached the mask will to the object throughout the video, even if it's moving, and then you can apply an effect to it. So we'll look at that in a more advanced lesson, but this is just a practical example of color correcting just a portion of your video with masks. I hope you enjoyed it, and we'll see you in the next lesson. 71. Vignette Tutorial in Premiere Pro: Last drop down that is in the Lumetri Color Panel that we didn't look at is the vignette. So you're probably like, Phil, you missed the vignette. And yes, I'm getting to it here. This is a very basic feature. But if you want to add a little bit of a vignette, you can add a dark vignette by taking this first slider to the left, a light vignette to the right. You could adjust the midpoint in. So let me just crank the amount up so you can see what's happening. The roundness, if you want more square or circle. This is kind of cool if you want, like, sort of, like, an old school film frame look. And then same with feathering, you can turn that down or up to increase feathering. My advice with vignettes is the subtler, the better. You don't want it too dark. It just starts to look a little unnatural unless you're going for something that's, like, old timey and very stylistic. Generally, the more subtle, the better. Now, if I take this to the right, you'll notice that this is a little bit different than what I was doing in the previous lesson, where I was creating sort of a custom vignette, a custom glow around the edges. Have a lot more control doing that with a mask in the background. I could blur out the background a little bit as well and do all of these effects to just that outer edge versus here. So if you want to create a custom vignette, refer to that last lesson on how to do that with a mask. This also might be something that you apply separately to an adjustment layer and just lay across the entire footage. Was individually, you might go in and make all your other adjustments, but you want a similar vignette across all of your clips, that might be better done with an adjustment layer. Thanks so much for watching and we'll see you in the next lesson. 72. Advanced Color: Using LUTs: This advanced lesson, we're going to talk about ts or look up tables. First off, what is a lookup table? It's basically a preset that when applied will actually change things like the colors and exposures of a raw unedited video clip. Here is a raw video clip. You don't have access to this one in the downloads, but I just wanted to show you as an example what this is and why you would use it. This was a shot that I captured on my DJI Osmo camera. I used one of their raw Dog settings. So this goes more into videography, but on a lot of newer professional or semi pro cameras, mirror less cameras, video cameras, drone cameras, there will be a color setting or a recording setting where you are recording more at a flatter raw Wow, that's a word raw profile. And what that allows us to do is to have more room editing the footage, then if in camera it was processing the video with higher saturation levels or more contrast in our footage. It basically allows us to do that after the fact in post, and we get a higher quality file here with more room to edit. And so this is going to depend on your camera, and the lt that you apply to it will also depend on your camera. There are some basic lets in here that are popular for LexA or I cameras, the phantom Rec seven oh nine. That's a pretty popular one as well. Or you can download and install them yourself. Just as an example, here on DJI's website, they have lots for all of their different cameras. There handheld cameras like the main Dog to Rec 709. They have their drone lets similar, and some are more basic color corrections, and others are more color grades. So here, I've downloaded it, and with this clip selected in the Lumetri Color Panel under Basic, I can go in and browse and find that correction. And this is the log style that I edited in Dog. And so notice that if I apply that, the colors and contrast look more normal and more natural. And we have this beautiful footage that has a lot of detail in it that we can play around with in terms of the shadows and the highlights because we shot in that D log format, but we're able to just apply this ut to automatically get us to a basic editing place where we can then go in and grade it. Are also other lots that I show here that you have as an example that are more of a style let. So autumn will give it more of like this autumn warm tone versus something like winter will give it a cooler tone. You can see if any of the lets here pre installed will help your footage, and depending on what your camera is, maybe it will. But I would recommend looking at your camera that you're using and searching on that manufacturer's website to see if there's a specific t that they recommend because they are calibrated to work with their cameras like this Dog to Rec 709t here for this DJI Osmo clip. So that's what a t is and how you apply them. Thank you so much for watching, and we'll see you in the next lesson. 73. Advanced Color: Color Space Settings (Important for Working with iPhone Footage): In this lesson, we're going to go even more advanced into color space settings. This is something that you'll run into if you're working with certain cameras. Even iPhone footage, if you are using the HDR video setting, which is actually the standard mode to be recording video on an iPhone, Premiere Pro has some issues with that. So I'm going to bring in this clip here that eye shot on my iPhone, and you can already see that in Premiere Pro versus what it looks like. If I'm just playing on my computer, it looks a little bit different. It's a little bit less saturated. It has a little bit slightly different tone to it. And what happens when I put this onto a new sequence, for example, What the heck? Why would it do that? Has to do with our color space that we're using. You can access the color space of your sequence and of the clip itself here in this settings panel, which is super helpful. You could also access it up through your sequence settings under color management for your sequence. And for your particular clip like this one right here, which you don't have access to in the downloads, but if I just wanted to show you how this works, under right clicking, modifying, and then color, this is where you have the color management of this clip itself. But in Lumetri, you have all of this right here. So what's happening is this is an HDR shot, and Premiere Pro doesn't really know what to do with it. HLG is the color space for editing HDR footage, but you have to but most of us are going to be editing this footage for a non HDR screen. If you're putting it on YouTube, on any other platform online, it's typically going to be SDR, so not HDR. And so we need to change the color setup for our sequence to match what we want our output to be. So under sequence settings, you can change the output color space to Rec seven oh nine. That's our typical color space that we work in in Premiere Pro. And same with our working space, we're going to also change that to Rec seven oh nine. And you'll notice that the colors look a lot better. You still might need to make some minor adjustments to get it to match what the original looks like. You can actually do this in this settings panel by selecting the clip, and you can go down to input tone mapping. You could play around with some of these presets. Max RGB gets a little bit closer, or you can keep it at Hue preservation. Increase the highlight saturation or the exposure, which is typically what's different from the original clip. Once you've done that, you can click Apply to all clip instances. If there are other clips on here from the iPhone, it will apply to that. Or you can go back and make some minor adjustments to your contrast saturation to get it closer to, again, what you see here in your original footage. We haven't really talked about exporting, but if we want to export a video, we can go to the export module. You have these formats and presets for SDR, you typically want to do something like h264, and then under here, you can see that our export color space is the same Rec seven oh nine, which is the correct one for SDR exporting. We're going to go over all the export settings in the next section of the course. I don't want you to get hung up on all of those settings over there. That's just something to check when you are exporting a sequence with your iPhone HDR footage. If you want it to look good on line, then make sure that your working color space here under Advanced is set to Rec seven oh nine, as well as your sequence output color space as well. Thank you so much for watching, and we will see you in another lesson. 74. Quickly Export Your Videos into a High Quality File: Want to share your videos with the world and you'll need to export them. So say you've edited your whole project, how do we do that? The first thing is to set the in and out points on your timeline for the segment of your sequence that you want to export. If you have a completely clean timeline that has your whole project from beginning to end without any extra clips or things on the timeline, you don't necessarily need to do this because it will just by default, export the whole timeline up until the end clip. But a lot of times what I'm doing, I'm using my sequence to organize footage. Maybe it's a clip that I have on here that I didn't use or a song, and so it's important to set the in and out points. Go to the end of your sequence and go to the last frame where you can see it here in the program monitor and press the O button on your keyboard. And that sets an actual outpoint for your sequence. Now, if your video doesn't start at the very beginning of your sequence timeline, you would go to the frame that you want to start on and press I. But you notice that when I set the outpoint first, it automatically selected the whole sequence, which is what I want. And you can adjust the in and out points of your sequence settings with these little bars right there. And then press Export up here. Back in the editing menu, you can get to that by pressing Command M to export. We'll go over all the advanced settings in the next lesson, but just to quickly export a high quality file, you have these presets right here, high quality ten ADP, high quality 21 60 or four K. Most often these are going to be the ones that we want to use and you'll just click the one that matches your sequence settings or matches the export quality that you want. Sometimes you don't want a full four K export. Here you will give it a name, choose the location and then choose Export. There's an option to send to Media Encoder, which is a side Tagalong app that Adobe has, which we'll go over in another lesson as well. But now it will export the file. It will give us a little notification that it was exported successfully. Now we have our Travel intro one sequence that was edited and exported here. And we could share it with the world. That obviously hadn't been completely edited, but again, going back to the export settings, those h264 files, which is the preset for one of these high quality options is a great one to use for YouTube or any other online upload. Thank you so much for watching. We'll keep going over these settings and specific uses in the following lessons of this section. 75. Quick Tip: An Even Quicker Way to Export Your Videos: Easiest way to export a video is with this little button right here. As long as you have your in and out points set on your timeline, just by going on your timeline and pressing the O key for setting your outpoint and your I key for the right point, which will automatically be from 0 seconds, zero frames, if you set the outpoint you can click this button. And this is from our crash course, but I wanted to have this here as well in this section because it's so easy to just click here, change the name and the location, and then choose one of your presets. These are the same presets you'll see in the Export window, but you can just pick the high quality ten ADP or the high quality 21 64 K options. Those are great presets to use for sharing online and then clicking Export, and then it's going to encode and export your video into that QuickTime file. That's the quickest and easy way to do it just with that little button right there. 76. Full Breakdown of the Export Settings in Premiere Pro: In this lesson, we'll go over the advanced export options and the breakdown of that export window that you get here. So once you've set the in and outpoints of your sequence, open up your export window. I'm going to jump over to the right really quick to show you. You can actually set the in and out points here in a little timeline as well. And underneath, you see the range option. This is where you can choose to either export the entire source, which would be the entire sequence, which might be good. Again, if you have it perfectly edited. There's no extra clips or anything on your timeline. But often source out is the one that you want. Okay, jumping back over to the left side, we have these destination options. Media file. This means you're going to export a file, to a computer file that you can then have backup and then upload manually to any other platform. Or there are these published features where if you check on any of these, you can then go in and you'll have to sign in. It won't automatically be signed in. But all of these will have different options for signing in, choosing which channel. So will have like boxes for the title, description, settings, et cetera. To actually automatically publish while you export, which is so cool. So you could automatically post to Tik Tok, for example, as well as save as a media file, or just post to TikTok. You could toggle any of these on or off and then go to the specific setting to adjust. So see here for TikTok, I'd have to sign in, and then you have all sorts of different options, even choosing the cover image for your TikTok video. So that's how you choose a destination to publish to for most of us, we're going to be exporting a file first and then deciding what we do with it later. We saw that you can add your name for the file, the location by clicking that. There are other presets that you might want to consider. For example, we did choose one of these high quality options, but these don't necessarily match the exact quality that is the source of your sequence or the same as your sequence. And you can use that by choosing match source. So it doesn't matter what your sequence settings are, what size, match source is a good one to choose, and then you can choose high, low or medium bit just basically the quality of the export. So a lower bit rate will be a bit more compressed, but a smaller file size. And you can even create preset yourself by clicking this button here, once you've made any edits to the settings down here and customize them, that's when you can create a preset. E sets, you have format. H264 is a QuickTime format, small file size, it's the standard. Although h265 has become more and more than norm, especially since smartphones and even newer cameras are recording at h265. There are other higher quality file types like QuickTime. If you go down to QuickTime, for example, here we'll have a bunch more options under Video Codec. You can see Apple ProRes, Apple ProRes 4444. That's more advanced, but this is where you would get those Apple ProRes options. Generally, though, h264 or h265 is great for online viewing because it's high quality but low file size. Once you select a setting up here, if you want to quickly adjust the video settings to match the size of your sequence, which you can see down here, your source sequence is down here, which is four K, you can just choose the match source option, and that will automatically apply the same frame size, frame rate, et cetera, to the setting. There are a couple options down here like render at maximum depth and render quality. That's confusing. Generally, I check those on to make sure that it's processing as high quality as possible. Alpha channel only, that's something that if you are exporting like a logo or an animation that will be applied on top of another video, and you only want that Alpha channel so that the background is transparent, that's there. For encoded settings, generally, you can choose hardware encoding or software encoding. Hardware is going to work faster, software, it's going to be slower. Hardware is the default. There's a lot of advanced settings here that you won't need to change for most cases, but the one that you likely might want to play around with is the bit rate settings. Here, we have options for the bitrate encoding mode. To pass will actually go through your edit twice, and it results in a higher quality file, and you can choose your target and maximum bit rate. If I go back just to one pass, you can see there's a target bit rate. Increasing this will increase the file size, and you see an estimated file size down here in the bottom right corner. The bit rate you want is going to depend on what your video settings are. So if you're shooting and exporting a four K video, your bit rate should be a lot higher than if you are at a lower like ten ADP setting. For h264 and for four K footage, you're likely going to want to aim for something 60-80 to get that full resolution, full quality. If you're exporting at just standard 1920 by 1080 HD, 20-40 is fine. But if you want to compress the video so that the file size is lower, then this is where you would do that, especially if you're exporting a draft and you're just sharing it, getting feedback on it, et cetera, you don't need to export a full quality size every time. The two pass option allows us to set our target and then the maximum. So the target is what it's aiming to get, but then you also have the option for the maximum. So maybe we set the target to, you know, 35 and our max to 50 or whatever. It's going to aim for that bit rate to be around here, but it might jump up to a higher point at certain points in your video. Pretty much it for the video settings. Of course, there are more options than there. There's VR and things that you'll only get into for super specific cases. Under audio, you can change the audio format. Generally, I just leave this as is. The AAC format, 4,800 Hertz is perfect for me. For most cases for video, you can increase or decrease the bit rate of your audio, but I typically leave this as is. Only change that if you need to. Captions. This is where you can turn that on and off. I'll have a separate section about that. You can apply effects to the export. This is where maybe you want to have a text overlay, sort of like a watermark, or you have or you want to add the time code overlay, something like that. Video limiter, this is if you're exporting for, like, standard television playback, but different television broadcasts have rules for, like, how saturated and how your videos look. And so this will make sure that it stays within that right range. Super specific, though. Loudness normalization is another important setting I'm going to go over in a specific lesson. And so those are some effects that you can apply to the end export. I generally don't use those for most things. You can add or not include metadata for your video. And then under general, there are a few just sort of like setting options. Like, do you want to import your final export back into the project? I don't know. Maybe you might want to use. Proxies. That's another thing that you might want to use. We'll cover proxies later on in this course in a more advanced topic. And if you want to use the proxies for your export, that's where you would find it there. Lots of advanced topics, but generally, you're going to stick with choosing a preset, perhaps changing a format, but really just within this video setting, whether you are matching your frame size, or customizing it, so you can uncheck those and then change the frame size and that bit rate slider. 90% of the time, I'm using the high quality ten ADP or 21 60 option here. But as I said, if you make any changes here, you can always click this drop down, save it as a preset, and then you'll be able to find your own custom presets here, like I have for a couple other series that I'm working on there. And then again, click Export, and then we'll process that video and export it for you. That is a bit more in depth with your export window. We'll go over things like sending to the Media Encoder and some other specific tips and tricks to help you out in the rest of the lessons in this section. 77. Exporting with the Media Encoder: You may want to use the Media Encoder to export your videos. To do that, go to the Export window and change whatever settings you need to change, and then choose send to Media Encoder. Will open up sort of the sidecar application for Adobe Premiere Pro. And the benefit of doing this is you can one send multiple sequences or edits to the Media Encoder to process, and it will do so sequentially, and you'll be able to go back into Premiere Pro and continue editing while that's being processed in the Media Encoder. So that might be beneficial if you want to be exporting something, maybe you have a sequence, you're exporting a draft of a project but then you want to work on another sequence, another part of the video or just another video entirely. You can do that with Media Encoder handling the export while you continue to edit in Premiere Pro. Otherwise, if you don't send to the Media Encoder and you're exporting, you can't edit in Premiere Pro while it's exporting because the entire program is processing that export. Here you can see Media Encoder has opened up. Here you can actually change the settings again. You see the queue that has been started with the one sequence that we added to the queue. But from here, we can choose specific presets for the format. Here we have the presets as well. You can actually click into these settings and it will reopen a similar export settings window that has all sorts of things like setting the in and out points, adjusting the video and audio settings like we saw before. Much everything we saw back in Premiere Pro, you see in that Export window. Once you are ready to start exporting, you can click this Play button and it will start the Que. And so, for example, that's starting to process, but I can go back in here and export. Maybe I want to export a different segment, Command M, send a Media Encoder, and now we can go to Media Encoder and you can see that has been added to the Queue. Other practical way you can use the Media Encoder is if you have a bunch of sequences, maybe it's a bunch of different videos you're editing in one project. If you want to export all of them at once, you can do that with the Media Encoder. For example, when I'm actually editing lessons for a class, I'll edit all of them in one project. I'll have them each on a different sequence, kind of like we have here in the earn Premiere project. Imagine each of these sequences is a different lesson. I would go into each sequence, set the in and out point properly, and then in my project window, I will select all the sequences I want to export, right click and choose Export Media, or just with them selected, I can press the Command button. It has all the sources selected. I can still go ahead and choose the specific format or preset I want. But now since I have multiple sequences selected, I can only send to Media Encoder. I can't export them. And now, when I do that, you can see all of these sequences have been sent over to the Media Encoder to export. Again, if I click Play, it'll just go through the entire queue and export them. Great for it after I've edited everything. I need a break. I can just export, walk away, and everything will process while I take a break. There's even this auto computer shut down button because as an editor, if you have a huge project, sometimes depending on how fast your computer is, these exports can take hours. And so maybe you want to have your computer shut down after it has exported your project. Click the button, go to sleep, wake up, have the export ready for you to go the next day. So that's the Media Encoder. There's other things you can do, if I delete all these sequences, I can actually use the Media Encoder to convert files to another file type or compress them, for example, if I find a file in my finder, I can just drop that file into the Media Encoder. And again, I can just adjust the settings. So this is originally four K quality. Maybe I need to compress everything to 720 P. I can throw in all of my footage. I can select multiple, adjust the preset, and process it right here in the Media Encoder. All right, thank you so much for watching, and we'll see you in the next lesson. 78. Perfect Audio Levels for YouTube with Loudness Normailzation: You want to make sure that all of your videos that you post online are set to the same volume so that if someone's watching one of your videos on YouTube, the next one isn't super quiet or overly loud, you can do that in the Export window. Go to the Export window, set all of your settings as you like. Maybe it's a preset you're using. But also under Effects, turn on loudness normalization. Then here, this is a magic setting, change your standard to the ITU setting. And for target loudness, set this to negative 14. What this will do is set the loudness for your general video audio to the target of negative 14 Lufs. And this is amazing because no matter what you do with your edit, if it's in one project or another project, a different type of edit, as long as you set your target loudness here to negative 14, it's going sound great. It's not going to be too quiet. People aren't going to have to crank up their volume level on YouTube to hear you, and it's going to be similar to what all the other pros are doing on YouTube. So that's loudness normalization, ITU negative 14. This is something that once you turn this on, if you save it as a preset, it's going to automatically apply. And that's what I have under here for my photo dash sequence, which is my YouTube series. I want to make sure that everything sounds amazing. So ITU negative 14. Thank you so much for watching, and we'll see you in the next lesson. 79. How to Add Effects in Premiere Pro: Welcome to this new section on applying Effects in Premiere Pro. I have my window open with the Effects tab as well as the Effects Control tab so that I can edit the effects once I apply them to footage. You can find your video effects under Effects Video Effects, and there's a bunch of different effects that are organized by style. To apply an effect, all you have to do is just drag it onto the clip. It appears in our Effects controls, and then you can adjust the settings as you'd like. The cool ones I want to show you is the generate lens flare effects. So I'm going to put that in there. Now we have this lens flare going on in this video. And if I select the effect in the Effects Control panel, now I can actually select where the lens flare starts and adjust the angle. You can even adjust the type of lens flare from sort of a more telephoto lens to a prime lens, which is pretty cool. You can adjust the brightness here just to make it a little bit not as extreme. Now we have this cool lens flare, which goes pretty cool with this clip. Looks like there's this super bright light in the distance and you can turn that on and off just with that little effects button. Each of these effects is going to have different settings depending on what the effect does, but that's how you apply an effect. Of course, once you have your settings with the Effects Controls panel, you can copy it and then paste it to any other clip that you have. You can also use an adjustment layer, like we've seen before, by placing an adjustment layer on top of our other layers. And anything that we apply to the effects now, for example, if we do distort, let's just throw one random on, spherize, adjust the sphere. Makes it look kind of like a kind of makes it look like it's a ball. This kind of looks like makes it look warped. That's cool. Neat. And now it's applying to everything underneath this layer, similar to how we did that with color correction. In the next lesson, I'm going to show you how to animate these effects. 80. Animating Effect Properties: Let's animate one of these effects. So I'm going to leave that lens flare on this original Japan five clip. And as we've seen before, you can animate anything with one of these stopwatch animation icons. So to use that, we can either put our playhead at the spot where we want it up here or down on the timeline. It doesn't matter. It's the same playhead. It's just shown in two spots. Or what I tend to do is just set the end and start point of our animation, and then I adjust those keyframes that are set. For example, if I set my lens flare setter here, I'll move that to the start of this clip, and then I will maybe rotate it just a little bit, like so, so that across these two keyframes, it actually moves. Maybe I'll have it get brighter as well. So I'm going to set animation for the brightness here and move that to the beginning, and then I'm going to increase it and put that at the end. So now the position of this lens flare changes across that clip, which makes it kind of more natural looking. All of these keyframes, the ramping or timing of these keyframes can be adjusted by right clicking them and changing the temporal interpolation. We've seen Ease in before as a good option for ramping up and down these keyframes so that it has a more natural flow in terms of the motion. And depending on what your shot is, that might look better. Now, I can apply this lens flare with the animation to our adjustment layer. So let me go ahead and do that, and I'm going to turn this adjustment layer on. But I'm going to delete the spherize. So that's how you can animate any effect in Premiere Pro in the Effect Controls Panel. You can get super creative with how your effects are seen in your videos. In the next lessons, I'm just going to go over some important effects that I have found helpful throughout my edits. 81. Stabilizing Shaky Video with the Warp Stabilizer Effect: One of my most used effects is the Warp Stabilizer effect, which is found under Distort. And in the Effects Control panel, you can actually search for any effect, so you can just type in the effect if you need to easily find it. Warp Stabilizer does well, that it stabilizes footage. Here on the left, we see the unstabilized footage, walking handheld camera still pretty good with the DJI Osmo. And then here we have a smoother version of that. Going to quickly create a side by side view so you can actually see this a little bit better. So if I take both of these and I change the scale to, let's just put it at 25. This is 1920 by 1080 sequence. I can paste that. Now I can double click into these clips and just holding the option key, I can slide one clip to the right and one to the left. My timeline Track two is not on. That's why we can't see that other one. And now I can press the Tilda key to make this full screen or press this button up here. Tilda is that button to the left of the number one at the top of your keyboard above tab. Press this and it's fully full screen. You can tell on the left, no stabilization on the right, a bit of stabilization, which really helps smooth out those motions at the very end of that clip. How do we apply this? This clip doesn't have it on it, and I'm going to drag that warpzer on here. It will pop open here in our Effects panel, and it's analyzing our clip. There are a few options for how this processes the stabilization. Under result, you can choose smooth motion or no motion. If there is camera movement in your shot, then no motion is going to actually usually not work. This is usually something I use when I have a stable shot that's on a tripod, but maybe there's, like, a little knock on the tripod or a little wind or something. The tripod gets bumped. And it will fix that. Here, it doesn't look great with that and it crops so far in. Generally, for shots with motion camera motion already, I use the smooth motion, and here we have a smoothness percentage. It starts at 50%. I often find that I have to drop it just a little bit because if you do it too high, it can start to look like it's actually warped, and it's warping it because it's actually using a method called subspace warp, where it's rotating, it's stretching, it's scaling up or down the clip. To have as less motion as possible. That's actually pretty good for this clip. But if subspace warp isn't working or if the smoothness it looks funky, try dropping the smoothness and then changing the method to one of these. Position will just move the position of the video frame like up down, left, right to try to smooth. Position scale and rotation will do that, but also scale down and rotate. Perspective we'll just rotate it as if it's like rotating in the three D space, left right back and forward. And all of these look pretty good for this clip. Let me actually go throw in another clip. I'm going to take my AOL iPhone talking head video. This was handheld going to mute this. I'm just going to take a section of it to apply the warp stabilizer too. You can see this is handheld and shaky. If I apply this, it's going to analyze it. I still have this default setting smooth motion, subspace warp at 50%. And now you can see it does a pretty good job. But right about here, it starts to get a little funky. Like, pay attention to that background right here. The background is moving. It's trying to stabilize everything to my face because that's the main thing in the video that it's looking to lock down and stabilize. But then everything gets kind of funky in the background. So you could either just drop this down or play around with one of these other methods. Usually dropping it down is pretty good and it's subtle enough where it might help, but it won't be as noticeable. And this is also going to depend on if you have a lot of cuts if you're looking at one shot for a very long time. You also have options for borders. So right now, it's going to scale up my video in case it moves it around and gets off of the screen. For example, if I do stabilize only, you can see it move around inside of this frame. See how there's like a black edge. You want it to fill the screen likely. You could also crop it where it has a clean crop around the edges. But generally, you want it to scale up. There's also the synthesized edges which will actually generate the edge of the frame. And if you really don't want to zoom in or scale into the footage, you can use that option. Other thing you might want to try to make it look better is under Advance, check the detailed analysis option and check off fast analysis. This will go through analyze the footage and reprocess it in a higher quality way. And as you can see, for this shot, it doesn't do an amazing job. And honestly, sometimes having a little bit of shake and handheld in your camera is not bad, especially if you're going for that sort of handheld, intimate vlog style look. I more use the warp stabilizer when I'm trying to just add a little smoothness to a moving shot that I captured handheld, or if it's a tripod shot that gets, like, bumped or something like that, but I need that moment, and I need to try to stabilize it as much as possible. As you can see, it's pretty good. If I turn this off, you can see it's much more handheld, much more shake compared to a little bit of smoothness with that subspace warp option. Play around with it. This is an effect. If you copy and paste it to another clip, it will apply, but you'll have to analyze it again. And to do that, you have to click this analyze button. So if you find your happy place in terms of your settings of smooth motion, 10%, using subspace warp, and you want to apply that to another one, you could copy and paste the effect, but you have to re analyze it for each clip. And that is Warp Stabilizer. Thanks so much for watching. We'll see you in the next lesson. 82. Blur Out Moving Faces in Premiere Pro (Tracking Effects to Video): You need to blur out someone's face in a video or just blur out any object. You can do this and have it tracked to that object in Premiere Pro with the blur effect, any effect. The way we apply this is going to be the same for tracking any effect to any object in a video. So, what we're going to do is use one of our blurs. We'll just drop the camera blur onto this video right here. And let me just show you what's happening. So we have this video and we play it, and we have this guy right here in the middle that is kind of in the frame. And depending on where you're filming, you might need to blur out this kind of person, even if they're in public. So I'm going to turn that back on, and I'm going to create a mask for that blur. We've seen masks before in the color correction section, but if you haven't seen that, you can use one of these tools to create an ellipse, square or custom mask with the pen tool. When you click ellipse, it's going to create that ellipse, and now we have to adjust this for this guy's face. It's important to start at the very beginning of the clip on the first frame that it's visible and not in the middle somewhere for this to work properly. You can adjust the settings of the style of the effect later. Like, if I want to change the feathering and size a little bit, you can do that later. But once you have your basic placement and setting setup, you'll notice that in the mask, we have this mask path line. This allows us to animate the path or basically the placement of this mask throughout this video. And you can do it automatically by pressing this button here, track selected mask forward. Depending on what you are tracking, you can change the setting here. If the thing you are tracking does not get bigger in your frame, then you can choose the position or position and rotation option. Since in this video, this person gets closer to the camera and his face gets bigger, you can see once he's right here, this mask isn't going to be big enough to cover his face. You would want to make sure that the scale and rotation option is selected. So I'm going to go ahead and first try the track selected mask forward option, which is the automated way that it will create keyframes which you see show up here for the entire path, and now we can play through it and see how well it does. Oop, does pretty good, but we lose it right about there. So we have an option of either going in and adjusting these keyframes or starting from scratch and doing it a little bit more manually. Let me just show you what that would look like. So if I undo this, I still have my timeline indicator at the start. Can do this one frame at a time by pressing this button here, we can just watch it as it goes, and this is a bit tedious, but you keep going and you make sure that it's increasing in size and it's covering his face. And then in that point where it's going to stop tracking well, we can move it. So right about here, it starts to get off. So I'm going to actually move it up just a little bit, and our edit right there should help it continue to track better than if we did it the automated way as well. Still kind of losing it. And it might be something to do with the speed or the focus of this video shot where Oh, see, that caught on pretty well. And it's a night shot. So sometimes that's a little hard. And you can see here once he gets closer, we might need to bump up the blur amount. So many percent blur like 25. And then once he's off, almost off, we can move the mask off the screen too. And that's moving the mask between each of those keyframes. So that's pretty good. Now, I think that blur is a little intense. But the thing we can also do is say we don't like that blur and we want to try a different one like Gaugenblur. We can take this effect, apply it. Now we can copy this mask to the Gauganblur, turn off the camera blur, and now we can turn on the Gaussian blur. And the mask still is the same. Maybe we want to add sort of like a pixelation effect. So there's an effect called mosaic. Let's apply that. Let's make it like something like probably want this to be even. So maybe 50, 50. But still, we take that mask and apply it here, and now this is a pixelation blur. That's pretty good, right? So that's how you not only do a blur effect, but that's how you track motion in a video and apply a mask to that object in your frame. Alright, I hope you enjoyed that tutorial, and we'll see you in another video. 83. Quickly Change Video Speed with the Rate Stretch Tool: Welcome to this new section of the course all about adjusting the speed of your video. The easiest way to do this is with a tool called the rate stretch Tool on your keyboard. You can actually just use that tool, and on any clip on your timeline, you can just go to the end of a clip, click it and drag. If you drag it out, you're making it longer, so making it slower or dragging it in to make it faster. So this clip here is in the learning video clips folder that you have access to. It's the spinning globe. Let's look at what it was originally. You can see that I spin it here, normal speed. And now, if I extend this clip with this tool, it is slow down. You do have to be careful, depending on the frame rate that you have shot your video on, you can only extend it so much before it starts to be a little bit choppy like this. You've probably seen this sort of slow down style or effect, depending on the footage. If there are not enough frames in the video to slow down, then it's going to start to look choppy. In the next lesson, we're going to look at how to adjust your speed in a more precise way using this adjust speed button in your property panel, and we'll talk more about frame rates and what to keep in mind when slowing down your footage. We'll see you in the next lesson. 84. Advanced: A Deep Dive into Slow Motion Options in Premiere Pro: The last lesson, we saw how you can use the rate stretch tool to adjust the speed of any clip on your timeline. There's also a little percentage that pops up on the title of your clip. You see this is 31.09%. That's the speed that I stretched it. 100% is normal speed, 31 or anything under 100 will be slower. You can see this exact percentage and make some other changes by going to the adjust speed button here. Or if you're on a clip in your timeline, just right click it. Go to speed duration. It's the same panel that pops up. Here we can see the speed percentage. You can also adjust by duration. So you can click and drag this to the left or right. Remember if you hold the Shift key button while you drag any property number, it rate at which you are changing gets faster. This is great if you have a specific time that you need this clip to fit into. For example, if I want this clip to speed up and I need it to fit into 5 seconds, exactly, you can type in 5 seconds, and then it will adjust that to 5 seconds. Now, what this did was it adjusted the entire clip. We know this is the entire clip because remember on our timeline, we see it has that little corner icon right there. The proper way to do this would be to adjust this ahead of time and make our cuts. So let's go ahead and make a cut right I think after you see my hand, and then until about here. We just want to see this globe spinning. That might be a cool clip to use in a video. And now we see that this is about a second and a half or so. We can go to our just speed. And now if we say, Okay, we want this to be 3 seconds, type in three, click Okay, and now it's 3 seconds long. You'll see some other options here. We can reverse the speed. That just means making your video play backward. You can maintain the audio pitch. So if you have talking or any audio in your clip, if you speed it up, it's going to increase the pitch. It's going to sound really high. If you slow it down, it's going to get really low. And so if you want that pitch of frequencies of your videos to stay the same, even when you slow down or speed up your video, just check that on. Ripple Edits, this is just going to be if you have another clip on your timeline, and then you adjust the speed, for example, let's change the speed to something a little faster. Click Okay. See how ripple edited that clip to keep it right next to your clip that you're editing. If we didn't have that checked on, just like when we use the Ripple Edits tool before, what happens is it leaves a gap. You might want that on or off. The last thing is time interpolation. This has three options, frame sampling, frame blending, and optical flow. When you slow down your footage, so let's make this 150 speed. What's going to happen is it's actually going to spread out the frames across time. This footage, if we look in our bin over here and we look at our list view, we can see that the speed practice footage here was shot at 59.94 frames per second. I drag that down to create a new sequence, and that means that this sequence matches this speed clip. Most times, though, I will be putting this type of footage in a standard frame rate sequence like 24 frames or 29 frames. And regardless of the frame rate of your sequence, you have to be careful about spreading out your frames too far or too slow. This goes back to the standard frame rate that we use with film cameras, 24 frames per second. They invented the camera and video. They experimented with a lot of frame rates. It used to be a little bit slower, like 15 to 18 frames per second. But then they realized that 24 frames per second is about the same speed at which our human eyes see things. And so you get a little bit of motion blur with that 24 frames per second. You film something at a higher frame rate, you get less motion blur, and that's why if you're watching a video that is shot at 60 frames per second or 120 frames per second, it almost looks like video game like or fake. That's because it doesn't have that natural motion. So how does this relate to what we're doing in this lesson? This clip right here has 59.94 frames per second. If I slow this down by 50%, that means that over 1 second, we're still seeing about 30 frames. So everything looks smooth. If we drop this down another 50%, so 25% overall, and let's do Ripple Edits, so it pushes that other clip, we start to see some jittery frames, and that's because in every second, we only have about 15 frames of footage. And to have smooth motion, we would need 24, at least. And so this is something to pay attention to when you are slowing down your footage, and that's why a newer camera might be able to shoot at an even higher frame rate like 120 frames per second, which would allow you to slow down that speed to about 20:20 5%, depending on your sequence settings. Let's go ahead and take this portion of this clip here. I'm going to delete that color grading shot. It's a different frame size, so I'm going to click fit to frame. And now, if I adjust this down to 50%, what do you think is going to happen? And let's maintain the actually, let's not maintain the audio pitch, and you'll hear what it sounds like. We're muted. It starts to get jittery because it only has about 12 frames per second. So this footage shot at 2398 frames per second, can't really be slowed down without making it look jittery like this. Let me show you really quickly what that maintained audio pitch sounds like. So it's still slowed down, but it has that original pitch. All right, so now let's go back to what time interpolation is. I promise this all relates. When you're slowing down your footage, what it will do is with frame sampling, just spread out each frame. With frame blending, it actually adds a little cross dissolve between each frame. So when you're slowing down footage like this, and you can see it as I go through the timeline, one frame at a time with the arrow keys on my keyboard, you can see that some frames are actually blurry. And that's because it's actually dissolving between each frame within this video here. And so that when it plays back, it actually makes it look a little bit smoother. The last option is optical flow, where it will actually generate a new keyframes recreating the image from scratch between each frame which depending on the clip can actually make it look even smoother. If you have to slow down footage that wasn't shot at a higher frame rate, you might want to play with the frame blending or optical flow options to see if that looks smoother. The best thing to do though, is make sure that any footage you want to slow down is shot at a higher frame rate than your sequence, something like 60 or 120 frames per second or even 240. That's the adjust speed property and a deeper dive into how speed works with your video. Keep watching the next lesson where I'll give you a quick advanced tip for playing with speed in Premiere Pro. 85. Super Smooth Slow Motion with Interpret Footage: Say you're working on a project on a timeline that is standard, like 2398 or 2997. But you have some footage that was shot at a higher frame rate that you plan to use as slow motion. You can quickly make one or multiple clips into a slow motion video by right clicking and modifying the footage. Go to modify interpret footage. This brings up a new window where you can actually change the frame rate of the video clip to anything you want. Right now, you see the initial frame rate from the file. But since we're editing on a 2398 sequence, we could change it to that exact frames per second. And now when we click Okay, you'll notice down here in our settings, it has actually changed the frame rate of this clip itself to that slower frame rate. And what it does, because it had a higher frame rate, it will slow it down because it's extending that clip. Now 5994 frames per second doesn't last 1 second, but it lasts a little over 2 seconds. Therefore, slowing down this footage. The benefit of doing this is you can do it in a bulk way. So if you had a bunch of footage that was all shot at higher frames per second, you can just select multiple clips, right click and modify that footage, and then whatever properties you change applies to all of them. So now you have all this slow down footage. But also, what this does is it slows down the footage to the maximum point where you won't get any slow motion stutter in your video. And so you'll notice that if I take a portion of this clip and I put it on my timeline, you can already see it here in the source playing back. We're going to fit it to the property because that was shot at a smaller resolution. But in terms of the motion itself, it is playing back as smooth as it can get. If I had done it any slower than this at, like, 20 frames per second or interpreted it to 15 frames per second, you would start to see that stutter. And we don't use a slower frames per second for our sequences than 2398 or 24 because then we would see that stutter in all of our video. That's just another way to adjust the speed of your video clips. The benefit is one that you can do it to multiple clips at one time. And then also you're able to slow down your footage to the maximum amount without any stutter effect rather than trying to do any guesswork using the rate stretch tool or adjusting the speed this way where you'd have to do the math in your head. Doing the math here by just going to modify interpret footage and then slowing it down to the frame rate of your sequence, 2398, it is slowing it down so that it plays back as smooth as butter. In the next lesson, we're going to learn about speed ramps, which is how you can adjust a clip to start slow, change to fast, go back and forth, however you want, which is a cool technique that's used in a lot of modern video editing. See you there. 86. Adding Speed Ramps with Time Remapping: In this lesson, we're going to learn about time remapping or a way of creating a speed ramp, which is when you change speed in the middle of a clip. Here I have this clip walking through these gates in Japan, and a cool technique that a lot of video creators use now is to speed up part of a clip and then slow down to a moment that makes sense to slow down. Usually, it's when there's an special action point where it makes sense to slow down and really visualize that or when the composition of the framing looks better, you speed up the rest and then slow down when you want to really showcase that to your audience. So how do you create that? That's going to be up here in our Effects Controls panel. You see that we have this time remapping option. Let me open up this panel just a little bit more so that you can see more of it because we're going to actually use this timeline that's within our Effects Control panel to do this. This should look a little familiar to you if you watch the lessons on creating keyframes for other effects. With this drop down, we have this new speed percentage with a keyframes option. The standard is that this clip is set to 100%, and this is just another place where you can adjust the speed of your clip. You can also set that keyframe where you say, at this point, we want the clip to be going at 100%. Or maybe you want it to be going faster. By dropping down this menu, you can see this velocity bar. You can literally increase or decrease this bar. Now, because I've set a keyframe, I can adjust the bar on either side of the keyframes. So if I drag this bar up on the left side, you'll notice a couple of things happening to the clip. But when I let go of this, what happens is on the left side of this keyframes, I'm going the video is playing at 249%. On the right side, it's playing at 100%. So if you know a specific percentage, say, you want to always have your videos playing back at 500% or 400%, you can read it that way. So now you can see if I play through this. It speeds up, and then it slows down. I want to make that a little bit more dramatic, so we're going to start it at 600 and then slow it down. Notice, though, that when you're adjusting the video speed this way, your audio is unaffected. Now, this is a bit of an abrupt change in the speed. So what I would recommend is creating a little ramp. And you do that with this keyframe for speed, you can click and extend it. So click and drag to the side. And you'll notice that now we have literally a visual ramp that represents the ramping of the speed 681-100%. So instead of just like an abrupt change, we're going to have a bit more of a smooth transition across this speed change. So you can adjust the speed or the length of this ramp by clicking and extending those points. You can also smooth this out by clicking the keyframes, and now you have these two handles that you can click and rotate, and that's going to create more of a slow ramping or an ease into this speed ramp itself. So now across the speed ramp, you can see that it's a much more gentle transition from the fast video to the slow video. You can do this as many times as you want. You can slow down, and then after that moment, you can set another keyframes and ramp back up. You can see, again, as I drag up my mouse, you can see the velocity changing over there. Was it 618, it was 681. So you likely want to match the speeds so it looks more uniform. So 681, 682, 681. There we go. And again, I would extend this speed ramp. We can extend to the right. We can extend to the left and then take these handles and smooth it out by rotating those. Now, of course, at the end of this, if you are increasing the speed, you're going to need enough footage for it to look good or to last on your screen. If you speed it up too much, then it just gets super, super short. Fast, slow, fast. So go ahead and play around with adding speed ramps to your footage under the time remapping setting in the effects controls. It's a great way to add some style to your video and make those key moments of your videos hit harder. All right, see you in the next lesson. 87. Creating a Freeze Frame (Frame Hold Tutorial): Welcome to this new lesson. You're going to learn how to create a freeze frame, both within a video and then also a freeze frame file that you can use for something like a YouTube thumbnail. Whenever you're on the timeline, if you go to a frame that you want to export as, say, a JPEG photofle, you'll see this little camera icon. This is the Export frame button. If you don't see it, again, you can change your buttons down here by clicking this plus sign, finding the ones that you want and dragging into this little task bar. Clicking that gives you the options for format. You can change from DPG, which is more of a raw format to JPEG, PNG. Depends on what you're using this for. JPEG is great because it's a small file size and can be used in most photo and graphic editing apps. You can choose where you want this to be saved, so likely I would put this on my desktop, and you can also choose if you want to import this into the project. This is one way to create a freeze frame that can be used in the project itself. So back in my main project folder now, I have this travel intro photo file that is now just a photo file that I can place on my timeline like any other photo and use within a video. The reason you probably don't want to do it that way for creating a freeze frame on an actual timeline is that this just creates another file. It's a compressed image, and it doesn't give you much flexibility to adjust after the fact. Maybe I wanted to create a freeze frame like one frame after or one frame before. You can do that with your frame hold options in your timeline. For any clip, if you right click and choose frame hold options, you'll get a little window that you'll be able to create a frame hold or a freeze frame on any frame in your video. Right now, it's set to hold on the source time code. So this is where my timeline indicator is on my timeline. You see the frame number here, and I can click Okay. And now this whole video clip becomes just frozen on that frame. Let me undo that to show you the other options. So again, right click Frame hold Options. We have other options under this dropdown. We have sequence time code in and out in point and outpoint and playhead. The way that I typically create a freeze frame is by adjusting my clip on my timeline to start at where I want that frame hold. Then right clicking, choosing the frame hold options and changing this to in point and then click Okay. And now we have this clip frozen from the very start of the clip. Notice, though, that if I extend the beginning of this clip to another frame, that new frame at the beginning becomes the freeze frame. So you might prefer one of these other options for creating a freeze frame. Now, there's also on your menu here, when you right click, you have a quick option to add a frame hold. And what that's going to do is going to split your clip at the playhead, and then it's going to be a freeze frame for the second part of your clip that you see here. So you clip the first part. We have this video, and then it adds a frame hold to the second half of this clip. The specific way that it adds is a sequence time code hold, which also basically does the same thing. It's just a different way of picking the frame that you want to freeze, but you can get to it any number of ways. As a quick note, you see this hold filters option. This is going to freeze any key framed effect that you have here in your Effects control. So maybe you added some sort of effect that you key framed on and off. You had your opacity or a motion animation keyframes here. If you click that on, it's going to also freeze that motion. If you don't have that checked, whatever you have here keyframes is going to continue to animate across time on your new clip, that is a freeze frame. So that is how to create a freeze frame from Premiere Pro, both to export and use outside of Premiere Pro, but also how to freeze a frame within a timeline for your actual video edit. Thanks so much for watching, and we'll see you in the next lesson. 88. Removing a Green Screen with the Ultra Key Effect: Welcome to this new section of the course, all about green screen removal. So in this section, you're going to learn how to do a basic removal, and then a more advanced one matching our foreground video to the background, including diving into After Effects, which you might not do yourself, but it's a good skill to know how to do. And if you have an Adobe account, you do have access to After Effects, and their screen removal tool is so much more powerful than what you have in Premiere Pro. But let's get started with doing this in Premiere Pro. In the earning video folder, you have this green screen practice clip. Just drop that into a new sequence which will match the settings, which is important for our green screen removal. Then find the effects bin, and underneath video effects, keying, you'll have an ultra key effect. There are other key effects that can help you remove different colors or luma, which is luminance, which is brightness. But for removing a green screen or even a blue screen, the ultra key is the best one to use. Now under our Effect Controls panel, we have this ultra key effect. It's rather easy to use. You'll select the key color with this eyedropper. I recommend selecting the green or the portion of your background that is a little bit darker. One key thing with doing green screen is that you want to have the background evenly lit. You want to lit separate from your subject, which sometimes means putting separate lights, just shining on your background to light that compared to your subject. You'll also want your subject to be lit to match whatever background video or image or anything you're going to put on the background. And we'll talk more about that in the next lesson. For this video, I'm going to select a green that's a little bit down here because I can tell the green down here is a little bit darker than the one right next to my head, and I found that cleaning up the green screen in a highlight is easier than in the shadow. So you'll notice here that there's a lot of this digital noise that hasn't been removed, but some of it has been removed. This black here, that's transparent now. There's no background there. Can make some adjustments to this under Matt generation, and they all have some default settings that they're set at. Transparency is the transparency of the green that you're removing. I leave that as it is. And then I'll use the shadow and highlight to drag left or right, to get rid of or add back more of the shadow or highlight that this effect is being applied to. Tolerance and pedestal, tolerance increases the color range that is being used to remove, so a little bit wider range of greens versus a very specific green. And then pedestal adjusts the tolerance for shadows or blacks, making the darks transparent or more transparent the higher you go with this. Now, this is starting to look pretty good. Now, two tips to clean up your mat. One is to play through. And sometimes, if I drop this down, you'll see how that background noise is really dancing around. That doesn't look good. So you want to play through it to make sure you're really removing everything because sometimes you don't see that when you're just paused on a still frame. Next thing to do is, well, this looks pretty good on this black background, if you put it on top of another background, say, I drop this Japan stock one footage down and I'm going to put the audio on Track two so that it helps sells the fact that this is green screen footage on top of some other environment. And as soon as I do that, you can see that my hair and some of the edges are not properly fixed up in that mat. Another way you can do this, let me move this background clip over to the side is we have our under graphics, white mat that we've created in the past. We can put that down, and now you can really see it. So when you're removing your green screen and you're adjusting these settings, put it over a black background or really nothing, and then also a white mat, because now I can see one of these settings was not set properly. Maybe it was the pedestal. I think it was the shadows because my hair is kind of in the shadows. And so I'm going to actually push back up my shadows. And even with that, if I bring up my tolerance and my pedestal quite a bit, that's a better key than what it was before. Now, this is looking pretty good. One other thing you want to pay attention to is, especially in movement, if you have some motion blur and you can see this better over the black, you start to get a little bit of that spill, that green light spill into that blur, and that's hard to remove. You can clean that up a little bit with the mat cleanup and spill suppression settings here. So mat cleanup, if I put choke, it's going to kind of squeeze or choke the mat that was created. Soften is going to sort of blur the edges a little bit, and contrast a midpoint are kind of going to balance those out. However, when I do that, it can start to look kind of funky on my hair, see? This is where you see those bad green screen scenes where it looks like the edges are all feathered out. Another option is to adjust the spill suppression. Let me actually zoom in here and using my hand tool, I'm going to move this over my hand so you can see this automatically has a 25 setting for the desaturate, which is basically desaturating that specific green color along the edge of our mat. Now, if it was set to zero, you start to see it more. 25 is starting to remove it, but I'm going to move that up to, like, 60 or so. If I do too much, then everything starts to get desaturated. So I'm going to balance that out around 64, and all these other settings can help fine tune that. But if I zoom out, it's easy to see when you're paused. But depending on the situation, if you're just playing through it, you might not see it and it might not look that bad, actually. So play around with it. You want to get this as close as possible to as clean as possible, but it doesn't have to be perfect, especially depending on the background and how long the clip is. 89. Cropping or Masking to Prepare for Green Screen Removal: One other glaring issue that you might see here is that this green screen that I use didn't actually cover the entire background, and that's okay because the position I'm in and where I move my hands does not go over that little corner where this backdrop is not. I can actually just basically crop that out. I can do that with a crop here with this setting, I could go to properties and just crop it out as long as my hands don't go over that part and that would be fine. And best practice is actually to crop this out ahead of time. You want to crop out anything you don't need before you actually apply and adjust the ultra key effect because then Premiere Pro doesn't have to do extra work to remove something that you're already going to remove from a crop. Does that make sense? So if I go back to properties, let's actually turn off our key effect. You can do that with the crop. You can also do that with a mask. So under opacity, not under the mask for ultra key, but for opacity, we've seen this before where we can create a mask either with the ellipse or circle rectangle or with my pen tool where you can just click around our subject. And create that mask. And again, as long as my hands do not go over the edge, which it does there, so I will actually extend this over here just a little bit. As long as that hand doesn't go over that edge, then we're good to go. And now we can apply that ultra key. And if you were doing this from the beginning, you probably would set that mask first. So either the mask or the crop is a good way to do this. So that is how to remove a background, and now what I can do is with the direct manipulation tool or with my properties, I can move myself around to make sure that I'm actually centered. I can scale myself up or down. You could do all kinds of cool stuff with this now. In the next lesson, we're going to look at adding a background other than this white background to this video and making it match better with our foreground video. We'll see you there. 90. Adding and Matching the Green Screen Video to the Background: This video looks pretty good over the white background. Now, let's replace that white background with this stock footage. I'm going to mute that so we don't see it. Let's figure out how to match this as good as possible because the lighting on me does not match the background. You can tell that I'm lit with some artificial lights. I've got a shadow on the right side of my face, whereas this background shot looks like it is an overcast day, even lighting. It's a little bit cooler, but we can do some things to our foreground shot and our background shot to make it look better. First, let's actually fit this so we can see it a little bit better. First, let's actually add an effect to the background to blur it out just a little bit to match that shallow depth of field you would get from a better camera. I'm going to take the Gaussian blur and add that to the Japan stock one footage. Then under Effect Controls, I'm going to drag up this to get something that looks natural. You can use this Gaussian blur. You can use blur as well or instead, both are pretty good. I prefer the Gaussian blur, though. Something like that is starting to make it look like I kind here in this environment. It's not going to look perfect. If I had this green screen shot where I am more naturally lit, I think we could make it look even better. But what we can do is go to our Lumetri Color panel. And here we can make some minor adjustments to improve. So it is some flat lighting. So let's go under our light, and I'm going to decrease the contrast that we have in this shot. So I can do that by bringing up my shadows or even just dropping the contrast here. And also, I feel like the original shot is a little bit warmer, so I'm going to cool it down with just this temperature slider. So now with this on versus off, you can see that actually starts to look a little bit better. Now, something about there's a little shake at the start of this Japan one stock footage. So make sure I get to a spot that is not shaky. And it kind of kind of works. It's a little awkward because it's like, you can tell I'm not there. You can tell one, I'm just not dressed the right way. Also, just I'm, like, standing in the middle of, like, these stairs or something. So this is where you have to plan better your foreground footage with your background footage. Better shot that we can use is the one that I used here, which is the still yellow shot. So if I take this and I'm going to paste this here, this is a shot that I downloaded from In voto elements. You don't have access to this shot because this was from my premium account, but this is the type of shot you can get when you use some stock footage sites. So I'm going to put me right here in the middle. Now, let me reset my effects. I'm going to reset my color effects, that is, because I think the contrast looks pretty good for me here because it's naturally lit. The background also has the gaussian blur applied to it automatically, which I had done in that previous sequence that I copied this one from. And so that's looking pretty good. And now let's just make a couple adjustments to the lighting of me and maybe the color to it match the background just a little bit more. So starting with me, I think I am going to actually bring up the shadows just a little bit, but just bring down the black. So I still want the contrast, but I want the shadows to be a little bit brighter. Actually, for this shot, I'm going to add some color adjustments or lighting adjustments to the background, which I think actually needs a little bit more contrast to match me in the foreground. That's pretty good. The background is a bit warm, and so I can either kind of lighten up the background, or maybe for this one, I think it's more of the background wall which is really warm. I can go into my curves, Hue saturation. Remember Hubers saturation. Select that color and just desaturate just that one just a little bit. I kind of want this yellow to still be kind of saturated though. So something like that maybe looking better. Maybe I should also on my shot, warm myself up just a little bit, or, I think, maybe warm it up just a little bit, just a tiny bit. And that's starting to look actually pretty good. If you didn't look too closely, you might think that I was there in that scene. 91. Advanced: Improving the Background Video to Match Our Video Lighting: Going to do one other sort of more advanced technique to this background to make it look like the lighting of my foreground. You can tell for my foreground, there was probably a light shining from the sort of, like, the top right of the corner of this frame, or really if you were from my direction where I'm facing from my left, so it's this key light that's shining down on the left side of my face, and then on the right side of my face or the left side of the screen, there's more of a shadow. We can kind of recreate that with a mask in here. So what I'm going to do for the still shot is to add a new lumetri color effect going to rename this shadow, and now I'm going to drop the exposure so you can see what's happening with this effect. But I don't want it to be applied to the whole thing. I'm going to shrink this down so I can create a mask with the effects controls. And so under the Lumetri Color shadow effect now with the Bezier tool, I'm just going to sort of match where the shadow is on me, which you can see down in the bottom right. And I'm going to really feather this out quite a bit. And then in the Lumetri Color panel, I really drop that exposure just to kind of see what it looks like. Let me get off that mask. But I'm going to bring that back up. And maybe make more drop the Black's shadows, but bring up my highlights a little bit. It adds a little contrast back there, but now you can see with this specific shadow effect on, it does a little bit to match the lighting of the foreground. We can do the same thing by adding a little highlight in the right top to match where this light might be shining more by adding a new effect, renaming this highlight. And here we're going to increase the exposure, and same thing. We're going to effect control for the highlight using the Bezier tool to just create sort of a highlight in the top right corner, really feather that out again. Let me make it a little bit bigger. And now under Lumetri Color, let's zoom this up so we can see this. We can really see what this might do, bring up those highlights quite a bit. I want to keep the contrast, so I'm going to bring those shadows back down. But I don't mind it kind of overexposing on the right side. And if I turn this on and off, you can see what that looks like. Now what I can do is, let's go over to Effects Controls. I can show you all three of these stacked and what they do. A little adjustment to the color, add that shadow, add that highlight, and now we're talking. Now we're really trying to make this blend in with the background. So all of these little things we can do to try to match the foreground to the background, help sell this effect so that it looks like it's one cohesive shot. One other thing we can do is if we add an adjustment layer, if you don't have one created, you just click the new Ida button adjustment layer. You might want to just create a new one so it matches the sequence settings that you're doing. You can now add, let's just go ahead and add vignette, which will sort of apply it to everything. So even though we added that highlight effect in the top, we're actually going to add another sort of vignette over everything, which kind of again, it blends everything together quite a bit. As it's being applied over the original video and the background, it looks as if it was one shot that had this sort of vignette happening to it. So these are all little things you can do to improve the shot. In the next lesson, I'm going to show you how the After Effects Keli 1.2 effect works and how to bring this footage into After Effects. And even if you've never touched After Effects before, by the end of that lesson, you'll know how to remove green screen with After Effects, which is much more powerful than this tool here in Premiere Pro. Thanks for watching, and we'll see you there. 92. Advanced: Removing Green Screen with After Effects: In this lesson, we're going to learn how to remove a green screen background with After Effects. So what I'm actually going to do is I'm just going to copy all of this that I've done over to the side over here. And then for my green screen practice clip, I'm going to go under Effect Controls and remove the ultra key. I don't want to have to redo what I've done with the Lumetri Color effects for this example. Edit a clip in After Effects, all you have to do is right click it and then choose replace with After Effects composition. It's going to open up this clip in After Effects composition. Now, I already had one open just to set this up. But now we can edit this clip in After Effects, and anything we do here is going to then appear in Premiere Pro. So, for example, let me just show you if I take my shape tool and draw shape here, then go back to my Premiere Pro, that shape appears. Obviously, I don't want that shape layer which appears here in the timeline, so I'm going to delete that. What I want to do is apply what's called the key light 1.2 effect, which is under the Effects and Presets panel, keying Kelte 1.2. Similar to Premiere Pro, I'm just going to drag it onto my clip, and now we have the Effect Controls panel up here. It's very similar. We have the screen color eyedropper, which I can select click onto my screen. And under screen Mat, if I just use this clip black or clip white effect adjustment, I can quickly fix this up, and it does it so much more powerfully than the Premiere Pro key light ultra key effect. You can already see with my hand the blur in between my fingers is not as bad, and it does amazing job. If we want a white backdrop to see what this looks like, you can create a white mat by pressing the Command Y button or Control Y on a PC. Select the color as white, click Okay, and then just drag this underneath. And now you can see, even here, my hair and everything is a lot cleaner. Can adjust all of these settings and play around with the same thing like shrinking or growing the mat or the mass that was created. That's kind of like that edge choke that we saw with the ultra key effect, screen softness, feathering that out. And then if you do see those black or white spots when you play through this, if these original settings don't fix everything, you can use the despot black or white adjustment to fix that just by increasing it. Just go subtle, though, before you go too hard with that. And now let me turn off my white solid layer or just delete it. And if I go back to Premiere Pro, you can see there is a little bit of an issue here on my head, and that is some of that white spotting that you get. And so let me go back here to my setting. I'm going to remove the shrink and grow, and then I'm going to despot white just a little bit, and despot black just a little bit as well. And let's go back in here, and this is, I believe the clip white, so I'm going to decrease this. And if I did have that white background on here still, and I was zoomed into my hair, you would see that if I adjust that clip white again, yes, so it's the clipping the white or the highlights that you want to be careful about. There's always a balance with these things. And that's looking pretty good. Let's go ahead and zoom back out. And And that's looking really good. So let's remove that white background, get back to this shot. And there is a little bit of an edge that I see there, so I'm going to go and shrink the edge just a little bit and add just a tiny bit of screen softness. And now that is looking really good. So when I sent this to After Effects, it actually sent the Lumetri color that was applied to this clip before I copied it into After Effects. So I could go in here and turn this on, but I think it'll be easier. I'm just going to delete these from After Effects and then copy what I did here. To this new clip. And so that was a little bit of an adjustment to the exposure and the contrast of me here. And in terms of the cleanliness of the edge of everything, I think this looks a lot better. To render this out, you see this red bar. This means it's not rendered. So to play it back smoothly, you'll have to go up to sequence, render into out, and that will actually render this video and process all those effects that are applied to it, and then we'll be able to play it back smoothly afterwards. And now you can see how powerful After Effects is at cleaning up and removing a green screen. Pretty darn good. So that's how to remove a green screen background in Premiere Pro, also in After Effects. But because it works in conjunction with Premiere Pro so easily, I thought this would be good to show you how to do it. I know it's a little bit more advanced, but a lot of what you can do in After Effects you can do in Premiere Pro. And this does actually a pretty good job. Even like the selection of my hair, I think the settings that I had set for this clip are even a little bit better than what I did in After Effects. You can see the hair is a little bit cut off. The edges of things and the spill suppression is a bit better with After Effects by default. But all of these things could be tweaked and improved. It just takes a little bit of extra time. The key thing to know is that when you are filming with a green screen shot in mind, you got to have your background in mind ahead of time so that you know how to light yourself. If you're lit with lights, then you want to make it look naturally lit if you're going to be in front of a natural real world scenario. Or if it looks unnatural, you're going to have to use a background that looks like it's an environment where you would have been lit with artificial lighting. So I hope all these tips help. We will see you in another lesson soon. Bye. 93. Quickly Change Video to Vertical Video with Auto Reframe: Come to this new section on reframing your videos for social media. This would be for a Vertical nine by 16. You could even reframe it to a square or other aspect ratios. You'll notice that I'm in a new layout and you can get to that if you click Workspaces and go to Vertical. This is very helpful for those vertical video edits. It's super simple to do this if you have a normal landscape video and you want to convert all you have to do is once you've edited your sequence, right click it in your project panel and choose Auto Reframe sequence. You can give it a new name. You can choose the aspect ratio that you want, custom or nine by 16 is great for those vertical Shorts and TikToks and Instagram Reels and all of that. Motion tracking. I'm going to leave that at default, and for now, I'm going to just leave the clip nesting to Don't nest clips. We'll go over how to use some of these settings in the next lessons, but first let's just click Create. And Bam, we have a new travel intro sequence. It's popped up in our timeline here, and we can play through this. And with a click of a button, you can see that it has attempted to reframe our sequence so that it is good for a short. It's done about 80% of the work. We're going to have to go in here and make some tweaks. You can see that the titles, they were moved and adjusted, but might not match the style and positioning that we chose for our original video, and we'll go into tweak and fix this up in the next lesson. But just like that, right clicking Auto Reframe sequence, now you can convert any sequence into another aspect ratio. All right, see you in the next lesson. 94. Fixing Issues with the Auto Reframed Sequence: Let's fix up our auto reframe sequence. There are a few things that I initially noticed. Like, for example, this clip of the lady waving on the boat, she's not centered in this frame anymore. So we can go into our properties or into our effects controls and adjust these things. Notice that under effect controls, the original motion is disabled when auto reframe. There's a new auto reframe effect that was applied to this clip. And if you ever want to re analyze, you can click that analyze button, and this is where we're going to be able to adjust the position of these clips. So what I would do is basically go through these videos one at a time and make sure that they are centered or there's the subject or main thing in the video that I want actually visible because sometimes it's being cropped off when it did it automatically. Same thing with our titles. I liked our original titles, the layout, how they're sort of like staggered, they're bigger in the frame. So to change this, we can go into this text. Now notice, when I clicked Vlog up in our properties, we don't have the properties for the text. That's weird. And that's because we had grouped this title card with the sound effects. So to get to the text, I can option Alt on a PC, click that title card, so I'm just selecting that layer. Or with my selection tool, I could actually just double click into any of these layers on my program monitor. Now I can go in here. I can adjust the size of the font here, or I can use my selection tool to just resize the scale of this text here and match sort of the style that I had originally. Title cards are one of the main things I find getting messed up in terms of the auto reframe. And so you're going to have to adjust those. Again, notice, though, in our property panel, when I go to another clip, I can't adjust the position. That's disabled. I have to go down to our auto reframe settings, and here is where I can make that adjustment. Another problem that I found here with the reframe is that this sequence here has not scaled properly. The photos have this weird sort of motion from right to left. And then also it's zoomed in, and so I can't see the whole photo. This is a bit tricky. If I go to the master photo sequence nest that all of this is in, and I just reframe the scale of the whole thing, look what happens. The whole thing gets smaller. And Look at that motion. It's trying to track motion or something and then reframe it based off of what is in the photos, but doing it this way just doesn't work. So for a sequence like this, I would actually delete the auto reframe, and then I would go in here and just first initially scale it down to where the white paper background fits this. I could also probably just go in here and click Phil right there. Now what I'm going to have to do is scale down the photos within this nest. This is a bit problematic, though, because whatever I do in this nest will also affect the photos in our original landscape nest. So if you want to, you could make a copy of this, and when you're exporting, you know that you have to turn on one layer for your landscape video and one for your short vertical video. That's probably the best practice. For now, it'll keep it easy. So what I'm going to do is I'm going to option drag the photo sequence up and turn one layer off. I know that this top layer will now be the layer for turning on when I export my vertical video. I hope that all makes sense. I know this is super advanced and slightly confusing. So what I need to do is scale down the photos so that they're smaller in this nest so that they appear smaller here in the master sequence. And I can do that if I go to my effects controls, and I can scale down. Uh oh, I have a problem, though, because I've animated my scale. So now I have these three keyframes that go from big to small to big. Just to show you, though, when you scale it down and I go back to my vertical video, the photos have scaled down in this sequence, but this is not how I want to do it. I'm going to need to somehow figure out how to scale this down another way. And luckily, we actually have an effect called transform. So if you search for Transform under Video Effects, I can apply this to any nest or clip, and it gives us a secondary set of transform properties that we can adjust. And you can see here I have scale. So I can actually scale this down, which is basically scaling on top of our motion original settings. So we still have these keyframes that's still growing based off of this animation, but the overall size has shrunk. Now, I could do that with any of these other settings as well. And sometimes that can come in handy. But now what I would do is just scale it down until in this clip in our vertical video, it starts and ends about the same size. And that's looking pretty good. Now, you'll notice that at the end, we have this little transition that cut from this video photo to this one within the white backdrop paper backdrop. And matched it. That looks funky now. So for a simple short, I would probably just delete this clip, and I would cut this down and maybe extend the start of this clip, the normal clip that happens afterwards. If you wanted to, you can go in and re edit it, re animate those keyframes as we did in the section about adding this style. But that's going to be a bit of extra work. But it's basically the same process. So again, I would just go through all of these settings, these clips, make sure things are in the right position. It does try to, like, find subjects. So if there's a clear individual person, it does a better job at reframing. But as you can see here, with this video of, like, architecture shots, buildings, it doesn't do an amazing job. However, we can just easily go in here and make these adjustments rather quickly. So that's the tweaks I would make. Pay attention to your title cards, your positioning of things. And now you know how to fix them up with the auto reframe setting under Effect Controls. In the next lessons, we'll go deeper into some of the more advanced settings like nesting, which can actually make this process even easier. See you in that next lesson. 95. Nesting and Motion Tracking Settings for Auto Reframe: We originally auto reframed the sequence, we had that option for nesting. So if we do choose the nest clips option, let me show you what this looks like. So it opens up this new sequence and just compare it, if you look visually from the original one to the nested one. It cleans up a lot of things on our timeline. Notice that on the timeline, how a lot of the video clips and some of the other assets on our timeline have been nested. And if we look at our original timeline, you can see that on this timeline, we have multiple layers are transitions. Here, in this sequence, things have been nested, and that can be a benefit or a drawback. See, when we did that nest, it automatically fixed this issue with the photos. We still have this issue at the end of this clip not being the right size. But for this original photo sequence, it did a better job at that. Some of these, again, it didn't work, and we're going to have to adjust them, but oftentimes nesting can make it a little bit simpler. Now, within each nested sequence or clip, we can again, go into our effect controls properties and make our adjustment. The main benefit of this is when you have several layers on top of each other, it does a better job at analyzing all of the layers and reframing them so that it matches the new aspect ratio even better. This is one where I would go in here and I would adjust this, or maybe this is a clip where you want to scale it down and move it over so we can see that full clip. Would just play around with it, try one with the Nest adoption, try one without the nest adoption, and see which one works better for your particular edit. Also, in that original setting, we have the motion tracking. If there's a lot of motion in your video, like fast moving subjects in your clips across the frame, then you'll want to set it to faster motion because Premiere Pro is going to work on analyzing that better for movement. If there's not a lot of motion, then slower motions good or if there's just barely a little panning and tilting or the subject moving across a frame. Slower motion should be fine. Default also works pretty well, just for general stuff. I would just change it to the faster motion if you have things moving around your frame, and that could be a title, that could be a person in a video clip, just anything moving around a frame. All right, so hopefully that helps you out. If you have questions, let me know. But otherwise, I'll see you in the next lesson. 96. Exporting a Vertical Video for Shorts, Reels, TikTok: You have your social media vertical video ready to export. How do we export this so that it has the right settings? Go to the export menu once you have your sequence in outpoints set, then choose one of the presets for high quality four K or HD. And then here's the important part. Under video, make sure you choose match source, and that's going to adjust the aspect ratio frame size to this source setting. Okay? So now it's matching that vertical setting. And by doing it that way, you have matched the video bit rate settings and all of the other settings for a high quality h264 QuickTime file, but then also match the frame size and frame rate and whatever you have setup on that auto reframe sequence. Export that and share it with the world. All right, hope that helps you out. Thanks for watching, and we'll see you in the next lesson. 97. Let's Add Some Style to Our Travel Video: Welcome to this new section of the course. You know a lot of the basics and you can put together quite a nice video. In this section, I'm going to be adding all of those final touches to take your video from what we've done here in our project we've been working on to the final edit that you see here in our earned Premiere Pro. The final sequence is the one with all of these additional effects, minor tweaks and changes to really just add some style and pizzas to the video. In each breaking down one new skill that we can add to our videos to make them even better. So if you want to follow along in the earn Premiere Pro, we're basically going from sequence six, and then we'll start adding things as we go that you can refer to with Sequence seven coming up next. All right, see you in the next lesson. 98. Add Cinematic Overlays to Change Aspect Ratio of Video: In this video, we're going to use some overlays to create a more cinematic look for our footage. You can find these files in the graphics folder under letterbox overlays. There are several standard aspect ratio overlays that you can find here. The 235 cinemascope overlay is the one that we're going to use, and you can see I can just overlay that on top of our footage on another track. And here, it's actually transparent except for these bars at the top and the bottom to create this wide look. One important thing to note, this comes as a four K PNG, but if you are putting this on a different size sequence, make sure you fit it to the sequence that you are working on so that it looks proper. What this is going to do is within this existing sequence, make this look like a more cinematic shot, well, potentially. And what you do when you add this on is make sure that the centering of your footage vertically is where you want it. For example, with those on, it's getting close to the top of this building. I might take this clip and move it down just a little bit. It's more centered in this frame. This shots pretty good as is, but I might come in here and just move it down just a touch. That one's pretty good. This one, as well, I might just move down as well. So this is different than creating a sequence that is in a wider screen format or like a more square format, which you can do. And nowadays, YouTube does a pretty good job at playing back different aspect ratios natively within the app. And I mentioned YouTube because that's where most of us are putting videos, but in most online video players, it's customizable now. Is more of just a stylistic approach to making something look more widescreen or panoramic in your existing video. Now, I could show you, let me just throw one of these other ones on by option, dragging it into that other overlay, and you can see that one, the 300 is extreme. This is 150 standard 35 millimeter. That's interesting. But if you change the overlay, make sure that you readjust the position of your original clips. So that's more of a squarish overlay. We got the 133, which is even more, and then we have the square itself crop. Now, you wouldn't want to do this and export it thinking it's going to be a square because it's going to actually export at your sequence size and aspect ratio, which is 16 by nine standard aspect ratio for most video. If you want to actually make a square sequence, you can go up to sequence settings, and now change the frame size width to match the height. We'll click Okay. And now we have an actual square video, which is something you might want to do if you are editing this video for a certain social media account where square videos is the proper way to play it back. All right, so that's an overlay, though. Play around with those. You can use those for your own videos, and we'll see you in the next lesson. 99. Create an Animated Paper Texture Background: In this video, we're going to learn how to make this cool animated paper texture background that you saw here underneath these photos. It's a really cool technique that I see a lot of YouTubers using. You can refer to sequence eight to see how this is basically laid out and we'll recreate it from scratch right now in our sequence travel intro that we're building out right now. You can find the paper textures under graphics, and again, these can be used for any of your videos. And basically what I did, if you just open these up, you can see that they are square paper textures, and they're really high resolution. And remember, if you ever want to sort of make something full screen, you can click on that window and click the Tilda button. It's the one to the left of the one. I think it's like e is the other term. So you can see a better preview of what those textures look like. And then what I'm going to do is just move our photos up. I could just replace our white Matt texture, but I'm actually going to leave that as is for now. I'll tell you why in a second. Then I'm just going to bring sort of a random selection of these. I'm going to bring these up here and increase the size so I can kind of see. I want it to sort of jump from one texture to the next, different enough so that you can really see it change. Now, when I bring it down onto my timeline and it's a bit long, so I had to play around with the length of these to see how long I want it to actually be. But what I found was that two frames is the length that I thought looked good to have it cut from one to the next. And so an easy way to do this is to just set one as two frames. We want to make sure that it's scaled to the right size. So right now it's just fitting to our frame, and that means that because it's a square, it looks like a square in our frame, I'm going to actually fill it, okay? And then I'm going to option drag this to the right so that copies it. Then I can select multiple and option drag to the right. Now we have six textures to run through. Then I'm just going to option drag different textures, making sure I don't duplicate any into these different frames or different clips on my timeline. Then I'll just play through this. Looks pretty good. You can kind of scrub through as well. Another thing you can do instead of changing the complete paper texture is like this one right here might be a little extreme with the crumple, so I might use a different one. And then maybe I'll just zoom it in even more or even rotate it. And you could use the same texture and just zoom in, rotate a little bit, and still have a little bit of a change. And so that's pretty cool how that goes that. Now we have this set of one rotation that we could just keep going and pick different textures. But I think if we just rotate through this sequence of six, it'll still look fine. I'm just going to option click this and make sure it lines up with the last one option click again. Oops. That was an option clicking the whole time until I let go on the mouse. That looks pretty good. And then another time, and you'll notice that I kind of don't have enough room for another six before it gets cut off. And so what I actually am going to do is I could take the first four like this and option drag it over, and that would keep the same sequence of animations. But what if I want to extend this paper texture animation a little bit longer or shorten it? What I want to do is actually make this into one sort of video clip that I can repurpose and move around more easily than just moving them individually or having to click and drag all of them. And you'll notice that that's how it's laid out in the final sequence. It looks like it's one clip. But this is actually called a Nest, we haven't really talked about Nests before, but a nest is how you can actually group clips on your timeline into one master clip, basically. So to do that, you can select any number of clips. So I'm just going to select my photo textures. Right click. Choose nest. I'll call this paper texture animation or background or whatever. And you can see that now this looks like one clip, but if I double click into that, it actually opens up a new sequence with all of these paper textures in it. So now if I go back to my travel intro, well, I can't extend this to the right anymore because there's no more sequence or video to refer to from this sequence. What I can do is I can take all of this now and copy it. So I'm just option dragging to the right, deleting that gap. Select all of it. Option click to the right, delete that gap. Now you can do this however long you want, so you can create say you need at least 10 seconds of paper background animation, get it to be at least 10 seconds long. And then back on our sequence, we can now extend this however long we need it as a backdrop, obviously, under the 10 seconds or well, now it's already about 15 seconds long. You could also just simply copy and paste this somewhere else, and it would you can reuse that as well. So now we have this kind of cool paper texture background. Now, say this is moving too fast for you. What you can do is you can adjust the speed now. So let's adjust the speed to 75, for example, and it's going to run through those a little bit slower. Maybe it was too hectic at two frames. And because these are static images, you can basically slow it down like pretty slow and it won't start to look stuttery or anything like that. It's just going to slow down the frames and cut between them just slower. I'm going to undo that and leave it at 75%. So that's how to create an animated paper texture background, also how to use Nests. And now we can see in our travel log project, we have a paper texture animation sequence. And so you probably saw in our Learn Premiere project that we have this folder with Nests, and that's what's here. So I called it paper texture loop there. So you might want to create a folder for Nests, not mess and put that into your sequences or maybe under graphics for later. So now we know that this is in our graphics folder. Last thing I'll also say too is, if you think this is a little bit too visually abrupt, one thing you can do is drop the opacity, and that's why I kept my white mat here because now I can drop the opacity of my paper texture. We still see it, but it's just more subtle. I had done this a black with nothing underneath this, rather, then it starts to look transparent over the black nothingness. So with the white mat still there, I can adjust sort of the transparency of this paper to make it a little bit more subtle. You don't want it too much in your face, or it can be a little distracting. All right, thank you so much for watching. I hope you enjoy these tips, and we'll see you in the next lesson. 100. Adding a Smooth Scale Animation Across Clips: This lesson, I'm going to show you how to do this cool little scale up effect. Now, what's more advanced about this than what you may think is that I'm using a nest, which now you know how to do. And then I'm scaling up the nest itself, which allows me to basically scale up the photos at the same rate and not have to, like, carefully match, like, I was doing this with the photos on the sequence itself, like we had in sequence eight, I'd have to scale up Photo three from what it is now, 125% at the beginning to maybe 128%, then I would change animate Photo five 128-131 or whatever it is. To match that position and scale, you can do that much easier with a nest. So in the Travel intro one sequence that I'm working on, just like we did last time, if I set all of these photos up and if they're the same size, that's how this works and looks good, I can now nest these together. I'll call this photo sequence. And now I can animate the scale of this. So here in my properties, I see that I have a scale property and a little animation keyframes, so I could go to the start and I could click that scale at 100%, and then I could go forward to the end and I can go up, say, 110 or something, maybe 112, type that in. And now this is going to scale up. You can then go and adjust these if you have to after the fact in your effects controls. So say you want to delete these, you want to easy ease them. You can select both of them. So easing them, I mean, EZ Ease, that's After Effects term but EZ Es is easing in and out, so it sort of ramps up that style. I don't think I want that actually. Maybe on the first one. I want that ease, but not on the second one. And it's cleanly scaling up all these photos at the same time. Now, this scale animation is super powerful. It's an effect that I use all the time, even with talking head video. So if I go back to my project, let's open up my Vlog intro sequence. Sometimes when I am editing a talking head video, what I'll do, instead of just having a static shot like this, to make it a little more cinematic is do a little scale animation. I like doing it in the Effects Controls and not the properties panel because now I can just easily go in here, set a keyframe for whatever scale I want, set the next keyframes at somewhere else on the timeline, and then click and drag that keyframes to the end because generally, I don't want it to stop scaling in the middle of ip. And this little scale up Zoom it's almost like a little zoom in. It's not a real zoom in, like you would if you were actually zooming in a lens, but it is scaling up. I think it adds a little bit of professional quality that makes it that much more dynamic than just the static shot. So use that when you think you need to add a little something to a shot. We'll be using that a little bit more in conjunction with some Zoom Transitions later in this section. All right, see you in the next lesson. Hope you're enjoying these ones. 101. Create a Custom Glitch Transition: This lesson, you're going to see how we create this little glitch back and forth effect, which can help with the transition. I did that at the beginning, and then I also did that at the end with this title card and sort of a black screen effect. And what I did was I matched it to the music. So in this original version, I had used the remix tool to remix this audio to this time length. And as I play it, you can listen, and this glitch effect sort of matches that beat. See how it match that beat of the drum as it sped up. Same here. So in my new project that I'm working on the Travel log Project and Travel Intro O, you'll notice that in the beginning of this course, we just customize the length of this song with a cut and a transition. So right here, the music doesn't match what I was doing in my other sequence. So in this lesson, I'm just going to show you what I did instead of recreating it because it wouldn't work here on this sequence. Basically, though, I had this shot transitioning from here to this shot, and to kind of combine those into one shot, I ended up adding that glitch effect. But to try to create a custom transition from that original shot to the next one, you'll see that what I did from sequence nine to ten was I just laid the second clip on top of the first clip, and then I just started cutting it up. And you'll notice that if you pay attention to the beats in our waveform in our audio, it matches the beats. So I have a longer beat at the start, a pause, and then it starts to get really fast. So I just kind of match that length, and then I just made cuts into the clip. So basically, what I did was I had it like this, and then I made a cut, Cut, cut, and then deleted the parts in the middle. Another thing you could do, and I might actually maybe just extend this last part so it's on there longer so you can kind of see it. I don't know. I think I liked it how it was before. Another thing we can do is add a glitch effect to the clips so that it looks like our video is actually glitching and then cutting to another shot. So what we can do is under the Effects tab, you can just search for Glitch. And there's a VR digital Glitch effect. And now we can add that. Let's add that to Let's go ahead and add that to this top one. And then after it cuts to that top one, we'll just add it to the rest of these clips. Maybe you want it to sort of ramp up, actually. So maybe instead of doing it to all of them, we just add it randomly to some of them, and I might make a cut to that bottom track clip. And then within the settings and the effects controls, we can actually go under VR glitch under distortion, and we can just play around with the settings, so it's starting to look like it's getting even more distorted. The same with this last clip here under VR Glitch, under distortion. Yeah, that's pretty cool. You could even ramp that up. You could put this in a nest and add this effect to the nest and then animate these to increase over time, which would be a cool way to do that. I didn't do that for the original final sequence because I thought it looked pretty good. I did add another transition, which we'll be going over later on. The other thing I did was at the end, when I had this title card come on, which I don't have yet on my travel intro sequence, is I had it go from this clip to black to the clip with the title to black, and then it just sped up, sped up, sped up. And as it's sped up, the title gets slightly bigger. So you can see that goes small to big. And so a few things I'm doing is I'm adding a black video. So to add a black video, you could actually in your project panel, click the new item button and just choose Black video. You could also do color mat and choose black. It's the same thing. But there's just that one step shorter way to do it by choosing new black video. It's going to match the sequence settings. And now you can put this on top of any video. Let me show you that if I go over here, and it just becomes like a black frame, basically. And then I just cut it up. So it goes on off on off on off. This top row is the title card that I added here, and then you can see over time, under the text size, which is under properties, that I actually increase the size of the text itself. You could have done it with the scale of the layer, but I went from 100 to at the end, I'm at 1:51. So it kind of just jumped up just slightly. I think I could fix this to make it a little bit slower and grow over time a little bit more as well, rather than that jump at the very end. But that's how you create this sort of glitch effect, which can be used to create a custom transition. Thank you so much for watching, and we'll see you in the next lesson. 102. Adding Film Impact Transitions to Text: Here's just a quick little tutorial on how you can add these new film impact transitions and adjust them to text layers that you see there. So I've added my Travel ten, little hash tag at the end of my video. I added the glitch there. At the beginning, though, I have this title that originally I animated it on, but I want to just use a film impact effect, which you can do by finding one that you like. I chose under the transformers, I chose the stretch wipe effect and I applied it to my clip by selecting the clip and choosing apply you'll see that now it sort of applied to the whole clip, so I'm going to actually drag it to the left. So it only applies to the beginning. And I want to change the direction of this because it comes in from the top, and you can do that in our effects controls under our stretch wipe impacts effect, and I can change the angle. So to come in from the right, let me just come in here so I can see where it's coming on. You can adjust it, and I know that negative 90, which is one quarter of 360, which is our circle. That's going to have it come in basically from that left. Then I'm going to copy that effect, click the right side of this, clip and paste it, and it's going to go out the right. In the right out the right to end. Something that can help sell this effect is to add a sound effect. So under sound effect or audio sound effects, we have this wh, this wish, as well. And we can add this to one of our tracks. Let's add it to Track number two down here. And that looks pretty good. We just have to make sure it's time properly. It's a little early, so I can select it and nudge it with my arrows or pressing the command key left and right to nudge a clip to the left or right. Then I can just copy and paste this. Nudget one and that looks pretty good. Combining sound effects and transitions can really help add to the overall vibe of your video, and that's pretty much it. Super easy effect. I wanted to mention that you can use these film impact transitions on more than just videos. You can add it to any layer to find this dashboard again, you go up to Window Extensions and you'll see it under film Impact dashboard with the latest versions of Premiere Pro. All right. See you in the next lesson. 103. Adding a Zoom Blur Transition: This lesson, we're doing everything we did right here, which is more than you might think. We're zooming in. We're adding a blur. We're adding another blur transition from the film Impact dashboard to create this really interesting transition between these clips. This is what you see on sequence 12. So back here in our original project, we don't have a lot going on right here. It's just that title coming on and then off what we did was we added a bunch of cool effects here. We left that title on a little bit longer, so maybe we'll have this title come on a little bit longer. And remember, if we do that, we're going to have to move our sound effect as well. One thing we can do to automatically move all of these clips at once is, of course, you can select multiple by clicking and dragging over some and then shift clicking to move them. But we can actually right click this and group it now. So if I just click on one of these assets on our timeline, I can now move it as one group, which is kind of cool. So let's actually turn off this track so I can just work on what I was doing with this Zoom Blur Transition. So under the film Impact dashboard, again, that's under Window Extensions Film Impact. I'm going to search for Zoom Blur. And under Lights and blurs, I'm going to select these two clips here and apply this Zoom Blur Transition. So now we have this Zoom Blur going across these two clips like that. Now I'm going to make it a little shorter, so it's going like this, which I think looks pretty cool. Now, something I did to sort of add to the fact that this is starting to zoom in here right here before the Zoom Blur effect comes in, I kind of want to just add a scale motion animation to this Japan one clip. So what I can do is here set a scale property at the very beginning of the clip, and then we'll go to right about here when it's starting to really zoom in and set another one for, like, maybe 110 or something like that. And it kind of just adds a little bit of motion that matches that Zoom blur, so it almost looks like you're a continuous zoom in. I might actually make this like 120, but then move it to the end of the clip, so it's a more sort of smooth zoom throughout the whole clip. The other thing that I did, which helped so that my title is more visible is I blurred out this clip, but I only blurred part of it after the title appears. So let's turn on on our track three. So what it was was it was more like this with the title coming in partway through this clip, and after it came on, then the background started to get blurred. Now, how can we do that? There are some blurs here in the film Impact dashboard. So under Lights and blurs, let's find the we have the focus blur effect. And if I select just the Japan one and apply that, it's going to actually apply this sort of blur effect to our clip. Now, there are a bunch of different blurs here in our film Impact dashboard under Effects, Lights and blurs. We have a Boca blur. We have some edge glows. We have this weird focus blur effect, which is kind of cool. And if I go to my Effects Controls, I can kind of change the position. So this is like creating sort of like a circle of blur, which is a cool effect to just let me turn off this title so you can see what's happening. It kind of just makes a part of your frame in focus, which is kind of cool. But if we want just the whole thing to be blurred, it might be easier just to apply one of our traditional blurs if we go to our Effects panel and we just add something like a Gaugan blur. I'm going to just increase the blur and let me see what it looks like with our text on. That looks pretty good. But I don't want that blur on the whole clip. So you probably know how I can have this blur transition on. There's basically two ways to do it. I could animate this property of the blurriness with keyframes or a kind of simple way to do this is just split this clip into two. The first clip, delete the blur. Now we have a clip without it and then a clip with it. I'm just going to do a little bit of a cross dissolve, that's our standard transition. That's Command D when we have that clip selected or that transition point selected. Now it blurs out there. And it kind of helps sell that effect, and we can see our text, our title a little bit better, and maybe we even want to move this down just a little bit. Again, using my command button to bring up those alignment lines so I can kind of see where the center of my frame is. And I think that looks really good. In our original sequence, I added it to this Japan six clip right before the photo sequence, and I think that adds a lot behind this glitch that's happening. All right, thank you so much. I hope you enjoyed this lesson, and we'll see you in the next one. 104. Adding Glows and Glints with the Film Impact VFX: Welcome to this new lesson. We are continuing to work our way towards our final edit. You can open sequence 13 to see basically what we're going to do in this lesson. Can you tell the difference between these two shots? It's a slightly different frame, but check out this lighting effect that we applied to this clip. I also applied some similar glow glint effects to these clips here as well, and those can be found in our film Impact dashboard. I wanted to continue adding some stylistic effects, and these new effects are really cool. So all you have to do is take a clip and apply any of these, play around with them. So this is the glint effect, and it just adds that little sparkle to the highlight points in our clip. Those are the brightest points. You can adjust the intensity of this. You can adjust the amount of highlights that it applies to. Could randomize it. Remember, we can do that, which I think is a good idea to just play around with these randomized buttons because now that all these effects are available to all Premiere Pro users, many of these effects are going to start to be overused. And so I think it's cool to just come up with your own unique style. Once you have one that you like, you can just copy that effect from the Effect Controls panel to another shot. Now, you might not want to add this to all of them. I thought it would work best in this clip here because you do have these lights shining through as we're walking through these gates. Another one that this might work on is this clip right here, which is kind of cool. Now for this shot, I might just surprise me for this whole glint effect, maybe drop the intensity just a little bit or something like that. Surprise me, and I think that looks pretty good for this shot. For some of these other shots where at night, there's so many lights and highlights, I applied this wonder glow effect, which kind of makes our lights glow a bit. Again, going down here, surprise me just to see what this looks like. Sometimes it looks a little bit too much, but once you find a style that you like, we can go in and we copy and paste this to all the clips that I want to. I opened up this track by double clicking it so I can easily see a preview of the clips that are at night because I really only want to apply this to my night shots where the lights are kind of glowing and that effect will add to it. There are so many other effects here in the film Impact dashboard that you might want to play around with. So get creative with it, and we will see you in the next lesson. But that's pretty much all I did for sequence 13. 105. Creating Custom Zoom Transitions: Welcome to this lesson. We're working with Sequence 14. What I did here was I customized this transition. So see here where it cuts from the photo to the video. I actually customize that transition with this clip, so it almost appears like it's in this frame, and then it sort of grows to this full screen cinemascope cut. Another thing we'll be doing in this is this little subtle motion of the background footage with some light leaks. I'm going back to my sequence that I'm working on, Let's just quickly add that final little rotation which I thought was cool. First, under film Impact dashboard, I added a light leak effect to this clip. I'm going to apply light leaks. I had that fade on and similar to how we've seen it before, I literally just cut this clip. I deleted the light leaks effect from the first clip, and then I transitioned on with a cross dissolve. That's Command D to apply that. Now we just have that effect a here. Another way to do that just while I'm doing this, I want to show you is we could do that with an adjustment layer. So let me undo, undo that cut because you might want to do it this way, depending on your process. I'm going to move all of these clips up one track. And remember, you can use the option up or down arrow keys to move clips on your timeline up or down to a separate track. And now I'm going to go to my graphics and apply an adjustment layer over this clip. Now have that light leaks effect on my original clip. I can just cut that or delete it and apply it, the same thing to this adjustment layer, not focus blur, but light leaks. And now you'll notice if I do an animation to the start of this adjustment layer, your instinct might be, let's just cross dissolve on that adjustment layer. But the cross dissolves don't work with adjustment layers. It basically fades what's underneath from black on. And now we delete it from the first clip and we add a cross dissolve between the two clips, we can sort of just animate that on with this cross dissolve. Might decrease the power of this or just maybe do a surprise me to adjust what that one looks like. I didn't really like that original one. And then the other thing I did here was a custom sort of rotate Zoom in. So let me show you that here. Whoa. Just to kind of add this weird sort of we talked about inception before of the sequence within a sequence. I want to do a similar just sort of tilt Zoom in kind of thing. So I'm going to animate the scale and the rotation, maybe even the position. So I set keyframes for all of those right around this point. I'm just going to move a little bit forward in my timeline so I can just play around now with my scale, rotate this way, maybe move up just a little bit. Sometimes you need a little bit more room to see this. And then I'm going to select all of these, and I'm going to right click and choose es ese ease in. And that's a pretty quick that's a pretty quick motion. So I'm going to actually extend this quite a bit. So it starts fading in right at the beginning of this clip. Now, something you'll notice though, is because I'm animating the position in the middle of this cross dissolve, we have to fix. How are we going to fix that? Honestly, the easiest way to do that is just to delete this first part of the clip, extend it again, and then cut and delete from the first part, again, the light leaks and add a cross dissolve. And that's going to have the keyframes already on this first part of the clip, as well as the second part of the clip. And then we're going to select these. We're going to select the first ones. We're going to do an ease out. So it's going to ease out of that motion, and then we're going to do an ease in, we're going to just move this second effect or the second position over to the right. And we want to start this just a little bit earlier. You got to be careful, though. You don't want to move the animation before this cross dissolve ends because what happens if I do? Look at this. If I'm playing through this, now it starts to ghost this footage because the animation isn't applied to the clip that's underneath it that starts it. So I want to make sure that these keyframes don't start going and it doesn't start animating until after that cross dissolve is basically done. So you can play around with the scale and the rotation, but it's kind of a cool way to exit this shot. Alright, let's go on to this transition here where we cut from our photo zooming up to our video zooming up. How did I do that? This was pretty creative. Basically, what I did was I added my video clip, and I scaled it down and cropped it, and then animated that scale and crop to kind of match this motion. And then once it cuts back to the wide screen, it kind of matches that, which is kind of cool. So let's go to our travel Intro one. You'll notice that I actually put all of these sequences into a sequence here, and that's because I added this Zoom blur impacts to this clip. And that way, on this new effect, it also zooms in the photo and the background texture and not just like here in our final sequence or sequence 14, it zooms into the white mat. See how the photo just kind of pops on right there. I actually want the photo to zoom in, as well. Zoom in photo. I put all of the white mat, the paper texture, and the photo sequence into a nest. So it's the nest within the nest. And now I have that here, but we need to then edit the start of this clip to match this background. So how do we do that? Well, we could go in here. There's a couple ways. We could just go in and let's put this on top of our cinemoscope PNG. I'm actually just going to extend that over there. And then with this master photo sequence, I'm actually going to extend the white mat and the paper texture because now when I go back to my master sequence, I can extend this over so the background continues to play. And then I just have to sort of match the position and size and scale of this clip to the photo. So how do I do that? I'm going to actually move it over in my timeline for just a second. And then I'm going to scale it back up. I just want to basically match the top for now. And then I'm going to crop the bottom so it matches. Then I'm going to crop the left. And you can do this with the crop feature, which might actually be easier over here. So you can just go on my timeline, like here or in my program monitor. And so now this is sort of a good starting point for our framing, our positioning, and our scaling. So I'm going to move my clip back over to the right. So it's going to cut from here to here. Like that. Now I'm going to key frame the position, the scale, and all of these crops that I've changed or adjusted. And then I'm going to move forward, and I'm going to undo the crops, so set these to zero. I'm going to leave the bottom crop, and then I'm just going to scale up something like 85. And I could change that and play around with it, and I'm going to scooch these keyframes to the end of the clip. So now it goes, Zoom bam. That's pretty good. The scale might be a little fast. If I play this back, it starts to scale up a little fast. So I'm going to delete that scale here, which was 85. And let's just go up to, like, 83 and again, scooch that over to the end. That's pretty cool. And I have the widescreen look for this version that I think looks pretty good. Boom. You almost want it to so here's the cut point. I almost want it to scale up even more. Which I could do. So say I want it to scale up even more. So here we are at 83. What we can do is do like 95, but then we have to make this clip longer so that it doesn't look so fast. So let's scooch this at the start of that cinemascope, edit my master photo sequence, and then again, move these keyframes over to the right. So now it basically gets to almost the full screen, and then it cuts right there. And do you understand why I did that? I extended the clip and I pushed the keyframes apart more so that it slowed down that scale up to somewhat continue to match the motion or the scale up of these photos, which I think actually, now that I'm looking at it, it's a little bit faster still. So I could slow down this animation or I could do the opposite, which is speed up the photo Zoom, which is here in the photo sequence settings in this nest. So the start scale was at 100. Maybe I'll start this at 80. And so now it's going 80-112 instead of 100 to 112. And so that's really going to speed up the scale of the photos, which will match the speed of this scale a little bit more. I feel like it's still not right, so maybe I'll go in here and just this first key frame to maybe like 90. I think it was going a little too fast this time. So you can play around with it and keep adjusting to match that speed. But these are two ways to just do some more advanced custom transitions, and that's what's going to set you apart as an editor where you're really playing around with getting from one clip to the next, and sometimes it takes some sort of custom transition like that rather than just slapping on one of these other preset transitions. All right, thank you so much, and we'll see you in the next. 106. Dust & Scratches, Overlays and Blend Modes: The last effect that I added to my sequence here was this little dust and scratches effect that was applied over our photo sequence here. You can find these graphics that you're welcome to use in your own videos in the Graphics overlays folder. I have two here. And so my sequence is going to look a little different because as we saw in the last lesson, I have this master photo sequence. I would add the dust and scratches into this sequence if I want it over this video, and I can just take any either of these clips and put it over it. Now, you'll notice, well, that added this black thing. I don't know what's really going on, so I'm going to go to my properties and fit it. So it's the same size, but wait a second. That's not working. And this is when we get into blend modes. So under Effect Controls, under opacity, we have what's called the blend mode, and this is how our layers blend with the other ones in terms of opacity. The normal mode is just that it goes on top of it, and you have this opacity overlay where you can adjust the transparency. But we have all of these other blend modes, and if you've ever edited in Photoshop, you might know what some of these are it basically changes how the interaction of the clips looks for the different exposures and the different colors of your layers. For example, for example, if I chose the screen option, screen basically gets rid of all the black in a clip. It makes it completely transparent and it will show what's underneath. Now, if I get to the end of this clip, we'll see the black and it'll show what's underneath. That's a good one for this setting right here. If we had something with white that we wanted to get rid of, we would change the blend mode to multiply, which is up here. Overlay is another one that a lot of people use. It creates a sort of different contrast interaction between the exposures with what's underneath. Soft light is another one that could potentially work here, but it's also adjusting the exposures and colors of what's underneath. So if you're just trying to get rid of the black or the white in a overlay, change it to screen or multiply. Now, let me just move this over to the side, and I'll put the Super eight and show you that because now I can fit this. And here's what I'm saying if I use the multiply option, now it gets rid of that white. And it still has this sort of film super eight millimeter projector look to it, which this would look good if I'm going to cut this, and then I go back to my travel intro. I'm going to paste it over here. I'm going to delete just the audio, which I can do by just option clicking the audio and deleting it. And let's just put it over the top. I'm going to let's just put it over the top of the first part of this clip. And that kind of looks like it's this old projector look, which is kind of a cool effect. Similar to the cinemascope aspect ratios, but that one is actually video and it has, like, some dust and scratches as well. So back in our master Photo sequence, let's move our dust and scratches back over. Oops, leave the audio so I can move this back over. Now if we go back to our travel intro sequence, we have those dust and scratches over our photos, which just adds to this old look of the paper texture. Now, if you're paying careful attention, you'll notice that there's a mistake in this, though, that I didn't realize because now my Japan video clip does not have the dust and scratches over it because the dust and scratches are in this nest. So actually, for this example, it would be better to cut this and to paste it here in this sequence. So I'm going to paste it over here so I'm not pasting it over anything. Just take this portion of it and extend it over here. Now, if you're eagle eye again, you'll notice, though, that as it zooms into this sequence, the dust and scratches just come on automatically. You might like that or you can add a little cross dissolve and dissolve that on. So it kind of dissolves as the Zoomblur is happening as well. And now the dust and scratches happens over our video clip here that we added as part of this sort of sequence. So that is Blend Modes, overlays, how to use these with our different footage. And that is pretty much what we've done for our entire final sequence. So now you have all of the skills to create exactly what I created here with all of the elements, which when you watch this from, you know, an average user's perspective, it might not look that complicated. And you can see I actually added the dust and scratches here to the top of this part of the clip as well at the end. But as an editor, you see every single element, every little thing that we've done to improve this video, to give it some style, and that's what it takes to stand out. Glints. We got the glows. We got the overlays. We got the animations. We got those custom transitions. We've got those transitions. We got the light leaks, some motion. We got the titles coming on. You know a lot of stuff now in Premiere Pro, and I'm proud of you for getting this far. If you have projects that you've used some of these techniques on, I would love to check them out. So make sure you share them with me in the course or find me over on YouTube. All right, thank you so much. I hope you enjoyed this section and putting the final touches on our video together, and we'll see you in some more lessons coming up next. 107. Make Sure to Download the Resources for the Next Lessons: Welcome to this new section on super important Premiere Pro skills that will help you as you work as an editor. For this section and the following sections, we're using some footage and projects from the previous version of this course, which is still very applicable today. For this section and for some of the next sections and lessons, we'll be using a new project that was from the previous version of the course. You'll find those project files here in this lesson, and it's a zip file called Sourdough Bread Project. And this is a little video that I put together for the last course about baking bread. Once you unzip that folder, you'll see some audio, graphics, photos and videos for this project. So you might recognize that we are using in this class and the project file here. And if you open this up, you'll find it, and you should have all the clips and everything accessible to you here in Premiere Pro. And in this section and the following ones we'll be using these video clips and this project to explain these important skills that you need as an editor. I wanted to explain this because we've been working on the original project for the course, which is the Japan Vlog one, but now we're using this other project of me talking and making beautiful sour dough loaves of bread. So I hope you enjoy this section and we'll see you in the next lessons. So as a reminder, you can download the zip file with all of the assets and this project file in the resources of this lesson. Enjoy. 108. Introduction to this Skills Section: Welcome to this new section of the premier Pro editing course. In this section, we're going to cover some of the most important skills, techniques, tools, and tips that I haven't covered in the previous sections. These are all skills that will help advance your editing, make you a better editor, and make you more confident using Premiere Pro to do the things you want to do. Some of these techniques I might have covered in an essence earlier in the course. But I felt like it was a good idea to create specific lessons on each technique. So within this course, you can quickly jump from lesson to lesson based off of what you want to learn. So while some lessons might not be applicable to you, I encourage you to go through them or jump around depending on how you want to learn and go through this section of the course. All right, thank you so much for watching and we'll see you in the next lessons. 109. Marking and Labeling Shots - Pro Level Organization: In this tutorial, I'm going to show you how to mark your shots and change the label so that you can better organize your footage and your timelines. So when you mark a shot, if you are viewing your footage or your videos are really any type of media. It could be audio or photos or anything. If you're viewing it in the source monitor, you can play through a shot. And let's bring up another one that might be a little bit better example. So say open this up and right here and I say, okay, I want to mark the beginning of the shot. So right here on the timeline, if I press M on the keyboard, notice this little marker appears. This marker is for you to remember that this is where the shock begins. Maybe you are listening to an interview. So say we have this talking head shot of me, which is right here. And maybe you listen to it beforehand, a plane through it and you go through and you mark all the spots that have good sound bites, that could be a good way to preview your video, especially if you're working with a team. Sometimes if I work with an assistant editor, I'll have them mark the shots so that I can see where a good Take is or where it good sound bite is. And then when I go in and start editing, I can see exactly where that is. When I bring this clip down to the timeline, these markers will still be on the clip for me to see where I've marked that shot. You can also mark shots down here on your timeline. So if you have a shot selected, you can mark it. You could also mark points in time on your timeline. So say I have my baking promotional video up and I just want to set a marker on my timeline. And this could be for any reason. It could be a marker for me to remember that I need to go back and add a graphic. It could be a marker for me to make sure that I asked the director a question about this shot. The markers are really for you to decide why you are marking your shot or your timeline. But pressing M on your keyframe is how you do that. You can also, if you have multiple markers on your timeline and make sure that if you want to set a marker on the timeline itself, you don't have any shot selected. So say I have this selected and press M, It's going to add the marker here on this clip. But if I don't have any clip selected and I press M, It's going to add the marker on the timeline itself. And then you can see if I right-click and say go to next marker, it's going to go to the next marker. And since I have some marks on this clip, which I added here in the source monitor. It goes to this one. If I right-click again and choose Right-click the mark of that is and say, Go to the next marker, it's going to jump to the next one on the timeline. So another way to organize your footage is with labeling. So this is something that I didn't cover earlier on, but sometimes I like to change the color of my clips here on the timeline, you can see that all of my video clips appear as sort of a light blue color. My graphic sharp as this, a pink color. My nested sequence shows up as this green. But you can actually change this by selecting your clip or multiple clips, right-clicking and choosing label. And then here you have a number of colors. So maybe you want to change all of your B-roll to a certain color. Maybe you want to change all of your talking head footage to a certain color. And again, this just depends on what you want to use the labels for. Maybe you label certain shots as good shots or bad shots, depending on the color. Maybe you like I said, here, you label all of your B-roll as a certain color. Or maybe you have multiple interviewees are people talking on camera and one person has yellow labeled clips and the other has blue labeled clips. And so you can easily tell just from the color of the clip on your timeline, who is speaking. These tools are there for you to be more organized. And it's up to you to decide how you want to use them. But hopefully now, knowing how to label and market Eclipse, you'll be more confident editing and organizing your footage. Let me know if you have questions and also let me know if you have ideas for why you would label or mark your footage. Chairs. 110. Quickly Swap Media with the Option Drag Trick: In this tutorial, I'm going to show you how to quickly swap shots on your timeline with a shot from your project panel. So say you've created and edited a sequence, something like this where we have a few shots. And you realize you want to change this B-roll shot out for something else. I have two versions of this shot, that close-up version and then also this version where I'm a little bit zoomed out. To quickly swap it with this one. You can actually click and then with the option button, press down, you can drag it over this shot or really any shot that USE want to swap it with. And when I do that, it replaces the existing shot on my timeline with the shot that I dragged down. Same here. So say I take this shot, I want to replace it with, let's call it this one. I can take this shot, click and drag, and with the option key held down, I can now replace or swap this shot right here. So that's just a quick way to replace shots. You can do it with music. I often do that when I'm editing music. And the benefit of doing that too, is after you've set all of your keyframes for adjusting the audio levels up and down on a timeline, for example, you can swap out the audio and the keyframes remain there, but I don't have to manually edit it afterwards, so it makes it a lot faster. So that's how you quickly swap out clips onto your timeline in Premiere Pro. 111. Working with Different Video Resolutions and Speeding Up This Workflow: Here's a bonus tutorial that I think is very important for you to understand early on in editing. When you're out shooting or if you're editing a project that someone else has shot. Oftentimes nowadays people are shooting at different frame rates or different video frame sizes. So a brief background. If you don't understand this, there's different frame sizes. So the quality of your footage is going to increase with the bigger the aspect ratios size or the frame size. A common size is 1920 by 1080, which you can see here under your video info column in your project panel. And you can see that a lot of the footage that we're using right now is 1920 pixels wide by 1080 pixels tall. And that's standard HD. For k footage, six foot is 8 K footage. This higher quality footage or higher resolution footage is becoming more prevalent, more popular as more cameras can shoot at that higher resolution. So how are we supposed to work with multiple size footage on the same project? For example, say, I am editing, editing this project where I have this talking head video. And this is shot at 1080 or 1920 by 1080. So if you hear someone saying it's shot at 1080 or 10 ADP, that is short for the 1920 by 1080 format. Typically you don't say 20, 16 dp, you might say for k, but that would refer to 3840 by 2160 p. If I bring this clip onto my timeline, it looks like it's zoomed in. And that's because the actual size of this clip is larger than the size of my sequence settings. The sequence settings matches this clip, which is 1920 by 1080. When I put a larger clip on here, I actually have to scale it down to fit this sequence. So how, how do we do that? You can do that manually here in the motion tab. And if you shoot at this standard for K resolution, if you just type in 50 percent for the scale, then it will match up perfectly with your 1920 because it's cutting the resolution in half basically, or the size of it in half. You're not. Losing resolution is just scaling it down. If I'm going to undo that, I can show you another couple of quick ways to do this. If you right-click your clip, scroll down to scale to frame size or set to frame size. I prefer Set to Frame Size and I'll tell you why. But first let me just say scale to frame size. It automatically jumps to the frame size. Notice over here though in the effect controls panel that the scale percentage is set to 100. So if I actually zoom in, it is kind of a funky way of representing how big this footage actually is, because the scale is not actually 100, it should be 50, right? Because we learned if we manually scale this down, it really at 50 percent and knowing that it's at 50 percent helps because then we know we can actually zoom in, move around the footage if we want to anything above 50 without losing any quality. That's the benefit of shooting at a higher resolution. When you have a sequence at a smaller resolution, you can zoom in, move it around to re-frame your shot. Sometimes I do that when I'm recording interviews with myself or by myself. I'll shoot him for k so that I can punch in or I could zoom in to cover any sort of jump cuts from one sound to take soundbite to the next. All right, so we saw the set to frame size. Let me undo that. So we're here back with this footage right here on our timeline. It's scaled in. The other option was set to frame size. So if I choose this, this is automatically going to actually reduce the real scale with this property right here. So we know that this is now at 50 percent scale. So we can then move forward with zooming in, moving it around if we want. And it's just a better way, I think to scale down. The cool thing about this is you can select multiple clips and right-click and choose to scale down. And it will apply it to all of your clips at once, which makes it a lot faster to do this. Now, an advanced tip is if we go up to our preferences, so go up to Premier Pro Preferences. And then media. If you go under default media scaling and switch from none to either scale or set to frame size. Again, I prefer Set to Frame Size and click Okay. Now, if we bring in this for k footage into your timeline, it's automatically going to match the frame size and be scaled properly. Typically, I think this is beneficial because whenever I bring in a shot that's at a higher resolution, I'm always having to reset the frame size generally and then making adjustments after that. So automatically scaling it or setting it to the sequence settings size makes it a little bit faster for me. So that's a little bit of a pro tip. So that is how I would deal with using multiple frame resolutions or clip resolutions on one sequence in Premier Pro. Again, the benefit of shooting at a higher resolution is that you can zoom in. You can pan around using the motion properties of position and scale to adjust the actual composition of your shot. All right, if you have any questions, please let me know. But otherwise, I hope you enjoyed this lesson and we'll see you in the next one. 112. How to Export a Still Image from Your Video: Here's how you export a still frame from your videos. In Premier Pro. This could be if you are exporting for using it as a YouTube thumbnail or your video thumbnail. Or if you just need it as an image, whatever you need it for. Here's how to do it. Find the spot that you want to export on your timeline. So I'm going to try to find a spot where I'm kind of smiling a little bit more and I don't like to Awkward. Awkward, but that works. All you have to do is click this little camera button, the export frame button, or press Shift E on your keyboard. If you don't see this camera icon, click the Plus button here and make sure you drag this camera button down onto your program monitor buttons down here. So click that. It's going to ask you to name it. Fill awkward face, choose the format, JPEG, PNG got different options here. Choose where you can go, browse to change where you want it, and then choose, Okay? And if this is checked on important to project, It's actually going to bring that image into the project where you can use it as an image for our graphic or whatever you want. I'm going to uncheck that click. Okay? And now if I go to my desktop, here we do. We got it fills awkward, face. Cool. That's how you export a still image from your video in Premiere Pro. 113. Nesting - How and Why We Use Nests: Here's how you nest clips in Premier Pro. So if you watch this whole course, you probably saw the lesson where we did this earlier on in stylizing our video. But if you're jumping right here to nest multiple clips, you select them on your timeline, right-click and choose nest, then give it a name. I'm just going to call this nest. And what this does, it actually puts all of the clips into a separate sequence. That is a sequence within this sequence now, so it's kinda like inception of sequences. So if I double-click this clip now, it actually opens up the nest or the clip, which is a sequence of all the original clips. Now why would we do this? Well, if we want to actually edit the nest with one sort of animation, one sort of effect. We get just for kicks and giggles. I'll show you we can take the opacity down of this clip now are the nest and the opacity of everything in that nest changes. If we want to apply color correction or any other effects to all of those clips at once. We can now apply it to this entire nest. Or as we saw in the style section where I was adding the cross dissolves and a slow sort of zoom in or out of multiple clips. You can do that with the nest as well. Another reason for using this is more of just an organizational feature. So say you're editing a long documentary and you either added it in one timeline or you edit them. Each has different sequences. You can actually bring those sequences into a new sequence. So this is kind of the reverse of what we did. So what we showed you was turning clips into a nest, but we can actually bring one of our sequences. So say we take our, let's see where is our, that's our videos. We can take our baking promo video sequence here. And it becomes an, basically a nest on this sequence. So if you're editing a long video with multiple scenes, maybe you nest each scene onto a long timeline so you can easily see where the scenes are. Or maybe you have a series of videos with some sort of introduction or teaser or graphic bumper at the beginning and end. That might be its own sequence. And you just bring that sequence into whatever episode or thing you're editing. Rather than taking all of those clips and putting them into this timeline, it just keeps you a little bit more organized. So that's how you create an S. That's why you would use ness. And hopefully this tutorial helps you improve your Premiere Pro skills. 114. Speed Up Your Editing Workflow with My Library: In this video, I'll show you how to speed up your workflow in Premiere Pro by using the Adobe Libraries feature. So if you don't have this panel open, just go up to Window. And then libraries. This is a library of assets that is used across all of your Adobe projects, whether you're using Photoshop or After Effects, you can set up a library of colors, of fonts, of graphics and video clips, images, whatever you want here, so that you can quickly access and use them. So the main way that I use this is with my bumpers. So I've added my videos, school bumpers, which is my brand, to my library. So if I'm editing on my current computer, if I'm editing on my laptop, if I'm just editing from one project to the next, and I don't want to have to and find that file on my computer. It's here in my cloud-based libraries. So this is all uploaded to the Cloud. You can add any file to your library from any application just by taking any asset from your, from your computer, dragging it into your library. And it's going to say Upload and save. And so now we have this asset in here. So for example, if I take my video school end bumper, you need to bring it into your project panel first. Let's going to import it. And now I can take that file and add it to my sequence. Now I have this bumper which I've created, which was actually created in After Effects. So that bumper is here for me to use. So it's just another way to make you a more efficient creator. I keep my main bumpers, my main logos and colors here in my library to be able to quickly access them whenever I need them. So use your library, it makes you faster and makes you a better editor. Thanks so much and we'll see you in another lesson. 115. Slow Computer? 5 Ways to Speed Up Premiere Pro: Here's how to speed up your playback. If your computer is starting to get a little bit choppy when you're editing a video. If you're using for K or a higher resolution shot, if you're adding a bunch of titles and graphics color correction effects, playback can get quite choppy. So here's how you should speed that up. First thing is just reduce the playback resolution. So if I click this drop-down button and go down to one quarter or 1.5, I can actually reduce the playback. So it is going to look a little bit blurry. It's reducing that resolution and the quality of the playback, but at least it plays back a little smoother. Now I don't see the 1 eighth, 1 16th options, which you will see if you are editing a higher resolution sequence like a four case sequence. But since this is a 1080 sequence, then we can only reduce that down to 1 fourth. Another quick option is to turn off the effects. So this is not actually removing the effects from your videos, but it's just temporarily turning them off, like any color correction or things like that. If you don't see this little effects button, just click the button editor and drag the effects mute button. It's a global effects mute down onto your panel. And you can quickly toggle that on and off. And again, just by doing that, it should speed up your playback. Now a couple more back end features that you should check out if you still are having choppy playback. One is go up to your Premiere Pro preferences setting and go to memory. This is actually selecting the RAM memory on your computer and choosing how much can you use for Premiere Pro versus how much is reserved for other applications that are working in the background. So you can see now I have a quite fast iMac, I would say, with a 128 gigs of RAM installed in 24 of those Rams are reserved for others, whereas 104 is four my Adobe applications. So if I take this down and you still have to have some RAM dedicated to other apps. More RAM is going to be available for your premiere Pro and it will help increase your performance. Now you can also drop down this menu and make sure it's on performance. If for some reason it wasn't, that will help with playback. I'm not having any issues myself with this. I'm going to set that back to 2004. Another thing to check out is your media cache. So as you are importing assets, as you are adding graphics, rendering them, it's actually saving little files on your computer to help preview or playback them while you're editing. If you have edited a bunch of projects, your computer might still have those files on there. Taking up space, taking up energy, and so deleting them by removing media cache files can help speed up your playback as well. You can also manage how this is done. Maybe you want to automatically delete old cache files because any project that you do over three months ago is probably something that you don't need anymore. Okay. So that's one way. Now, the last thing is if you go to your file menu to Project Settings and then general, you have a renderer option. Make sure it's on the recommended GPU acceleration option. If you have that and not the software only option is going to be different depending on your computer, depending on your memory, your graphics card, and things like that. But if you do have the option for GPU acceleration, definitely check that one on. Alright, so those are five quick ways that you can improve your playback. Now, another way, if you are especially using higher resolution footage is to use proxy files. I have a completely separate tutorial on how to use proxy files in Premier Pro. So go ahead and check that one out. That one is great. Like I said, if you are editing for k footage, but you have a slower computer, it doesn't mean that you can't edit those types of projects, but it does take a little bit more time to set those projects up properly. All right, thank you so much for watching this tutorial and I hope these tips help you speed up your computer for editing in Premiere Pro. 116. Proxy Editing Workflow - How to Edit High Resolution Video on a Slow Computer: Welcome to this new Premiere Pro tutorial, where you'll learn how to use PROC. Welcome to this new Premiere Pro tutorial where you will learn how to use proxies in a proper proxy. Premiere Pro workflow. Say that 10 times fast. So what are proxies and why would you use them? If you're editing high resolution footage, 4K60 AK footage, and your computer isn't up to the task. If you're getting choppy playback, you might want to use proxies where you're actually creating temporary smaller resolutions, smaller file size videos to work with while you add it. So that you can add all your effects and do everything in playback your videos without any choppiness. But then at the end of the day, you will what we call attach the higher resolution original files to your clips so that when you're exporting your videos, it's high resolution just as you want. So there's a couple ways to do this, and I'll go through the first. Oftentimes I think people already have their footage imported onto into Premier Pro. And then they realize, okay, Wow, this is a four K file. Let's go Create proxies for this. To do that, all you need to do is right-click in Premier Pro, go down to proxy and choose Create proxies. It's going to ask you what format you want. H.264 at a low resolution is great for Windows and Mac quick time, since reform is also another good option. Then you choose where you want to save it. So you can put it in the original file where folder, where your master clip is, or you can set a specific folder. So I'm going to do that here just so it's easier for me to see I've created a proxy folder on my desktop. And then click, Okay, you can do this with multiple clips. So you can select multiple clips and do it all at once. And we didn't see it happen, but because it was so fast, but it actually opened the clip in Media Encoder, processed it. And now this file is in this proxy folder. And if you were paying attention before, this file wasn't here before. So this file is 1024 by 540 and should be a lot easier for Premiere Pro to work with. So say I start a sequence with this file. We're going to call this proxy workflow. You probably still don't have the proxy attached to this because you haven't enabled it. So you need to open up this Toggle Proxies button. If you don't have that on here, click this one and drag it onto your program monitor down there. With this on, it is now telling Premiere Pro to read the proxy files. And you can double-check this by. If I uncheck this, you can actually see what file is on your timeline, what file it's reading by right-clicking, scrolling down to reveal in Finder or reveal in documents if that's if you're using a PC. And so you can see that it opens up the original file location which is under videos. But if I toggle this on, and now I right-click and choose Reveal in Finder. It opens up the proxy folder. So that's how you can double-check if this is working or not. So if we go up to sequence settings, we still see that our sequence is 3840. By 2160. It's still a four case sequence of the original file. And even if we go to Effect Controls, if we click on this clip, it still represents this clip as the original size. It's not like it's adding that proxy file to this for k sequence as a smaller file, which I can kinda show you if you create a proxies and then you import the proxies separately. And if I bring it down to the timeline now you can see that this is what the proxy file actually looks like. And I would have to scale it up quite a bit. But that's not the way to do it. What we are doing is it's just setting to read this file from that proxy file. So that's one way to do it. So if you already have your videos in Premiere Pro, you can do it through this menu. Now to turn this off, you just turn that off and you can export. Another way to do this is through your media browser when you actually import your footage. So we haven't seen the media browser before in the course, but if you go up to Window Media Browser, it's going to open up this tab, and I've put it up here so that I can see both the media browser and my project panel. And this is basically just like a file viewer where you can go through your folders, your external hard drives, and find footage that you want to import. But what you can also do is set up an automatic proxy workflow. So here is the file that I know is the 4k resolution file. If I choose Open ingest settings, I can check this box to say Create proxies. And again, you can choose a preset, H.264, uniform, et cetera. You can choose where you want to save it and then click, Okay. And now since I clicked okay, it automatically checks this box and you wanna make sure that's checked on if you want the proxy to be created. And so again, if I take this footage, let me just take both of these clips just so you can see if I take this footage, I'm going to add it to this folder. And now if I go to Media Encoder, you can see that it's actually processing this right now. And it's creating those additional proxy files that show up here in our proxy folder. And so one of these files was a 1920 by 1080 file. So that's going to be smaller than the frame anyways. But the original clip, which was the fork footage, It's actually the same shot as this one. It's just the original file. We have proxies enabled for these. And again, just to double-check, if we go to this one, if we right-click, say Reveal in Finder, it's connected to that proxy. If we uncheck this right-click revealing finder, It's the movie file. That's actually in my fault, my camera folder, or that's actually my SD card, which I shouldn't be doing that I should be taking that footage from my SD card to my external hard drive first anyways. So that's the separate way. So if you know, if you are going to be working with proxies, when you import your footage, you should do it through the media browser this way. Now, there is one other method that you might consider. And that's if you want to create your proxies in a separate application, or maybe someone who has handed you a batch of files that have already been created as proxies. What you can do there is simply right-click the clip that you want to add a proxy to or attach a proxy to. So this one already has the proxy we've created. But if you want to attach a separate proxy, you can click Attach proxies. It's going to ask you the clips that you want to attach for, click Attach. And then you find the clip in your, in your computer that you want to attach. So let's go find that desktop proxy folder. And then you check on the clip that you want to attach as a proxy click. Okay? And so now this clip is attached to that proxy file. And that can be any file that you've created before. But of course you've got to be careful that method because you got to make sure that it's the same exact clip and it's the same length and everything like that. And then lastly, once you're done with that, if you want to get rid of the proxies and just not have them be a thing anymore. You can choose detach proxies, or reconnect full resolution media, and then you go through the same process. You click Attach, you find the full resolution Media click. Okay, and now that clip is going to be attached to the full resolution file. The other way or reason you might use this option here under proxy for reconnecting full resolution media is there might be a time where you're working on a team, on a project. Maybe you're editing a project for someone on the other side of the world where they actually just send you the proxy files and they don't even send you the full resolution media. And so you're working, you're editing your project with the proxies. But once they get the project file back, you don't have to send them the proxy files. You just send the project file. And they can go in and reconnect the full resolution footage through this menu for all of the clips that you were working on. I know that might be a little bit confusing, so if you have any questions, let me know. But at this point, you know how to create proxies, you know, proper proxy workflow. And I think this can help you edit high resolution files even better. Thanks so much and we'll see you in another video. 117. Autoreframe - Quickly Resize Videos for Different Screens: In this tutorial, I'm going to walk through the auto reframe feature in Premier Pro, which allows you to quickly transform your video to another frame size. So this is great if you're posting a video to social media and you need one that's 16 by 9, but then you need another vertical one that you're going to post to your stories, for example. So to do this, all you have to do is right-click the sequence in your project file, go to Auto reframe sequence, and now you get to choose your settings so you can give it a name. You can choose the aspect ratio. So if you want it to be square or vertical, you can do either one. Motion tracking if you have a lot of motion like people moving around the frame of your shy, you're capturing some, someone playing basketball or running around or dancing. You might want to choose faster motion, since I don't have a lot of motion in these shots, I'm just going to leave it at default and then clip nesting. So this has to do if you have added motion yourself to things like the shots with keyframe. So scale and position. If you've added speed ramps and things like that, you might want to choose the nest clips option. Although I found that this doesn't work all the time to do that well. And so I'm going to show you that as even though I think I should based off of what Premiere Pro suggestion is because I have motion adjustments. They say, Okay Nes clips. So I'm going to say Create and show you what happens. But there's some issues with this that I have. It creates a folder now, a new folder in my project panel that has this sequence. It's the new 19 by 16 vertical sequence. You can see it up here. And then it also has this nested sequence that it's created. And if you watch the lesson on nesting in this class, you see that this all the video is now within this nest. And it basically just takes the different parts of the sequence. And it chops up the nest where those cuts are. But it's not perfect. So you can see that it my hands are overall off frame here. And we can make adjustments. Also like titles don't transfer perfectly. It adds some weird motion. See how it kinda like pans over this shot trying to capture that motion. That's kinda weird. Same here. It kinda pans over this bread. I mean, that wasn't like necessarily that bad of an idea. But the shot was static before and now there's motion to it. And so you can adjust all of these things in your effect. Controls panel under auto reframe, you can reanalyze a clip or a segment if you want by clicking the animal Analyze button and change your motion tracking, you can adjust the position and the framing here with reframe offset so I can move left to right, up, down, you can scale it down or up, et cetera. But I want to show you the other way. So I'm just going to take this folder, delete it, which deletes that sequence as well, and show you the non-nested way to do this. So if I right-click, choose Auto, reframe same settings except for don't nest clips. Then I create. And now what happens is I have all my original files are clips on my timeline, which I like working with a little bit better. For example, this segment before where I have on the original file, It's this grid. The nested sequence just didn't look good when I use the nesting method. So same with this one where it had two, my circle, circular mask and then the background, it just didn't look good. And now with that not being nested, I have more options and an easier way to move things around and adjust it. So you still have to do these kinds of adjustments. So for example, for this shot, I would probably take my talking head clip under auto reframe. I would scale it down and offset maybe down, put it down kind of in the corner of the shot, similar to what it was like in the other version. For this shot, maybe I would just get rid of the talking head itself. So I'm going to just option click that video and choose checkoff enabled just to turn that off. So now I have these two other shots that I can go in. Move around, Let's see, Let's scale them down. Something like that. That's kinda cool. Now for it, the motion graphics, I still have my original options to transform the properties of these. And I, if you remember from the class, I have this animating on and off. And so here maybe I would adjust these keyframes. Let me scale it up here and use my anchor point to move it around. And you might have to adjust these key frames. Because now when I scale it up the beginning of this clip, it's on frame. So I go to that key frame and move it over. So it starts off frame. And then I would have to do the same thing with my Fill text, my Phil Webinar text wherever that is right here. So I go to the keyframes, these buttons here. I'm going to scale it up quite a bit now and still off frame. But now it's not on frame, so I'm going to have to move everything down. So let's go to this final key frame. Put it on screen like this. So that's fine. But now I want to move everything down. And for this I can do it with my vector motion. Just push it down like this. That position property. So for motion graphics, it's a little bit different than the video clips that have the auto reframe features. You're still adjusting the original position and size of things with your regular effect controls properties. Hopefully that makes sense. So yeah, just go through everything, use the auto reframe, offset scale, reframe to adjust things. And now you can just export it and it's going to be this nine by 16 vertical video, perfect for sharing on social media or on your mobile device. All right, thank you so much for watching if you have any other questions about that, let me know. Otherwise, I hope this helps you. Bye. 118. Make Any Panel Full Screen with the ~ Key: Here's just a little playback tip. The button that's above the tab on the left side of your keyboard underneath your escape button. It's also the accent graph or the Tilda key. If you press that while you have any of your tabs selected, it's going to make it sort of a full screen are fit to screen frame. So this is a great way to quickly preview any sort of video if you want to watch it closer to full screen, you can also press the Control Tilde key to make it completely full screen to play it back. So if you're playing it by yourself, you'll want to watch it back. Or if you're showing it to a client, to a friend, press those two buttons, control accent graph or the tilta key. On a PC, I believe that's going to be the command tilta key, and that's going to make it full screen. You can also do that with a timeline if you need more space or really any of these panels. So that's just a quick little pro tip for playback. And working in Premiere Pro, hope you enjoyed. 119. Adobe Dynamic Link - Working with Other Adobe Applications: In this lesson, I want to talk about working with other Adobe applications, such as After Effects or Photoshop. One of the beautiful things about using the Adobe System is you can work across apps and combine elements that you build. For example, if you're editing a photo in Photoshop or if you're making a motion graphic in After Effects, you can actually put it all together and it's all dynamic. And let me show you what that means. So say, you do know After Effects, There's different ways to bring in an After Effects project to Premier Pro. The simplest is if you have a composition that you've created in After Effects. And if you don't know anything about After Effects, don't worry, I have a full course on that if you're interested in it. But basically a composition is like a sequence. It's an individual video. So I've just quickly created this little animation. What you can do is just drag that composition into your Premiere Pro project folder. You gotta make sure your project is saved first and after effects. And now I can take this title card and I can bring it down and put it on my sequence. So say we do this, this looks great, but it's a little bit light, right? So we want to make a change to it. So all we have to do is we can go back in after Effects and make any live changes. So I'm going to actually change the transparency of the background so I can see what this looks like because before it's just a preview of it over black. And so maybe what we wanna do, and again, this is not an After Effects Cores. I'm just quickly showing you how to do something. Just going to put a gray bar behind our text, something like this to show you. And let's just drop the opacity just a little bit to show you what this does. Because now we've done it in After Effects and look, it's already changed in Premier Pro, so it already has that backdrop. And we can do anything. We can add a stroke to our tags to make it appear. We could do all kinds of different things to make this look better. But the point is that using what's called Adobe Dynamic Link, these projects are dynamically linked and when you make a change in one of them, it appears in the other application. So that's one way to bring a project from aftereffects into Premier Pro. Say you want to take a clip from Premier Pro and bring it into after effects. So an example of this would be maybe we have our green screen footage. And after effects has a more powerful way to edit green screen footage. So you can right-click any clip or combination of clips or assets on your key, your timeline. Right-click and choose replace with After Effects composition. Next, it's going to open up in After Effects. You can do all of your different adjustments here in After Effects. Let me just throw a kind of crazy same style on here just to show you what you can do. And we've got this cool cartoon style. We haven't removed the green screen, but kinda cool. Now back in Premiere Pro, it automatically adjusts. Now to go back and edit this in After Effects. If you don't have the project open, you would right-click. And huge choose Edit Original. And that's going to open it up in After Effects, which is now the original project or the original clip. Okay. I don't know what SCC Mr. Smoothie is, but looks crazy. All right. So that's working with After Effects, that's working with Adobe Dynamic Link. Thanks so much for watching, and we'll see you in another lesson. 120. Multicam Editing in Premiere Pro - Quickly Edit Videos Shot with 2+ Camera: In this Premier Pro tutorial, I'm going to quickly show you how to use the multi-camera editing option. This is perfect if you're recording an event with multiple cameras or doing any sort of video with multiple cameras and want to quickly be able to edit from one camera to the next. So I have two sample shots. Now in the downloadable resources that you can use. One shot with my mirrorless, one shot with my iPhone just for kicks and giggles. To set up any multi-camera sequence, what you wanna do is create your sequence, add your clips, and layer them on the timeline and synchronize them. You gotta do this first so quickly if you forgot how to do that, if you have two cameras, just like both of them and choose synchronized and audio. If you have audio on both, it's going to actually synchronize them. Next you're going to select your video clips. So I'm going to hold Option and just click and drag over your video tracks. If you have 34 cameras, that's perfectly fine. Select all of them and you need to nest them. Right-click, choose nest. We're going to call this multi-camera. So your, all of your cameras need to be in a nest. Then what you need to do is right-click again, choose multi-camera and enable. And then up here in your video monitor, you have to make sure that multi-camera is enabled. So click on the wrench icon and choose multi-camera. Now you have both your shots here. This is sort of like a preview window. And as you play through this, you should be able to see both of our shots sync that up. Here's some sample and to make edits that go from one to the next, all you have to do is either click on them up here in your preview monitor or preview window. And you can see now that I'm playing and I'm cutting between them, what happens when we stop playing? We have cuts already on our timeline in our Nest, going from one shot to the next as we were clicking them up here. Or you can press the numbers on your keyboard. One coincides with this first shot. Two is the second one. And again, if you had multiple cam, more than two cameras, you can go to 34, et cetera. But now if we have this and we play through, and I press 21 to automatically makes changes and makes those edits. Say you need to adjust these shots. What you have to do is go to the top of the front of the clip. So pressing the up or down arrows on your keyboard will get you to the very beginning of that clip. Make sure your play heads there. And then all you have to do is select the other shot that you want to edit too. So now it stays on that shot. You could also go in here, delete that clip and extend the previous shot or the shot afterwards so that it's all one shot. If you really want to make this one shot, you can right-click the edit in-between and choose join through edits. And it's actually since it's the same shot, it actually just resets it to one shot. Say you're done with your multi-camera editing. You can right-click, choose multi-camera, and choose flatten. And now it's going to give you back your original clips. We want to get out of this multi-camera view. So just choose composite video. Also, you have a multi-camera view button here. If you want to add that to your program monitor so you can quickly jump in and out of your multi-camera sequence. But of course, you have to have it nested as you did before. At this point, we're kind of stuck with the way that we edited it. And so if we need to make changes, we could make changes here on our timeline with existing footage. But to really go back to that multi-camera editing mode, you would have to leave it in the nest. And that's how you quickly edit multi-camera footage with the multi-camera option in Premiere Pro. 121. Relinking Missing Footage: In this Premiere Pro tutorial, I'm going to show you how to fix on linked media. So what this means is sometimes you might be using an external hard drive or the files that you have imported into Premiere Pro have moved or accidentally gotten deleted from your drive. And when that happens, you're going to get a red error screen. So right now I have a project open with one video clip in one sequence. This file is living on my desktop right now. What happens if I accidentally delete this from my desktop? And this might happen if you delete a file or if you, for some reason had it on an external hard drive and tried to open a project. And your external hard drive wasn't linked. This is what's going to happen. What's going to happen is Premiere Pro will likely open up this window for missing media and you'll see this media offline error screen. It's going to list the clips that are missing. And it will list the path or the file location where it was last seen. So I can see that it was all the way on my desktop. And that makes sense. So to locate and relink this clip, you just click the locate button. And if you don't know where it is, you can go to the folder where you think it was, or to an external hard drive, for example, let's just click my video School 2020 one and click Search. And now Premiere Pro is going to search and look for that clip. And lo and behold, I have this clip backed up on my external hard drive so I could go ahead and link it from here. And now it's back on Premiere Pro hooked up, I can continue editing. Now say I didn't want it to connect to that external hard drive. Well, let me go back to my documents. I'm going to undo that. So now I have the speed practice file that I had deleted back on my desktop. If I want to link this clip to the original file in the original location, what I can do is right-click here in the timeline. Go down to make offline. Or you could do it over here in the Project panel. Right-click, choose make online, offline or from the project panel, click Replace Footage. Let me just show you what happens though when you say make offline. And I want to leave it on the desk, I don't want to delete the media files from my external hard drive. So here we get that media Offline button. But if I click the clip here in my project panel or here on my timeline and right-click. Or if I have multiple clips that are unlinked, you can select all of them and then right-click and choose Link Media again. And so now we have that window pop open. So if it doesn't pop open automatically, here's where you can do it. Then I could go to my desktop. And here I have this clip. I can select that specific one and click Okay, and now it is really linked. Okay, so that's how you relink missing footage in Premier Pro. How to do automatically through this search or manually through the locate option. Thank you so much and we will see you in another lesson. 122. Linking, Unlinking and Grouping Clips - Why and How: In this tutorial, I want to cover linking and grouping in Premier Pro. So here I have a sequence with a talking head clip with a separate audio track. I have some B-roll on track 2. And so linking, we know linking because when we bring video and audio that is the same clip down to our timeline, it's already going to be linked, linked. This audio down here on track one is linked to the video on track to it's linked up because that was shot on that camera. This audio down here was recorded in a separate device and is not linked. And so when something is linked, it means that if I take just the video or click just the video or, or just the audio, it's going to move both of them. If I do any sort of edits to the end with my trim tool, if I take any of my other tools down here, like my ripple edit tool or my slip tool, it's going to add it both the audio and video, whatever is linked. Say I want to link something else to this clip. Well first maybe I would synchronize these. So taking the good audio and the bad audio, quickly synchronizing it. We learned that in another lesson. And then if I want to link all of these clips, I can select all of them, right-click them. You're going to have to first unlink because your unlinking the original files and then select all of them again and click link. Now the keyboard shortcut for that is Command L. If you're on a Mac to link or unlink. And that would be Control L on a PC. Now notice that if I select any one of these clips, it highlights all of them. Everything is selected now and that's great because now I can edit them together. I can edit the ends. I could use the slip tool Y, and that's going to slip at it everything, ripple tool everything. It's going to happen to all of these clips. And I think linking is very beneficial when you are trying to link good audio to your video. If you have shot with two cameras and you want to be able to edit both cameras at the same time. Linking is great. Grouping is another way of doing just that grouping clips together so that you can quickly move them around. So say I edited this sequence so that I have these three B-roll clips on top of this talking head footage. I can select all of these right-click and choose to group. Now, I can move all of these clips together. And if I click any one of them, whether it's the audio or the video, it will move it together. And if everything is highlighted and I click the end of Eclipse, it will edit that end. But if I unclick of them and I just take one of the clips and edit the end. It's not going to edit all of them like the Link Clips do. So notice how when I take one of these clips, the end and I just do a little adjustment to the end of the clip of the B-roll. It doesn't affect all of the clips, but the linked clips do. And so that's the difference. So that's how you can quickly group and ungroup your clips. So I would use grouping as a way to connect scenes together, things that you have already edited, you have your picture lock your final edit for a series of videos, audio and everything. And maybe it's a scene that you are moving around. Sometimes I edit where I'm editing certain and see multiple scenes on the same timeline. So I'll have cert, certain, you know, talking head videos with clips or B-roll are all kinds of other things. And then I'll group them so that it's easy for me to just click one of them and move it around. And that's where I find the benefit of grouping. Now with linking, you can't link multiple clips like this together. So I can't link actually all of this together. You can only link one video with multiple audio. Okay, you can't link multiple videos together. So that's one thing to note too. All right. If you have any other questions about Lincoln grouping, let me know. Otherwise, I hope this helps you understand the difference and how to do them. 123. Team Projects in Premiere Pro - Collaborating with Other Editors via the Cloud: Welcome to this tutorial and Premier Pro about how to use team project. Team projects allow you to work with other editors via the Cloud. So to create a new team project from the home menu, you can just click this new team project button. Or if you have it opened, you can go up to File new team project. This is going to show up your team project window. You're going to want to give your team project a name. So I'll just say call this sample team project. One. Down below you have your collaborators. Here's where you can add the e-mail addresses. Anyone who wants to collaborate with you. So you'll need their name or email address that's connected to their Adobe account. Next, under the Options tab, you just leave that blank scratch disks. This should typically be your on your computer. It's all set already. Ingest settings. All of these should be standard, so all you need to do is name it and add your collaborators here, all of which you can do later and then click, Okay. This is going to open up this team project and there's a couple of buttons that you'll notice you haven't seen before in Premier Pro. One is this little download and upload button. It's for getting latest changes or sharing latest changes. If you've made changes to this project. And then up here you also have this little icon for you as the owner. It represents your library or your Creative Cloud space. So that's how you create one from scratch. I want to open up a non-profit, non team project and just show you how you can convert it. So here we have the original project for this class. And there's two ways that I would recommend doing this. One is either if you know for sure you want this to be a team project with this open here in the Project panel that you can go up to edit team project, convert project to team project. Or you might just want to duplicate this project file in your Finder or in your documents. First, give it a new name and then reopen it in Premiere Pro and follow that same process. Or you might have a specific sequence that you know you want to share with a team, but not the entire project. What you can do there then is copy that specific sequence. Go to the team project that you've started and paste it. And it's going to paste all the assets and folders that are necessary for that one project right here. So now in this team project, we have this promotional video sequence. Now let me close down these other sequences which are from the non team project file and project. And let me just close this project because I don't want anyone to be confused. Now, if we go back here, we see that we have a up arrow show assets status button here on our timeline. So what this means is we have created everything on our computer, but we haven't done anything to upload it to the Cloud. So you need to click this share my changes button. Here it will show you all of the assets that are within the sequence. Anything that you've changed if you've added graphics since the last time you've made edits, that's what will appear here. And then you click Share. It's going to start uploading your footage to your Cloud Project. And from there, people can, who are working with you can download it. They will get a notification from Creative Cloud. If they have their desktop notifications turned on, it will give them a little icon that says you have an update. Or if they're opening this projects, they'll see, and there has been changes on another system from another editor. They'll see this little button, get latest changes highlighted and they can click that and it will update the project for them. So now we don't see that arrow here, but if I make any change, if I just move anything around, do anything, we now see a new icon. This is a little pencil icon. And this pencil icon is telling us that we've made changes. We don't have any new assets, but we've made a change to an asset. So we've moved something round cut it, did anything to this project. And again, it's just a notification saying you've made a change. It's time to share it because it's not going to share everything all the time with your partners. You have to click this button. Now to help remind you in case you forget about sharing your projects, you can go up to your Premiere Pro Preferences under collaboration and choose to send yourself a reminder. If you want to be reminded so that your pinged with a little message that says to upload any changes. One other thing that you should be aware of so you can share it with your fellow editor, is that you might be sending your files via Google Drive. You might copy it, it on an external hard drive and actually physically deliver it to the person. And in that case, you're not going to be sharing all of these files over the Cloud. And that wouldn't be beneficial for a lot of us using super high resolution files. So when someone opens up this project, they're going to have a lot of missing footage. To reconnect that footage. Go up to the Edit menu, team project and then media management. Here is where your collaborator can choose the location, where those files are. It will show the files that are missing from this project and then it will allow them to go into their computer documents and find where they've placed those files. And when they click New Media mapping, it's going to create a specific media map. Basically how they're Premiere Pro finds the right files to be editing on their version, which is going to be different than yours because your hard drive might not look exactly the same as theirs. That's going to be the proper way to link missing footage in a team project compared to the right-click link Media option that we've seen before. You'll also notice in that team project man menu, there is a browse versions and browse auto saves options. So if you're working with lots of other people or there's different versions and it can get a little messy if you want to go back to a specific version that you've worked on or if they've worked on it. Here's where you can actually browse the different versions that have been saved. And here's another button for share my changes. Now, if you're editing the project at the very same time and you're making changes to the same sequence and you're sharing it with each other. There's this button called resolve conflicts. It's also going to appear right here if you have that conflict option. And that's where you can choose to either use your edit, use C and use their edits or save a new version of the project with both are sequence rather with both versions of the edits. So you can look at both of them. Because if you're working together, that might happen. And in general, it's probably a best practice to not be working on the same sequences at the same time, unless someone's specifically working on things like graphics and effects or audio while the other person is doing something that's not going to mess with the Eclipse or the order or the placement of the eclipse and media that the other editor is working on. So I know this is kinda confusing for people that don't edit with other people often. But the best practice I would say is share all of your files, your assets via a Cloud service like Google Drive or Dropbox or via an external hard drive. Create your team project like this. Add your collaborators via email. And then that person, once you start editing, the project, will have to go up to the Edit Team Project Media Management menu to relink or re-map their footage. And from there it's as simple as downloading any changes they've made or uploading any changes you've made. Thanks so much for watching and I hope this helps. 124. Several Ways to Make Titles Stand Out Over Video: In this Premiere Pro tutorial, I'm going to show you a couple of ways to make your titles look better. So here I have this clip of the sky walking in the sunset. And the clips, awesome. And I added this title. And it's kinda legible. But also in a lot of parts of this clip, I just can't read it. So what are our options? We could take this and we could make all of this text a different color, black. But even still just doesn't look that great. And personally, I'm not a fan of black title. I like the white text and just think it looks a little bit cleaner. And a lot on a lot of footage white is going to stand out better anyways. Now that's not the case necessarily for this footage. One way to make our text stand out is to blur the background. So if we take something like the Gaussian Blur and we apply it to our background clip. And then let's just blur it out just a little bit. And there you have it. Repeat edge pixels. This is up in your effects controls. It looks a little bit better. And this is going to help in with a lot of other types of shots as well. Let me just throw down another shot so you can see what this would look like. So over this shot here, if I extend this, so this one's not as bad this shot. But if I take this Gaussian blur and I paste it to this, it helps a little bit, and it just makes it look a little bit. Stand out a little bit more. You can go crazy with the blurred and make it look even better. Maybe you have the blur ramp or ramp off or anime on or off with keyframes, which we could do here. We could set a keyframe, 459 and then go back and set it to 0. And maybe that's when you have your title card fade on as well. So maybe it's something like this, blurs out and then our title fades on. That's one way. We could also decrease the opacity of this shot. So if you double-click and open up your track one, you have this line up here, which is your opacity. So if you just drop this down like 75 even, it can make it look a little bit better. You could even animate that. You can animate that over here with opacity right here in Effect Controls. Or you can take your pen tool, set a point, and then send another point and drag up or down. And that creates an actual opacity animation. So it makes it darker while we're blurring. So now we're combining a couple of different things. Okay? You can also add a drop shadow. So this is definitely more of a stylistic thing, but if you add a shadow to your text, it might make it look a little bit better. So let me actually take this title and we'll put it over our original footage. And then you're gonna be able to see the shadow a little bit better over this lighter background. So that all of our shadows settings are underneath Appearance and the effects or the essential graphics panel over here. You can make it darker or lighter. You can make it bigger, farther away, spread out more, more blur until your liking. So that's one way to make your titles stand out too. Although that's definitely more of a stylistic thing. And if you don't like drop shadows, then that's going to be a problem. But hopefully these options of blurring the background, also decreasing the opacity of your background footage helps. Now be careful though, because if you have multiple clips layered on top of each other, something like this, you're going to see the shot from the background underneath this tidal are underneath the original shot when you decrease the opacity. So this only works if there's nothing on the timeline underneath it or if it's on video track number one, and you're decreasing that opacity. Make sense. All right, that's how to make your titles stand out a little bit more in Premier Pro with some basic techniques. Chairs. 125. Put Video Inside Text or Logos Effect: In this tutorial, I'm going to show you how to make your video play through your text. First, I'm going to just show you the basics of it. And then I'll show you some more advanced techniques and things you might need to be aware of. So if you have a video clip on your timeline and then you add some text on top of it. I'm just going to quickly copy this text layer by option, clicking and dragging it over. We're over this clip. You can create it from scratch using this central graphics panel. I've used a fat frank font, made it super big because that'll help our video play through it or be able to see the video clearer. So what you'll wanna do is set up your text so that it's on a layer above your video. And then the effect we're going to be using, It's called Track Matte key. And we're actually applying this to the video layer. So with the video layer selected up and effects controls, you'll see we have the Track Matte key options. And what we're doing is we're telling the effect to use the mat of video track two. So when you click this map dropdown, it gives you the options for which track to use. Since our title card is on V2 track two, we're going to choose Video 2. And now simply, with that effect applied, we can see our video through this text. Great, so that's the basics of it. If you want to learn some more advanced things, keep watching. So one thing you might want to do is move around the placement of the video in this text. Because say you want to see more of the sun set in the background versus the bottom. You might think, well, I'm just going to go up to my effects controls and change the position of my video clip by dragging down. But whoops, that's not working. That's moving everything together. What you'll need to do if you've already applied the track matte is go back into the essential graphics panel and adjust the position of your text with the align in transform tools by clicking and dragging your text around. So you can move it around either way. But you're doing this to the title card layer or the title graphic and not the video itself. And so what I would do is now I would position this where I want it. Maybe I make it bigger, maybe I make it smaller however you want. And so now we have it in the right position for the video to play through, but it's not on the right position on our frame. So how do we move this to the center of our frame? What we can do is make sure we have our safe margins on. Because if we have the safe margins on, we can kind of see the center of our frame. You could also use the rulers and guides option. But I think the safe margin is fine. And what I'll do now is I will take the motion of my in the effect controls panel of my video clip. And now I will move it. So I will move it to the center, okay. And here we can make it smaller or bigger however you want. But that's how you adjust the position of the video that's playing through the, the, the clip. The other thing is you could do it ahead of time. Let me just copy this first clip over and I'm going to delete this track matte. So the other option, which is basically the same thing, It's taking our text ahead of time and positioning it where we want it to be on our video layer and then applying the Track Matte, choosing video track two. And it's just the same process in a different order, a different process by same results rather. Alright, so that's cool. Say we want to, and I'm going to turn off my safe margins. Say we want to put some kind of background like this. Well, you might think, well, I'm just going to move this up to track two and put a layer underneath. But look what happened. Messed up our effect. And that's because now our Track Matte key is set. It was set to two, but since the videos onto it has reset, so we have to set it to three. And it should keep the same properties and positioning and everything. So just reset that to three. And then you might think, okay, well now let me just add a background. Maybe I want to add it over a different video, or as I did here, I just created a color matte by clicking the New Item button, selecting white. And now that's how you create a white backdrop in place it on track one. But that doesn't look too good because I can't see it. So I want to add what I did here, which is a drop shadow. So how do I add a drop shadow? Well, you might think, let me go into my essential graphics. I know there's a drop shadow option, but if I add that drop shadow for my texts, it starts to look a little funky. This isn't what we're actually trying to do because what's happening is we're creating a drop shadow for the text. But because we have the Track Matte for this video saying I'm going to appear wherever this text is. It's actually appearing through that drop shadow as well. So that's not how are we going to do it. What we're actually going to do, which you can see here on the timeline is nest these two clips together. So select both of them right-click, choose nest. Okay? And then we're going to apply a drop shadow effect which is under perspective onto this layer. And now this set, these settings under effects controls can be adjusted to our liking. So may we want a little bit softer, a little darker, a little bit farther away? Something like that so we can actually see it. And there we have that effect that I created here. But you had to do it this way with the nested sequence because we're applying a drop shadow to this whole effect or the previous effect that was in, combined with the video track and the text layer. And then if we wanted to have a video track underneath, kinda crazy but kinda cool. All right, so I hope this all makes sense if you have questions, let me know, but this is how you make video play through your text. The same thing with appear. Say I went in just really quickly just to show you, I'm going to go in this original clip, let me just add a graphic. Say I have my logo. So say I have my via school logo. Let's just take my big square one like this. And then I'm going to delete my text. So now I have my logo and I can change the scale of it. I can move it around and we can have video playing through my logo. That's pretty dope. Alright, hope you enjoyed this tutorial and we'll see you in another one. 126. Adding Light Leaks, Film Burns and Lens Flares to Your Video: In this tutorial, I'm going to show you how to use light leak cinematic overlay footage like this. It could also be a lens flare footage to create a transition and just add some cinematic style to your videos. First, you're going to need to download some lightly footage. You could find this online. I have a story blocks account and so I pay to be able to download stock footage and it has a ton of options here. If you use a site like pixabay.com, you can find some free lens flare and light leak footage there. And if you just search on Google for free light leaks, there are some sites that you have to typically provide your email address, but it will send you free a pack of free light leaks and lens flare type footage. This is sort of that style that you got with an old vintage camera when shooting on film. And so how do we apply this footage? So say I have these two clips and I want to add a light leak on top of it. If I take my light leak footage and place it onto track two, we just see my lightly footage. I want the video to appear through it. And to do that, we need to change the blend mode under Effect Controls for the lightly footage too. Something like screen, you can play around with it. But I find that screen is the best because that's just getting rid of the dark black footage and leaving all of the lighter footage from these clips. And so now we have this nice effect applied. So say we want to use this effect to create a transition. The way that I would do this is go to scrub through my clip to where the entire frame or most of the frame is covered by brightness. So something like write-up are out. There is pretty good. And you can go frame by frame with a keyboard. On your keyboard, Something like that looks good. And you'll see that I already did this to the clip before and indifferent portion, but here I'm going to set a marker by clicking m In that creates a mark. So now when I click and drag this clip over, and if as long as I have my snap and timeline magnet, but in selected, it will kinda snap that point to where this cut is, because I want that to match exactly where that cut is. So now if I play through this, that looks pretty good to really sell it though, I'm going to add a dip to white transition. So under dissolve, under video transitions, if you dip to white and just make it super short, even like a cross dissolve might help. But I think dip to white works better. So I'm just going to add those together and it is a nice transition like that. You can even shorten this up, say you don't want the light leak for the entire shot. But just for right around this transition, select the clip, press Command D, That's going to create a cross dissolve on both sides. Maybe short enough that transition. And it just creates that nice sort of transition like that. And that's how you use light leaks. It's going to be the same for the lens flares of the other effects. You place it on the track above and you change the opacity blend mode to screen, or you can play around with the other ones. You can see if I select this, if I change it to something like color, dodge or multiply, that's going to do the opposite. It shows the black that doesn't die. One doesn't look that great. Overlay. They all kinda give a different style. I prefer screen because it's not affecting the clips underneath. Some of these other blend modes make the actual video clips darker or more contrasty depending on the combination of the two clips. So screen is what I prefer. Thanks so much for watching and we'll see you in another lesson. 127. The Vintage Old Film Look in Premiere Pro: Welcome to this Premiere Pro tutorial where I'll show you how to create this vintage old film look in Premier Pro. All right, so to start out, you're going to need a video clip and you can use any video clip you've shot or something that was available from the course if you're taking the course. And then in the course as well, there is a downloadable folder called overlays. So you'll want to bring that into Premier Pro. The video I'm using is from story blocks. And so this is not available to you unless you have a story blocks account, but any clip will work. So I'm going to walk through this step-by-step. Here's the end version, so you're gonna kinda see what we're going for. We're kind of combining a couple of different styles of film, from old school black and white to Super eight millimeter film. And in general, we're just trying to get that vintage vibe. So the first thing we're going to do is apply these overlays. So we have a dust and scratches overlay. And so I'm just going to put that on top of my video track. On track two. I'm going to delete my audio just by option clicking the audio. And then the Super 8 track as well. I'm going to put on track three for now. Let me just actually turn off track three so we can see the dust and scratches track on track to selecting dust and scratches, we're going to go up to Effect Controls. Make sure we have that selected and we're going to turn the opacity blend mode to screen. That's going to get rid of all of the black of that video. And it will just leave the white dust and scratches that up here, the non-black dust and scratches. So that's step 1. The second step is to give that sort of framing of a vintage projector or a vintage film. Now, I've given you this super eight millimeter and both of these are free to use. They were from pixels Pexels.com and pixabay.com, commercial free files to use. So feel free to use them on your own projects. So to get rid of the white or the lighter part of this film clip, we're going to change the opacity blend mode to darken. Multiply is another one that I generally use. But with multiply it's not perfect. You can actually still see some of the video clip from the side behind that because this isn't a perfectly black and white clip. Another thing we could do is if we want to leave it at multiply, if you don't like the dark and look because the multiply leaves little bit of that vintage warmth of that clip. We can actually go to multiply it. We can go over to our Lumetri Color panel. And with the Super 8 clip selected, if we go to curves and we drag the RGB curve, black point down here over to the right just a little bit. It makes that outer border pure black. And so it does not show the background through it. So that's just a hot tip for that. I'm going to leave them Lumetri Color panel open because we're going to play around with that. So now we have our basic look and this is done with these overlays. These dust and scratches is a little bit strong in my opinion. I'm going to just drop the opacity daily 80 percent just so that the film sort of blends in with the background clip. Another thing I think that really will help sell this effect is speeding up the background clip. So this clip was shot in slow-mo. And so I'm going to right-click choose speed duration, and I'm just going to speed it up to 175. I played around with this one before and I think that one, 75 is about normal speed. It might be a little bit faster than normal speed, and that's totally fine because I feel like with these vintage cameras, sometimes the speed of them weren't perfect, especially for the more inexpensive cameras that people can buy from home. So that's pretty awesome. The next thing we're going to do is do a little bit of color grading. So I'm actually going to take my Super eight millimeter and dust and scratches clip and move it up a track so that I can add an adjustment layer in between. And if you don't know, an adjustment layers down in this new item button, adjustment layer, it'll pop up here and you can just apply it to this track. And now everything we apply to this adjustment layer will apply to whatever is beneath it. And I want it to apply just to the video clip and not to the Super 8 or dust and scratches. And that's why I'm putting it below those two tracks. So with the adjustment layer selected, let's go to the Lumetri Color panel. If we drop this down to black and white, that automatically gives it more of that vintage look. We can also play around with the overall exposure. We know that old cameras, again, especially the more inexpensive ones, if you're using super a or, or what have you. It didn't get exposures as it didn't have as much dynamic range as modern cameras. So we might like boost the whites. I still want a little bit of contrast, but I don't mind sort of that faded look with the blacks being up high. Something like that, looks pretty good. Maybe a little bit too overexposed. So that looks pretty good. Another thing we might wanna do is under the Creative tab, we might want to drop our sharpening just a little bit, because this old film, it was rarely as sharp as our modern cameras. The focusing mechanisms weren't as easy to use. And that super sharp sort of style that we get now is Not exactly what it was like back in the days of shooting on film. So that helps sell it even a little bit to. The next thing we might wanna do is add a little bit of a vignette to this clip. So I'm going to drop my vignette all the way down. I'm going to increase the feathering and drop the mid point all the way down as well, and also increase the roundness just a little bit. And then from there we can actually play around with these settings to whatever you think looks good. See what it would look like without a Feather. Feathering. Of course, we want some feathering for this. And that's a pretty darn solid film look. Now I'll say you don't want the black and white look. That's totally fine too. Of course, we can just bring it up. Our saturation, our contrast is a little bit high, but that's not bad. Maybe we want to add sort of a warm tint to it. So we just take our temperature slider, slide it up. Maybe you just drop our saturation just a little bit. And this is more of that sort of Super eight millimeter look that you might be going for. So that's pretty much all you need to do to get this effect. I'm going to continue and show you a couple of tricks. If you don't have these super eight millimeter and dust and scratches effects or don't want to use them, we can still get a pretty good effect, right, with all of the tools we have in Premier Pro. So under effects, if we go and search for grain, we have the noise and grain folder. If we take this noise filter applied to the adjustment layer again and then go up to Effect Controls. We can add a bit of green. So this isn't going to be that dust and scratches vibe or that look, but the grain, the noise does help a little bit and you might want to apply a little bit of grain along with these other overlays as well to really add some quality to that look. Now how did we get that sort of vignette overlay look? Well, we do have a couple letterbox overlays. If we want a clean 133 aspect ratio, I give you this one. This is a standard old aspect ratio, or the 150 is the standard for 35 millimeter film. But if you want to create something more custom with that sort of vignette did look like this, like sort of the rounded edges. What you can do is create a black layer. So to do that, just click the New Item button and choose black video. Click Okay, and it's going to match our sequence settings. Drag that on top of our layer. And now this is just a completely black clip. What we're going to do is then create a four-point polygon mask. So when we do that, it creates this rectangle. So we're going to invert this so that we're seeing inside this rectangle. And then to get the rounded edges, we're going to use the mask expansion to round those edges. Now, notice if I go all the way, it starts to become more of a circle. So we are going to have to move these anchor points, are these handles in the rectangle to another spot. But get that rounded edge to about where you want it. For me, it's about 90, and this is a four K sequence, so it might be different depending on your sequence settings. I would suggest turning on your safe margins. And then what we can do is we can click and drag over the edges so that we can select both of these points. I'm holding the Shift key down and I'm just going to drag these points over to this line. So I turned on safe margins. If you don't see that, click the button editor, find the safe margins button, and it looks like this, and drag it onto your buttons down here and turn that on or off. Now the reason I am holding the Shift button is because if I don't hold Shift, it's easy to accidentally adjust these left or right and I don't want that. And you can see I actually already messed up. So you could just take one at a time. It doesn't have to be perfect because film was not perfect. But holding the Shift button does help lock it in place in the vertical and horizontal moves that you're doing with your mouse. All right, so now with this safe margins but an off, I'm going to increase the feathering of this quite a bit. Now if I click off, you can see that now we have that sort of look. Now something that happens with this clip with the feathering and everything is that I start to see a little bit of the edge of this video over here. So I'm actually going to take the scale of this layer and just increase it just a little bit so that the edge doesn't show. And so just with this effect, you get or with the effects right within Premiere Pro, you get a pretty solid looking clip. If I take my saturation down, we can get that black and white look. You can adjust your overlay to any specific size. So say you definitely want your overlay to be that vintage 133 aspect ratio. What I would do is put this one 33 layer underneath my black video. And now with this mask selected, I can bring these two clips. Are these two edges in until it's closer to that. 1033 aspect ratio like this. And kind of use it as a guide and then delete that 133 aspect ratio. So you can kinda use those overlay letter box overlays as a guide to get a more accurate aspect ratio. All right, that is how you create the old film look in Premier Pro. Both with the overlays that I've provided and with effects right within Premiere. Thanks so much for watching and we'll see you in another tutorial. 128. The Type-On Effect in Premiere Pro: In this Premier Pro tutorial, I'm going to show you how to create this typewriter typing effect, right within Premiere Pro, no plugins required. Now I'm going to show you a really quick way to do this that doesn't look or sound as great, in my opinion. That's not really a great effect. I see a lot of people sharing how to do this type or a typewriter effect on YouTube using this method, which is simply a linear wipe. So once you have a text layer, you just add this linear wipe effect and you set a keyframe from 0 to 100 or 100 to 0%. You see here in the transition completion going down with the wipe angle at negative 90. And with these sound effect, it helps a little bit. And in a pinch maybe. But I'm going to show you this better way like this. And we're going to learn everything that I did to create this effect. If you just want to know the basics, what I did is a key frame of the source text. That's what we're doing. If you want to follow along with the whole tutorial though, let's get going. So what I'm going to do is start a new sequence with this typing clip that I've downloaded from story blocks hashtag sponsored just great stock footage. You don't need this at all of them. Next, I'm going to add this typewriter sound effect. This really helps sell the effect, and I've included this in the downloadable resources of the Premiere Pro course if you're taking that full course. And I'm just going to find a spot in here where there's a decent amount of typing so that if I'm typing something a little bit longer, if I have enough keystrokes or sound effects for it to be actually typing that full sentence or whatever I'm saying. You can play around with it, find a spot that fits whatever you're working on. Next, I'm going to add my title. To do that, we can take the Type tool, just click in our program monitor and then type whatever you want. So I'm going to type in hello. I'm Phil. Okay? And you can open up the essential graphics panel if you want. And under the Edit tab, now we have all of our options for like centering our text if you want it to be centered. You can also change the font by selecting all that text or just selecting the layer itself and changing the text file. Here I'm using American typewriter just a, again, sort of help sell that old timey style, although the background video is of a laptop. So maybe I'll change it back to something like times regular. That's fine. And that's pretty much it. A quick tip though, if you don't have the essential graphics panel open because you don't really need it, but you still want to center your text. Just hold the Command key. If you're on a Mac, that would be Control on a PC and see those red lines pop up. That helps me snap this layer to the center of the frame. Now, the reason I typed everything out before, and we're going to go backwards in just a second, is because I do want to know where the center of everything is. Of course, you could change that later, but I think it's good to just have everything centered in the beginning. Then I'm gonna go up to my effects controls, dropped down my text layer down here. And what we're actually going to be animating is our source text. And so if you've used keyframes before, you know that you're setting a keyframe to tell Premiere Pro that at this point in time, I want this property to be set to x, whatever it is, it's your scale, your position, or your actual text. And so I'm actually going to go in here. I'm going to zoom in on my timeline quite a bit. And I want to make sure that I have the audio track open so I can see the peaks of each little keystroke. So every time I hear that little keystroke, that's when I'm going to type on a letter. So the first thing I wanna do is actually go to the very beginning. And I'm actually going to delete this text. So I'm going to select all my text and click this toggle Animation button that sets a keyframe for the text here. So you don't actually have to type all your text out beforehand. But it was just kind of a good way to know what I'm actually going to type. Next. What I'm going to do is go to that first little peak in my timeline right here where I see that first keystroke, then I'm going to go into this source text, make sure you hit that source button and go into that layer. Because if you click somewhere else, it's going to create a new text layer. I want to make sure I'm on the same source text and start typing H for hello. Then I'm going to go on my timeline again, go to the next keystroke. Think that little bump right there isn't actually a keystrokes. I'm going to go there. Here. And you can see I'm just going along my timeline. And with every little keystroke, I'm adding one more character, even a space. And what's happening? Actually, that last one should have been a comma right here. Comma, then space. So you'll see what's happening now it's animating this text on with every keyframe. It's adding a new letter. So I'm trying to go a little bit fast to get through this, but you can be as perfectionistic as you want. I do think going in here and doing it like this really creates an effect that's much more, much better than the linear wipe. All right, So then after this, maybe I'll have one more space. And then I'm going to trim the rest of this audio and delete that right there. Okay, so now let's watch this through is just so you can see this. Pretty good, right? All right, so now this is looking pretty darn good to really sell it. We're going to add this line right here, this blinking line. Sure, what it's called. So hit me up in the comments of this video to let me know what that is called. There's lots of ways to create a little line. Anything can kind of work. I'm actually going to go ahead and open up Essential Graphics. Go ahead to Edit click New. And I'm going to do rectangle. And then I'm just going to make this super skinny. And I want to see what it looks like compared to our text. So I'm going to zoom in here quite a bit. And something like that looks good. And then again, you can kinda use any of these features, the position here, the position over here, the vector motion up here to move it into place. Now, once we have it on sort of the proper vertical space, we're going to actually animate it from left to right. Okay, So I'm gonna go ahead and close my essential graphics panel. I don't need that. I'm going to zoom this out just a little bit. And then just choosing any of these, I'll do it for motion. All of them will work. I'm just going to move it all the way over to the left side of our text to start out with. And I'm going to set a position keyframe there. Next one I'm going to do is just with my keyboard arrows moving over to the right. I'm just going to go until we see that necked keyframe or that next letter pop-up basically go till the E pops up. And you want to make sure this is pretty perfect rate when those letters pop up. Otherwise, it's not going to look good. And in-between here where there's a space, I'm going to put a space. And then when I pops up and I put the eye, and it's all these details that make you a great, oops, that's not going to be at the right spot. A great video editor, right? We love doing this, right? This is fun. This is what you wanna do for a living. And that's how you want to make money on YouTube. Making cool Typewriter effects. Cool. So this is great. We have our little line here set to the right spots, but we have a problem. If we play through this, looks what happens. It's just moving. It's not actually jumping from one spot to the next. Well, there's a quick fix. Select all of our keyframes. Right-click, go to temporal interpolation and go to hold. And now what this is telling Premiere Pro is at each keyframe, put it at that spot and don't move it in between. Cool, right? And maybe in between this first one. Actually I'm going to move this very first keyframe over just a little bit and then just move it over. Because there's sort of like a click here, click there. It's almost like it's moving. And then afterwards to really sell it. Again, we want that little blink. When you're just pause, you're waiting for that inspiration. So to quickly do that, I'm just going to set click with my razor tool and go 10 frames. Shift right twice razor blade shift right twice razor blade should have twice, razor blade should write twice razor blade. And then I'm just going to delete the in the in-between ones. This one's probably a little bit long. And I find that 10 frames looks pretty good. All right, and if you need to extend this even longer, I could just shift right? And then I can select all of these and option, click them. All of them. Option click. And now that just copies all over them with that spacing in between. And that is the typewriter effect in Premier Pro. Pretty cool, right? It's all about being perfectionistic with the audio sound effect, making sure those keys, those letters come on exactly when those keys hit. I would probably go back and make sure that the sound that I was actually having a letter up here on was actually typed key. But otherwise I think it looks pretty darn good. Cool, Awesome. So that is the advanced, more in depth way of creating the typewriter effect in Premier Pro. I hope you enjoyed this tutorial. Let me know if you use this. Tag me in your videos on Instagram, share it with me on Instagram, on YouTube, wherever. And I'd love to check it out and share it with my audience as well. So thanks a lot and we'll see you in another tutorial. 129. Zoom In or Out Effect: Welcome to this Premiere Pro tutorial where I'm going to show you how to do this zoom effect. Looks like we're zooming into this footage in a more organic, natural way, almost like you're zooming in with your camera lens. All right, so I'm practicing with good shot of this guy playing guitar, bass guitar. So you can follow along with any shot that you have or want. Now this footage is actually for k. And so when I'm zooming in, I don't want to lose quality. So I'm actually going to change the sequence settings from the four K footage to 1920 by 1080. And you could also just remember this when you are exporting to make sure that you're exporting at 1920 by 1080 instead of four K. But I think setting this sequence settings as good. And then also I'm going to go ahead and right-click and choose to set this clip to frame size. Okay? So the way that we add this sort of zoom in effect is with an effect called transform. So if you type in transform under distort is the transform option. And this gives us a lot of the similar properties as the motion properties, but it also has this specific shutter angle, which is going to add that zoom blur style, which is going to help sell this effect even more. So what we wanna do is go to our, Go on our timeline, play until you want to start zooming in. And then when you want to start zooming in, say like after he starts playing those notes, we're going to set a keyframe for scale and position. Okay? Then we're going to move forward just a few frames, 2.5th, and then zoom in to where we want to zoom into. So increasing the scale and dragging our position over until we get to a good spot. Zoom up, basically just scaling up and moving the position of our video until we get to a good spot. So this is a very basic Zoom and that does not look that great. So we need to make some changes. The first thing we can do is select these keyframes, right-click and choose Bezier under temporal interpolation. This adds a little bit more of a ramping effect. So instead of a linear animation, which is the same speed from keyframe to keyframe. It adds a little bit of a ramp. The next thing we can do is check this, use compositions shutter angle option here. And then underneath here we can change the shutter angle. So if we increase this, go all the way up to 360 or so, it's going to add that sort of blur in between our keyframes. Now, it also adjusted just a little bit of the position. So I'm gonna go to this last position keyframe and make sure we're in the right spot, something like that. So you might want to just get your set your shutter angle first. So that looks pretty good. We might want this to be a little bit faster. So I'm going to select those second keyframes and just drag them over just a little bit. Slick and even better, That's a pretty good natural Zoom. Now to adjust this even more, I'm going to hit these arrow drop-downs and zoom in where we can actually adjust the ramping of speed even more. So now, if you click these key frames, you see these handles appear. And this velocity graph is representing the speed of this animation. So if we take these handles and we actually drag them in, we are creating more of a ramp and more of an organic position change. And then same thing if we go to scale and we take the velocity down here and ramp it in. This is adjusting sort of the Zoom as well. And so if we match the Zoom ramp to the position ramp a little bit more, you get more of a natural but sort of jumping, zoom in. If you want to have a little bit of a zoom in and zoom out, you can take this second keyframes handle up here for scale and actually drag it up. So this is actually going to zoom in and zoom out. So that's kind of a cool little, even more subtle with it, something like that. So it snaps in over there. It really depends on what style you're going for. But I think sort of the simple zoom in with this custom speed ramp that we've created by dragging the handles in for the position velocity. And this scale velocity here really sells this effect. So that's looking really good. Now say we want to apply this same Zoom to another clip. If we take another video clip and then we copy this transform effect, copy it, paste it to this new one. We get the same zoom in. Now, it doesn't work perfectly yet because it's zooming into the same position as that guitar shot. So what we need to do is go to that second key frame, the final keyframe. And I'm using these arrow buttons here to get to it right here to land on that key frame. And then I'm just going to move this over. And then down. Maybe we want to end there and maybe even zoom out just a little bit. And now we have the same ramp for this effect. And it's already applied. Instead of having to do it all from scratch. You can even apply it to an Adjustment Layer and quickly just copy and paste the adjustment layer with this effect, the transform effect on it on top of another clip. And that would work too. Cool. This is how you do that zoom effect. I hope you enjoyed this tutorial and we'll see you in another lesson. 130. Custom Wipe On / Wipe Off Reveal Effect: Welcome to this tutorial in Premier Pro where you're going to learn how to do a text reveal like this. Really you can use this effect to do any sort of reveal whether it's a logo, a picture, another video clip. So let's dive into it. If you're taking the Premier Pro Course for me, I've included the window and Lady clip in the downloadable resources of this lesson and a quick shout out to the car Popovich for posting this video to Pexels.com. It's a great shot and it's freely available to use. And that's all you need. Or you just need any clip where something is moving in the frame that can reveal your text. It helps if your shot is somewhat of a static shot, you're not moving in or out, zooming in or out because then you're dealing with having to adjust the scale and position of your text to have it get the same sort of effect. All right, So to follow along, we're going to put this clip in a new layer. Then we're just going to find the spot where we're going to create this texture. We'll, we're going to start right around there. So holding the command key down, I'm just going to trim the beginning of this clip over and that scoots it over using your ripple edit tool. Next we're going to add our texts. So with the type tool, I'm just going to type in here and we'll do the same thing that I did before. Welcome to paradise. Welcome to paradise. Some of my settings are a little bit wonky, so I'm going to go open my essential graphics panel at it. Let's put this down on another line. My line spacing going to set to 0 to start out. Set that to 0. And make my welcome texts a little bit smaller than my paradise text. And actually now I'm going to move my line spacing up something like this. Now, the beautiful thing about what I'm going to show you is we can actually make adjustments to our text later on. So right now I'm just gonna put it right here because we're going to have it reveal as she walks by. And right now this is a pretty good position. You want to put it in a spot where the thing you're revealing it from moves across the entire texts. So here we can see that it moves across the entire text To close this panel so we can see a little bit better. All right, so next, this is a very important part. We're going to nest this text and you'll see why later on. But just trust me, nest it. And this is going to help us be able to adjust the text later on. All right, so what we're going to do is create an opacity animation. Under opacity, we're going to use the free drop as a tool to create a mask around our text. And so what we're doing is actually creating it in line with this lady's shirt or dress, whatever she's wearing. And then over here, it doesn't really matter, just make sure it covers the entire text. And what we're actually going to do is invert this. So right now it's masking the text, but it's surrounding the text. We're going to invert it by clicking inverted. And so now what we're going to do is animate this path. So to animate it makes sure we set a key frame right here by clicking the toggle Animation button. And now we're going to go through and I see actually there's a little bit of a text popping out. So select the mask and I'm going to just move this point over just a little bit. So now we can go frame by frame. And you can do that. I have a little scroll wheel on my mouse. I'm just scrolling up and down to go frame by frame. You can also go down into your timeline. Here, go frame by frame. And so I'm going to go frame by frame initially to show you what the effect I'm doing. And I'm just going to select these two keyframes points rather, and move them over one frame. I have these selected already and move over. Go frame, move over. Now I think this will still work if we go a few frames at a time, this style you do want match the mood, motion and the shape of our shirt as we go over. Now sometimes there's times where you get out of your effect. And so to get back into the mass, just select the mask right here. And then to select those two points again, just click and drag over them. So she's moving kinda fast now. So I'm just going a few frames at a time. Now to be completely perfect. You would want to do it for one frame at a time. Now our shirt starts to move a little bit different here. So. Okay, and as we move and move this mask in future spots in this clip, it's automatically creating keyframes over here, which is what happens when you change the property of something that already has a key frame. So we gotta get all the way until the entire text is revealed. And so now I did that pretty quickly. But if we play through this, Can pretty good except on that very first keyframe, we still see that text appears. So let's make sure our mask here. We might have to go backwards just a little bit and move it over. So there we go. And notice that we actually have a little bit of feathering. I think that's fine. Actually, it adds to the fact makes it look a little bit more natural because there is a little bit of motion blur in her shirt and in the way she moves. And so I think that helps having a perfectly hard edge when it look as good. I think that's pretty darn good. All right, so if we zoom out to fit, you can see what this looks like. Pretty natural, pretty awesome. Now the benefit of putting it in a nest is now we can go back into this next sequence. We can adjust our text. So say we want the welcome to text to be a different font. So open up the central graphics and this, we're going to change this to just anything else. Courier, gosh, that's a terrible combination of fonts, but that's okay. Maybe we want it to be a little bit bigger. Something like that, Something like that. Now if we go back into our other main comp, it still looks good. Now you have to be careful though, if there's something that you've done. So maybe I changed my welcome to text to be too big. Let me just do that for kicks and giggles. So you can see what I'm talking about. If I make this too big, then our mask doesn't work because see, now she moves. But we didn't change our mask path here to extend far enough to where we could see the letters TO or the word to. Okay, So I'm going to undo that. And so you've gotta be careful about that. But now you could put anything that fits within this mask. And it will be revealed by her movement, a logo and image and other video clip. But I think it's mostly effective with this text. All right, so that's how you do a reveal. You could do the opposite if you're, if you want to make it disappear, you would just have to animate this mask the opposite way. So, or actually you could invert it the other way. So if we take this and it's kind of like a wipe off effect. If that's what you're going for, it really depends on what object in your frame is covering your image. Maybe you have it wipe off as she walks by. So this edge of her body sort of wipes it off. And that would be kind of a cool effect if we had a title up here that said like a film by or something, and then it wipes off as the other one comes on. Just an idea. Alright, thank you so much for watching this tutorial and we'll see you in another one. 131. VHS Style Look in Premiere Pro: Welcome to this Premiere Pro tutorial where you'll learn how to get this VHS Look. This is a great example of how you can apply multiple effects and things that you've learned if you've taken the whole Premiere Pro Course for me to get your desired style. So the clip that I'm going to be using is this rollerblading clip. Thanks to Rodney productions for posting this to Pexels.com. Here you can also see the original clip. So it's shot in a format that wasn't popular in the eighties and nineties when shooting on tape was popular, the colors don't really look like they are shot on tape. We're going to be playing with a lot of stuff here in this clip. Another thing that I did was I searched for 19 eighties video on YouTube. And this video, it's a good one where you can just see from the colours, the exposures, the things that you get on tape are a lot different than what we get now with our cameras are phones, everything we shoot video with. And so it's a good thing to kinda look at real footage and not just base what you are creating a style on other tutorials. There's lots of tutorials out there for VHS style. And there, there's great ones. And I've pulled some of the tricks and effects that I've learned from those tutorials. But some of the stuff just doesn't look. It's a little bit too powerful. So let's get into Premier Pro. And the first thing I'm going to do is drag this rollerblading clip into a new sequence. And so I have my Premier Pro Layout little bit different because this is a vertical shot that I'm just going to start with right now as is. And I'm going to apply my effect directly to this clip like this so we can see it. The first thing you wanna do is select this clip and go to Effect Controls. And what we're going to be doing is playing with the color channels. So first set the blend mode from normal to Linear Dodge. And then we're going to duplicate this clip twice. So we have three clips. So we're going to first, actually, before I do that, let me apply the effect that I'm going to tell you to apply called color balance. So if you search for color balance or if you go under Image control, drag that onto this clip. And now in the color balance, setting, drop everything down to 0 except for one channel. And so now what we're actually going to be doing is creating three separate clips for each color channel. And so now if we copy this, if I press Option and drag and move it up. And then again, drag option, click and drag to the next track. We have three versions of this. Now there is a little bit of a glitch that I noticed and I found this on premier forums online that the color balanced channel, it when you are at a 100 percent, it says 39 for some reason. And if you kinda play through it over here on the right-hand side, it jumps to 100. But then for some reason when you go back to that clip, it shows that it's at 39. That's just a little glitch. So all you have to do now is for these two copies, make one of them green at 100. It's probably easier just to type in. And then the other one, we're going to set the blue to 0 and the red to 100. And so now using the Linear Dodge blend mode and then setting each channel to a specific color, or each clip to a specific color, red, green, or blue. It actually looks exactly how it should normally. The reason we did this though, was because with VHS footage, there's a little bit of that sort of edge effect where there's some colors that you get the reds and greens on the edge of things. So what I'm gonna do is I'm going to take this top one which is my red, and I'm going to move it up. Now if I go too far, you can start to see that it gets a little bit funky. So you don't wanna go too far. You want to just start where your original number was and maybe go up like three or something. So 96 three. We're just moving it up a little bit. And I can zoom in here so you can kinda see the effect I'm going for. And then my green channel, I'm going to move down. So like 957, something like that. That might be a little bit too much. Let's cut those down by one, 96 to something like that. And now for a zoomed out, that's starting to look a little bit more like that typical tape footage because that's just how it captured colors. All right, so that is pretty good. Next, we're going to play with the colors even more. So to do this, I'm going to create an adjustment layer. So click the New Item button, adjustment layer for the size. That's okay. It doesn't really matter. I'm just going to lay it up on top of these clips. Now I'm going to go up to an open my Lumetri color under the window panel. And what I noticed from that 1980s footage was that it was very blown out. So and that's kind of typical. Old tape. Cam quarters weren't able to capture whites and highlights that well, so I'm just going to blow out my highlights and my whites by bringing up that, those, those exposures. And then it's a little bit of a faded look as well. So I'm going to bring up my blacks quite a bit. I'm also going to boost my saturation just a little bit. And then depending on the tape for this, the one that I saw, there was a lot of blue going on, so there was kind of a, a blue tint. So what I can do is just drop the temperature a little bit. Or we can go in here and under curves, if we take our RGB curves, blue, we could bring up the blues. Let me become down in the reds, bring down the reds. And it just, it just gives kinda like a funky color mix that typical cam quarter would have captured not perfect colors. So let's close panels. It's looking pretty good. The other thing we get with old VHS tape is a little bit of noise. So grain, so under Effects, if you type in noise under noise and grain under Video Effects, we're going to apply that noise to the adjustment layer again. And then here we're going to type in a number. Let's bump up to 5%. And color noise is good. Maybe let's go up to 10 percent. And if you play through this, you can see a little bit of that noise now. And you don't wanna go too crazy with it. Maybe five as good. But it's just like that subtle look that I think works pretty good. The other thing that when you're playing VHS tapes, if you're old enough to remember, happens is you get these little glitch lines playing through your tapes. Yeah, this this glitch line going top to bottom. Well that's an effect that we apply called Wave Warp. So under distort Wave Warp, apply that to the adjustment layer again. Now this looks terrible. That's not what we want it to look like. We have to change some of these settings. Under wave type. We're going to change it to square wave width. We're going to put it at something like 600 direction. We're going to put it at 0. And then wave speed we're going to put it at point 2. And then pinning because it has these little edges that appear, we're going to choose all edges or vertical edges, which is just the ones on the side. So now if we play through this, it's automatically creating those waves going through our footage. And if it's going too fast for you, you can put the speed down to 0.1. Okay? All right, so now if we just set our endpoint and if we want to actually loop this playback and watch it in full quality, we can say Loop playback. I'm going to make sure I'm on full quality. And then I'm just going to set render out so that it renders it out. And when we can see that if you don't see this little loop playback button, click the plus button. And then drag the loop playback button, which is this little square with the rectangle arrow. Drag that down here into your play buttons. And now you can loop your playback on your timeline. So this looks great. And it's great if we want to share this on tiktok Instagram Reels, any modern or new platform that uses vertical video at this ratio, which is nine to 16, nine wide, 16 tall. But to get that traditional VHS tape look, the aspect ratio that we commonly use back then was four to three. So what we need to do is if we want to adjust this existing sequence, the first thing we need to do is actually nest these three clips because we're going to have to move them together. And We don't want to have to do it one individually at a time. So by selecting the three clips and choosing to create a nest with them, it puts them all in one Nast. And now we can actually take this clip and we can move it around however we want. But first, let's adjust the sequence settings. So if we go to sequence, sequence settings, how do we change this frame size to a four to three frame size? Well, we know that the width of this is 1080 and that's the widest it can be without losing quality. We could stretch it and I'll show you that in a second. But what we need to do is if 1080 is the four of our aspect ratio, if we remember our math as little kids, what we can do is divide 1080 by four. And then we multiply this number by the other side, the horizontal ratio, which is three. So we multiply that by three. Whoops, there's 270 times 3, that's 8, 10. And you'll notice here's the ratio right now, nine to 16. If we put an 8, 10, it's a four to three ratio. If we click OK, OK. Now our video is four to three ratio. We can take this nest, we can move it down. And the reason I nested it before I adjusted the sequence settings is because if you do it afterwards, it's going to actually cut off the top and bottom of your clip. Go ahead and play around with it, but it doesn't work that way. Okay, So this is looking pretty good. What if we want to export this in a more traditional sequence star setting like a 16 by 9, which is your typical frame size four. Any sort of playback now on most monitors. So say we do stretch this a little bit. 1280 by 720 is a typical 16 by 9 ratio. 1920 by 1080 is another one, but we're going to start with 1280 by 720. And now we have this and we can move this down on this sequence. The problem is that we don't know if this is really the four by three ratio or not. So say we want this frame size to be exported, but we actually want some letter boxing on the sides. Well, if we use this vintage cinema overlay, which I've included in the class, and we're going to put this on top of our adjustment layer. And then we set the psi, this to frame size or right-click and choose frame size. Now this is the four by three aspect ratio because one 33 is another way of saying four to three. So it's 12133 is another way of representing the four to three aspect ratio. That's getting a little bit advanced in terms of understanding cinematography, aspect ratio, playback and all that kinda stuff. But it's good to know. And so now if we play this through, now we have this awesome shot that we can export it at 16 by 9 with the proper letter boxing on the side for a 4 to 3 look, which is what most old VHS tapes would have played back on. All right, the very last thing I'm going to need to do to really sell this is to add the timestamp or the date stamp, which is something that you got on your tapes as well. So if we open up our essential graphics panel, we can actually swap these now. So I'm going to put my program monitor like this. I'm going to just add a new text layer. And I already have it set to the font type, which is a VCR, OASDI mono, which you can download from duff font.com. It's a 100 percent free to use, free to share. So thank you to the creator of this font. Receive very lethal. Sorry if I mispronounced that. I've also included it in the download resources of this lesson if you're watching this in the course. And so now what we can do is just set the date. So depending on how you want, if you wanted to do it spelled out 1991, Let's call that what we want. I'm going to make it a little bit smaller and we're going to put it right here. And I'm actually going to put it underneath our adjustment layers so that everything is applied to this file as well. The other thing I'm going to apply is just a little bit of a blur effect. So let's just fine. I think a Gaussian Blur, It's fine. So I'm going to apply that there. And then here in our effect controls, I'm just going to do like five. See how that adds a little bit. Let me take that on, off, on, off. You can see how that just adds a little bit, makes it look like it's part of this original clip. And then maybe I'll just have it come off after a few seconds. I think that works. And I think that sells this effect quite nicely. Well, I hope you enjoyed this tutorial. And if you're taking the full chorus, I hope it just makes you realize what you can do in Premier Pro. Now, a lot of the effects that I applied here are things that I learned myself from other great creators. And now that you are more confident using Premiere Pro, you can go online, go to YouTube and find styles and tutorials and you'll be able to follow along with them and know how to navigate and apply them to your own videos. So thank you so much for watching, and I'll see you in another tutorial. 132. Introduction to this Advanced Color Grading Section: Welcome to this section of the Premiere Pro course all about more advanced color grading techniques. Specifically, we'll be looking at some popular styles of color gradings, such as the orange and teal look. Here you see the film noir looks and flat black and white look. We've got a desaturated, moody look. Warm and Bray, cool and moody. All kinds of different looks. And I'll also show you a quick way to copy the color grading style of any movie, any Hollywood, Hollywood movie in just a couple clicks of a button. So this is going to be a really cool section. You have the downloadable practice files available to follow along with these clips or you can use your own. So let's get straight into it. 133. Orange & Teal Color Grading: Welcome to this first advanced color grading lesson. In this one, we're going to learn the popular orange and teal look. I'm using the color grading one video clip if you want to follow along with that one. Or you could use any clips that you have or the other sample footage. This is a look popularized in Hollywood movies from Mad Max and Iron Man 2 transformers. It's this look where you are highlighting the orange and pushing your darks and shadows and cooler colors to a teal, look as you can see here as an example in this sequence. So how are we going to create this? First, if you're starting from scratch, just take your color, grading example footage, put it on your timeline. I am using adjustment layers so that you can turn it on and off. You could also easily apply this adjustment layer to another clip. The first thing that you really need to do whenever you are grading footage is give your footage a basic correction though. This clip is rather flat, so I'm just going to just a super, super quick edit, bringing down my shadows, bringing up my highlights in terms of color, temperature, and balance. I think it's fine as it is right now, but I'm just giving it a general better exposure. And again, you're going to be using this footage that is provided in the course that isn't completely full quality resolution. So you don't have full room to edit this footage. But if you're shooting in a flat profile with your own camera, you're going to have a lot more room to edit with. So that's good for our base layer. I can quickly toggle this on and off here and see what that looks like. I also have my vector scope y, u, v graph up here. And this is going to be a good way to see what I'm doing. Because what I'm really doing is pushing our colors into the orange, which is between yellow and red, and into the cyan or this sort of teal color. So the next thing I'm going to do is add my adjustment layer where this is really the layer I'm using to create that orange and teal look. So make sure you have that selected. Because if you have another clip down here selected, it's going to be a different Lumetri color effect. I want to show you and teach you really the process behind these effects rather than just telling you okay, type in this number, adjust the slider to this because there's multiple ways to get every type of look using Premier Pro's Lumetri Color. And I really want you to understand what's happening. So I'm going to show you a couple of different ways to do this. The first thing we can do is just open up our color wheels and match. This is where we can take our shadow colors and push those shadow, shadow colors more into the teal, see how that's making everything a little bit more blue. You can go over to the left, straight down to that cyan, cyan. And that's going to automatically make that a little bit more of that teal look. We can then take our highlights and push that to sort of balance it up into the orange and even our mid tones a little bit. If we go too much with the midtones though, it's going to start to look all orange. So you sort of have to find a happy medium between these two settings. And it's of course going to depend on your clip itself as well. So that's one way to start to get this effect. Another way to make this even more pronounced is with our curves. If we go to the curves panel and we go to Hubert's verse saturation. Let's scroll this slider so we get all of our sort of blue range in our view. And we can just go ahead and click somewhere around this point right here between green and cyan. And then over here, right when it starts to get to purple. And then we could bring up the saturation of our blues. And we can set two points if we want to get all of these colors. And if I turn this on and off, you can kinda see a subtle teal added to that color. We can also slide over back here to our orange, yellow. This is going to be a lot of our skin tones. Set two points around the orange and bring that up. Now you don't want to do too crazy with that because the skin tones can start to look a little bit funky. But something like that really does add and create this tool. Look orange until OK. Now you can turn these on and off individually. You can turn off the effects button right here to see the before and after. Or you can go down to the slider or the timeline layer and turn this on and off. And you can really see the dramatic orange and teal that we're creating here. Another way to do this, I'm going to turn off the curves and the color wheels and match tabs on this Lumetri color effect and go to HSL secondary. This is going to give us a more specific adjustments. So if we want to select the blues, we can click this blue. Or we could start with the sort of cyan, but starting with a blue is a good option. And I'm going to check on this colored gray button so we can see what the selection is. This clip already has a lot of blue in it. Basically what I'm trying to do is select everything except for our skin tone. So I'm going to extend this here. I'm going to blur it out so the edges blend more. So if you've day noise doesn't anything. Not much. So that one, we don't really need to worry about. Me extend this a little bit and bring this top in. I'm not trying to get any of that skin tone. Just seeing decreasing these selections here. All right, so starting with something like that. And if we turn off this checkbox so we can see what we're actually doing. We can then do make an adjustment. We can take this overall color adjustment and bring it down into the teal. Maybe boost the contrast just a little bit, boost the saturation. And now we're getting a super duper her teal. Look, if we want to do the same thing, That's more pinpoint adjustment of just bringing out the orange and yellow in the oranges and yellows of our frame. What we need to do is add a second Lumetri color effect, because we can't add another point here with HSL secondary on this effect. So click this drop-down button and click Add Lumetri color. And we could actually rename this, so we can call this orange, so we can remember what this is. And up, up in the effects controls panel, you can see the different Lumetri color effects that are applied. And the name of it is in parentheses over here, just so that, you know if you want to delete one or the other. So here with this orange one selected, if we go in and we either take our eyedropper and select our orange or start with something like the reds, we should be good by starting to select our skin tones. I'm going to extend this so that we try to select more of her skin tone, just making quick adjustments here and blur out. Just so that the effect we apply blends in with the rest of the video. And it doesn't look like it's cut off on the edges of things. And then what we're going to do is push this into the orange. You can see that this starts to look kind of crazy early on. So you don't wanna go too much. Just very subtle. That might be way too much actually. You could even go into the individual shadows, mid tones and highlights here. Maybe we want to just play around more with the highlights, where we add this orange and the shadows of this selection, we still bring back into our more blue teal color. And we can turn this on and off. It's a subtle change. Maybe we add a little bit more of our mid-tones to subtle change. But there we go. Now we can turn off this layer on and off. And you get that super duper, ha, call it. I know that's silly but more powerful, orange and teal. Look. Alright, so the cool thing about this is if we take one of our other clips, Let's just take our clip of the motorcycle color grading 3 and we drag this onto our timeline. Now we haven't done any basic correction on this clip, but it's a little bit more color corrected than the other one. And if I just extend this adjustment over, we can see what it does to this clip. Turn on and off, on and off. And we already have a pretty decent orange and teal look for this, for this clip. So you want to look through this and make sure that it looks okay. I'm seeing here as I play through that parts of her forehead look a little bit funky with that teal added for the HSL secondary. So maybe I would select a little bit less of this, something like this right here. So we're just not getting as much of her forehead, but really just her shirt and the background. It's always good to play back your footage and not just depend on the one frame that you were editing because the lighting, the angle of where your actors are or whatever you're filming and might change. And that's going to change, especially if you're using this HSL secondary option. Now if I turn this off and go back and turn on my color wheels and curves option. You can see it's sort of a different effect or a different look. And then let's actually just go ahead and delete this second one, the orange one, or we'll just turn that off. Now this is going to be a different look for this color grading 3 clip as well. But still a pretty good look. And with every different clip, it's going to take a little bit of a different adjustment because the starting off colors and things are going to be a little bit different as well. And so you really are sort of adjusting in grading to every individual clip. If you were filming an entire sequence are seen together at the same time with the same lighting. It's going to have the same color temperatures, same color base, same contrast starting off. So it will look more similar compared to these two clips which don't really go together right now. So hopefully you understand now how to create this orange and teal look, I'm back on the original clip and I just want to show you how using this vector, so scope graph helps you because what we're doing is pushing these colors. And if I turn off this adjustment that I created, you can see that it expands into the cyan teal and this orange area of the clip quite well. And that's really what we're going for. So, thanks so much for watching. I hope you enjoyed this one. And if you're doing this on your own footage and this has helped you tag me in your Eclipse, tag me on YouTube, tag me on Instagram, wherever you're posting your videos. I would love to check it out. Thanks so much and we'll see you in the next lesson. 134. Warm & Bright Color Grading: Welcome to this new color grading tutorial. In this one I'm going to show you this warm and bright look. I'm again using the color grading one clip. So let's get straight into it. So I'm just going to, for the sake of time, copy and paste the color grading clip with my basic adjustments. I did the same adjustments that I did in the previous orange and teal look, just fixing up the shadows, giving it a little bit more contrast, making a little bit brighter. This is like a basic clean color correction. And again, I hate to be a broken record, but because the quality of the footage isn't the full resolution, this is coming from Pexels.com. You do start to see a little bit of noise and just broken artifacts. When we're pushing these color grades, if you're filming and editing your own stuff that's raw, you won't be able to see this. So basically what is this look, It's just a typical warm, bright, sunny sort of look. Now this is sort of a golden hour look by the original footage is shot quite cool, a lot of cool colors. And so the first thing I'm gonna do, as always, is drop a new adjustment layer over this clip. This is where we're going to be making our basic adjustments. Here we can actually do some of the initial work just with our basic correction. If you wanna just a quick slap on a fact, just bring up your temperature. That does enough if you don't go too far with it to give you that warm look. Now, I'm want this to be sort of a warm, bright look. So we're pushing up our highlights a bit. Even our whites, we can push up just a little bit and I might just bring down my shadows just a little bit just to bring back that contrast. But overall, just those minor adjustments start to make it give that little effect. This looks more natural compared to our original grade. This is much more stylish. So if we want to push this and get more stylish with this, we're going to go into our color wheels and match. Here is where we're going to bring up the midtones and push that color into the red orange area. Same with our highlights. We're going to push that up, something like this. That doesn't look good. We're going to push back down our shadows back into the blue to sort of balances out. And then just play around until we get the color balanced that we like. Now I'm not going for the orange and teal look, so I don't wanna go too far with the shadows. But something like that looks pretty good for what I'm going for. Again, this one is pretty basic. You could do a lot just in the basic color correction tab. But you could also see what the color wheels and match adjustment is doing as well. Just pushes it just a little bit better instead of just an overall slopping on warmth to every single aspect of your footage. Pushing up the colors in the specific ranges, shadows, midtones, highlights. That's what gives us a better, more professional look. Alright, that's the warm and bright look, pretty easy. Hope this helps and we'll see you in another tutorial. 135. Cool Blue Color Grading: Welcome to this new color grading tutorial. In this one, we're doing the cool blue style without any Lutz or presets. And I'm using color grading 3, the clip if you want to follow along in the course. If you look up here in the vector scope graph, you can see the colors being pushed from yellow and red over to the blue, which is exactly what we're going for. Now, why are we gonna do this? We're creating a more moody look, cooler look, maybe trying to make it look like it's a different time of day. But more importantly, it's a style, so we're just making it a little bit moodier. So we're making things cooler, but we're also darkening up different aspects and areas of our video as well. So to start out, I'm just going to have my color grading clip. I'm going to actually delete this adjustment layer. The base clip is pretty good, so we're just going to start from here with a new adjustment layer. So from here with this adjustment layer selected and our Lumetri Color panel open, like we saw before in the warm and bright tutorial, you can just take your temperature slider and just push it down and you start to automatically get a warm, sort of a cooler look. But it's applying this specific temperature adjustment to everything. And I don't think it looks as good as what we have here with our specific adjustments. So what I do is just a basic adjustment first, and I'm just going to make everything a little bit cooler, but not too much. Then I'm going to go specifically into my curves tab. So here we're going to do a lot of adjustments with Hue vs Saturation. So what this is doing is we're taking specific colors or hues in increasing or decreasing the saturation. So what I'm actually going to do is take and set a point around all of my blues and actually bring it down or actually desaturating this part of the film first video. Then I'm actually going to combat this by setting a point here sort of around our skin tones and bringing it up just a little bit. I don't want to lose all of our skin tone and our yellow yet right now. And you can see what this is doing before and after very subtle adjustment. Next, what I can do is make this specific color a little bit darker as well. So are these colors darker? So I'm gonna take my everything again around my blues and bring that down. So we're making those a little bit darker. So this is more of the exposure and the overall saturation that I like. That's what we've done so far. Next, we want to add more of that cool color to these specific exposures. And we do that with color wheels and match. Here we can take the specific shadows that we now have because we've adjusted our Hue vs Saturation and our Hue vs Luma rather. And now we have more in our shadows that we want to affect and add blue to with this adjustment. With our midtone, we can bring that down just ever so slightly. And then we're going to bring our highlights and bring those, make those a little bit more yellow and warm. To. Now with these sliders on the left, we can actually bring down the exposure even more of these specific tones, mid tones. We're going to bring down shadows. We're going to bring down giving it even more of that moody look. And we can turn this on and off and you can really see what we've done. If you want to add more blue, just drag this color slider or this color wheel out to the blue even more. You gotta be careful with it though, because if you go a little too far, everything starts to get that color so you can balance it with the highlights kind of. But there's a point where it gets too much. So be careful with that. So this is where I ended up with my original grade. Another thing you can do is with the curves. If we go up to RGB curves, you can go up to the blue curve and you can just make this, boost this up. You can take everything boosted up or you can take specific part. So I'm going to bring this up, down here in the shadows, which is the bottom left of this graph. And then maybe bring back down the curve in the mids. There we've added even more blue to those shadows. I think that's a little bit too much for my taste, but I just wanted to show you that in case you were interested in it, you'd also take the other colors, red and green and bring those down, which actually gives everything else even more of a green or a blue tint rather. So now we're getting a little bit dark, a little bit funky. So that's not my preference for doing it, but I just wanted to show you another option for how to get that those colors. If there's specific areas of types of colors, you want to make a different type of blue. Maybe this is a little bit to purple, a little bit to teal, or green for you. We can select our blues. So let's just take the eyedropper. Let's just like this ground area which gives us three points on this graph, which is a good mid, midpoint. And I'm just going to extend it just slightly, something like that. And then we can take our hue and we could actually adjust the hue. We can make it a little bit more purple, little bit more green, which makes it a little bit more teal. That's not really what we're looking for though. Just another thing to know about. Okay. I'm going to turn that off because I don't need that, I don't want that. And now we have a pretty cool, cool, and moody. Look. If we want to really make this a little bit more moody, maybe a vignette might add something too. Let's put the midpoint super far in. Increase that feathering. Something like that. Looking pretty darn cool and cool and blue. All right, I hope you enjoyed this tutorial and we'll see you in another one. 136. Moody Desaturated Color Grading: Welcome to this new color grading tutorial where we're going to be creating this desaturated, moody type look. This is one that I see very popular amongst YouTubers. And it's kinda neat. So let's learn how to do it. Basically, what we're doing is desaturating all of our colors except for skin tones, which is those yellows, oranges, reds, those kinds of colors. So I have a new clip that you can start out with its color grading for if you're following along, I thought this effect in this bright and colorful forests gives a good example of what that says. Next, I'm going to add an adjustment layer on top of it. So just like I said, we're desaturating all the colors except for skin tone. So how do we do that? If you've been following along with the course, you know that we can go under our curves adjustment and down to Hue vs Saturation. Here we can set points around where most of our skin tones are. If you need to find a specific skin tone, you can take the eyedropper and we can choose. We don't really see your face, but we could use something like in our hair or even the cover hat might be a good adjustment to leave color in. So we know it's right around this orange. I'm going to undo that and I'm just going to set points around there, there like that. And then next to this, I'm going to take another point in, bring it all the way down. And you can see here we start to get this effect applied pretty well. Now, I don't like removing all of the saturation. I think it starts to look a little bit unrealistic. I mean, it's going to look unrealistic, but it just starts to look bad in my opinion, if we go all the way down, I just don't like that style, so I like leaving a little bit of color in there. This still does quite a bit to do what we're trying to do. Next, let's add a little bit of contrast with the RGB curves. The original shot was fairly well edited and color, correct? The color was good. So depending on what you're filming or white footage you're using, you might have to do a basic correction first. But I'm just adding a little bit of contrast like this. With a little bit of an S curve. If you want sort of a flat look, there's lots of different ways to give you a flat look. We can take the little bottom node at the bottom of the S curve and bring that up along this side. You could also go to the Creative tab and bring up the faded film slider. Either way, you're going to get that sort of faded look. Or you could bring up the blacks here in your basic slider to get to where you want. Here, I might desaturate everything just a little bit, maybe down to like 90 or 80. If we want to bring back saturation just in the skin tone, the hat area, we can go back to our curves, back to hue saturation. Let's take our eye dropper, select that area and bring that up. So we're not losing that. If we do want to get rid of more of the green that we see, which is included in this Hue vs Saturation. Well, you could sketch these points over like this, but you start to get rid of some of the skin tone and color and it starts to look a little splotchy. So I'm going to undo that. And I'm going to open up HSL secondary. Here. I can take my eyedropper key selector, pick that specific color. And now with this selected, I can see what's actually being selected. I'm going to blur out the edges just a little bit. And then which the hue saturation and luminance sliders. We can expand or decrease this to pick more color, more luminance, more exposure, et cetera. And then we can make adjustments to that specific area which isn't selecting much of her hat and skin tone with these letters down here like by desaturating that specific color. So that's a good way if your Hue vs Luma curve or hue saturation curve rather it doesn't get all the specific colors you want. You can go and use an HSL secondary effect to make it even better. But like I said, I like leaving a little bit of color in there so that it doesn't look completely, completely unnatural. But here we have this desaturated look. We can turn this on and off right here. And it looks like I was actually applying that effect to the color grading. Which is a good thing to note because if we want to move this to the adjustment layer, which we can then apply to other clips. What I'm going to do is cut this Lumetri color effect from the grading clip. So with that selected, with Effect Controls open, I'm going to command X that affect Control X if you're on a PC and then go to my adjustment layer, paste it. And now we can see what happens if we apply this to another clip. So let's take our color grading 3 option. Go here, and then just extend this adjustment layer. And that's how we quickly apply color correction to another clip. As we've seen before though, this does a pretty good job, but we do have to pay special attention to the HSL secondary panel when applying your adjustments to a new clip because sometimes it doesn't match as well. But the overall adjustments that we see here actually does quite a good match here. If we take something like our number 2, let's see if it does the same. Yeah, pretty good. So that's the moody, desaturated look. I hope you understand what we're doing by now with this effect. And let me know if you have any questions. If you use this style in any of your edits, tag me in your videos, tag me on Instagram, YouTube, wherever I would love to check it out. Cheers. 137. Flat Black and White vs Film Noir Look: Welcome to this new Premiere Pro tutorial. In this one, we're going to look at two different styles of black and white color grading. One is a flat black look, and one is more of this film noir look that you see here on the screen. It's going to be a really fun tutorial and very simple as well. So to start out, let's just take these three clips. We have a few different options to go with color grading to. And I'm going to start with an adjustment layer on top of that, these two clips right here. And so if I take this adjustment layer, the flat black look is super simple. We're just desaturating everything. And this shot is actually pretty flat already. It's got that flat straight out of camera. Look. If you don't have that, look, what you can do is just bring up the blacks. You could go to the Creative tab, bring up the faded film slider. Either way, you're bringing, bringing up the exposure of the shadows and the blacks. You can also go into curves. And you can take your black point down here and bring it up on the left side of the frame. Going the opposite way will create more contrast. Even with this shot, I might just bring the blacks just up a little bit. I'm going to bring down the shadows a little bit so that there's a little bit of contrast. Bring up the highlights. And that's looking pretty good to me. Now the cool thing about this flat black look is that there is, It's an easy way to get consistent look even between shots that were on different cameras, different exposures, different colors, different places. These two shots almost look like they go together. Now there's color grading. One shot, I actually brought up the exposure from the original so that it matches the exposure about from this shot, which makes it match even better. Okay? Now if I apply this to my color grading flat 5 clip, It's not the film Anwar look that I'm going for. So I'm going to start from scratch. And the film noir look. It is a lot more with lighting then just slapping on a color grading. So trying to get the film noir look on something that is brightly lit like this is going to be more difficult. We'll see what it looks like after we make adjustments for this clip. But you can see with this clip we have a bright key lights and backlighting and lots of shadows and contrast in the original footage itself. And that's going to help make this film NWA look, look more realistic like that traditional film noir look. So for the adjustment layer, we're going to bring down the saturation and then I'm going to boost up the contrast. You can do that a number of ways. Contrast slider, you can bring down your blacks, down your shadows. You can bring up your highlights. You can go into your curves and create an S curve like this and create even more contrast. Bring this black point over here to the right to create some pure blacks in there. Depending on how much contrast you want. There's lots of tools for adding contrast. So right there that looks pretty good. With film noir. It's okay to lose some information in overexposed areas of your film. You can see this paper right here are your video rather this paper, these lights right here, we're losing that, but that's okay. Now, something that I noticed with this clip that I thought I could improve is that what should be the focus of this clip? The guy's face, right? Of course he's typing, but he's smoking a cigarette. You want his face, his smoke to be the center of attention plus maybe a little bit of typing, but not this big white paper over here. So we can add a vignette to help draw the viewer's attention to that midpoint of the film or this top-left third. Another thing we can do is add another adjustment layer and create sort of a mask to make this part of the frame darker. So first I'm going to drop my fit to 25. And then with this adjustment layer selected, I'm just going to go to the curves and make this completely black, taking this point right here all the way to the black. You can do this a number of ways to create a black film. But I think this adjustment layer trick works pretty well. Next, I'm going to take my free drop Bezier tool under Effect Controls under opacity. And just set a point here, here and then go around the edge of your frame over on the right side. And that's why I dropped my frame size to 25 percent. So I can see a little bit better and click outside of the frame edge. Next, I'm going to increase the feathering quite a bit as increase, increase, increase. And when I do that, I'm going to take this point and move it even further. And then I'm just going to move this down over the side and just adjust these points and the position of this so that it almost looks like there's a little bit of a shadow coming down here on the right side of the frame. So if I turn this on and off, you can see what it's doing. Now, you know that this isn't naturally what it looks like. But for a viewer, they want to be able to tell as much that this is a little post-production mass that we've added so that the attention of our viewer stays in the middle of our frame, rather than being drawn to the brightest area of our footage, which is generally what people's eyes go to automatically. All right, so this is a pretty awesome film noir look. But what happens if we just apply this layer to our other clips? Actually, I'm just going to copy these like them. Option click drag over. And now I'm just going to extend this one adjustment layer over. And you can see that it is a highly high-contrast black and white look, but it's not the film noir look. Okay, so this is just a good example of where color grading can go. Only so far before you have to start to think about what style you're wanting while you actually film your video. There's things we can do to try to make this even more contrast. Ear maybe add some mats or even darker vignette around the edges of this clip. If you want just another sort of example of a circle vignette that's even more intense than what you can do with this vignette tool. Let's actually just go ahead and do a black video down here. Match the frame size, dragon on top of everything. And then we're just going to, with the black video selected, click the Create ellipse mask. We're going to invert it. We're going to feather it a ton and expand just a little bit. And I think the feathering is a little bit too much. So more stylistic by a little bit closer to the film Anwar, look that you might be going for. And if that black video vignettes too strong, you can actually just take the opacity of this and drop it down until it matches your liking. All right, so those are two black and white looks. I hope you enjoyed them. And I can't wait to see what you do with it on your own projects. Thanks so much for watching and we'll see you in another tutorial. 138. How to Copy Any Hollywood Color Grade like The Matrix Look: Welcome to this new color grading tutorial where we'll be doing the matrix style, color grade. I'm going to show you the easiest way to do this and then one from scratch, both using no, let's so I'm using this color grading 3. Clip it for following along with the course. So I'm just going to copy it over here by option clicking and dragging it over to this part of the timeline. Now this is up a little bit because we added a letter box overlay. I'll do that later on. But just with this up here, I reset the position with this reset Parameter button. I'm going to add an adjustment layer. Now sort of the easiest way to do this, which is super powerful and Premier Pro now is the color match feature. So I took this screen cap that was online and I import it into Premiere Pro with the Color Wheels and Match button. Open, click Comparison View. Next you want to on the left side for reference, just slide over on this timeline slider to the point where you have the screen cap example right there. And then all you have to do is click Apply match. And that applies the colors that Premiere Pro season here to this clip. Now the colors look good but the exposures don't. So I'm going to make some adjustments to the exposures. Bringing up the mid-tones, bringing back up the highlights and the shadows. The shadows are okay. What this does pretty well is it makes sort of all of the non skin tone colors that matrix green. And you can really see a good comparison because from this split screen view of the cement and the background to the road, it's pretty much spot on in terms of the color of green that it's changed. To really sell this. If we're going for that matrix style, we can add the 235 cinema scope overlay, which is also available in your downloads. And that is a pretty darn good quick way to do this. Now if you're doing this from scratch and you find other movies, you can replicate this, Take a screen cap, import it, use the apply match, and hopefully it works. Sometimes it doesn't. We saw that earlier in the course and the basic color grading section, that doesn't always work. If we're doing this from scratch though, I want you to understand really what's happening. So what I'm going to do is copy this again over this color clip. I'm going to, oh, it looks like actually the color grading was applied to the clip itself, not the adjustment layer. I always do that. So I'm going to delete that. I'm going to copy this adjustment layer over which doesn't have anything on it. Just for kicks and giggles. I'll add the letter boxing on the top and bottom already. And then I have to change the reference. I'm going to just go to the next clip with this next click Edit button. Just so I can see that up as a reference. I think that's a good thing to have up there. So what would I be doing to this clip? Well, I wouldn't be making it green, right? So in basic correction you can say, Oh, I'm just gonna take my tint slider and drag green and that does a decent job. But what's different about this color grade versus the actual matrix grade is that the skin tones are actually pretty normal. You have a little bit of a green tint to it. But here when we just apply this tint slider, that's a very beginner way to do it. That doesn't look that great. So what we're going to do is first in our curves, we're going to add a little bit more of a contrast with the RGB curve. We're just going to add a little bit of contrast here. And then with the green curve, we're just going to bring that up just, just a little bit, not a ton, but just a little bit. You can even make a little curve like this where we bring it up in the shadows and then back down in the highlights just a little bit. So that's applying more to the shadows of this clip and not to the highlights where the skin tone is. Next, I'm going to go to Color Wheels and Match. And here in the mid-tones, I'm going to push that green even more. And here's where you can sort of scroll up and down or click and drag up and down until you find the right color of green. Because it's sort of like a blue-green and same with the shadows. I'm going to bring that down just a little bit. And with the highlights, I'm actually going to push the highlights back up into the yellow. Now we're getting a little bit too much right here. So you can see that this is all minor adjustments that we're making, playing around with it. And that apply match feature is actually really the easiest way to do this. All right, so that's, that's looking pretty good and maybe a little bit too green. So there's different ways you can do that. You say, okay, it's too green is not blue enough. So what can we do? We can play around with these color wheels, or we can go to our basic adjustments and add a little bit more blue to it. But this is applying blue to everything. Even the faces. So say we do this, we go back down to better match. Right there. What I wanna do is reverse this effect that's being applied to our faces with this slider, with our color wheels slider and everything else by doing an HSL secondary adjustment. So with HSL secondary, I'm going to set the color to the skin tone. I'm going to turn this on so I can see what it's selecting, not selecting much right now. So what I'm gonna do is expand these sliders just a little bit until we have mostly just our face being selected. And I'm going to blur it quite a bit. Something like this is starting to be okay. I'm okay with selecting some of the background as well. And then here what I'm going to do is bring this back to red, yellow. So does something like this. We're doing the opposite of what we were doing before with the blue and the green whips by putting this up in the red and yellow. Okay, So now if we play through this clip, we're getting a pretty solid look because we're getting that main screen, but we're also getting that matrix, sort of a yellow, orange as well. My gun a little bit too far with that. Let's just decrease it just a little bit that way. Or what you could do is just use a little desaturation adjustment right here. Blur it out even more. So it blends in even better. That's pretty darn good. All right, so here's our manual adjustment. Here is the automatic adjustment. It looks like there's a lot more contrast that I had in the automatic. So maybe back up to the curves. For this adjustment. Let's go back to our RGB curve and add a little bit more contrast. And that's looking pretty good. Again, here's another way you can do something. If you take the blue, you can increase or decrease the blue here, which is just adjust the green as well. If you'd like, the greens are a little bit too saturated now. So what you could also do is go to hue saturation, selector greens, and D saturate just a little bit. Okay, something like that looks pretty good. All right, So hopefully by now you see a lot of the different processes that go into grading. And trying to match a look like this, you are using a combination of tools. There's not just one right way to do it. And hopefully you're getting more confident as you go through this course in being able to grade your own footage. Thanks so much for watching, and we'll see you in another lesson. 139. Introduction to this Bonus Project: Welcome to this new Premiere Pro project. In this section, I wanted to put a lot of the skills that you learn throughout this course to test. And to do this, we're going to be mimicking one of what I think the best edited commercials that I've seen in a very long time. And that's this. You can't stop us commercial by Nike. I'm going to play through a little bit of it. You can watch it on your own. I linked to it in the previous lesson. If you don't see that lesson, just search for a you can't stop us. Nike on YouTube. And you can see what we're going for here. We're never alone. And that is our strength. Because when we're doubted, we'll play as one. When we're held back, we'll go farther. So you can see the combination of footage in this split-screen effect, which is a very simple effect. But it's so effective in communicating what Nike is trying to say in this ad about being together. And some of this footage is just shot from footage from actual competitions and sporting events, while others is stuff that Nike probably shot themselves or was used in older Nike commercials. And so it's just this beautiful combination of shots that is just quite incredible. And so we're going to be doing the same thing or attempting to the same thing on our own. Now the footage that I'm going to be using was from Pexels.com, a great place for free stock photos and videos. And I am not actually going to share the video clip that I found and I'm using with you. Because as part of being a video editor, it is your job to sometimes find the right footage, whether that's stock footage or does sifting through hours of B-roll or footage to get the right shot. And so I want you to go through and try to find footage here on Pexels. You could type in any sport you want and you can type in surfing. Use the, use the commercial as inspiration for perhaps the types of shots you might get. And the goal is to be able to match up the movement and the motion with the split-screen effect. So right now, I think pause, go look for six clips. We're going to do three scenes, three scenes with two shots each. And then get over to Premier Pro, open it up. And in the next lessons you'll follow along with my process. 140. Making Selects and Putting Them in Sequence: So here we have my fairly quick edit of this. And you can see it's definitely not as perfect as the Nike commercial. I read a story about how they spent like thousands of hours trying to find footage that just matched up perfectly. But you get a general sense of what you could do in Premier Pro with what I've created right here. So what I did was I just started a project. I added all my video and then I added this letter box overlays. We'll be looking at that in just a second, but this is a great way to add style to your videos if you want that sort of widescreen cinema scope look. I've added a few other options with different aspect ratios for you to use. Feel free to use those in any videos you create. And if you do use them, feel free to tag me in your posts. And then my video clips I have here I have six clips that I have used. All right, so the first thing I need to do is start a new sequence. And I see that these clips off a different frame rate. The quality is different, the resolution I have sum for k, sum 1920 by 1080. So I'm going to just go ahead and start a new sequence from scratch under settings. I just want to make sure I have it set up right. 23976 is a good one that I like to use. 1920 by 1080 is good and it's actually good that some of these clips are in for k so that I can move them around. Editing mode. This stuff doesn't really matter right now because what's more important is just the video settings, the time base, and those kinds of things. All right, so that's good. And then I'm going to call this split screen to put that outside in my main folder. And then we're going to choose which shot to start with. Now, I've already created my sequence, but you just have to go through and figure out which shot you want to start with and which part of the shot do you want to go with? So I use this first part of this first gate going by. I think that one's going to work well. So I'm going to set my endpoints here, play through, set my out point, and then drag this video onto my sequence settings. I'm just going to say keep existing settings. Now since this is a higher-quality file, I'm going to change to set to frame size to start out. And then I'm going to find the shot that I'm going to match with this. And this is something that I already knew going ahead into, ahead of time was, I was going to use this one of this ballerina to match up with the skater because I liked how she was moving across the frame and her arms kinda, it looks like she's jumping similar to what the skater did. And so I'm going to drag this onto my timeline here. Actually first, I should probably find where I'm going to set it from something like this, right around that point. Put that down, match that up. Next we're going to match my. And you notice that the ballerina is going reverse. That's okay. We're going to flip this screen in just a second. Next we have our basketball player. This was a tough one to sort of match up with the dancer. So we're just going to throw this down here. We might play around with it a little bit. Then we have this dancer. And the hard part two is some of these groups are slow motion, some arts, there are different speeds. And then lastly we have soccer and hockey. Let's find a good spot where there's player is kind of in the middle of the frame, right around here. That might work. And then my hockey player, now don't worry about which track they should go on. I might switch these up later on right now I'm really just trying to find the right spot in the footage to be able to match up with the other clip. Some of them like right here seems pretty good. Okay. So now we have our two layers of clips matched up and we're ready to start applying our actual split-screen effect, trying to match it up. The other thing I'm gonna do right now though quickly is put on our overlay. I'm going to use the 235 cinema scope, which is similar to what Nike's commercial look like. Now the resolution for these files is for k. So if you're using a smaller sequence size, make sure to right-click and choose Set to Frame Size. And then I'm going to choose this little lock track option so that I can go ahead and not worry about moving that around. But this is also going to give us a little wiggle room with being able to move our footage up and down as well to be able to match up. So that's going to be what we're doing next time. So far we have a sequence that's set up. And if you're following along, get to is similar point. And then we'll meet up in the next lesson. 141. Adjusting the Size & Position of Split Screen Clips to Match the 'Nike Ad' Style: All right, so now we are going to create the split-screen effect. So there's something, there's a couple of ways to do this, but one is through the simple crop effect. So if we go on to effects typing crop, now we can apply that to any clip. And then under our effect controls, we can actually take this and increase the percentages to get a perfect crop. Now when creating this ad, a perfect split screen, rather, when creating this sample add or trying to copy it, what I need to do is make sure that my crop is right in the middle of my frame. Now the problem though is that this doesn't work exactly with all of the clips because I might need to crop it in the middle of this ballerina or something. So there's a couple of things that I want you to do to set this up. One is to show rulers. If you don't see your rulers, Click on the button editor and make sure that you have your Show Rulers option. Also, I want you to show grids are going to put this around our right side like that. And now with the grids on, we can see these lines in our frame. This is one that I've already created to get rid of any grids, just click and drag it off the screen. And so I want to put a grid right in the very middle of my screen. And because I know that my frame is 1920 by 1080, then number that corresponds with the very middle of my frame is going to be 960. Why do I know that? Well, that's half of 1920. And also you'll know that by seeing this motion position right here. So either cut your frame size in half or checkout with this motion number is that first one is going to be your midpoint of your frame. Another way to see the middle of your frame is to make sure that you're safe margins is on Safe Margins button. And then if you press that on, you have this little dot right there in the middle. And I'm going to zoom in so we can see a little bit better. But there's a little dot in the middle, right in the middle. Now that's not going to help as much as the other one, although now we can quickly line up with that middle. Okay. So by zooming in, I was able to get that line perfectly on the middle. We can turn off our ruler if we don't want to see it in our title. Safe Margins. And now, when we are playing around with our crop effect, will be able to create a perfect split screen a little bit better. For this shot. I'm actually going to move this ski shot up above. So I'm just swapping those because the skaters pretty much perfect, like this. I might just take this skater moves down just a little bit, something like that. But in terms of the crop, I'm going to use the crop. And then from the right side I'm going to crop 50. And that's going to match up exactly with that line. Now how do we add and match this motion of the girl on the right-hand side of the ballerina? Well, we need to flip the screen because she's moving in the wrong way. So if you type in flip, if you do a horizontal flip under transform, this shot actually switches. So it goes from and it's like a mirror. Now I'm actually going to decrease the opacity of this clip, which I can quickly do with the line here on the video track. That's actually an opacity line. So I can actually just drag that down. So what I can do is sort of try to match the position of this ballerina and the size of her. Because she's definitely smaller than or the in the frame, she is smaller than the skater. So something like this looks pretty good right here. Go back, go forward. And she's actually moving a little bit slower. So I'm going to actually speed or up. So I'm going to right-click choose speed. When you type in 150. I have to extend this now. And then I have to sort of shift where she was. So pressing Y on my keyboard, I have my slip edit tool and I'm just going to click and drag backwards to the left. Actually forward just a little bit. Try to match that. And now if I move my opacity up all the way, we can play through. That's actually not bad. You know, I spent a lot more time tweaking my edit, but that's pretty good. Not perfect, but pretty good. I might just kinda put, move the position just a little bit. Why? And then drag a couple of frames forward. So she is actually a couple of frames backwards. I'm gonna go back quite a bit now because I want her coming out of this split screen a little bit earlier. Meaning I have to shift the clip to the left a little bit. It's not bad. Not perfect, but not bad. Now let's move on to my dancing and basketball clip. So again, this was the one that was the hardest for me. I'm going to move my basketball player on top. So either way, just make sure we move this clip above are dancing one. And now we just have to change the position and try to match it up. So I got the move where he's moving from, right? I think it was like this little move right there where it reveals the dancer. So we're going to actually start right here For him. So I'm going to move that over. Then right around here is where she's going to appear. So let's go ahead and crop. So let's add a crop right side, 50 percent. Let's get all right. So now we have to find a spot in here where she's kind of rotating. And I could even it might be easier to preview it in the source monitor. So I can open up in the source monitor again dancing. So she doing this motion, I guess that's kind of where I am already. So she's moving from the left to the right. See you that left to the right. Except what we're going to do is to enhance this, we have to change the position quite a bit. So we're going to move it down. You don't want to do too too far down. Because if I do too far down, we start to see that it's actually coming away from that. I think I have to zoom in a little bit. 70 trying to match the size of the face even more. Actually 75, something like that. It's going to be better. And then change where it starts. So I want to hurt a startup hearing a little bit later on. So again, Slip tool Y on my keyboard, move it forward just a little bit. And that's pretty good. Now one thing though, to make this match even more is I'm going to add a little bit of a motion animation so that as she starts to appear, and maybe she needs that period a little bit earlier. As she starts to appear. On the left side, the basketball player, the camera starts to tilt down and so the player moves up in the frame. Here, I need to actually move her up as well. So right here, I'm starting here, I'm going to go to the motion position and we'll just set a scale keyframe as well and then go forward and move it up right here. So same thing, we get sort of a tilt down and both. And I'm just going to easy ease these so it temporal ease in. So the motion is a little bit more natural. Alright? So that's pretty good. Again, you could spend days trying to perfect this. Well, that's not too bad. All right, lastly, we have the hockey. So for this one, I really want to just get the hockey player kinda skating down the middle of the frame or maybe crossing the frame. See the cameras little shake you for this one. So this one's a little bit difficult. But yeah, maybe crossing the frame rate there. Let's see if we zoom out or is this a four K shot? Okay, Yeah, we got a lot more room to play with, so we're going to zoom out. So yeah, I think there's a little look good if the soccer player starts to sort of appear right there or something like that. So let's go ahead and add our crop. From the right side. We're going to crop. All right there. 50. And Alex, Good. All right, so now we have to make our soccer player move from left to right. So again, we're going to flip this one, horizontal flip. We're going to bring down the opacity of our hockey player. And then we're just going to try to match the motion through the position of our frame, as well as the position of our player. Yeah, this is going to work right here. Maybe move it a little bit further to the left so they're off screen. And right here they kinda come on screen. Let's see what that looks like. Alright, so that's pretty good. There's this spot right here where the soccer players on the screen, the hockey players not. So I'm going to add a little bit of a motion. I kind of like how you see a little bit of the leg right there, lose it. You see the hockey player? And then right here when we don't see the soccer player, I'm going to set a position keyframe there. And then right here, I'm going to set another one. Let's give a little bit more room so I can set another keyframe. And then in the middle I'm going to actually move the position to the left and I can't go too much because the edge of my frames right there, hmm. I think what I'm going to have to do is actually I'm going to have to edit the hockey one. So I'm going to scale up. And I think that's going to be fine if we scale up just a little bit 65 and then we move up in the frame. Because that will start to split. The SES should be matching right there, the hockey player should be going. So what I'm actually going to have to do is move the hockey player over. But I'm going to then have to adjust the crop. So I'm going to zoom in here to get this crop perfectly on this line because 50 is no longer perfectly on this line. For D2, 0.5, whoops, 52.452.3. There we go. All right. So I think that's pretty darn close. Again, this is the kinda thing you can tweak for days. I'm going to turn these guide off. We're going to loop playback now. And we're going to see what our final product looks like. Re-edited. Pretty darn good. Honestly, I thought that came out pretty good, maybe even better than my original. So I want to see what you come up with Using shots that you find and shout out to all of the amazing cinematographers who shared this footage on Pexels.com. They're all listed here by name or by brand. And I want to see what you come up with. Create something, post it to Instagram. Tag me at Phil Webinar and at video school online. And I can't wait to see your work and I'll share it as well. If you tag me in what you've done, I would love to see some sort of split screen project like this. All right, thanks so much and I'm looking forward to seeing your work.