Video Edit FASTER in Adobe Premiere Pro for TV | 2025

1. 1.0. Introduction to the Course_Update: Hi there. I'm Fati. So I graduated in a film institution that is the oldest in Singapore and have been doing TV, broadcast, commercial, video editing, and many more. Some notable people I've gotten in touch with is Anthony Chen, the 2013 Khans fiilmFestival, Award winner. Another one is Eric Koo, one of the top directors here in Singapore. And then multi Emmy Award winner Chris Trexler when he was a visiting lecturer here in Singapore. So here's some of the works that I did. I know I I know. I. In today's tech savvy world, more content creators and video enthusiasts are entering the filmmaking industry. This course prepares you for that leap, covering beginner and intermediate skills like long form video editing, working with archival footages, examples, tapes, and DVDs, understanding industry jargon and mastering short sequences based on visual storytelling rules. I will also touch on the history of film so that you can know what rules you can bend to make a successful story. So whether you are a content creator or professional video editor, I've got something for you. You can take advantage of my decades worth of experience that I have and avoid the mistakes that I did along the way. At the end of the course, you will have learned how to be a much efficient and faster video editor. The shortcuts that I use on a regular basis, understanding film industry jargons and workflows, and have a project video piece to add to your own resume. Also, do take note that keyboard shortcuts or key presses will be shown at the bottom of the screen for your convenience. And I've also added text and red highlight boxes throughout my lessons, so it will be easy for you to follow along all of the lessons. You will be able to work fast in Premiere Pro. Actually, in fact, most of the skills that you will learn in this course will actually allow you to work fast in most non linear editing programs. And then we're going to be talking about the nine shortcuts, most used by professionals, the seven editing tricks, post production documents you will see as an editor, especially if you're working in an organization or the external softwares that you might use in edit. Most of these softwares are free, the film editing history lessons. And these are important because we need to be aware of the editing techniques that have evolved throughout the years, the basic overview of logging tapes and altering DVDs, because sometimes you will be using these old media, especially when you're dealing with archival footage. This course will be yours forever. And you can refer to it anytime that you want in any part of the world. So I hope to see you in the next lesson. 2. 2.1. Introduction to film history: Hi, and welcome back to this subsection, which is the introduction to film editing and the history of it. So in this section, we are going through the techniques that have existed from the time of when moving images first started. To be aware of all these techniques is to be aware of the potential of video editing. And in case you ever experience video editors blog, you can always refer back to all of these old techniques because they are the foundations of video editing. And it's something that video editors always fall back on. And films nowadays, they utilize all of these techniques on a regular basis. Of course, they modify it along the way. And in doing so, we actually allow videos to be more dynamic and fluid. So I'll see you in the next lesson. 3. 2.2. Early Moving Pictures: Hi, welcome back. And in this lesson, we're going to be touching on the early moving pictures, which is the birth of a new art form. So this will give you an overall view of what this medium is all about. So it first started in the United States. So this is just a quote from Thomas Edison, one of the founding fathers of film. So he says, I'm experimenting upon an instrument which does for the eye, what the phonograph, which is one of his famous inventions does for the ear. And this is the recording and reproduction of things in motion. The genesis of this actually started with this guy Edward Moybridge. You can actually spend some time to read up about him. So in 18 78, he helped settle a bet by an ex Californian governor to see if a horse did have all of its four hoofs leave the ground when it is galloping. True enough, he successfully proved that and he did that by taking a few pictures in succession. So the basis here is that images played very fast can actually trick your eye into seeing that it is actually movement. And Thomas Edison and his assistant, William Dixon actually used the concept and then they invented the kinetograph camera. The kinetograph camera is actually able to capture these images in quick succession to show movement. Then they also did invent the kinetoscope for viewing the recordings, but unlike a projector, it actually viewed by one person. And then what they actually do is that they insert a coin, then they look through a peephole to view short clips of people dancing and whatnot. So Thomas Edison believed that 46 frames per second is the best to actually display all of these movements. But of course, economically, companies and organizations that were actually dabbling with moving pictures found that to have more frames is actually expensive, and it is just better to stick with lower frame rates. Elsewhere in Europe, projectors were created. And they patented, and these projectors actually allowed multiple people to view all these clips on a big screen in one sitting, and that proved to be a success. These projectors actually projected the images at 24 frames per second, even though sometimes the frame rate of the capture might be lesser than that. Usually, it's 12-16 frames per second in those days. So as mentioned before, the 24 frames per second is as close as possible to tricking your eye into thinking that it is movement, but also at the same time, it is economical to actually buy film stocks because film stocks were expensive and they were in rolls. The Lumia Brothers patented the cinematography projector, which is the projector that I've mentioned before. And since projectors projected at 24 frames per second, that was chosen as the standard. So it was an unspoken agreement between everyone who was doing film at that time, and it has become the standard today, especially when you're dealing with movies. So the takeaway from this is that moving pictures is really, really just a series of images. And then we know now that 24 frames per second is chosen as the film standard. So it's better to stick with 24 frames per second and above. So this actually highlights the strongest advantage of this art form, which is that movement is everything. Unlike books, which is another art form or medium in film, actors learn how to externalize their thoughts. And if they can successfully show that they are hungry by staring longingly at a piece of fruit, then that would actually portray better on the screen. Alright that's all for this lesson, and hope to see you in the next lesson. 4. 2.3. Early Special Effects: Hi, and welcome back. So for this lesson, we're going to be talking about the early special effects, and that is really the start of escapism in films. So just to touch on the previous lesson, early moving pictures were just short clips that were shown to an audience, and they just represented daily life. And one of the clips, the arrival of train at the station was actually a hit with the audiences of those time, and they duck under their seats when the train passed through the camera lens. So that was a blockbuster during those times. And then later on we have pioneers. So one of them was ZigaVrtov who actually made a film called The Man with a movie camera, and he actually experimented and then used such tricks like double exposure to create interesting effects. As well as we have George Bellier who did his seminal work called A Trip to the Moon. And this is actually the earliest special effects found on film. So let's just take a look. So as you can see, he's using start stop animation to do that effect. And what this actually allows is for filmmakers of that time to explore genres such as fantasy. So as mentioned before, this was a far cry from the previous films, and then films evolve to actually have stories in them. So the takeaway from this lesson is that people started to realize that film could represent fantasy instead of just showing facts or things happening in daily lives. And that techniques like double exposure, like start stop animation actually fulfill the story's vision, especially if you're talking about fantasy films in those times. So one of the tricks is that editors can use double exposure to externalize thoughts. And then also that editors can use start stop animation to create the passing of time, which is still one of the popular techniques. And that's all. I hope you learn from this lesson and see you in the next. Okay. 5. 2.4. History of Juxtaposing images: Hi, and welcome back. And for this lesson, we're going to be touching on the history of juxtaposing images. So what this really does is that it manufactures meaning in an edit. This actually elevates the medium further. And one of the founding people that we have to think of is Lev Klushov. So Klushov is actually one of the Soviet filmmakers in those days, and he did some experimenting and he found that you can actually arrange your film shots so that it manufactures a meaning that is different. And this is called the Klushov effect. And what Klushov actually did was to juxtapose film shots, like in this example, where he actually have a shot of a man, and then he juxtapose different follow up shots after it. So one of them was a bowl of soup another one was a child in a coffin, and then the third one we will see in a bit. So with these three different versions, he actually showed the film to three separate audiences to actually see what they thought the man was thinking. The audiences came up with the answers hunger for the first film, which showed the man and the bowl of soup, and then sadness for the second version, as well as last for the third film of the man Juxtapose with a shot of a lady. And then Kulhov actually proved that a series of short shots juxtapose together can actually form a new implied meaning, and that is what we call a montage. So in this slide, we can actually see the montage just by laying a few shots in sequence like this, the audiences can actually imply danger. So the takeaway of this lesson is that you can actually juxtapose shots to create meaningful montages. So when you're creating a bontage especially, it is good to verbalize the process of thought and put yourself in the audience's shoes. Like, for example, the first shot is a man. So I'll verbalize it like a man and then looks at his food in hunger. And verbalizing is actually a good way of trying to figure out if your montages are actually working. I challenge you to turn down the volume, analyze your favorite films, action sequences, and look at it in terms of individual shots. Does it make sense by itself? Then how do they actually evoke feelings in you when they are formed together in a montage sequence? I hope you learn from this lesson and see you the next lesson. 6. 2.5. Montages: Hi, and welcome back. For this lesson, we're going to be touching on the montage. So I touched a bit on montage in the previous section, and now we're going to be talking about it in details. So montages, aside from creating implied meanings, is also used to shorten time, and it's really, really important for editors to be aware of the power of montages. Besides creating meaning, montages compressed time. So the idea of the montage to compress film time is that, for example, if it's a superhero movie, superhero movie doesn't show the superhero waking up and brushing their teeth doesn't actually show the protagonist walking from point A to point B, you know, to do something. They just cut it from this scene and then onto the next scene. So we're going to watch this short clip from this film called The Room in 2003 by Tommy Wiso. It was a movie that cost millions to make, but then it earned a few thousand. And so we're going to jump in and then see what this sequence is about. Don't worry. You can trust me. Your secret is safe with me. Hello, Michelle. I heard you. What secret? It's between us women. Hi, Johnny. Did you get a new dress? Um, well, I guess I better be going. Uh, I'll just talk to you guys later. Excuse me. Lisa, remember what I told you? Wow. So this movie actually has a lot of sequences where it could actually be cut shorter. So like, for example, when we actually start at the scene of the main character, Tommy, walking and grabbing the newspaper and then heading up to his apartment, but not actually doing anything with the newspaper in the scene, we can actually edit out that part and then just go straight ahead into him appearing in the apartment. So that's just one example. If you have time, do look at commercial blockbuster films and figure out where they actually cut. So that you are aware that film chronological time might not actually be how time is like in the real world. So we can always leave out the unneeded actions and make the edit much more snappier. So the takeaway is that as editors, we have to be rofless. We have to take only the action. And even so nowadays, attention spans are so short editors really, really need to be selective in their selection of the entry point of the shot as well as the ending point of the shot. So the main point is that we need to explain the story concisely and tell it as fast as possible. I hope you found this lesson useful and see you in the next lesson. 7. 2.6. Classical Hollywood Editing: Hi, and welcome back. So in this lesson, we are going to be talking about short arrangements in classical Hollywood era. And this classical Hollywood era is in 1920 to the 1960s. So the thing about Hollywood in those days is that they have actually made it a formula in terms of the short size selection. So if you actually look at the classical Hollywood films, you can see the establishing shot and the shot reverse shot. And these actually epitomize the flow of scenes in traditional Hollywood movies, and it works. And it is the formula that works because it shows the audiences the information that they need to establish the scene space of the film world. So an example of establishing shot that I'm going to be touching on is from the movie Casablanca. And the purpose of establishing shots is that it establishes the location and the screen space of the scene. So, for example, we go from that shot, that white shot of the exterior whereby the characters are going to experience something into the interior space, as you can see in these pictures. So you have a sense of where the location is and what is the mood in the location and the people that are inside of it. And then we have the short reverse shot. Is purpose is to focus the attention to the expressions and the dialogue. And there is a flow between the establishing shot to the shot reverse shot. The general guideline is that you go from a wider shot into a close up smaller shot. So therefore, you do two things. One is to establish the location of the place, the characters, and what they are talking about. So the general unspoken rule is that we begin with the establishing shot, which establishes the location, the ambience of the place, and then we go to the master white shot, which shows the characters that are within the shot. Therefore, we go into the two shot, and then we go into the short reverse shot to actually hear the dialogue. So the takeaway is that there is a basic formula for what shots to pick first, and the guideline is that we go from a wider shot to closer shot, and this actually allows for the edit to be told efficiently to the audiences. And it's especially true if you are editing narrative shows. So I hope you found this lesson useful and see you in the next lesson. 8. 2.7. French New Wave: Hi, and welcome back to another lesson, and we are going to be touching on the French New Wave techniques. So the French New Wave is a film movement that started in postwar France. And what they did was they founded techniques in film, which made film much more fluid, spontaneous and fun. So like in a quote by Jean Luc Godard, which is one of the forefront directors in the French New Wave, it's not where you take things from. It's where you take them to. And that is what this group of filmmakers and this movement is about. So the thing about the French New Wave is that they did techniques that many of the filmmakers were afraid to try because filmmaking wasn't like how it is now, and these actually cost lots of money. Usually, studios or corporations are the ones who are actually doing films. The French New Wave broke continuity editing, and continuity editing is actually the editing formulas that Hollywood sticks to because it has proven to be successful. So two of the things that they did was the jump cuts and the disruptive pacing. So over here, you can actually see one of the films that they created. It is called Alpha View. So cuts like these were playful, concise and spontaneous, and it showed the rebelliousness of the youth in post war France and especially that these filmmakers felt that the Hollywood way of filmmaking in that time was actually quite stale. The thing is jump cuts happen with cuts that don't have at least 30 degrees of change in the angle of the camera. Nowadays, jump cards are usually used mostly in fashion videos, travel, lifestyle, music videos to show that it is hip and is spontaneous. And then another thing that they did amongst a lot of things in terms of editing was that they did disruptive pacing. The definition is that when time and the flow of the cuts don't actually follow a pattern. So in classical Hollywood editing, one scene flows to another, and the whole point is that edits are seamless. But the thing is new wave filmmakers, they reverse them. So it's just quick to the point and it calls the audience's attention to the edits. So the takeaway is that the use of these techniques can actually be used today. Jump carts are used in Hollywood nowadays, and you usually find that movies about you utilize jump cards to show spontaneoty. So that's it for this lesson. Hope you found it useful and see you in the next lesson. 9. 2.8. Using Still Images: Hi, and welcome back. In this lesson, we are going to be touching on using steel pictures to tell your stories. And as an editor, this is key because there will be moments when you have to use a steel image, especially when you're dealing with documentaries or simply when you're editing a corporate video and your clients want to include photos of award ceremonies or events that they have captured previously. And the effect is called the Penn scan effect. And in photo animation, basically what documentary filmmakers did was that they would actually use a rostrum camera to capture the picture that is on a table platform. And then just move the camera around the photo. And then this effect is also called the Ken Burns effect because Apple used the name as one of their effects in Final Cut, which is the non linear editing platform, and it has become very, very popular ever since. And Ken Burns is a documentary film editor who took this photo animation effect and made it a much more simpler method. So how is it done? Is that these steel images, whether archival or not, were zoomed in or pen to tell the story through a voiceover. And over here, you can actually see the pen and scan effect. So here is a clip from the documentary film by Ken Burns in 1994, which is a property of PBS. Let's just take a look at it. On opening day 1941, Franklin Roosevelt threw out the first ball. It was, he said, his ninth year in the Majors. By then, much of the world was already at war, and Americans feared that they, too, would soon be drawn into the conflict. The doings of the Vicksburg Hillbillies and Sioux Falls Caries, the Uniontown Cal Barns and Sweetwater swatters seem less important somehow. In 1941, Hitler had all of Europe in control by now. He So, as you can see, the montage sequences in this clip, as well as the whole film consists of steel images that is either zoomed in or panned around to show what the voiceover is talking about. And because film is a moving art form, it is always important to move the steel pictures. Editors usually apply simple animation on steel pictures when they receive them, either archival pictures or pictures from clients or whatever steel pictures for that matter. Of course, this is not always the case, but usually the editors will apply some form of movement to their steel pictures. So I hope you found this lesson useful and see you in the next lesson. 10. 2.9. NLE: Welcome back. And in this lesson, we are going to be touching on the non linear editing workstation. The process used to be that after you finish recording a film, you would actually go to process the film, and then the editor will take the film rolls, edit it by splicing and then joining the cuts together using scissors and tape. When non linear editing came about, that was editing on a computer. And really what non linear editing is about is a way of editing the film in a non destructive way. You can imagine in the old days when something happened to the film footage, you would be in big trouble as an editor. But the game changed in 1971 when the CMX 600 came out, it is actually quite similar to the non linear editing workstations that we have now. In this one, you actually have the outgoing footage, which is the footage on the left. And then on the right screen is the footage that is incoming, and this was non destructive because you didn't actually need to touch the film footages. Then the power of non linear editing is that you can always go back to the clips at anytime you want. This actually gave editors the freedom to be much more creative without worrying about the technical aspects of the job. Here is another term which people use interchangeably with non linear editing, and that is offline editing. To put it simply offline editing is when you go through the process of editing the copies of the raw footage. It is non destructive. The master raw footages on your films or on your tapes will not be touched. I used to be that we would do offline editing first, and then we will do online editing later on. So once you've assembled your masterpiece, you will actually export an edit decision list, and then you will use this list to make the final changes on your footage, whether it be it on a film or on a tape. So this is just an example of the dit decision list that is on the CMX 600. If we look at it from the beginning, it is a black slate from 7 minutes, 29 seconds to 7 minutes, 52 seconds. And then we go into the master shop. So the main takeaway is that editors had to think carefully of their edit decisions until non linear editing platforms came to be. And what a relief, right, because we want to focus on the creative process. Of course, non linear editing workstations are much more advanced nowadays, have much more features and allow for much more leniency. But it is an important habit to have that is to learn to think in slices is useful in assembling your edits. I know most editors out there, they will go through all the raw footage and then assemble the edits in their minds that will help quickly assemble your edits as opposed to realizing at the end of the day that your edits is not in line with the script. Then another thing to note is that it decision lists up until today can be exported. And you can actually use it to move from one non linear editing workstation to another one. So I hope you found this lesson useful and see you in the next lesson. 11. 2.10. Sound & Slate: Hi, and welcome back. In this lesson, we are going to be touching on the sound and the importance of the film slate. So the introduction of sound in film was in 1927. That was the beginning, and it was spearheaded by Warner Brothers with the film title The Jazz Singer. And, of course, it took a while for films and different studios to actually adopt the sound recording technology. This triumph in including location sound recording on films, revolutionized filmmaking and greatly improved films as an art form. For example, it allowed for music and dialogue to be manipulated in this art form so that it invokes deeper emotions in the audiences. And of course, the technology was clunky when it first started. So editors had to manually look at the actor's lips and slate and then time it with the dialogue in the audio because it is recorded separately. And because audio syncing has to be really precise and if the dialogue is off for even a bit, sometimes milliseconds, you will create a domino effect where later on the lips of the actors will just be flapping, but then the sound doesn't sync with what they are saying. So another problem that editors faced was that they had to deal with hundreds and thousands of clips, and it can waste a lot of time, especially if you are singing for all of the audio on all of the clips. And that's why when talking films first came out, it was called Tkies because there were still silent films around, and people can choose whether they want to watch silent films or talkies. So one of the more useful things that sound on films has contributed is the idea or concept of off screen sound, or it can actually be a cue in a horror film, or it can actually convey information to audiences that is vital to the story. Now, let's take a look at one of the most earliest video which I did. So let's take a look at the clip and find out how I use offscreen sound here. Exactly. L swear. Who. So convenient. Hello. You there run again. So, as you can see, the dialogue that happens off screen actually gives a cue for the main characters to let them know that, you know, danger is already here before we go into the white shot. Now we're going to be talking about the film slate. And especially after films transit to sound, film slates became all the more important. Previously, the film slate was just to identify the shots and the film stocks used in sound films. Once sound became popular, the film slate had two wooden sticks at the top of the film slate, which was used to clap. And when the editor sings the sound with the footage, they would actually look for the visual clap. And then hear the sound of the clap. And that just makes the sinking process that much easier. So one way to think about it is that the slate is like a barcode on your clips at the beginning, then you have a log sheet which you will usually use as an editor to figure out more details about the clips in use. The film slate at the beginning of the shot will show the roll number or rather nowadays, the storage card number. Then the scene number and then the take number. These vital information, which will be shown on the log sheet. And what I feel most importantly is the date. Then you can actually just go back to the date 16 May and then find scene two, T three, and then pull it out for your edit, especially if you're editing a 1 hour TV series or something that is long form helps you as an editor. And then just import the good takes into your non linear editing workstation. The takeaway is that sound and music is a tool in your arsenal. And especially if you're doing for TV and broadcast, you have a slate at the beginning of each of your shots. It is good to actually utilize it along with a log sheeet to work faster. So that is all for this lesson. I hope you found it useful and see you in the next lesson. 12. 3.1. Documents Introduction: Welcome to this section on Documents introduction. Since filmmaking is a collaborative process, we will touch on the documents that video editors will use on a regular basis to make sure that the deadlines are met and they work as efficiently as possible. So documents like the AV scrip, the client deliverables specification sheet, as well as the log sheet. So without further ado, let's jump to the next lesson. 13. 3.2. AV script: Hi, and welcome back. Now I'm going to be talking about the AV script or the audio visual script. So if you are working in a corporate setting as an editor, you'll be most exposed to the AV script instead of the traditional script. The important thing about the AV script is the layout. And in the layout, as you can see on the screen, it's something like this. So you have the title, and then you have the date. So you know that the version is the version from two days before or whether it is today's version, because the versions will keep on changing. And don't worry, I will upload this sample of this AV script inside the downloadable section. Alright, so we'll get onto it. So the AV script has a column, which will be labeled as the number for easy viewing. And then the next one will be the visuals. So basically, any of the images that comes up on screen, and then we move on to the next column, which is the VO or the voiceover. So in the VO column, you will have the dialogue or the voiceover, and that is supplemented by the establishing shot of the beautiful Indonesian landscape. And for the third column, that would be the graphics. So like, for example, if we head over to the second row, we can see that the writer has indicated that they would want footages of Indonesian places of attraction as the visuals. And then to top it up, we have a pop up pictures of other attractions appearing on the screen as graphics. So that is how it works for the AV script. And usually at the end, you have the fade out to credit row, as you can see, in this row. And then the final row would be graphics of the logo of the agency or the client, as well as its affiliate partners. And then you fade to black. And at the end, any notice or symbol key of what the abbreviations mean, and that is the end of the script. Alright, so now you know what an AV script is, hope you learn from it and see you in the next lesson. 14. 3.3. Logsheet: Hi, welcome back. So the lock sheet is a document which is used during production by the script supervisor. And the lock sheheet is pretty important to you because it helps you stay organized because you weren't on set in production. So by having a lock sheeet, you know that on this date, which is the first shooting date on 16 of March, we have this project and then we have the location. And then we know that the scene number is scene number one. So just to quickly reiterate, in film making a scene is a segment of the film that takes place in a single location and time and features a specific set of characters and events. Although a scene is dictated by the location, it could sometimes be that later on in the film, the same location could be used again to tell a different part of the story, something that happens later on. So there will be a different scene. And then we know that the short detail is grandma clearing the dishes or clearing whatever it is. And it will correspond with what is actually slated on your footage because they will do the slating also. And then you can see that for this scene, there's three takes. And for the first take, we can see that it is no good take, so we're not going to bother with that. And then we see that the other two takes are good and we can bring in one of those takes. And over here, for this column, we can see the clip number. So the clip number is 001 for this one. So we're not going to bother with clip 001 when we actually import it into our previous pro project because the more clips we have, the more laggy the system will become. So we will take the best take. And then we go on to scene two, which tells us that now the grandma is putting the dish in the sink. And then we look through the quality of the take, and we find that the third take is what we want because it is good as shown here, abbreviated with the G, and that is clip 006. So we want to import this clip and then so on and so forth. Since we are on this page, I want to touch on the words here, C. That is actually a short abbreviation for close up, and it is a kind of short size. I want to touch on the different short sizes that we have in the industry so that if you come across the short abbreviation of it, you know what it means. So just to quickly run through, a white shot is a shot that is quite wide, and you can actually see the setting of the scene. And then the next medium white shot, it goes a bit closer, and you can actually see the characters that are involved. Now, the medium shot focuses on the one soul person or probably in some cases, two people in a shot. And then we move on to the medium close up, which focuses on one person in the story. And then the close up goes into the person's head space. And then we see the extreme close up, which focuses on one part of the person's organs. So you can see, like, the eyes. Alright, now moving on, jumping back into the lock sheet. So for this day of shoot, we have up to 27 clips. And you have all of this, good or no good. And sometimes they would actually label it as KIV which is keep in view. So those are shots in which your director or your producer would want to consider, but at a later stage. So that is what a logset is about. I hope he found this useful and see you in the next lesson. 15. 3.4. Deliverables spec sheet: Hi, welcome back. And for this lesson, we are going to be talking about the deliverables specifications sheet. So sometimes they will just simply list all of their deliverables on an email. I actually depends. I'm going to just briefly go through. So they will state the details of the deliverables and the description if there is any. And over here, you can actually see all that you need to know regarding the project. They will give you a list of video formats in which they want you to deliver. And it will list out the duration of the video. And then the frame rates, the video dimension, and the scanning, you can see here, the different scannings for your video, and then they will give some details on the audio format and bit rate as well. And finally, on what medium they want it to be on. So some of them will request for a hard drive, some of them will request for a thumb drive, and some simply just will tell you to upload it onto the Cloud servers. So it actually depends. Then they will give you the deadlines as well as the sit in edits, where they will actually head over to your office in your editing suite, and then you will do some of the changes. And then finally, they will give you any other feedbacks regarding the video delivery. So for this example, you'll say that they want it to be uploaded on YouTube so that they can also view it. So from this specification sheet, you know how you are going to deliver your final product to your clients, your producers, or your directors. So I hope you found this useful and see you in the next lesson. 16. 4.0. Premiere Pro Sample Media Clips: Hi there. Welcome. And in this lesson, I'm going to be showing you how to get the sample media clips that is given free by Premiere Pro. So Premiere Pro has given sample media clips for Premiere Pro users who are using the 2025 version. For those who do not have Premiere Pro 2025, you could just as well download the same resources that I've put into this lecture. You can click on the drop down link for the resources and get it from there. So now back to addressing the people who are using Premium Pro 2025, what you can do to get your footages is through here, I'm going to be teaching you the manual way of knowing where your sample media clips are, and then I'm going to be teaching you the alternative way to import it into your Premiere Pro straight from a new project. So here I at my Windows Explorer. I'm going to be teaching you how to do it on the Mac also. Hi, so here we are on the Mac. And first thing what you want to do is you want to open Premiere Pro. Just give it a while. Once it's loaded up, you'll be brought to this screen and just click on New Project. I'm just going to name my project PP 2025 test. And I'm going to put the location on the desktop for these purposes, create And then now we're on this main screen on Premiere Pro. And then these are the sample ideo clips that Premiere Pro provides us for 25 users and so forth. And I'll just go ahead and select everything. Right. And I'll click Import and there you go. It's on our Premiere Pro in MAC. So in order to find it manually, we'll just go ahead and click on the sample media clip and try to find its parent folder. Let me just quickly do it here. Should be on top, reveal in Mag finder. And there you go. There you have it. These are where the sample media clip are stored on your Mac system. So if you were to click on the icons list, you could actually find the exact folder path where your sample media clips are stored on your Mac. Like over here, I have it you can go from the McIntosh HD to the users to shared folder. And in the shared folder, there's an Adobe folder inside that you'll find Premiere Pro, 25 point oh and sample media. That's where your clips are stored. It is quite buried in there. So now back to addressing the Windows Explorer. So on the Windows Explorer, you just go to Local Disk, C drive where your stuff are, go to users, and then head over to public public documents. And then Adobe and you want to click on Premiere Pro. Click on 25 point oh. That's for the Premiere Pro 2025 users. And you have your sample media over here. So you can actually check out the clips that you have check out another one. So Premium Pro gives you the option to use all these sample clips to start editing on your NLE. Which we will be going through later on. Alright, so in total, you will have 17 items. You double check them. So you can just drag this whole folder into your Premiere Pro or you can just bring it in from when you actually start a new premium pro project. So I'm going to head on into Premiere Pro, open a new project. New project here. I'm just test. Got to put it in my desktop, for example. I'm gonna create a folder first before it gets messy. Alright, I'm gonna see Victor. I'm going to create. Okay, so when you're on the screen, you can see all these sample clips that you can import straight into your project. I'm going to click on all of it. Import everything All right, once done, I'm going to import it in. And so you can actually see all of your footages here. Let me just quickly change my workspace here. All right. So you can see and check out all of the sample clips over here. You can actually go over you can find some free music from one of the sections where I'll be touching on sound effects and music from commercial free websites like pixabay.com. So you can go over to Section eight of the course and find under the lecture called using Soundefft websites to go and find a website called Pixabay Commercial Free Music or sound effects that you can download for your project. So I want to organize all of my clips over here Alright. I want to put it in a bin. I'll call it Pus. So that is all meat. Alright, so that is done. And then since I'm here, I'm gonna be creating another bin, name it as sequence, and then I'll put my master sequence over here. Alright, so that's all. Hope you've learned a lot from this lesson and see you in the next lecture. 17. 4.1. NLE Platform Introduction: Hi. Welcome back. And in this section, we are going to be going through the non linear editing programs that we are going to be using for this course, which is Premiere Pro. And we're going to be going through the basic functions of what it is and how we can actually work efficiently with it. This is the meat of the course, so take your time and don't be afraid to replay videos to make sure that you understand it. And also, if you do have time, I challenge you to back up your knowledge with some more research at your own time. I will be providing some of the reading materials to help you get started on your journey. Also, do take note that keyboard shortcuts or key presses will be shown at the bottom of the screen for your convenience. So without further ado, let's jump into the next lesson. 18. 4.2. Setting-up Your Basic Edit: Alright, so now we're in the Premiere Pro window, and I've saved this default layout as my own. That's why you can actually see it as my own workspace over here. So, real quick, we are going to go through all of the different panels that we actually have here. Okay. So we're going to start with the project window, and this is where you actually store all of your raw video, your audio, your music files, your sound effects files, your graphics files, anything that you need to actually create this piece of project. Okay? So real quick, we are going to import something into here. So I'm just going to right click and then I press Import, or you can actually command I to bring up this import panel. And then I'm just gonna choose something that I've done before, probably Probably here. Okay, was here. Here, actually. All right, so now I'm importing this file, and then you can see that I actually have this video file over here. So another way you can actually import your project is through the Media browser, which is by default on this square box over here. So if you click on Media Browser, you can actually go to where I found my video previously, and then I can slide this here real quick. And then I can go to my works edited. Sorry, I can go to Holiday then I can just choose whatever video that I want to import. So I press Import, click Import and then you can see that it's actually here. And now you can see I have two files inside my project window, okay? And then what I want to do real quick for the purpose of this section tutorial is to create a new sequence. So I'm just going to click sequence. I can go to digital SLR. I want to create a 1920 by 1080 video. And in the clickdwn, I want to create something that is 25 frames per second. And it actually depends on how many frames per second you would actually want to build your video on. We have 25 frames per second, which is the default video frames per second standard for certain countries in Asia and certain countries in Europe under the Pell. And then in the US and in certain places, you use 30 frames per second or to be exact 29.97 frames per second, which is the TV broadcast standard for sit countries. Okay? So since I'm here in Singapore, we're going to use 25 frames per second. We're just going to name our sequence something meaningful like my holiday video. Alright, underscore. We're going to put the year. You can actually put the exact date, but I think this should be enough for the purposes of this tutorial. So we're going to create this sequence, and then, as you can see, my sequence will pop up here. And then in line with going through the most important panel that I'm going to show you besides the project window that I just showed you just now is this timeline panel. Okay, or this timeline window. So in this timeline window, we have our sequence that we are working on right now. We have the video tracks Okay, we have the audio tracks. So by default, we have three video tracks and three audio tracks. This is the lock key. I mean, it locks whatever changes that you've made to your video so that it doesn't shift around when you actually do work. This is your label, Video three, Video two. And when you click on it, what it does is it actually selects the video track that you want to work on right now. Okay. And then this eye symbol, what it does is it actually toggles on and off your track. So that is the timeline window. So now that we know our timeline window and our project window, what we're going to do is we're going to double click on our video file that we actually have here. So in this video, I was recording it for a company event. So this is the source window displays, whatever video track that we have selected. So, for example, if I were to double click on this one, it will actually show me a different video file which I've captured. Okay? So now we want to go to the main window. And in this main window, it actually shows you what you have done on your timeline. Okay? So this is just a different view of the timeline. So, for example, I'm going to drag this video clip here, right? And then I'm going to drag this one here. Okay, so I have two of my video clips side by side on the timeline. And as you can see, as I scrub through this thing called a playhead, the image on the monitor changes also, because it corresponds to the clips that I'm actually playing now. Real quick, um, then we place this in front. And then I would go to the front and then click Play, you can see that it actually starts with this clip first, and then it goes on to the next clip, which is the one in the dark room. Okay, give it a while and you see what I mean. Yep. So that's how it actually works. So now that we have covered the timeline window, the project window, the media browser window, the source monitor window, the main window, we have the lumetri color window. As for now, I'm just going to tell you what it does. Basically, this does the color for your clips in your sequence. Okay. So when I click the video clip, and then I make changes to it, you can actually see the color changing. Okay? Or if I were to set it brighter or darker, it actually show here. And you have a lot of other controls for changing the color, the contrast, the highlights, shadows, whatever have you. And I will go through the details later on. Okay? And then lastly, I'm going to talk about the effects window, which shows us all the different effects, like the audio effects, the audio transitions, video effects, video transitions. Um, Okay, I'm going to choose something like this. So I'm going to choose this Bosak and I'm going to drag it and lay it on top of my video. I mean, lay it on my video, and then you can see that it changes my video. Let's say you want to make changes to the effects that you've actually applied on your video, you head over to the effects control window, which is here. It is shared with the sauce window. So I just real quick just go in here. And then under the mosaic effect that I've actually added, maybe I'll add maybe I'll increase this. Okay. I can actually change it here, but just know that you can change your video effect settings from here. Okay. So another thing that I want to quickly go through with you is the video transitions. A transition is basically the transition between one clip to another to make it smooth. Okay. I'm going to pick something that is okay, I'm going to pick film dissolve. So just click it, and then I drag it, and then I put it in the middle of the cut here, and then you can see that it gradually moves on to this clip. So now we've covered all the big panel windows. I want to go through with you these two windows or actually panels. This is the two panel. So you can see all of your editing tools will be here. Think of this as a tool box, and your main tool is your selection tool. So this here or shortcut for V, it's actually, you know, allows you to select and then move your clips around. And then there are all these other tools which I'm going to go through at a different time. And then you have your audiometer panel, which is here. So what it does is actually, if you real quick just play the video, you can actually see the sound levels that is coming through. That's basically what it does. So that's about it, and hope to see you in the next lesson. 19. 4.3. Effects Control Window: Alright, so welcome back to this lesson, and real quick, I want to show you what the effects control window is about. But let's go to the next clip, and we have this clip over here of the dark room, and you can see that the basic effects in the Effects Control window is here. You have motion, opacity, and time remapping. And then for audio, you have volume, channel volume, and panel. Okay? So for motion, what it does is it actually changes the position of the video image where you actually set it. I can either key in a number, which I know doesn't always work well. So what I usually do is I would actually just hover my cursor over here. So this is position X. This is position Y. So one goes to the side, left and right, and then one goes up and down, Okay, according to the XY coordinates. So if I actually drag it, it is much more intuitive. So you can see that I can drag it somewhere to the side. Okay. All right. And then I can just bring it down or bring it up. And then in scale, if I actually were to hover and then scroll, I mean, drag using my mouse, I can actually zoom in or zoom out on this. So let's say I want to make it much more bigger, and then maybe I want to focus more on this granny over here. So I'll focus in and then I'll center her here, right about there, yes. So my focus of this video clip now turns to her, right? So we have a lot of other tools here, like rotation. Okay. And it will rotate according to the anchor points that you actually set. So if I were to actually head over to this option over here, now it says fit, but I can actually change it to maybe 75% so I can actually see, like, the outlines of the video here. So if I actually were to set where my anchor point is, Okay. If I actually were to click on it, I can actually see that my ankle point is here. Maybe I want to shift it right on this Granny's face so that I can rotate the video according to her face. Okay? And I'll just reset the position real quick. And then you can see when I rotate in this option here, when I rotate it, it rotates around the pivot point, which is on this Grandma's uh, nose. Alright, so moving on, we're going to go to OpSiTe, and in Opesity, we can actually turn the transparency down or up Okay. Blend mode. Um, we would just like to stick it to normal right now because in that way, we know exactly what OpsTe does to it. But, you can try all the other effects on here, and then you can supplement it with your own research. But yeah, usually I just leave it on to normal and it works pretty well. Another thing we're going to go through is time remapping, which is actually speed Okay. So in speed, we can actually change the speed of the video clip, but I do not actually change it through here. So usually I do not bother, and I have a better way to change speed and alter it, which I will go through in later sections. But as for now, know that it exists and that you can actually manipulate it, right? So moving on, you know, the level of the audio that we can actually increase or decrease. Okay. So the default is zero DB. So if I actually were to play it, you can actually see in the audiometer panel. If I were to actually increase it, though, and play it back, you can actually see that it goes much, much higher. Yeah. So you can change your volume from here, and Channel volume is the uh Same thing. You can actually change your volume, but according to the stereo channels, so you have the left and right. So if you want more louder on the left side, you can actually increase it here. So as you can see from the audio track here, the left side is actually much louder than the right. So I can actually turn it down a bit. Actually turn it down a bit, and then we can see. So now it's much more uniform. So that's one thing that you can do to actually balance out the stereo left and right audio channels. Alright. So now that you know what that is about, you can actually see that we have this diamond shaped thing over here is actually called a keyframe. So the thing about keyframe is, let me just real quick, just collapse everything, so there. It's not confusing. Okay, so let's say I want to zoom in to this guy's face, or I want to zoom in closer to the action over here. Okay. So at this point, I know that I want to zoom in closer to this lady's face. So what I'm going to do is I'm just going to scale it to something that I like maybe here, right? And then I'm going to set a key frame. So how I'm going to do it is I'm going to press on this toggle animation option. So once I click that, it creates a keyframe over here and it goes to this value. So when I'm actually at 30 seconds, the frame would actually scale up to value number 273, which is a bigger value than our original one. Okay? So if I were to go back and I want to make, you know, it zoom in from the default size, maybe 160. Okay. So you can actually see that it creates a keyframe here at the beginning of the clip and another one in the middle at 30 seconds where I want the zoom in to happen. Okay? So if I actually play the clip, it goes from here and then it zooms in. To this lady's face. Okay. So that is actually how you animate it according to key frames. You can also do the same thing for position and rotation. So just quickly, maybe I want to do something really funky. So I set my starting rotation at the beginning of the clip. And then I want it to maybe rotate at 30 seconds. Okay. So I'll just treat it like this. And then as you can see, when I play back the video, you can see that the camera actually rotates. And then it stops after 30 seconds. So that's what the key frame does. So now you have more power to do more things in the effects control window. So see you in the next lesson. 20. 4.4. Project Sequence Settings: Welcome back. And in this lesson, what we're going to do is we're going to set our project settings right from the get go so that we won't run into any problems later on. All right? So what you want to do is at the beginning, when you open Premiere Pro, right. So you want to attach or plug in your hard drive and make sure there's a lot of space because one thing about video is that it actually takes up a lot of space, real quick. And we want to just open a new project over here. I usually would like to put the project name. So for this, maybe we will put uremi video editing. And then we're going to put the year. So once you're done with the naming, we're going to go to location and then we're going to browse space in our hard drive. So what I'm going to do is I'm going to actually put it in my UIM course video editing folder. And as you can see, I have this file structure here. I just want to put into my project files where all my working files are at, and that's where I keep my premier files. Project files. Capture format. Well, it depends on what camera you're using and if you're connecting it to Fire wire. And I'll go through this in detail later on. So for now, we're just going to leave it as it is. And then please make sure that your scratch disk settings are the same as what you've set in your location, yeah. Just click Okay. And then now we're in this screen. When you actually begin your workspaces, like for mine, I have this, which is a workspace that I have figured out works best for me. You can actually just rearrange it as and how you want it, right? So you can just place it wherever you want it. Like, uh, later on. So when you actually open Premiere Pro, what you're going to see is this window right here, which is the basic window. And, of course, I've labeled it as my own workspace, but this is the default Premiere Pro workspace that you're going to be dealing with. So we have gone through how to set your project files to work off a server or hard drive. Now we're going to go through sequence settings and then we're going to look at payback quality and creating your bins. All right? So first off, let's do sequence settings. So we know now how to make our sequence, right, and our sequence is here. Okay, so I'll just double click on that. And we are here. Our timeline window is selected, and you can see that we have our holiday video sequence selected. What you want to do is you want to go to the top here and click on sequence settings. And over here, you can actually see all of the sequence settings that you have actually set. All right. So usually usually I will just leave it at editing mode, DSLR, time based 25 frames per second unless client specifies something different or if you are in the US, you're working on 30 frames per second or if you are creating a feature film and you want it to be running on 24 frames per second, you can actually change the settings here. And then we have the frame size. So previously when we created the project, we set it to 1080 P, which is what it essentially means is that your frame size is 1920 on the horizontal side on this side, and then 1080 on the vertical side, which is here. All right? And then square pixels, leave it at one. So essentially, the only time you're going to change your pixel aspect ratio is when you are actually working on an output that you know uses it, like, for example, DVPL which is tape. The one that we most commonly use is square pixels 1.0. Feels, which actually your clients would mention in the deliverables. Okay, display format. Usually I just keep it to 25 frames per second time code. Because that's that is the standard, and that is what I'm used to. You can, of course, play around with it. And then sample rate this for audio, usually, I'll keep it to 48. So display format audio samples so that it's easy for you to actually physically see what you actually editing audio wise. Video previews, I do not change it, and then I'm going to click Okay. So if you actually see if I actually, double click on a track to expand the information, you can actually see the audio samples here. You can actually physically see, you know, your audio waveform, and then you can edit accordingly. Trick also applies to video. When you double click on it, it actually expands it, and then you can actually see a thumbnail of what clip it is. So that concludes the sequence settings. We're going to go to workspaces now, okay? So from now on, I'm going to work on my workspace which I personally prefer, and there's not much into it. Um, except for adding a audio track mixer. So I'm going to go to my workspace that I've created before, sorry, not this one. All right, which is here. So I've labeled it Futles Workspace two. So over here, it's the same layout. It's just that you have an audio track mixer over here. The audio track mixer will also be important to you because later on, you can actually click on this. And then in your master channel, which is here, you can apply a hard limiter, which is actually a filter that makes sure that your audio doesn't clip above zero. And that is very important if you're submitting videos for TV and broadcast stations, moving on, we're going to go to the playback quality. So over here, just below you have this, and it says, half. That is actually the display resolution of your video. And why is this so important? Is that if I'm playing on fs and I'm playing a four K video and I'm editing on an old computer, there will be delay in your video. So you don't want that to happen, and I don't want that to happen, so I usually set it to half or a quarter. Lastly, I want to create a bins. So real quick, I'm going to go over to the project window. Okay. And then I'm going to organize my video clips which I have here. Okay. And it's good to organize all of your stuff because later on, as you import more and more assets into your project window, you will find that it gets very cluttered, it gets very confusing, and you just want to structure everything so that you can edit efficiently and fast and meet the deadline. So what I'm going to do is I'm going to create a new bin over here, and then I'm going to label the bins. So I'm going to label this as a video. It's plural. All right. Videos. So I just highlight, press Shift and then click on that. So both of these clips are highlighted, and then I just drag and drop it inside videos. So when I collapse this, you can see that it's just one video folder. I'm just going to go ahead and then I'm just going to create audio So you can create as many as you like, and you can create as many as you need to keep your things organized. I can also create sequences, which I usually do. So in this sequence folder, I'll just drag and drop my holiday video sequence over here. And then I can make a duplicate in the future. And then maybe I'll label it as version two. All right. So I'll just double click it and then it appears here. So now I have Version one and then Version two. Okay, so maybe for Version two, I want to do something. Um, maybe I want to, like, combine these two clips together. The difference in the changes will be on Version two, and then my Version one is kept clean from where I last left it. Okay, so that's about it for this lesson, and I hope you will join us for the next lesson. Thank you. 21. 4.5. Post Production Workflow: All right. Hi, guys. Welcome back to this lesson. And for now, I'm just going to quickly and briefly touch on the post production pipeline. And this falls in line in this section because it is something that I feel is quite important, especially when you have multiple editing projects. Knowing where you are at each step in each individual project allows you to plan around your deadlines. And over here, I have this post production pipeline sheet, which actually shows the amount of days counting down from the first day after shoot, three quarter of the days left, two quarters of the days left, one quarter of the days left all until the deadline day. In this post production pipeline, we have three sections, and this colored in teal, this is the producers. And then to the sides here, this is us. This is the editors and our milestones that we actually need to reach before the deadline day. And over on the right side, we have the timeline for the people who are going to pass you graphics assets for your videos. So the deadline and the script just before the production end will be told to us by the producers. And then we go down the arrow, and then we will see that this backing up of rushes, this will be our job. And then after you back up the rushes, you will need to ingest upload and create proxies on your premiere pro projects. And then it splits down into three, and that is where the clock starts ticking. And I've broken it down into four or four of the days that we have, which is the beginning, we actually allocate a lot of time for this because this is where we actually form the basis of our editing, and the rest is just making changes, and that's why it is getting shorter and shorter up until the deadline day. Over here, our producers will give us a video and graphics brief where they would actually let us know again what is the deadline. Usually the internal deadlines, for example, the first draft, second draft, third draft will be made first before the client. And then they will brief us on the video format, or if there is any specific deliverables that we actually need to give the clients and the duration of the project. Things that we would need from the producers to give us documents which I have gone through with you in previous sections. So we have the audio visual script. We would need the log sheet. Some places don't do log sheets, but if you do have it, it will be an asset for you. So if they do have it, please do ask for it. You have the miscellaneous client materials. So for example, some of the clients would actually want to insert photos of their previous awards or if they have a logo that they want to give you. And then you have the deliverable spec sheet, which is the specifications for the deliverables. So now, once you receive that, you will begin your editing process. And I actually created this small arrow because this is the part where we actually liaise with the graphics. And Dynamic Link is actually something which I will touch on later. And then we have the internal review. This is the first draft internal review. So a quick guide is that internal reviews, we name it as drafts. So draft one will be internal review. And then the first client review, we will call it the for approval, right? First draft first FA, and then we make the changes. And then we have our second draft, as well as our second FA. And then we have our third change, and then it goes into Picture log, which is major changes are done. After picture log, we'll go into internal review, the client final FA, and then the submission. So in between, we actually have our producers gathering the client materials. During this time, they would also be recording the voice overs and they will be doing reshoots if needed. And then once they have collected this, they will give it to us. And then more often than not, we will be receiving it on our second review. It could actually be like the second last day before a deadline day, but yeah, that's usually the case, okay? So over here, after your picture log, you do your subtitling, which is usually delegated to a third party or interns, or in the worst case scenario, that will be you. So if you need to do it, you got to plan for this, okay? Insert your subtitles. And you also insert your graphics at Picture log, as in the final graphics. Lastly, usually you will have extra items like extra footages for archival footage from the museum, you would actually receive it at the very, very last stages of your editing. Okay, so do prepare for that. And then here on the graphic side, this is very, very wide overview of what they actually do. They will start off by creating a shared folder on G Drive or on the local server or whatever it is. Then they will build their graphics assets. And then they will have their internal asset review with the producers, with the directors, and what have you. And then they will make their final graphics changes, and then they will send it to us before our client final review. And once the delivery is done on your side as an editor, you will need to back it up on the archive server, which is set by your company. You can download this in the downloadable section in bonus. So it's good to keep in mind all these processes and hope to see you in the next lesson. 22. 4.6. Organising your timeline: Alright, so for this lesson, what I'm going to go through is how to organize your timeline. And one reason in doing so is that whenever you edit in an organized fashion in your timeline, then it would actually help you to become much more efficient and faster video editor. So we actually look at the timeline. We have our basic interview over here, and then we have the supplementary shots to emphasize our interviewees words. So our first video track is our main video and our second video track, which is this is our supplementary video clips, or I would prefer to call them Bros. And then on the audio side, you have your main video audio on Track one, and a good practice to have is to do sound effects for Track two of the audio, and then music will fall on the third track. And as for the video site, your first track main track, second track rolls, and then your third track will be your graphics track. Okay. That way, if I toggle it on and off, I can actually see you know, what is underneath. So just for this example for this tutorial, I am going to import all the extra stuff, and I'm going to show you what I mean. So in SFX, so I'm going to go quickly into sound effects. I'm going to import this pop sound. Okay, so it's in. That's good. I'm going to add in my graphics. So right click, I'm going to hit Import and I'm going to import this Okay, that's done. And then, lastly, my music import to music folder, and I'm going to import this music file. I can actually preview it in the sauce window. So that's the music that I want. And I can just go ahead and drag the audio only. So I'm just going to drag this to Audio three, right? But the end it here. I'm just going to use the razor to delete this. And then I'm going to put in my graphics. Double click it, and you can see that this colorful graphic pop up. I'm just going to drag this to the third layer of the video. Maybe I'll place it here. Maybe I'll just drag it all the way. Here. All right. So that's our graphics. It will be on the third video layer, third video track. And then, lastly, what I want to do is I'm going to add a pop sound to accompany the graphics. Do click it. And then maybe I'll start it here. So I'll put in point, outpoint. And then I'll just drag the audio right at the beginning of this. Make sure that all of the sound effects will stay on one track and all of the music tracks will stay on one track, and the original sound that comes with the video will stay on one track. Okay. So if I hit la people were very happy, excited to go to our booth of our partners. I think the event in general went really good for the first day. Alright. So if you ever need to, like, toggle it, you know, it's quick and easy. You can make your changes there. You know where everything is. There's less confusion for you, and it'll be faster for you to edit. So that's about it for this and hope to see you in the next lesson. 23. 4.7. Relinking Offline Media: Alright, so what I'm going to go through now is to go more in depth into relinking offline media. And you would actually experience this a lot of times, especially dealing with footage from perhaps another organization that you're working closely with. So you would have a timeline that appears something like this, okay? And it says, Media offline. It means that the foolage is not found by the computer. So what you have to do is first and foremost, to get those files, like, for example, file 06 190-616-0622. You have to find those and you got to make sure that it is in your computer somewhere or in a directory that is linked to your hard drive. So for mine, I would always like it to be on the hard drive that I'm working in. So I've got it here. I've got 0616. I got 0622, and I got 0619. So I got all my three clips here and ready to be linked. I need to remember the location in which I kept it. And then now what I have to do is I've just lick on everything. And then I'll right click Link Media, and then you can see that these are the files that I'm missing. I'll go ahead and locate the first file. And usually what premiere does is that once it locates the first file, you will find other files which it is missing in that same folder. So I'm going to just find the first file, and it is here VI 0616. Hito locating media, and it finds all of the video files that are missing. So that's how you relink offline media and hoops next lesson. 24. 4.8. Hoverscrubbing your clips: Hi, welcome back. And we are going to be talking about the harvest scrubbing feature in Premiere Pro. You know, earlier on when I was talking about how you can actually select your clips. So I have a video clip here, and then I set the in point and I set the outpoint, and then I just drag it out to the timeline, right? So one of the features, and I feel is quite underrated that you have the ability to set in and out points from your project window itself. So let me just demonstrate how I would actually do that. So now I have the list view on. I would just like to click the icon view. And from here, you can actually see your thumbnails for your video clips. And you can adjust the size here. I would just like to keep it around. This size is good for me. And then you can have the added functionality of pressing the I key to set the endpoint, and then I'll like it to and maybe, you know what? Maybe I'll start it here. So I'll hit I. And then just before she goes out, I'll hit O for the out points. And then I can just drag it to the timeline, so just try that again. Alright. So there you go. So that's the quick and easy way to actually transfer your clips onto the timeline without actually going into the source monitor and then setting the in and out points here. So thank you and hope to see you in the next lesson. 25. 4.9. Marker Bookmarks: Alright, so now we're going to create bookmarks with markers, and this is actually a useful technique to tag your video clips and it's pretty easy. What we want to do is we want to click on the video clip. Okay? And then you can scroll on to any part. And what you want to do is you just want to press on. So pressing M would actually create a marker, okay? Let's say in the future, I really want to find this clip real quick. Click on this marker, and then this marker box will appear. So you can actually name your video clip. So I'm just going to name this elderly folks. Sitting on a bench. Okay. And then I'm gonna copy and paste the same thing. Gonna put it here, and then I'm going to add in more information like a good take, and I'm going to put in maybe a day one of shoot. And I'm going to insert in the type of shot it is. So an abbreviated term for white shot is WS, and I'm just going to put it there. When I hit Okay. And then I'm going to do the same thing for this next clip here. So this next clip, I'm going to label it as I'm going to create a marker first. Label it as interview. Interview with representative got maybe this one will be day two. And the shot would be medium shot. Okay, okay? And then now you've tagged all of your clips. So if I actually typed in the the name of the clip, like, for example, Dark Room, we have this dark room footage. Let's say, I want to go and find elderly, I would have here elderly. So thank you for watching this and hope to see you in the next lesson. 26. 4.10. More Basic editing tools: Right, so what I'm going to go through with you is some more basic tools which you would actually need to start editing efficiently. So the first thing is, we know what the playhead is. We know what scrubbing does. We know that we are on the selection tool. Now I'm going to go through with you what snapping is. So snapping is here on the top left of your timeline. So when you actually click it and it turns blue, that means it's activated. When you scrub your playhead, it actually snaps to the endpoints. The next thing I'm going to talk about is the hand tool, which is in this two column over here, this two panel where you have your selection tool, just go right down to the hand tool. And you can see that your cursor changes to a hand. You can actually click and drag anywhere on your timeline to move to find your clips. Then the next to I'm going to talk about on the same to panel is the razor tool or shortcut C. So I'm just going to click on that. What it does is it creates a cut Okay, let's say she finishes talking at about here. All right, we want to cut it there because we don't want any excess parts. So we're going to cut it. And then we're going to change to the selection tool. We're going to select this and we're going to make it tighter. Alright, so another thing that you'd want to do, especially if you have like multiple, multiple clips on your timeline. You want to zoom out or zoom in, what you can do is you can actually hit the plus sign or the minus sign on your keyboard to zoom in plus sign minus sign to zoom out. And then you can actually hit on the backspace to actually see your whole timeline. So I'm going to go way back to the front here, and then I'm going to play the video. So instead of playing it with a space bar, I can actually choose to play with the key. I hit L, I can play the thing. And then if I hit K, it would actually stop. And then reversely, what I can do is if I hit the JK, I can reverse the clip. Okay, to stop. So JKL, these are the keys that you can use to actually play your video in reverse or forward, right? And interestingly, what you can also do is you can, for example, play it at double speed. So if I were to hit L, plays a normal speed, if I were to press it twice, you will play it faster. All right, to stop. And then I can reverse it too. So if I hit on the Jky, you'll go in reverse. And if I double click it, you will go faster. So now we're going to talk about unlinking the clips. So as you can see, when you let me just zoom out real quick. So as you can see, when you select your video in your timeline, it selects the video and the audio that is paired together. And let's say you have two interviews and then, you know, you want the audio to overlap, what you can do is right click on it and then unlink. Or if I were to actually go back and then it's linked, I can hit on Command L to link it or unlink it. That is the shortcut key. And maybe I'll select this clip and then I'll command or Control L, unlink it. I can actually move this into this script. And now another basic tool is to set the in and out points. Let me just real quick select this clip. Then what I want to do is I want to put it in my timeline and maybe I'll get it here. So I'll set an in point. I press I, that's the shortcut key. And then I want to get her just move into this door, and then I hit the O key, which is shortcut for O point. Once I've got the in and out points, I just drag the clip onto your time. And I've only got these scripts. So that is a faster way to edit it. So thank you. Hope you like it, and hope to see you in the next lesson. 27. 4.11. Creating Proxy files: Hi, welcome back to this new lesson. And we're going to talk about creating proxies for your videos. So why do you create a proxy? If you are editing on four K videos, it might actually be a pain because the bigger the resolution is, there's more information for your computer to handle it, and that's why there is a delay. So we want to avoid that problem. And as I've touched on before, one way to do this is to actually change your playback settings over here to actually make it at a quarter resolution or half resolution. There's a limit to that, and usually that won't be enough. So what you want to do is you want to create a proxy for your files, okay? So I'm going to just create another sequence. I'm going to duplicate this sequence, and I'm going to change it to Version three. It's a good habit to have because you might never know when your client wants you to revert back to a previous version. So I'm just going to create Version three. Double click on it. It will appear here. I'm just going to close this version to be safe. Okay. I'm going to import, a new video file. Okay. Under the holiday holder, probably I'm going to choose What am I going to choose? Okay, I'm going to choose this interview. Alright, so I'm going to import this interview. So that's my interviewee, and I want to make it organized, so I'm going to put it in videos. So I'll just double click on the video file. And then I'll go into Proxy and then I'll create Proxy. I've actually created an in jazz preference that I like, but you can choose the standard proxies that Premiere gives you. So alternative, I'll go to 1024 by 540 format. Okay. And then I will click on next to original Media in Proxy folder. So what it does is premiere would actually create a proxy folder in your video file folder where you actually store all of your video assets. So I'll just click Okay. Media Encoder will open and media encoder will encode. You see, it goes on straight away. I will encode the file and make it smaller. Okay? So once that's done, go to premiere. And then if I were to double click on this, you see, resolution has changed because we need to set that. So I'll just drag it here. And you can actually see that the property of the clip is actually changed, see, proxy Media 1024 by 540. If I want to change this back to the original resolution, I would actually just need to click on this Toga Proxies. And you can see that it adjusts itself, and this is the original media that you recorded it in. So now that your proxy is created, you can actually find your proxy files in your hard drive where you actually store your video. Okay. So in my case, I've actually stored it here in the holiday. So in this folder, you can actually see by school all the way to the end there is this folder that Premiere Pro has created for you. It's called proxies. Inside there, you can actually see the proxy video that it has created for you. Alright, that's it for creating proxies for four K videos. See you in the next lesson. 28. 4.12. Logging or digitizing archival tapes: Alright, so this is an optional subsection where I'm going to go through with you briefly how to digitize and export media from and to tapes because believe it or not, some organizations you work for will still use a tape deck. Or HDV or DV camera, and this is the way you can rip the contents from the tapes. All right, so first things first, make sure that the tape deck or the camera HDV camera, DV camera or the digitizer deck is connected to your computer, either through a Fire Wire 400 or 800 cable, and make sure if it is a tape deck that it is patched in properly. And if it's on a camera, if you're capturing it from the camera, make sure that it is on VCR mode within the camera. All right? So now, once that's out of the way, we're going to head over to the top left corner of Premiere Pro, hit on file. Scroll down to capture or shortcut key F five. So once we're here, a screen will pop up, you can capture the whole tape if you want to, which is just press this button, but what it does is it would actually just mash all of your video clips into one huge video chunk. You want it to be separate clips. The way to do that is to lock the clips separately. So first things first, setup, yes, we want to capture the audio and the video. Okay, we want to find a suitable place to lock the clips. So we're going to go to we want to put it in videos. Okay? Okay. Done. Set your taped name. So this is, day one, shooting a blockbuster film. Okay. So whatever that is on your camera in VCR mode, it will be here. So in this case or the cases of this tutorial, just uh know that an image will pop up. So from there, with a log sheet in hand, what we want to do is we want to capture it systematically. So we're going to set in the in points, and this is your in time code, and this is your out time code. So based on your lock sheet, based on the lock sheeet that I have, I want to start recording from 0100. And the end of that clip will be 60 seconds. So 02, zero, zero. I've set my in and out in on the 1 minute mark out on the two minute mark. You know, I just hit Lock clip, okay? All right. I'm going to multi select all of these clips, and then I'm going to batch capture it. So I'll go over to File and batch capture. So once I click on that they will ask you if you like to capture handles with your video clips. And I would say yes, because you can make transitions easier and you can cut easier. You know, it's not a straight cut. There is some leeway for you to actually make an edit at the ends of your clip. So I'll set it to 25 frames, and then hit okay. And if you've connected your tape and you've locked it properly, this shouldn't be happening. What should be happening is that Premiere Pro would actually process the whole thing and digitize your footages. And after a few minutes, you're ready to go. Your clips are inside. I should appear here. And that's about it for this lesson and hope to see you for the next lesson. 29. 5.1. Creative Editing rules: Hi, welcome back. And in this section, we are going to be going through the creative processes and the rules behind it and why we want to be using it. Also, do take note that keyboard shortcuts or keypresses will be shown at the bottom of the screen for your convenience. So without further ado, let's jump into the next lesson. 30. 5.2. Basic- Coloring your video: Alright, so one of the more rewarding features of working as an editor in a small to medium sized organization is that you'll be able to color your own edits. And if you're a content creator, this is also the case. The only exception to this rule is when you are working on a feature film and they've actually set aside budget for a colorist. So what we're going to do is we are going to color our clip that we have made here and we're going to do it non destructively. So we begin by creating an adjustment layer. Just head over to the project window, click on new item, and this dropbox will actually pop up. And you have all these options. Click on adjustment layer. Everything is okay. Click Okay. And then we have this adjustment layer. So what we want to do is we want to change the color on this adjustment layer and refrain from setting the color on the individual clips. That way, we can just change everything uniformly later on, and, you know, it will just be easier and faster when you're making changes to your video clip. So I'll just head over to the timeline window, right click and add Tracks. So I want to add just the video track one track after video three. Audio tracks, no. Heat ok. And you see now you have video track number four. And then I'm just going to quickly rename this as color. Heat Okay. And then just drag this thing to the top here. And then just with the selection tool on, just drag it out all the way to the end. One thing to note is that you would actually want to place your graphics layer above color. So I'm just going to double click color. Actually it's selected, you can see that it is selected through here in the color window that you have here, the top right in lumetric color that you are on the color tab. And then from here, you can actually set your changes. So I want to color correct this first. I'll click on this white balance selector. Yep. Okay, there you go. So now color is neutral. And then, maybe I want to set some make it slightly slightly magenta. Um, maybe bring up the exposure a tad bit. Like so. And in the colour tab, you can go on the vignette and you can add some vignette into it. Let's see. Without and with vignette, maybe not too much, just a bit. Okay, once that's done, maybe soak it up to you after you set your white balance, maybe I'll like it to be that bit more vibrant. And quickly S. All right. That is done. You can see these are the color changes that we've made. And if I toggle on and off, you can actually see the original one and what we've actually said. Maybe I don't want this to be blue because it's outside. The color balance would be different. So I'll just drag my color accordingly. I'll just turn on the Snap to. Alright. And you can see it only affects the indoor shots. For the outdoor shots, I think it's fine. It's totally up to you. If let's say I want to change the outdoor shot to be different, I can actually make a duplicate of this. I'll just copy Command V, Command and Control V for pasting it after you do a copy. Double click this and then do the changes. There you can see how the color is done for indoor and outdoor shots. Should you want to be more precise, you can actually turn on the luminary scopes or the color scopes in certain programs just by going to window and find scopes. And you can actually see that zero would be the black, and 100 would be the white. So what this actually shows is that in this image, this teal color is actually very bright. And you have red, which is quite dark in the lower spectrum. Okay. And it corresponds closely to where your playhead is at. So the teal will be here. These are all the color spectrum waves in the mid range. So if you want to change it, you can actually go to color wheels and match. And you can set it like so. Okay. So new tones. So that's all for color, and hope to see you in your next lesson. 31. 5.3. Scene Composition: All right. Welcome back. And for this subsection, I'm going to talk about a few things which I feel you cannot ignore when you are constructing your creative product, which is your video. At the top of my list is scene composition. And I think without scene composition, everything would not fall into place as how you envision it. By doing this, you can actually step up your editing. So real quick, I'm going to pull up a video in which I made quite a while back. And in this video, you shall see an example of scene composition. When you construct a scene, no matter what it is, you must have an establishing shot, which is usually a white shot of the whole area where the scene is going to happen. And then you go into two shot or a tree shot to show, like, who are the characters involved. So I'll just pretty quick, just play this. So this is the ending clip of that scene. And then we overlay with the establishing shot. And the tree shot of the family dinner scene. So from this shot, we actually go to something closer. Occasionally, we go wider just to show what's happening in the scene. And then all the way, we're just alternating between medium close up shots. So that is how you actually build the scene. So in terms of short sizes, you always start with establishing and then you go wide to show the characters involved, and then you go to medium white or a medium, and then you go to a close up or extreme close up in certain cases. So to put this example into play, we are going to export we're going to export a a folder which I have set aside for this scene composition practice. Let me just find it real quick. It's in footage, scene composition, and I'll just import the whole the whole folder. All right. So we have this. And so now you actually see that this is an event video, not a narrative video, but the same concept still applies. Oh, let me just real quick, create a sequence. My sequence folder just create a quick sequence. Yes. Seen establishing Okay. And then, um, maybe I'll start with a white shot of the building. And I'll go from here. Alright? It's laid in. Like so. Okay. Another method to actually put this clip into the timeline is to actually just drag it into the timeline quick. This and then insert. So you have this. Maybe I'll use the razor too, and then I'll just tighten this up. And then okay. And I'll insert this in. Okay. And then here we see that we're going to go into the gallery theater inside of the building. We're just going to cut it before the words actually get out of a frame. Put this in? Right there. And then inside the gallery, we will just have this set in and out. I need a much more responsive mouse. So over here, we're going to go into the close up of this guy. And the lady. Okay, just about here show that he is doing important work. Just track it in. Like so. And then finally guess him picking up some stuff. Alright. Okay, unlick all of this because we don't need the sound. And maybe, I'm going to put in the happy music, the ones like the one that we have before and then just lower down the volume. Like, so you can just dry and pull it down. So about that. And you can see Maybe that is a bit long. Just end it here. Okay, push this forward. Are. Maybe I need to extend this Further, let me just pull this back. Of course, I'm doing this quite inefficiently because there are better way of moving and arranging your video your video clips around, which I will get to in the last sections. But as for now, we're going to edit it, the basic way So now we see our guy in question. And then he's doing some laborious work and then cut. Just watch it again. So as you can see, just by laying the shots from a bigger short size to a smaller short size, you have already established the setting of the action that's going to happen. Okay. So that's it for scene composition. See you in the next lesson. 32. 5.4. 180 degree rule: Hi, welcome back to the lesson. And what I'm going to show you real quick is the 180 degree rule, and this is a creative rule. So just to show you an example, an 80 degree rule, let's say you have three of your cameras, and they are facing one is facing here. One is facing here and another one facing here. So sorry for the roughness in my drawings, but I try my best. So here, they are going to capture a video of a scene whereby two people are talking, A and B, Okay, A and B are talking. And the thing about the 180 degree rule is that when you have shot it like this, right, you don't want to shoot it this way. Oops, what is that? Guidelines. So you don't want to shoot it this way because you have already established the scene of the room from here, right? Let me just put that in a different colour. Okay, so this is the imaginary line. So none of these cameras, camera one, two, or three are in the 180 degree rule supposed to go over to this side, especially if they are shooting events, they will just go over to whichever side that shows A and B best, right? And of course, they have no choice, but you as an editor, you have a choice. And if you've already established shots taken, for example, here, like straight through the middle where you can see A on the left side and B on the right side, you wouldn't want to mix shots that are taken from this because by doing so, what your audience sees is B on the left and A on the right. And then when you switch cameras again to this camera or any camera on this side, they would see A on the left side and B on the right side. So it's a rule that you wouldn't want to break because it just disorientates everyone. So you wouldn't want to get a camera shot that is shot from this angle looking at these guys, right? Because your camera angle is straight on from here. So you would want to keep within here, all the shots that were taken on this side of the table. And you should read up more about it if you want to know more. But yes, do keep to it. Thank you and see you in the next lesson. 33. 5.5. Cleaning up interviews: Hi, welcome back to the subsection. And we're going to talk about how to shorten dialogue in an interview. We're here to clean up the interviews and make them sound as good as possible. So without further ado, let's go into videos real quick and then right click, we're going to import our interview. Here I have the interview footage. Create a sequence real quick. New item, right click. And then we will go into sequence Interview. Okay. Now that is done. Make sure you have interview selected and then you'll just drag your interview inside. I'll hit the back space, and then the whole interview comes into our timeline, fits nicely, and we're ready to go. So we want to keep it short and sweet and very tight. So real quick. I am just going to clean up the audio because as you can see phones and see how loud the sound is because the voice of the person is actually on one track of the stereo track. So I just want to make it even. I'll just right click. I will head to audio channels, right? And then over here in left and right, I'm going to use the left channel because that's the one with his voice. Now, the track has balance level of his audio. So I think Jolene is a very good station that lets people, you know, know what kind of listening levels they are exposing themselves to. Alright, we're going to pop in a denoiser Okay, I'll go into effects controls. I'll just edit it, and I'll set it to the standard light noise reduction. And yeah, I think they also there's this station called George, which is very interesting where they let people experience with normal hearing. You won't be exposed to hearing aid. So, George, Okay. We can start with one of the booth. One of the booth is actually the Jolin station, which I found very interesting because it allows people to, you know, plug in their her, you know, headphones and see plug in their They are right? And we want to start again at headphones and see, headphones and headphones and see how. Okay. Just make a cut there, selection to again and then shift People to, you know, plug in their headphones and see how loud the sound is because most of the time people just want their music as loud as possible. And That's the booth is actually the Jolin station, which I found very interesting because it allows people to plug in their headphones and see how loud the sound is because most of the time people just want their music as loud as possible and it might be damaging their ears without them knowing it. There's this station called George allows them to have a sense of what people with hearing loss, but with hearing aids can experience as well. Alright, so that's how you actually make it more concise. And then we will just put some happy music over here. The rest. I'm just going to quickly set the volume slightly lower so I can actually hear. One of the booth is actually the Jolene station, which I found very interesting because it allows people to plug in their headphones and see how loud the sound is because most of the time, people just want their music as loud as possible and it might be damaging their ears without them knowing it. There's this station called George allows them to have a sense of what people with hearing loss, but with hearing aids can experience as well. Alright, so that's all for cleaning up the interview. Thank you and see you in the next lesson. 34. 5.6. B-rolls: Hi, and welcome back. So for this subsection, we are going to build upon our interview that we have done earlier. We're going to add B robs to cover up all of the cuts. I'm just going to go into our videos folder. Import. So I'm going to import from my footage, I've created the Bros folder with all of the Bros that we are going to need from the same event. So we're just going to import the whole Bro folder. We're going to click inside of it and we can see that this is George and the people trying out George. And then we have Jolene, which is here in accordance to what our speaker is talking about. So let's just give it one more listen and then figure out which point we're going to put our Bros in. One of the booth is actually the Jolene station, which I found very interesting because it allows people to plug in their headphones and see how loud the sound is because most of the time, people just want their music as loud as possible, and it might be Okay. So I'm just gonna just gonna scrub through this. Mm. Okay, I need her to be using the same headphones as Jolene. Maybe, Okay, I'll begin here. You know what? I'll do it in the sauce window. Okay, so here we have Jolene, and then we have our participant trying the earphones. Okay? So we are just going to drag just the video here, probably. Interesting, because it allows people to plug in their headphones and see how loud the sound is because maybe I will just sound very interesting because it allows people to plug in their headphones and see how loud the sound is because most of the time people just want their Okay, and then we want to click on George. To cover up the cracks in our edit. One of the booth is actually the Jolin station, which I found very interesting because it allows people to plug in their headphones and see how loud the sound is because most of the time people just want their music as loud as possible and it might be damaging their ears without them knowing it. There's this station called George allows them to have a sense of what people with hearing loss, but with hearing aids can experience as well. Maybe a Alright, that looks and sounds good, although I want to clean this up a bit more. Because I felt that is a bit abrupt. I'm going to go to the Effects tab over here on the right, and then I'm going to find an audio transition that is going to help me solve this problem. Iab I'll go with this. I'll make it shorter. And how you make it shorter is you got to be on selection tool mode and then just go to the site. If you cannot see this your cursor changing, you can actually just hit the plus sign and then just zoom in and then just make it shorter like that. One of the booth is actually the Jolin station, which I found very interesting because it allows people to plug in their headphones and see how loud the sound is because most of the time, people just want their music as loud as possible and it might be damaging their ears without them knowing it. There's this station called George allows them to have a sense of what people with hearing loss, but with hearing aids can experience as well. Alright. So that looks and sounds good, and that will be all for this lesson and hope to see you in the next lesson. 35. 5.7. Subtitles & Captions: Hi, welcome back. And in this lesson, I'm going to be touching on subtitles or some of you may call it captions. And in this new premiere pro, you're going to delve into how to make the subtitles or captions. Alright, so let's first watch the video. Hi there. I'm Fadi. So I graduated in a film institution that is the oldest in Singapore and have been doing TV broadcasts and commercial video editing. So in today's tech savvy world, more content creators and video enthusiasts are entering the filmmaking industry. This course prepares you for that lead, covering intermediate skills like long form video production, working with archival footage, like tapes and DVDs. The shortcuts are used on a regular basis, understanding industry jargon and last of all, mastering short sequences based on visual storytelling rules. So I'll also touch on the history of film so that you can know what rules you can then to make a successful story. So whether you are a content creator or professional video editor, you can take advantage of my decades worth of experience that I have and avoid the mistakes that I did along the way. And the course will be yours forever. You can refer to it anytime that you want in any part of the world. So I hope to see you in the next lesson. Alright, so that is the whole video, which you might recognize as the first video you've seen in this course. Alright, so how do we make the subtitles or the captions? Alright, so you go on your top left corner, and then you see this I'm clicking now, click that, and you have a drop down box and just go over the text. And in this text panel, you can actually see transcript, captions, graphics, so on and so forth. You want to click on captions, and then you want to create captions from the transcript. So once I click on this, the Premiere Pro would go through a process where it checks the audio track, and then it turns out the subtitles. So I'll just go ahead and click. And then this box will appear. So caption preset, click on this subtitle default. Alright. I want to go to captioning preferences. Make sure it's on subtitles style. I want it none, maximum length in characters. So we'd want it maybe 42 is nice. Minimum duration in seconds. This is how long the subtitle would actually linger after he says the last line. So I'd want it maybe 1 second. 0.5 seconds, that'll be good. Do I want double lines or single lines? Double is fine. And, okay, that's okay for this. Alright, so speaker labeling, no, don't separate the speakers because there's only just one speaker. But in any case, if you're doing subtitling, you don't need to name the speakers. Alright, audio, click track Okay, so just click on this Audio on track. And then instead of mix, which means you're going to mix all of the audio from all of your audio tracks. Instead of that, I just wanted to focus on Audio Track one, which is the track I have my dialogue on. So once I choose on that, I'll just double check over here. Alright, everything is good. Okay, everything is good. Alright, hit transcribe, and it will transcribe for me. Might take a few seconds. Okay, so now we're back and it's all done. So as you can see, now, Premiere Pro has created a subtitling track which wasn't present before. And then we can go ahead and check what they've actually given us. Hi there. I'm Fati. So I graduated in a film institution that is the oldest in Singapore and have been doing TV Okay, so right off the bat, what I want to do is change that awful font. So I'll just click on that. And as you can see, this where we make the changes, it's highlighted. I'll just highlight everything here. So everything is highlighted. Let me just quickly double check. Alright, it is. And then we'll go to properties over here on the right side of the screen, this panel over here. And what we want to do is we want to change the font. Make it something that is more legiable Aerial would be good. God. Yep. He'll be good. Okay. A real regular. Okay. That looks good. Then another thing I want to do is I want to move the subtitles here into the title safe box, which is the second inner box in this screen over here, and we'll go here. So actually, if you see this is the horizontal position, I can actually shift it left and right. Alright? I'll just set it back to zero. And then I can move it up here. Alright. Looks good. Negative 59. And you can actually see you can quickly change the zones here if I want you at the top, at the top right or whatever. I can actually set it back at the bottom. But do be reminded that, you know, if you actually shift your zones, you might have to tweak it a bit. Just like we did before. Okay? That was negative 59, right? Okay, negative 59. Alright, that's done. And so we can see here that it does a pretty decent job, but maybe not the best. It's like, for example, here, my name is not Sally. All right, I can just go in and change this, and then I can just quickly go through the whole thing. Let me just quickly vet through the whole thing and fix everything. Hi there. I'm Fati. So I graduated in a film institution that is the oldest in Singapore and have been doing TV broadcasts and commercial video editing. So in today's tech savvy world, more content creators and video enthusiasts are entering the filmmaking industry. This course prepares you for that lead, covering intermediate skills like long form video production, working with archival footage, like cakes and ap Let's covering I'll just change it here. Covering intermediate skills like the long form video production, working with archival footage, like tapes and DVDs. The shortcuts I use on a regular basis. Understand Cam Is the shortcuts I use on a regular basis, understanding industry jargon and last of all O myring shorts. So in some cases industry jargon, I might actually want to shift this word to the one at the top industry jargon. And then I want to actually check it against my audio waveform over here. Understanding industry jargon and then I can do this so that it sings industry jargon and last of all. Or I could actually like if I were to go back, what I can actually do is I can change it to the these too. The ending industry jargon. And then once I made the point, I can just drag it over here. Ending industry jargon and last of all, mastering short sequences based on visual storytelling rules. So I'll also touch on the history of film so that you can know what rules you can bend to make a successful story. So whether you are content creator or professional video editor, you can take advantage of my decades worth of experience that I have and avoid the mistakes that I did along the and the cost will be yours forever. You can refer to it anytime that you want in any part of the world. I hope to see you in the next lesson. Alright, so that was actually a pretty good transcript, if I may say so myself, 'cause usually it'll be like worse than this. Alright, so if I want to change these two lines into a single line, I could actually go onto here and just press lead, hit delete, and then it can be it can all be packed together very neatly in one line. Ever. You can refer to it anytime that you want in any part of the world. So I hope to see similarly, if I feel that maybe I want to maybe break this up, I could actually, like, click on here and then I'll press space, and then you can see it creates two lines for you. But I don't want to do that. Also, another thing, um, let's say, It's line is too long. Let's find one. Alright, like here, for example, more content creators and video enthusiasts. Say I want to split that. What I can actually do is more content creators. Okay, I can cut it here. So what I want to do is hit C, get the cut to, and then just make a cut there. And then I'll just double click this, go onto the left panel, and then I can delete this part, and then go to the next. And I can do the same cut that part up. Alright, so let's see. Today's tech savvy world, more content creators and video enthusiasts are entering the. Right, so that's good. So that is just a quick overview of how to make your subtitles. Now, one more thing that could occur is sometimes your producers or the clients might actually want you to export out the subtitles that you've just created. What you can actually do is just go over to the panel on the left, look at all of your captions or your subtitles, make sure you're on the captions track, and then you want to hit this three dots over here, and then you click on Export. So you can export in a TXT file, which opens up in Word document or notepad or text editor on the mac. But for me, and in this case, I want to export it to an SRT file. And I'll show you why in just a bit. So let's just export it out. All right, so that's done. All right, so once I've exported out the SRT file, what I can do is, let's say, I'm on a different project, right? And then the producer asks me to, Hey, could you just insert this SRT file? What I could actually do is just, I just import it in where where is it? Right here. And it was in Exports. Ah, here it is. Subs example SRT. And then you can see it here, right? I can just drag it into my timeline. Maybe I'll just highlight everything. Line it, and it will be in. Hi there. I'm Ali. So I graduated in a film institution that is the oldest in Singapore and have been doing TV so that's good. And in exporting out the SRT, your producers can make the changes that they want to change and then send you back the SRT file. The only thing that you need to take note of is you probably need to realign everything all over again, like moving this thing up. The Alright, negative 59. And making sure that everything is in the right place. One more thing that I want to add is, if you download this free source software called Jubler you could actually open up your SRT file and you could make changes from there. Just open a file. And where was it at? Here And then you can click on any SRT file. So as you can see, it's all here. You can click on any of it, and then like here, and then you can make the change. And then you can export out this version two. Alright. Okay, so we're now back at the same spot. And let's see. I made the change over there. So these are the old subtitles that we had, which is and has been doing TV broadcasts. I want to change it to the new one. I'll just highlight everything. And I want to import the new subtitles. Where is it? Subtitles Version two, that's the one. Load it in. Drag it here, make sure you get the lines. And as you can see, the change is here. Nice. You change this value. And there you go. That's the whole thing about entering your subtitles, changing it, and exporting it out. So I hope you found this lesson useful and see you in the next lesson. 36. 5.8. An Important Message: Hi there. So if you found this course really useful, please take 2 minutes of your time to actually leave a review for the course so that we can keep the course fresh and updated. Without further ado, let's jump into the next lesson. 37. 6.1. Introduction to exporting: Hi, welcome back. And in this section, we are going to be going through the whole exporting process. What are the things we need to choose to make sure that our exports will be of the most optimum quality. Also, do take note that keyboard shortcuts or key presses will be shown at the bottom of the screen for your convenience. So without further ado, let's jump into the next lesson. 38. 6.2. Formats and Codecs: Hi there. Welcome back. And in this subsection, we are going to be talking about formats and codex. Formats and codex, what is it about? So the size of video clips, uncompressed and in its original form is actually very, very huge. You can actually get upwards of a few hundred megabytes for perhaps 1 minute. Imagine just what a few minutes of raw video footage size is going to be. And then the thing is about this uncompressed video is that it always needs a software or hardware device to compress these files so that we can make them workable either in the editing platform or to just simply play on the phone or on your computer. Media players on computers, they need to decode the video and the audio. They need to do two things. They need to encode the video and the audio, as well as when it arrives at the destination where's going to be played back, is going to decode the video and audio. As you can see in the diagram, starting from the left of the screen, you can actually see the video footage as well as the audio, and then it's going to be encoded, mashed together and compressed together in a container, and then it's going to be decoded. The pieces are going to unravel so that it could actually be displayed on a computer screen or on mobile phone or what have you. Specifically, file formats are the containers storing the compressed video files. Some professionals might actually refer to these as wrappers, so file wrappers, so it's either formats or wrappers. And then moving on, Codex is actually an abbreviation of coder decoder, so codex. And essentially these are files or video files compressed in the container. Using a specific method. And there are a few methods. Actually, I'm going to outline it in just a bit. And some of the methods are widely used and can be coded and decoded on most web browsers, mobile phones, computers, media players, and what have you. As well as there are few obscure ones which actually work in a specific operating system like Windows, Mac, so sometimes you might actually experience this where a player might support a video format. When you actually read the specs, it should work, but when you actually play back the video, it is unable to decode the video, hence you cannot view the video on your screen. Or sometimes it might just be a black screen, but you can actually hear the audio of the video. And if you look closely, there will be an error prom that says incompatible Codec. So you might have the correct container, but you might not have the correct codex. Some containers are able to hold different codecs. Some might actually just hold one type of codec and it actually depends. So this is a list of the popular formats and the codex, not in any specific order, but I've highlighted to you the ones in red, and they are those that are most frequently used, such as AVI and MKV, which actually holds quite a lot of codex. And if you have time, you can check it out in more details. And you have popular codex which we will use, especially h264, which is the standard, even though it is an old codecs much more efficient video codec, h265 now or VP nine. So this is a takeaway. I hope that you've actually learned what Codex and formats are about. I do urge you to try this challenge. Take a short video clip using your phone and then you transfer it to your computer, and then you head over to this website, which is www.fileshyphencversion.com, and then try to convert one version of the video to WMV and then another version in MOV. And then try to play back both of these files on as many devices that you can actually find. So once you've done that, you realize that there is a pattern. So go ahead and try it out and see you in the next lesson. 39. 6.3. Additional Settings before export: Alright. Hi and welcome back. In this subsection lesson, we are going to go through the additional timeline settings before export, especially if you're doing TV broadcast. So we're going to go to the My holiday video sequence, make sure it is selected. So for this interview, I'm just going to right click and I'm going to change I'm going to balance out the stereo left and right for her voice. We want to go into audio channels. And then we want to make our left channel, the one playing on the right, because our left channel is where we actually record our interview track. Okay. So if, for example, you let me just cancel this real quick. If, for example, you play the video, and then you find that your right channel is the one peaking with the volume, then you want to choose the channel on the right to play on the left channel. So we'll just go ahead and click this so that the left and right channel plays the original left channel, which is the interviewee's voice, hit Okay. And then you see here, if we actually zoom in, you can actually see that it is duplicated on stereo left and stereo right. Okay. Okay. And at the beginning, we are going to add in a color bar and a one K tone. Previously and usually in other NLE platforms, you can actually find it in the effects, or you literally have to create one by yourself. But in Premiere Pro, we can actually have one here. So in your project window, hit on new item, and you can see HD, bars, and tone. So that is what we want. So just create this. Check that your video settings and your audio settings are the same as you have already set it for your sequence. Hit Okay, and it will appear here. So what we want to do is we're just going to click and drag this and insert this at the beginning. Okay? All right. So and then the next thing that they would actually want you to add is a slate. I can just push everything back. But to push everything back, you just hit on the track select forward two. Okay? So when I actually click here, it actually selects all of the items that I have from here all the way to the end. And then I'll change to selection two and then I'll just move this forward to make space. I want to create a slate. A slate is simply words on the screen that shows, okay, this is the name of the project. What's the duration of whatever information that the broadcast station would need? So for this, I'm going to go into my tools panel. I'm going to click on the Type two. Okay. And I'm just going to quickly write something. Rulers, and then you switch on guides, so you can actually find the center point. All right. I'll start with the 1080. You have this middle guide here. This is the middle point, and then you have the other point here. And then we'll position it accordingly. All that is center. I forgot to add one essential thing slate. Once again, I'm going to shift it. I'm just going to push this all the way up under our graphics because I usually put it there. So it will all be on the graphics track. Finally, we click on the track select forward two and move everything back. Press selection two, think back, and we're done. And then usually usually, you would have a company logo or whatever it is at the start of the video and at the end. So we call that the opening Ident and the ending tag. So I'm just going to grab a stock logo from Adobe I will go to the Premiere Pro top panel, head over to Window. We just want to show essential graphics. All right, so this essential graphics, I'll go through it a bit more in later sections. Let me just turn off the guides and the rulers real quick. So I'm just going to pick one here, this classic logo presents. Alright, so I'll just make some space Track select forward tool. I'm just going to use the shortcut, which is A. V for selection two, move this forward. I go to drag this classic logo preset onto my timeline. I'm going to put it on the graphics track. I'm just going to double click this, and I'm going to change the value here. The text Event video. All right, go to go to selection two, and imagine, yeah, this is our opening logo. It's a bit too long, so I'm just going to cut it short. You need this. We're going to drag everything. Selection two, move it forward. I'm going to select track number three, which is my graphics track, and select track number four. Okay, because when I paste this, it's going to appear here. So I'll just command or Control V to paste that. Then I'll just maybe extend this bit and I'll add an audio transition crossfade, exponential fade. Just drag it to the end. That is the end of creating this video. Now let's go back to the start and then see what we actually have. People were very happy, excited to go to our booth of our partners. I think the event in general went really good for the first day. All right. And now we want to settle the audio because as you can see, it's speaking on certain parts. What we want to do is we want to go to the audio track mixer. If you don't have an audio track mixer, you can actually go to the top left corner, hit on Window and then click on the Audio Track Mixer. And the auto track mixer will appear here. Okay? And then you can just, you know, drag and drop it anywhere to change the layout. I personally like my Audotrak mixer to be here at the bottom here since, you know, there's a lot of space here. So I'm going to go to my workspace for this because I'm on the color tab. So my workspace is here. And in this workspace, you can actually see that my track mixer is at my bottom right. Okay. So it corresponds with how many tracks of audio we actually have. So as of now, we have one for our, you know, original audio that is recorded. We have one track for our sound effects, and then we have a final track here for our music. And you see correlating here, and you see that it reflects here. This is the first track for our original audio recorded. This is our second track, which we will put our SFS. This is our third track which we put our music. And finally, we have a master track. Okay? And our master track is shown here in our timeline. What you want to do is you want to go into your master track here because all of your tracks, all of your three tracks would actually funnel into your master track before it outputs. To keep all of your audio levels within a certain amount of decibels, you can do so by, I'm just going to click this drop down arrow. Okay. And I'm going to go under amplitude and compression, scroll down to Hart limiter and click on it. Okay, so hard limiter blocks the audio signal from peaking above whatever decibel that you actually set it to. And now, finally, what we are going to go through is the video broadcast save option. If your colors peak above this line, it is unacceptable by TV and broadcast stations. What you want to do is to make sure that this is within, and this is within this range, but not over it. So now it's speaking out. So in my project window, I'll go over to a new item and then I'll create a new adjustment layer, check that everything is okay. Click Okay. I'm just going to name this broadcast safe colors. I'm going to create a new track. So now we have five tracks on our video. And then I'm just going to drag and drop this. Okay. Make sure that it covers everything, our lumetri scopes. Let me just open my lumetri scopes real quick. Maybe I'll just place it somewhere. Okay. We'll head over to the effects window. It was just find it real quick. It's called the video limiter. Just go to drag and drop it here onto our broadcast save color adjustment layer. I'm just going to bring this down a bit. And then make sure this highlighted, head over to Effects Control, and you have this video limiter over here. So what I want to do is I want to set the clip level to 100 IRE, which is the standard. And then compression level before clipping, I'm going to set it to 20% because I want to be super, super safe. And now you can see in our lumetriscopes, everything is within range. It's not coming out or anything. If you actually toggle on and off the broadcast safe colors, you will see that there is a big difference. Like, for example, this was clipping before. Now it is slightly dull and within the broadcast safe colors. Sorry, this is not supposed to cover the color bar because the color bar will be the calibration that they will set on their side. You're pretty much done with everything else, so see you in the next lesson. 40. 6.4. Exporting Out: Hi, and welcome back. In this subsection, we're going to talk about finally exporting our finished video. But in case you're doing corporate video, you wouldn't even need to bother with all of the color bars or the slate. You just have the company opening logo or whatever opener they want to start with and all of their affiliate logos. We're going to just cut this. We're going to delete all of these parts. Hit Delete. We have all of this. I'm just going to click on this empty space, and it's highlighted and then press delete, and it brings everything back. Okay. And then I'm just going to go to the end. I'm going to set an outpoint on my timeline. I want to go over to file, top left corner, and then I'm going to click on Export. And I'm going to export Media. And the shortcut for this is Control or coman. So I'll just hit on that. And you can see that our source range here is selected as sequence in and out, which is what we've actually set. And if we actually scroll from the start, we have the logo followed by the main content. And then we ended off with the logo again. In this export window, we actually see the details for what we have said. And over here, we look at the export settings and we see the format we want to keep it to h264, which is a Codec. But in this case, they put it as format. H264 is the safest route and the most popular route to go. So we're going to choose that h264. Presets, we can actually set our presets to anything that we want it to be. So MT sauce is whatever our sauce is unless you don't want to degrade the video quality. In which case, we will choose the MD sauce high bid rate. They are tailor made for whichever platforms that you actually want to do your final output on. To be safe, just choose high quality ten ETP HD because we know that we are going to export it out in 1920 by 1080. Okay. In case we need to do four K, we can select the one below. Alright, so we're going to choose our output name because we want to identify it. We'll name this event video. Because that is the generic name that we have come up with for this event video. The date today is 29 May 2020. And then underscore, we will put in the version. So this is Version one. And then finally, another underscore. And then, since this is the first draft for internal review, I'm just going to put it as draft one. So everything is organized that way because our exports would actually reach up to 20 exports, and, you know, that would be pretty normal. So do label your exports efficiently, and this is one way to do it. Alright? So I'm just going to click on the hard drive that I'm going to use all the way to here, going to go to Export folder, and I'm in this folder. I'm just going to make sure that my naming convention is right. And then I'm just going to click Save. And this will be the summary of the settings that I've chosen for this project. So we know that we are exporting out in ten ATP. Square pixels, 25 frames per second, progressive video. Hardware encoding is how the system is going to encode it. So variable bit rate would actually be smaller. The opposite of that is constant bit rate. And I'm not going to go into it, but if you are really interested, I challenge you to read up because it's quite useful in certain situations. One pass is also a quality encoding method. The opposite of that, you have two pass or in some cases, three pass to encode your video. Over here, this is our audio. So in which audio format, you will be recording the audio in for the output, which is AAC. So this is an Apple format. And then we have the data rate for the audio three 20 kilobits per second. I'm going to change it in a bit because this is pretty big. 48 kilohertz is what we've actually set it to be, and as well, stereo is the setting that we want for our audio. Moving on, we're going to go to this panel over here. And this panel will show the effects. The only thing that is set here, which I feel is more efficient if I actually do it over here in the expot is to check the time code overlay. And what it does is it gives me a time code read on my file. So unless I'm exporting the final final video for the clients to actually showcase on their website or on their commercial or whatever, I would put a time code because they're going to come in with a lot of changes, and if they do not put in the time code, you know, you might be changing the wrong part of the video which you thought they were referring to. I will usually place this in the most quietest corner of the video. I'll probably put it in the right. Sorry, top right. Okay. I wouldn't want to change the offset because there is this broadcast safe border over here, and the time code will be placed at the border. Okay? So to show you what I mean, if I actually make this smaller, you can actually see that this border is here and it's here for a reason because it is safe to put all of your graphics and subtitles within this box here because you might never know if someone is using a different TV or an older TV, if you actually put your subtitles below or people won't be able to read it. So this inner box over here is called the title safe. So anything with a title, anything with words, it is safe to put it here, right? Away from all the bevel edges and whatnot. And the outer Ages here is the action safe. Whatever important elements of the videos action that you want to keep within the frame, you keep it within the action safe. Now, back to the export settings, this timecode overlay would be within the title save. I'll just expand this real quick. So now we're done with the effects. I've only put in the timecode overlay, going to video. I'm pretty much happy with whatever that is set here, okay? So these are all the advanced settings for video based on this summary output over here. And then for the audio, as I mentioned before, I want to actually change the bit rate to something smaller so that I can save some space. And I'll just click on that. I'll go 192. Okay. So the more smaller you go, you can see that your estimated file size will be reduced. And then multiplexer, I don't change it. For this stage, we will just leave it as it is. And captions, if you actually have the subtitles here in the video, you have these options available for you to manipulate it. But in this case, we do not have any subtitles, so there is nothing to be changed here. The last publish is if you actually connect your Facebook account or your Bhans account, you can actually publish it straight from this export. In this case, we want to keep it simple, so we're not going to hit on anything. Maximum render quality, do not want to mess with this at the moment, because everything else we have actually set over here, otherwise you would actually overwrite our settings. Use previews is sometimes, um, when we actually render parts of our timeline, Premiere Pro would actually use those rendered parts to export thereby saving much time. And then we're not going to bother with all of these settings for now, but seriously, there is no need to. So we're just going to click on Export. And the whole export process will begin and I'll see you once it is done. Alright, so it is done. She's pretty quick. I'm just going to go over to my hard drive where I store that the exports. And then you can see that the event video that I've exported out appears here. I just want to open it with the QuickTime default. And you can see that my video were very happy, excited to go to our booth of our partners. I think the event in general went really good for the first day. Alright, so that's how you export your video. Hope you've learned a lot from it and stay tuned and see you in the next lesson. 41. 6.5. Batch Export: So in our previous video, we exported our whole timeline. And right now, real quick, I'm going to show you how I batch export because sometimes you want to export multiple video projects at once. So I have interview. I want to open up my sequence because I want to batch export my stuff. And then I have seen establishing. So I have these three sequences which we used previously. Okay. And I want to export all three of them like real quick. So what I want to do is, okay, interview you selected Command M. Let's say I have checked what I need to check and everything is okay. I'm just going to quickly set it to TentP. I'm going to output the name through event Video two. Maybe this is 30th May version one draft two. Save that there. Of course, I have to set the timecode. Timecode overlay, I'll put it on the top right. Once that is okay, I'll instead of pressing Export, I'll click on Q. So what it's going to do is Premiere will open up the Adobe Media Encoder. And it will form a cue list. So over here is your setting for this video, and then you have that cue. Alright? And then we're going to go to the second video, which is my holiday video because I've made a draft two change over here. I'm just going to press Control or Command M. Change the settings to what I need it to be. In that same Exports folder, I'm going to change it to event Video one. This time, I'm going to change the date. I'm going to change Version two, draft two. When I hit Save and make sure my time code is overlaid, put it on the top right. Instead of export, I'm going to hit Q. And then finally, I'm going to go to scene establishing sequence. Hit that to set the in and out points, press Command or Control M to export. I'm going to change the settings once again. Where is that? Turning to BHD. We're gonna follow the conventions, and I'm going to name this event video tree. And it is date version one of draft three. Or I'm going to put four approval, three. This is the final four approval for the claim. And then I'm going to save double check that everything is okay. Double check that I have my time code overlay. On the top right or wherever you want it to be. And then I'm going to click on Q. All right, so now you see you actually have three queues in your Adobe Media Encoder. And you can double check if you want, but you can just hover over all of these blue highlighted variables, and you can find the information for the export. So once you've checked and everything is good, ready to go. You just click on the Start Queue, and media encoder will just export for you. And now you can just go and have coffee and come back at a later time without worrying. While doing that, what I also like to do is perhaps I need to make more changes to this or another one more of the sequences. I can actually do so without it interfering with my premiere pro project. And in that way, it makes me much more efficient. Hope you've learned quite a bit. See you in the next lesson. 42. 7.1. External Softwares Introduction: Hello. Welcome back. And in this section, I'm going to be touching on the softwares that video editors regularly use on a daily basis and also a bit of how we utilize them and why they are beneficial for video editors. Most of the software are free, but some are paid, though, because some of them actually go hand in hand in the Adobe Creative Suite. Also, do take note that keyboard shortcuts or key presses will be shown at the bottom of the screen for your convenience. So without further ado, let's get into the next lesson. 43. 7.2. Handbrake: Hi, welcome back. And thank you for joining in for this lesson. And we are going to be talking about handbrake, which is an open source video transcoder that editors are familiar with, or I'm pretty sure most of the editors are familiar with. And this is the website for downloading the open source software. And I'm just going to minimize this. And what this does is I'm going to open up handbag. And what this software does is it allows you to encode and transcode your videos from one format to another format, and it handles almost all of the popular formats. So I'm just going to go ahead and I'm going to try and transcode one of the files. So I'm going to go to my my files here, and I'm going to transcode one of the footages. And I'm pretty sure you are familiar with this footage, right? Right, I open that up on handbek, give it a while, and you can see that now we are ready to transcode it into anything that we like. So we can see that this is the title, and we are going to transcode it into let's say, we're going to transcode it for the web for vimeo, and I'm going to put it down to 720 P, 60 frames per second. I'm going to make it before file is fine, web optimized, and then here is the details. It's going to be in h264, 60 frames per second, and the audio will be in AAC size display here, 720. And then you can look through all of the details here, like the dimensions. You can change it. You can do filters to you can go ahead and change all of these values. And one of the things I use it for is sometimes I would need to actually change or manufacture the frames per second from 25 to probably, I'd say, 50 or 60. And then I would actually have to go into handbrake and make the change here. And also sometimes I have to down rest, I have to convert the video to a lower resolution. Most probably in 720 P or in 480. So I would use handbak and it's really like the Swiss too for video editors. One of the good things about this is that you can actually rip DVDs. So sometimes some of your clients, they say, Alright, I want to do a video, and I want you to take some of the footage from some of the marketing videos that we have done before, and all of it is on a DVD. So what do you do? You go to handbrake, and then you rip it then another thing about handbrake is that you can always do a batch conversion. So if I actually go to Q and then I can start the batch process. For example, I've done my changes here. Maybe I want to save it as elderly footage. Then I'll choose my output. I'm going to save it back to the place in which I took it from Maybe I'll put it in exports, okay? Create a new folder down for down resolution because it's 720. Or if I want to create a badge proxy, I can actually do it like how I'm doing it now. So once you've figured out your path, you've set your footage name, you've checked all of the settings, you can just go ahead and add to Q. All right? So when you actually go into Queue, you'll have a bunch of footages ready to be batch exported. So I'm just going to go ahead and click Start, and you can see the process is starting. And then now you can go ahead and grab coffee and come back and everything would be settled for you. Now it's done, let's go ahead and check it. That's my hard drive. Here it is. We're going to scroll all the way down into Expots and you can see that the file is here and ready for us, and it's in 17 P. That's all for this lesson, and I hope you will give it a try. And if you have any questions, don't be afraid to ask them in the Q&A section and hope to see you in the next lesson. 44. 7.3. VLC: Hi, Dan, welcome back. So for this lesson, we are going to be talking about LC or video lean. So I'm just going to go ahead and open my browser here. And then we'll just head over to the VLC website. Video LN, as you can see here, is a project and a nonprofit organization. So you can actually download VLC for free. It's open source. And the good thing about VLC is that it plays almost all of the popular formats, even most of the obscure video formats. And it is really good, because you can actually check your video information from VLC as well. So that's what I usually use it for. It is available on Windows, on Mac and Linux. So I'll just go ahead and I want to open a file. And I'll take the file in which I've done before. Let's go into footage, and then I'm going to grab this file again. So here you go. This is VLC playing the file. And I want to check the information for the files. I'll just go ahead into Window and media information. So from here, I can know the details for the files. It is h264 AVC. Resolution is 1920 by 1080. Frame rates 25, and you can actually see all of the details here, like the audio Kodak and whatnot. So it is really useful, especially if you want to know what video format the client has sent to you, especially if they want the same video format in which they have received it. You can actually go ahead and check the format. This actually happened to me. So they came back to me and then they said that, Hey, your video, I cannot play can you resend another format for the video? One of the things I did at that point in time was to tell them that, You know what? Why don't you try downloading VLC and then playing it on your computer? And true enough, once they downloaded it, they can actually play the video. Because you might never know what computer your clients might be using. They might be using an old computer, and therefore they might not have a decoder there, so go ahead and try it. And if you have some time and some money, don't forget to donate it because you'll be helping VLC, as well as handbak. All right, that's all for now and see you in the next lesson. 45. 7.4. DVDStyler: Hi, welcome back. And for this video, we're going to be talking about a software, especially if you're doing DVDs. I'm just going to go ahead and let you know about this open source software called DVD styler. It's available on Windows and a MAC, and it's very useful if, for example, you need to make a DVD. There are two types of DVD deliverables that you can send to a client. So I'm just going to go ahead and open up this. So let's say you need to create a DVD for a client and they have requested for data DVD, on your mac, you have this software that comes with the machine that allows you to just, you know, treat the DVD as a thumb drive so you can just drag and drop the file in the DVD, and then you can hit Burn. And that would do the job for you alternatively, on a Windows, software that comes with a machine that does the same thing too. But the problem is that it only burns the data DVD, but not the DVD with all of the menus and whatnot. That's where DVD styler comes in. We're just going to go ahead and open up DVD styler. And DVD styler actually allows you to do what we call a DVD presentation. And let's say this is event 01, I'm going to name it as such because my disk label dis capacity, make sure you have your DVD inserted into your Mac or your Windows, and then I'm going to set it to Auto. Rate, that's fine. I'm going to go ahead and check Pell because I'm on PllEpec ratio 16 by nine, audio format, AC three, that's good. And then I click Okay. And that would actually create a new project. All right. So in here, it will actually show you what type of template you would like for your DVD menus. Maybe I'll go with something like this for the event. Hit Okay. And you can actually see that you can change this to whatever you want. Event 01. At Hotel Pacific. I can change the phone and I can adjust everything. And then I have these two options, and I can change them also. And then I'll also have this whereby they can show if I have the clips, I can add different clips into here. I can add. So I'll just add the elderly video which we've made I'm going to go ahead here. What a second Exports. I'm going to choose this elderly footage, and it adds the elderly footage here. And then I can add another one. I'll go ahead and go up. All right, so I can insert this in and it will be added here. This is how we do it, and I hope you found this useful. See you in the next lesson. 46. 7.5. Photoshop: Hi and welcome back. And the next software we're going to be talking about is Photoshop. And in my graphics folder, I'm just going to open Photoshop. And you can see that the graphics here is actually familiar because we've actually used it in our practice lessons. And if you want to create a simple graphic, Photoshop is your solution. Okay, let me just go from the beginning. I'm just going to create a new project to start with our PNG simple animation. So I'll name it a simple anime. Okay, make sure my background contents is transparent because we want to overlay it on top of our video. Create, we have this new canvas for us to create our next project. So and do take note that I'm not going to touch Photoshop in details because that is a lesson for another course, and there is a lot of things to learn. But for the sake of this tutorial, I'm just going to quickly create something for our video project that we can overlay on top. So I'm going to start with the text tool. I'm just going to create I'm going to follow what I did for the um previous lessons. I'm going to create that graphics which you have seen before. So event is successful. Two quotation marks. And then you can actually see if I change it to black. Alright, so event is successful. And then what I did was I went over to EllipsT. Okay? You can choose any other shape, but I chose Ellipse two. I'm going to make sure that the field is teal. I'm just going to create one ellipse over there. And just like the layer concept in premiere, I'm just going to put this above so that I can actually see. And then I'm going to change into my Section two Photoshop. And you can see it is what we have in our video. Okay? Quick and simple graphics. I would just like to add a dropshadow because it always looks good. So I'm just going to we click Blend Options, going to dropshadow and click on. And then you can see that there is some shadow underneath your graphics. Hit Okay. Once that is done, we're going to export it out. Okay. And in Photoshop, it's not called Export, it's called saves. So we're going to save a on your computer. And I'm going to go over to my hard drive. And I'm going to export it out into my graphics folder. And I already have it, which is here, even it's successful PNG, but for the sake of this tutorial, I'm going to export it out again. And in the format, we want to save it into PNG because PNG allows the transparent background to not be shown when you actually put it on top of your video layer, okay? So expot it out into PNG and save and hit Okay. So once it is done, it will be in your folder, and when you actually put it on top of your video layer, it will appear, um, you know, without anything, and your video will show in the background while your graphics will show in the foreground. So that's all for this tutorial and hope to see you in the next lesson. 47. 7.6. Media Encoder: Back. And this subsection will be very short because it is a summary of a program or a software that you have already known, and that would be Adobe Media encoder. So in Adobe Media coder, just a quick refresh on what it does. In earlier sections, what we did was to batch export videos in one shot if, let's say, your premier project has a few sequences that you want to export out, another thing which we use media and Coder for is to actually make proxies for our files. And in that way, our premiere pro system would actually run smoother because we can batch convert our videos from their original sizes to something that is smaller and edit friendly. So that is all about media encoder and hope to see you in the next video. 48. 7.7. Wetransfer: Hi there, welcome back for another lesson. And I'm going to talk about websites that actually let you upload a video so that your clients can actually download the video. And I'm going to give you two websites. I'm just going to go ahead and open my browser here. So these websites are very similar to Dropbox. So the first website and the one which I usually use is we transfer. Hit, no thanks. So what you can do is I can just go ahead and I drag my video files all right, so I'll drag this in. And then I will email whoever. And then I'll input in my own email, then I'll add in the details of the message. Rowdily footage. First draft. And then I can go ahead and hit on transfer. Of course, I would need a valid email to send to and then I can actually have this button ready for me to press it. Do take note, though, that Transfer actually has a capacity limit of two gigs, so do be mindful and also it will stay in the server for seven days, and then they will delete it from their servers. So do be mindful and tell your clients to download it before the seventh day. I'm going to go ahead and move on to the next website, which I use. And this is the website. It is called Pixel drain, and I can do the same thing also, although for Pixel drain, it actually takes quite a while to upload. So now you can see that I have this link, so I can just copy this link. Now I'll just go ahead and open a new tab and paste the link, and you can see that the video is here and I can actually download the video. All right, I can choose where to save it and you can go ahead and download it. And then the good thing about Pixel drain is that you can upload up to ten gigs of footage. And I found that really useful, especially for when I do not have enough space to send over a huge file or whatever it is through Transfer. I will use Pixel Drain. So I hope you found that useful and see you in the next lesson. 49. 7.8. SFX Website: Hi, and welcome back to Another lesson, and we are going to be talking about sound effects websites which I use. So unless you have a sound effects website in which you pay for and subscribe to like me or a music library website, then you can actually use these websites which I'm going to talk to you about and you want to look out for public domain sounds, which are sounds added to the public domain and owned by the public and 100% free. So if you have time, go ahead and read up on all of this. Okay. So when you go to this website, you can actually look for public domain sounds. And just look through the licensing. If it's public domain, just go ahead and download it and you can actually use it. Otherwise, you would have to attribute the creator. Alright? So you need to give the person credit somewhere. So this is one of the useful websites which you can use. The other website in which I use is freesound.org. So you just make an account and hit right in, and then you find the public domain sounds. Otherwise, you can actually credit the creator, and I'm just going to look through some of the sounds that they have recorded here. So it is a community of people who record sound effects, and if it's public domain, just go ahead and download it, thank the person, and do consider making a donation. So that is freesound. And the third website in which I usually check out is orange Free Sounds. So these are free websites in which you can use. Otherwise, if you actually pay for sound effects or subscribe to a website that has a music library or sound effects, you can actually use those without any accreditation. So the same goes for orange freesound.com. So you can actually use this for non commercial use. You can actually check out all the licenses here and give it a listen Yep. And you can download the MBT of the sound effects or by the sound. So from Orange Sounds, we can go to Pixel Bay. This is the last website which I'm going to introduce you to. And this is one of the favorite websites of video editors. You can actually see under the Sound Effects tab, you can scroll through all the different sound effects. As well, it has a large library of music. And then this is the best part. You have a large collection of stock videos. And lastly, we can touch on the photo library that Pixel Bay has. So Pixel Bay is really one of the best free tools out there. Hope you found this useful and see you in the next lesson. 50. 7.9 Frame.io upload: Hi there. So in this video, I'm going to be talking about Frame IO, which is a website that video editors are using nowadays. So this website is what we used to send to the clients for the deliverables or for any work in progress. So over here, we can actually see the different projects that we are on, right? And all of the folders that are associated with the projects. This is one of the recent projects that we are on. And in this project, you can actually see the folders, and inside the folder is a bunch of other folders, right? So you can actually create a folder by right clicking and then create a folder. So let's go into this. If I were to double click it, usually we will have an internal folder where the work in progress videos will be sent to here for the producers or the team leaders to actually look through. And then we will have another folder that is for the clients review where we actually sent out the video for the clients for them to give the final approval or any feedback if they were to give so. So I'll just quickly click on the client preview. And actually, if you see one of the things why the industry moved to FramiO is because of this function over here. So you can actually go through the video, and while you're going through the video, you can actually see the comments left by the clients over here. So over here, you can say Lighthouse should be capitalized to be consistent with the Raffles Lighthouse. So what she means is this, uh letter L here, this alphabet. She wants it to be in caps, right? And then moving on, we can actually go to another one where it says the destination they wanted to change the destination of the personnel over here. With this, they are able to actually leave a comment at any part of the video. And then, of course, we can also reply to them, but seeing that the editors don't have direct contact with the clients, I think it's best not to do so. But there is a way to actually leave a comment so that your producers know that you have actually done the changes, like, for example, the one in yellow here, which is by me, it says, Okay, done. So how can you do this without actually alerting the clients that you've actually done the change is you can actually go down here, right? And you can change it to team only, and you can leave your comment here. So that's the way to actually leave a comment on the video itself as a reply but without the clients knowing okay. So once you're done, sending out a video, let's say I've sent an internal video for the producers to have a check, you can actually go over here and I can share for review. And when I do that, a link access would actually appear here. So I can just copy the link. And then if you actually go to another tab, you can actually paste it, and the video will be there. Here it is. Here's the video, right? So if I were to actually open an incognito tab, I can do the same. And I can just play the video. And then I can leave a comment here, right? And my teammates will actually reply to my comments. If there's a change here, Station has com like, change here to change any sort of things, I can actually leave a comment here. For your clients or whoever who has the link, they can actually download the video. And it will appear there. All right, so that's about it for Frame I O. Thank you, and see you in the next lesson. 51. 8.1. Working with Graphics pipeline: Hello. Welcome back. And in this section, we are going to be briefly touching on graphics from making simple graphics and how to work with your animator slash Motion Graphics designer. So once you've done with all these graphic elements, you can incorporate them into your video editing. So without further ado, let's jump into the next lesson. 52. 8.2. Creating Placeholders: Hi, welcome back. And we're going to quickly start off with creating placeholders for our graphics workflow. And it is very important because our graphics animator or motion graphics designer would actually take a while to do up and build the animation assets. So in the meantime, you almost always have to send a first draft or a second draft to the clients, and you want to show it with placeholders to show that, you know, the graphics is supposed to come in at this section of the video and so on and so forth. So real quickly, I'm going to go to the scene establishing sequence that we have created. And I'm going to go through and put in some placeholders here, just like how you would actually do it before you send out something. So it's pretty simple. What I do is in my tool spanner, I hit the Type two and then I'll click on the main window. And then I'll type in graphics and swirly text comes in from the left. I want to also make sure that the text is as close as possible to the final animation. So I want this thing to come in from the left and end here so that the client or the director or the producer sees it as close as possible to the finished product, but without the graphics itself. So I'm going to go to my selection tool, select this thing. I'm going to go to Effects Control window on my left, and then you shall see that there is an option here. It says text, click on the drop down. So under transform, position I like it to be center here, so I'm just going to hit the animation and create a keyframe. And then now I'm going to go to the beginning and I'm going to slide it all the way off the screen. Okay, so in that sense, the client gets an idea of what the graphics is going to be So we have this part. And then I will go into my text tool and create another graphics. So the client gets an idea, the director gets an idea of the vision that is materializing in front of their eyes without actually having the final graphics product. So the last and final thing for creating a placeholder is sometimes you actually have a situation whereby, according to the script, you have a perhaps like a business chart or like a total number of sales chart or whatever pie chart that requires animation. So what you want to do is say, for example, it is on this spot over here, you want to leave it blank, or you can actually create a colour mat from here. So you just go over to your project, create a new item and you create a colour mat. And check that your video settings match, create it. And then I want it to be slightly blue because that is what my graphics animator is going to choose for his color. I'm going to name this blue background, and I'm going to place it inside. So I just drag it and place it right there, make sure it fits. And then same thing, I'm going to go to my tools panel, click on the Type tool and I'm going to type in GFX Pie chart for sales. I place in the center. Go to effects and place a dissolve. What I'll just place a cross dissolve just to make it neat and tidy and presentable for the client. Alright, you will be actually doing it a lot in your career. So it's important to get used to it and hope you learn a lot from this and see you in the next lesson. 53. 8.3. ChromaKey: Hi and welcome back. And we are going to be touching on the chroma key now, the green screen or the blue screen, whichever screen it is. No matter what it is, if you're using the color and then you're masking it out to replace it with another background, then it is called Chroma key. All right, so real quick, I created the Chroma key sequence. Alright? And now it's here in my timeline window. So I'm going to import a right click import, and I'm going to go to my hard drive. So you know the drill, I'm going to go to my footages and I'm going to import in the chroma key. I'm going to import the whole folder. And you can see that we have a chroma key of myself here. Okay? I like this very much. I'm going to insert this in. I'm going to keep my existing sequence settings, hit backspace to see it in full view. So now that we've got that other way, I'm going to go to my effects. I'm going to go in the keying section, and I'm going to click on the color key. So just drag that to my color. I'll double click that and hit into Effects Control. And then I'm going to key this color here. Oops. Maybe I'll make it darker. Alright. A successful key is when you don't have any blue spots here, it's good if you don't wear anything blue or anything green, depending on your coma color. I'm going to create a mask. I'm going to create a mask here. Then I'm going to get another color key. I'm just going to place it here and then it will appear here. I select a different color, maybe I select something here. I'm just going to draw this so it doesn't affect the other parts. I first tolerance, everything. I'm gonna just increase the scale here. I'm gonna look this pieces of photo I did for an event. Gonna place it. I'm gonna scale it a bit wider like that. Okay. Then I'm going to place this chroma key above. Appears like as though I'm already here. And just to be safe because there is a white spot over here, we're just going to go over to crop in effects. We go to drag that inside. So in the crop, I'm just going to crop the left. So I won't be seeing that part. So this is just a very rough way to do chroma king. And if you actually have lights on your subject, here and even lighting for your Croma background, it shouldn't be a problem. I can actually show you an example that I did before. Okay, so over here. Imagine a world where o. You can actually see we did green screen for this. So we had even lighting on the talon and also even lighting on the green screen behind him. And this was the result. So there you go. That's working with Kromaki. Hope to see you in the next lesson. 54. 8.4. Using Essential Graphics: Alright. Hi there, and we are back for another lesson. And what I'm going to be talking about is the essential graphics tab in Premiere Pro. And what it actually allows you to do as an editor is to create very, very simple graphics from the templates that Premiere Pro has provided. For example, if I want to create a news reel somehow in the interview sequence, and I'm pretty sure you guys are quite familiar with it by now. So we want to go into the window on the top right where our lumetr color is. And right beside you can actually see essential graphics. So we want to go ahead and click on that. And make sure you go under the browse tab. Alright, so we can create for example, movie style graphics, and then you actually have a slate template. So you're free to choose, but it doesn't give you as much customizability, and just simply find the Alright, so I have a news intro here. And what I would like to do is just drag it and put it in the timeline over here, maybe I'll just put it on top because that's where my graphics is at. You can see here that we have our news intro. I'll just grab all of this and pull it back. Let's just real quickly play our intro. It is quite laggy. What we're going to do is we're just going to highlight this news intro and then we're going to go up to sequence. And we are going to render our selection, okay? Because there's a red bar here means it's not rendered and it's not optimized. So once this is done, we'll go on to the next step. Alright, so we're back, and it's done rendering. And as you can see, it's smooth now. Maybe we'll cut it shorter, like sew and then we will push our clips forward. So make sure you are under video transitions, Dissolve, and we're going to do a fam dissolve right there. Okay. And then we are going to make some changes. So if I were to double click on this, you can actually set whatever changes that you need, and you don't have to go in the fax control because that's not where it's going to be at. Actually, you can change it from here, but a better way we will change it from here in the essential graphics panel because you can see it clearly. Right. So I just want to change the title to News tonight. And then for D, maybe I'll I'll make this bigger. News night, slightly bigger. All right. Alright. And we'll change the D to my news tonight. Okay. And we will make this bigger also. So I want to change the color to something that is blue. And for the main color, I'm just going to keep it slightly purple. No, that looks too funky. That's worse. Going to keep it to something off white. All right. So once that is done, you know what? Maybe I'll change it to how it was before. It's like red. And the main color would be slightly blue. And we have our news. So in this case, I want to add lower third also, which is in the essential graphics. So if you actually scroll down, you can see this. I'm just going to add this live tech. I'm just going to place on top. So there you see. Going to duplicate this. So I'm going to click on video track number four and then unchecked video track number one, and I'm going to go ahead and command V to paste the thing or Control V on Windows. And I'm just going to trim the end here. So we have that live live super super graphics. And then I'm going to add the lower turt because we're going to have to identify our main guy. Maybe I'll have the lower turt on the right. So lower turt is there. We will make some changes to it. So you can see that there's some artifacts over here. And once you render it, it shouldn't be there. So everything is good. And at the end, we're just going to have a transition to, like, because I set the in and out points on the top left hand corner, I go on a sequence, render into out. So I'll get back to you once this is done, and we shall continue from there. All right, so now our render is complete. We can actually preview what we've actually done. Go ahead and click on the timeline and then just play this thing. One of the booth is actually the Jolin station, which I found very interesting because it allows people to plug in their headphones and see how loud the sound is because most of the time people just want their music as loud as possible and it might be damaging their ears without them knowing it. There's this station called George allows them to have a sense of what people with hearing loss, but with hearing aids can experience as well. Alright, so that's good. I'm just going to quickly hit save by going to file and then save or I could actually hit the shortcut key, which is Command S or Control S on Windows. That will be all for this lesson and hope to see you in the next lesson. 55. 8.5. Legacy Titler - Rolling Credits: Hi, welcome back. And we're going to be talking about the legacy titler in Premiere Pro. So we're going to be using it to create our credit roll for our news interview video. All right? So real quick, just let me just turn off Snap, and I want the title to come in. It's about here. Alright? So I'll set my video track to Video three. And then click on Type two. Click on anywhere here, and you will create a text. I click once, and then I'm going to insert all the names I'm going to be needing for the credit roll. All right. Command A to highlight everything. Command C to copy, and then we'll go over to Premiere Pro and then hit Command V to paste. So I'm just going to make this smaller by selecting the Zoom level, maybe we'll go to 25%, and I'm going to change to the selection tool. So I'm just going to adjust. It's here. It might be a bit too big. I'm just going to make it smaller, so it's within the title safe. When I hit fit again. So it's fitting back here. And as you can see, in the essential graphics, you can actually change parts of our credit role. So as of now, it's quite stagnant. It's still, there's no movement. Maybe want to change the text, so maybe I'll just highlight everything. So by double clicking, I highlight everything. I want to change it to Skia. Okay? And then everything is set. I got my shadow. And then now I want to click on the empty space here because I'm done with it, and then I want to go into Row and check it. Okay? So by default, it will start off screen and end off screen. Back in my timeline window. I'm going to put it below my transition, and when you play it, it plays after the transition. So as you can see, it's actually running pretty quick. I'm going to change the selection tool. Just sit there. All right, everything is good. We just going to change the duration so that it runs slower for the credits. Maybe I'll extend it a bit more. Alright, that's better. And there you have it. That's your rolling credits and see you in the next lesson. 56. 8.6. Dynamic Link: Hi, welcome back. We're going to be talking about working with your animator slash Motion Graphics Designer. And they'll be using Adobe After Effects. What they would probably ask you to do is to give them a dynamic link for which they can actually make changes to an Adobe file, and then it will show up on your Premiere Pro. So real quick, what we want to do is in this example, I'm on the interview sequence that we have created prior. And I'm going to quickly create a video track here because I want to place my dynamic link on a separate layer, like between the ones that I've made for graphics, my simple graphics, and the footage. So what I want to do is I want to go into video track number two, and I'm just going to right click on it, and I'm going to add Track. So it creates a track in the middle of your simple graphics and your main video track. Okay? What you want to do is, and it's a good practice, actually, is to actually duplicate the file because you might never know, you might need to revert back to it without graphics. So I'm just going to unlink this by pressing on Command L or Control L on Windows. And then I'm just going to copy that Command or Control C, and then I'm going to go to video track number three and check video track number four and make sure my playhead is where I want it to be, and then I'm going to paste it here. And what we need to do is we just need to right click this duplicate because the animators Motion Graphic Designer is going to be working on that clip for that duration. And then we're going to right click and go to replace with After Effects composition. And once you click that, Adobe After Effects is going to open. Okay, I'm just going to go and click Okay. I'm going to store the after effects file on the same hard disk in which I do all my stuff. I'm going to store it in graphics because it only makes sense to store it there. Gonna put in a dynamic Link. Alright, so graphics, let's go add magic text. Okay, and I'm just going to save that. And as you can see, we have this track over here, the ones which is highlighted. So I'm just going to do a simple text to try out this dynamic link. I'm just going to go over to text. I'm just going to make something simple because an after effects caused by itself would be quite long and it's quite extensive. Text, Okay. Maybe I'm just going to change the text opacity, maybe, create a keyframe here, another one here, and then it fades away. Like so. Maybe I'll make it slightly bigger. Okay. Then if you actually go back to Premiere, she'll see that your changes are there. And then let's say they want to make changes to this. Let's say they want to change the text to something else, maybe like magic, Sam. I don't know why I came up with that, but see it is maybe make it last a bit longer. And then once the motion graphics designer or the animator saves this project, the changes would appear on your Premiere Pro project also. So let's take a preview. There you go. Magic Sam. So I hope you found this tutorial useful. That's what Dynamic Link does, and it's a really fast way to work between you and your animator slash Motion Graphics Designer. So I'll see you in the next tutorial. See ya. 57. 9.1. Editing Shortcuts & Tools: Hi. So we are at the start of this section on shortcuts and tools. And I'm going to be going through the shortcuts and the tools that I use so that I can edit fast and efficiently, especially when I'm dealing with a lot of long form content that is for TV broadcast, for example, Master these tools, and you'll be editing fast in no time. Also, do take note that keyboard shortcuts or keypresses will be shown at the bottom of the screen for your convenience. So without further ado, let's jump into the next lesson. 58. 9.2. Slip, Slide, Ripple, Roll: Hi, everyone. Welcome back. And for this subsection, we are going to be talking about the slip slide, ripple and roll two. They are the bread and butter of an editor's arsenal. So these tools are very efficient in moving the video clips around in the timeline. I have the scene establishing sequence. I'm just going to close all the other sequences. So the slip and slide to these tools are made readily available no matter which NLE platform you choose. These tools are very common in our line of work. So that's the reasoning. I'm going to go into the tools panel, and in the tools panel, you will see this slip tool, right? And the shortcut key is Y. And then you can just click on the video clip, and then you can just drag the video clip. So if I were to actually drag it forward, it will begin from when the videographer actually actually starts the movement from the road side, and then all the way to the big words gateway theater over here. Okay? Alright, so we will start the movement here. So we have more space, and then you can play back. All right. So that's one way you can do it. But because we want more of the gateway theater words right here, we're just going to slip it back to where it was before. About there. So it begins here, right? So I'm going to talk about the next two, which is the slide two or shortcut command. So once you click on it, what it actually does is you can actually slide your video clips anywhere in between your two other clips. So let's say I want the clip for Gateway theater to appear earlier. Alright, so I'll look at the previous clip, and then I want it to start here, right? I can just slide this video clip forward. So what it does is now it will transit onto the next shot a bit earlier. Alright, so the next two I'm going to be talking about is the ripple edit two. Say, for example, you find that your shot here is a bit too long. You want to end your shot like, right here. Right? Because you don't want to get a lot of the dead space in here. So what you can do is just go into the Ripple Edit two or Command shortcut B, and you can actually trim this part here, and everything else will follow. Okay? So I'm just going to move it forward to just when the words gallery disappears, right? Like over there. So when I let go, you can actually see that all of these clips will actually move forward. And now you have all of this space over here. So when I play it back, maybe that's through a little space. Maybe I'll just give a bit more space. Let's just drag it forward. Okay? So when you do that, everything else, all the clips that comes after it will follow, okay? Now let's go on to the ruling Edit too. And the ruling Edit what it does is that it changes the edit points with your clips and it moves it like, forward or backwards, right? So let's say I held on to this shot for quite some while, and I want to give more room to this shot that comes after it. So what I can do is simply just Go to the rolling edit to or shortcut. And then I'll just drag this forward. So by doing so, I have a much more shorter clip at the beginning. And then I start the next clip earlier. So you can see that this clip and this clip is about the same length now. If I would just undo this, you can actually see that this clip of the white shot is actually much more lengthier than the next shot. So those are the four tools that editors will live and swear by and hope you learn a lot from this lesson and see the next lesson. 59. 9.3. Track Select tool: All right. Hi again. Welcome back to another subsection lesson with me. And I'm going to be talking about a tool which you are already familiar with, and this is the Track Select tool. So the Track Select too, as I've mentioned before, what it does is that it allows you to let me just hit it here and a shortcut is A, select forward to. Okay, so what it does is that it creates these two arrows. When you actually click on anywhere in your timeline, it selects the clips that are immediately forward over it. All right. So let me just go back to the two by pressing A. You can see these two arrows. And then when you click on the timeline, whatever is forward will be selected. So if I click it forward here, only this will be selected. But now since we're going into details, I'm going to tell you how I actually use it. So let's let's say I needed to put this animated monster here. And then I'm going to shift everything else, like you imagine, 1 hour worth of video that comes after it. I'm gonna have to shift it forward, right? The non efficient way to do it would be to select everything and then even the music, select it, and then just move it forward, right? But if we have a movie or a video that is 1 hour long with ten tracks of video and 15 tracks of audio, that would be a nightmare. I would actually go to the starting point where they want me to make the change. So I'm just going to go ahead and press Command A or Control A on the Windows. And then I'm going to press this shortcut, which is Command K or Control K on Windows. So what that actually does is that whatever you've selected, right, your audio tracks, your video tracks, it will create a cut, right? So once it creates a cut, you can now see that you can shift everything. I'm just going to select the select forward to, okay? And then I'm going to click on it, and now you see everything else here is selected. And then I'm just going to change back to selection tool by pressing V. And then I'm just going to drag it forward. So that's how I can actually create some space here. So now, in order to achieve our task, I'll just move this graphic so it will be on its own space, and then I can track select two, click on it. Everything will be selected. I'll change to the selection tool and then move this forward to here. Go to the elect backward to now instead of the forward, and I want to do that by double pressing by Shift press A. Okay. So when I press that, the double arrows point backwards, and then I can just delete that. Okay. And then I'll head over to my selection tool by pressing V, press on this empty space, hit delete. And then I have my beginning at this graphics animated monster appears. And then the video begins from here. It's a really handy tool, and I hope you've learned a lot from this and see you in the next lesson. 60. 9.4. Rate Stretch Tool: Hi, welcome back. And I'm going to be talking about the red stretch to. And this tool, what it does is it will slow down or speed up your video clip, and it's very, very useful if you want to achieve the time lapse effects. And I'm just going to demo it real quick here. So the inside your tool panel, you can actually find it over here. Alright, so press and hold this and then go all the way to the bottom, rate stretch tool or you can use the command shortcut R. And when this shot was recorded, the director planned for it to be a time lap shot. So let me just copy and paste it somewhere. So I can show you what I mean. Just going to go back to the selection tool. I'm just going to copy it. And then I'm going to put it on some free space. I'll just zoom out of my timeline here. And then when I drag it out, you can actually see that the clip is rather long. So we want to compress it. And when we use the red stretch to, we can actually achieve this effect. So we're just going to go to the end, drag it all the way and make it a very, very short clip. So now you actually if you actually play back the whole video, you will go pretty fast. Like so. Okay? So that's how you achieve your time laps by speeding up the video. Alternatively, you can also slow it down. So, for example, I'm just going to go back to my selection tool. If I were to take the shot over here, I'll just copy it and then find some free space. And then if I were to use the rate stretch two by hitting R and then stretch it further, then I'm just going to just zoom in here. You actually see now the clip is at 39.7%. Actually turned out to be slower. Of course, since we recorded it in 25 frames per second. So by doing that, it's quite jittery. You can see that it stops and starts. So that is why we usually speed up the video clip, and we don't usually do the reverse because it doesn't look too good. I hope we found that useful and see you in the next lesson. 61. 9.5. Enable-Disable Clip: Hi, welcome back. And we are at the scene establishing sequence. And I'm going to be talking about how to enable and disable clips. So real quick, I'm just going to delete these clips which we have created earlier. So let's say I want to remove this graphics Swally text that comes from the left. But I don't want to remove it completely because I want to keep it in view so that the director can either choose whether to leave it in or take it out completely, right? What I can do is I'll just use the selection tool, select the clip, and then I'll go ahead and disable it, right? And in order to do so, I'll just hit the Command Shift E key or the Control Shift E on the Windows. And you can see that the clip is now grade out. And when I play back the clip, the text doesn't appear enable that clip again. And I can also do it for here. In fact, everywhere I can do so I can enable or disable the clip, right? So that's all for this shortcut and hope you learn a lot from it and see you in the next lesson. 62. 9.6. Cross dissolve hotkey: Hi, and welcome back. And for this subsection, we're going to be talking about the cross dissolve hot key. So we're all familiar with the cross dissolve, right? So in order to do a cross dissolve between these two clips, for example, gateway theater to the gallery, what we can do is we can head over to the effects window over here to my right. And then I can just type in dissolve or select it and drag it to my clip. So I create a cross dissolve. Another way to do that, I'll just undo it is to actually by using the selection tool or by pressing, we just select the edit point in between, and then we will use the shortcut command of Command D, or you can hit the Control D on Windows, and it will automatically create a cross dissolve cut. And we can also do that for the audio. So there is a gap in the audio here. So what we can do is stretch it all the way here to highlight the edit point over here. And then I can press Shift. I'll have to add shift to the combination shortcut. So instead of command or Control D, now I have to hit the Command Shift D, and that creates a cross dissolve on the edit point. So now it's much more smoother. Alright, so I hope you learned a bit for this lesson and see you in the next lesson. 63. 9.7. Duplicating Clip: Hi, welcome back. And for this lesson, we're going to be talking about how to create a duplicate of a clip, whether be a video clip or an audio clip. So instead of using Command C and Command V to copy and paste it, we can use the alternate key to actually duplicate our clips. So I can give you a demo over here. So say, for example, I want a sound effects for when our graphics comes in, okay? So I'm going to use the pop sound effect. All right. So I'll just double click it, and it will appear in our source window, set the in and out points, and then I'll just drag it onto my timeline. So I'll drag it here where my graphics begins. And then I want to do the same for the next graphic, which appears here and for the final one which appears here. Instead of going through the hassle of choosing your audio tracks which you on selected and then copying it and pasting it here, what we can do is we can just select the clip and then press and hold alternate and drag the clip. So now we've actually created a duplicate here, and then I want to do it one more time for when the graphic appears for the file time. And there you go. That's how you actually do the effect for duplicating a clip. So see you in the next lesson. Bye bye. 64. 9.8. Finding timecode: Hi, welcome back to another lesson. And we're going to be talking about how to find a specific time code on your timeline. Say, for example, we have this situation whereby the director gives us a list of changes, and I have one over here. And the director requests that at 0:18 18, we remove the picture in picture effect. We created a picture in picture effect right here. So he doesn't like it. It could be a she, it could be a. So the point is they don't like the effect over here and they want us to remove it. So one way in which we can go straight into the timestamp that the director has indicated to us, we can head over to the left corner of the timeline window. And then we want to key in the time code that he or she has specified to us. So we're going to go and hit zero.18.18. And that will bring us to our picture in picture effect exactly on point. Okay? So you don't have to type in the column. Alright, so hope you learn from this and see you in the next lesson. 65. 9.9. Ripple Insert: Hi, welcome back to another lesson. And in this lesson, we are going to be talking about the ripple insert. And when you're assembling your video montage for the clients or for the director, you want to work as fast as you can. And one way to do that is to actually do a ripple insert. Let's say I have a new clips that I want to add and keep adding to build my montage. What I can do is I'm just going to import some more of the clips. I'm going to go to my hard drive and then selected. S composition. I have new reshoot scenes, and I'm going to import those. I'm going to put more clips on it to make it more complete, right? Because that is the whole point to complete the video. So I'm just going to quickly just I'll go into icon view. Maybe I'll choose this person Okay. She's busy doing her stuff. All right, so I'll just go ahead and set an in point here and an outpoint when she colors it with another crayon color. I'm going to go into my timeline window. I'm going to pull my playhead all the way to the end, and then I'm going to set an in point here for when the clip is supposed to go in. Alright. And then I want to perform the ripple insert, so I'll just go back to the sauce window, and I'm just going to simply hit the comma key, and you can see that that clip now is added here. Of course, when you actually do that, you will push the other clips if you have it forward. So that's what it does. We'll just do one more clip over here. And much better. So she's coloring. And then this is a close up of what she actually achieved. So that's one way you can actually do a ripple insert. So hope you found this useful and see you in the next lesson. 66. 9.10. Ripple Delete: Hi, and welcome back. So I'm going to be talking about the single most efficient shortcut key that I use probably 90% of the time, sort of like a reverse ripple edit key. So what it does is that it takes out a chunk in your timeline, all of the video track layers and the audio track layers for a quick fix. So I'm just going to demo this real quick. I'm going to go into my timeline. Scene establishing sequence is selected. I'm just going to hit the back space so that I can see everything. And imagine you have ten video tracks and 15 audio tracks, for example, and it will be quite messy to actually, you know, shift everything just to delete, like, for example, this scene, right? Or like to remove this graphics part for this sequence. So what we can actually do is or what I usually do is I will set an in point over at where they want me to remove that, and then I'll just go ahead and set an out point here. And then I will just hit the apostrophe key, and just like that, everything that is within the in point and outpoint in your timeline is deleted. So as you can see, it also affects the music. So you have to adjust that. I'll just delete that and extend this and Everything is back to normal. So that is how you actually do this ripple delete from there, right? So I hope you found that useful and see you in the next lesson. 67. 10.1. Editing Tricks: Here, good to have you back. So in this section, we are going to be going through the video editing tricks which are used on a regular basis. And in so using these tricks, you can actually elevate your video editing to look more professional. But do be mindful, though, that they are a bit more technical. Also, do take note that keyboard shortcuts or key presses will be shown at the bottom of the screen for your convenience. So without further ado, let's jump into the next lesson. 68. 10.2. Picture in Picture: Hi, and welcome back. So for this lesson, we're going to be talking about all the video editing party tricks, and one of them that I most often use is to create a picture in picture effect. Of course, I have done it in previous lectures, but for this one, I'll just go through it more in detail. So in this case, we want to see what's happening in the event, but also have a small screen showing him talking over the sound on the track. So what we can do is that we know that his face is hidden beneath this other clip this Bro on top of him. So what we can do is we're going to duplicate this, this clip of him. So I'll just press and whole alter it. I'll create a clip of him, and it appears at the top. All right. So I'll just I'll just unlink this command or Control L, and then I'll make this shorter like here. And then I want to make this smaller. So I'm just going to go ahead and click on this clip, go to Effects Control, and then I'm just going to scale it smaller like this. Then I'm just going to set it to the side here so we can actually see him talking, but it will not interfere too much with what's happening in the event. All right. So I'm just going to make it a bit slightly more smaller that Okay, position it and there you go. He is talking over this track while the video of the event is playing in the background. So let's just allow students who have a sense of what people with hearing loss, but with hearing aids can experience as well. So that is actually how you do the picture in picture effect and hope you learn from this lesson and see you the next. 69. 10.3. Speed Ramp: Hi, welcome back to another lesson, and we are going to be talking about a trick which I always use, especially when I'm editing an event video, and that is to do a speed ramp. What it does is it will tighten up your video duration, as well as the pacing of your video. And how you go about doing it is, first, I'm on my scene establishing sequence. And then I'm going to go to my project window, and I have already imported in this new speed ramp, establishing shots, which was shot, especially for that. So if I just go ahead and find the shot that I'll need. So I want to establish the place. So maybe I'll begin here. I want to establish the building, and then I'll end it here. All right? So I'm just going to insert that at the beginning. Double click this. And it appears here. All right? Make sure my Playhead is here, and then I'll go ahead and drag it in and insert before. So I have this All right. Maybe I can just take out the audio for this because I don't need that. All right. So we have that, and I want to do a speed ramp from here here. Okay? Because I want to make it snappy. Maybe I'll begin my clip right about here. I'll make it shorter. So I want to hit B so that I can ripple this All right. And what I want to do is I'm going to use my razor too, so short cut C, and then just go ahead and make a cut here and one A here. So what I want to do is I want to change into my dstretch two or R, and then I'll just go ahead and compress this and then my track select tool to select everything and then just move everything forward. Okay? So if I actually just go ahead and delete this and then just extend. Sorry about that. Maybe I'll do it this way. Just put my audio here, and then I will do fade here. All right, so let's play it from the start. So maybe I just want to do, one more cut here. So it makes everything snappier. So let's just wait from the beginning. If you have some time do add some sound effects to it, it will actually help the cause. And it would also help if the movement is much more stable, but that is, in essence, what the speed ramp does, and I hope it's helpful for you and see you in the next lesson. 70. 10.4. Double Exposure: Hi, and welcome back. And we are going to be talking about double exposure or how to actually create a double exposure. I have this clip of this child coloring her color book. And then I have this close up of what she actually drew or colored. One way I can show both of these images in a more concise and quicker way is to actually lay it on top of each other, right? But the thing is, I want to show both of the images. So what I can actually do is I can do a double exposure, and what it does is just juxtaposes this image on top of the image below. So I'll just go ahead and mask this. So I'm just going to double click it, make sure it's selected, and then I'm going to head over to the source window. I'm going to go into Effects Control. And then under the Opacity tab, I'm just going to draw something out. I'm going to draw an outline around here, and I don't want to make it too straight. I want to make it look like it's part of her imagination. So I'm going to go into the main window, and I'm going to scale this smaller so that I can see the edges outside of the video dimensions. And I'm going to go back into the sauce window. Effects Controls window. And then I'm going to hit this free draw bezier. Okay. So with this track selected, I'm going to draw the bezier. Got to create one point here. At a point here, I'm going to curve it a bit like that and draw one here. I'm going to curve that curve this curve that and then I'm going to go back to the starting point and I'm going to close it off. Maybe I'll just drag this in a bit more. And then I'll make the adjustments. So what I can do is I want to make this straight, right? So what I can do is I can press and hold the alternate key, and then this icon comes up and I can just straighten it up like this Alright, so now that's good. What I'm going to do is I'm going to feather the edges quite a bit because this is supposed to be dreamy like that, and gonna maybe expand the mask a bit. And by doing so, you can actually see the layer behind it also. And I'm just going to scale this, make it form. But that's so and then maybe maybe I'll place it here. Alright. I'm just gonna unlink this because I don't want the audio to interfere. And we're not gonna be using the audio, o. And I'm gonna stretch this all the way. So what we have now is her coloring. And I can just make this fit here. You can see that it crops off down here. So what we can actually do is we're going to select the drawing of the coloring, and then we're going to hit on the mask. And then we're just going to bring this in. So that's one way to do it. You just have to play around with it. And we can also apply this to masking out her face. We can actually achieve an interesting effect. So I'll just slide this somewhere else because we need more space here. I'm going to select this clip right here, and then I'm going to hold out and then drag it out. So I'll create a duplicate of it. And then for this clip, what I want to do is I'm going to go to the main window put it up to 75%, and then I'm going to mask it from there. So I'm going to mask this. I am going to mask her out. So I can mask the edges further. I want to clean this up a bit, so I'll just go ahead and Hov. And then I'm just going to shift this. I'm going to create another point here. Hov Alright, I'm going to get. Now I'm going to scale this up. And then I'm going to put it to the side. I'm going to just drag it here. Okay. Maybe I'll change the color a bit. And then I'm going to make it a bit, opaque. Like, it's a part of your imagination, and we have something like this. You want to show them really hard at thinking about something. You can try this trick, and I hope you learn from this and see you in the next lesson. 71. 10.5. Feather Wipe Transition: Hi, and welcome back. And one of the transitions that I usually use, and it's an interesting transition is the feather white transition. So what we want to do first is we want to mask. Okay? We want to mask our clip. So let's say I want to make a transition here between this one and this one, what I need to do is I need to drag this layer up or drag either one of the layers up. And then I'm going to just use shift and then press forward to bring me up five frames, and then I'm going to go another five frames. And then I'm going to drag the clip on top, like so. So I'll just zoom in here. And what I want to do is I want to select this clip on top. Going to go into Effects Control, and I'm going to mask it out, and I'm going to create a four polybn mask. Okay? I'm going to go into my main window. I'm going to scale it down so I can see what I'm doing. And then I'm going to Go ahead and extend this. And you don't need to be perfect because essentially what you're going to do is you're going to key frame your mask, right? So I set it out here and I'm going to set a mask path keyframe by clicking on the mask path here, and it creates a keyframe here at the beginning here. And then I'll go ahead and I'm going to drag this playhead to the end. And then I'm going to change the mask path. So I'm going to go ahead and make sure I select the top video clip again. Going to click on mask path, and I'm going to drag this all the way here to the end. Like so. Okay? So that creates another key frame here, and I'm just going to drag it all the way to the end. Okay? I'm going to set the mask feather slightly higher, probably around 60. Let me just type it in. And then let's just play it back and see how it flows. And there you have it. That's the feather white transition, and I hope you found this useful and see you in the next lesson. 72. 10.6. Walk Past wipe Transition: Hi, and welcome back. And for this lesson, we're going to be looking at a transition which I frequently use also. It's called the walk past transition wipe or simply just a white transition. But what's special about this is that instead of it being just a regular feather wipe, like we've done before, what it does is that it transits from one clip to another. And it only happens if someone is walking from this side of the frame onto the end of the screen. And I'll show you what I mean. So I'm just going to import in the clip. And over here, we have this walk pass. I'm going to import this file. And I'm going to go into the sauce window. I'm just going to start it here, so I have a bit of handle at the beginning and at the end. So as you can see, there's a person who walks past the frame. And then GM. Okay? So what we're going to do is, as the person walks past, whatever that is here will be the next clip. In that way, we create a feather wipe, but it's customized to the way this person is walking. So I'm just going to go ahead and insert this I'm going to insert this here. And you can see, we now in our scene establishing sequence. And let's just let's just drag this up because we're going to have our next clip happening below this clip so that we can actually make the changes. So it's the same principle as the feather wipe. We're going to be using a mask, but we're going to be masking it according to the shape of this person right here. So I'm just going to pick a point where this person walks in front of the frame, and she crosses the frame fully at around here. Okay, so that's where I'm going to put my clip on. And then, I'll just have I'll just save this for. Alright, and I'll have another clip below it. Okay. Maybe I'll take a shot. So I want to get the part where this lady in pink laughs. Alright. There you go. That's good. I'm gonna go ahead and just drag this here. All right. That's good. Alright, so I'm going to go into the main window, and I'm going to zoom out a bit so that it gives me room to mask out the whole thing. In my timeline window, I'm going to select the walk pass clip. Should I select it, and I'm going to go into the sauce window effects controls, and I am going to start my masking, and I'm going to start my mask. I'm going to start off frame first. I'm going to create a shape. Then I'm going to move forward, and I'm going to drag it out. So I'm going to follow this person's shape. Okay. And I can always add coins to the shape to make it much more organic I'll create a curve here. And then I'll add a keyframe in my sauce window. I'm going to add the mask path. I'm going to create one at the beginning. I missed that out. But so here. I'm going to click on mask. I'm going to bring it all back. So and creates a mask. And then I'm going to move forward by using my arrow keys and then just adjust it accordingly. And then I'm going to move forward some more I'm just going to extend the walk pass, clip a bit so that I can finish it off when she finishes walking. I'm going to go to the timeline window, and I'm just going to drag this out a bit so that I have more handle to make some changes. And I'm going to go into effects control again. I'm going to go to the next key. I'm going to press the next arrow key, and then I'm going to do the final mask path adjustment because she's totally out of frame now. Like so. Okay. So when I go to the timeline and when I play it back as she moves, moves. So as she moves, she's gonna be changing the transition of the thing. S. But now I have to invert this because I want this what's happening in the frame before to affect the next one. And as I move along, you shall see that the person who is moving in front of frame makes the transition to the next frame or rather the next clip. And we need to make a few changes to make it look very, very smooth. And one of the changes to make is to make it more smoother here. So we're going to increase our mask feather like, so mask expansion, maybe not too much. Maybe I'll just maybe I'll just stick to zero. Alright? And you can see the effect here. I'll just put it to full fit mode. So you can see that the person moving in front of the frame makes the transition to the next video clip. So that is how you actually do this effect, and I hope you learn from it, and I'll see you in the next lesson. 73. 10.7. Pan & Scan Effect: Hi, and welcome back. And for this subsection, we are going to be doing an effect, which happens often if you are editing documentaries or infotainment videos. For example, if you receive historical photos from your clients, if they are a museum and they want to do a promo of the museum and you get the archival photos, you would want to create more than just a photo montage, and this is the way to do it. So I'm going to go into the project window and I am going to import my photos. So I'm just going to go ahead and create a bin and label it photos. And I'm going to import into some of my photos. So I'm going to go ahead and here are my photos. And I'm going to hit Import. Alright, so now my photos are imported. I have created a new sequence, and in my sequence, I have the music for my documentary, as well as the voiceover for the documentary. So let's go ahead and give it a listen. The grand splendor of Indonesia can be found anywhere and everywhere from its greeneries to its places of attraction. So come now and explore the land with us. See you there. So it's quite a short and simple video, as you can hear. And we're going to create a photo montage, but instead of just, you know, inserting all of our photos like that, the grand splendor of Indonesia can be fun. We're gonna do more to it. And in my timeline, I'm going to stretch it out to fill everything. So I'm going to begin I'm going to begin my shot with this. I'm just going to rearrange it real quick. All right. So what I'm going to do is I'm going to bring it up, and I'm going to create a duplicate of it. And what I'm going to do is I'm going to isolate the track below. So I'm going to toggle off the track that is on top of it, and then I'm going to scale everything bigger. I'm just going to go ahead. Alright, so now that is done. I just basically want to change the opacity for the track below or rather the track that I'm working with, and I'm going to set the opacity to 50%, same for the rest. I'm going to go ahead into the project window, and I'm going to create a new item, and I'm going to create a colour mat. So I'm going to check my video settings are correct. I'm going to hit Okay, and I'm going to set color to it. So I'm going to go for a bluish tint and maybe this color is good. Then I'll label it as background color. You can see it appears here in my project window. And now I'm going to go ahead and my timeline window. I'm going to select my clips, and I'm going to move it up, and I'm going to toggle on and off to the on mode. I'm going to go ahead and drag my background color to my timeline, and I'm going to stretch it out all the way to the end, select it, and I'm going to use the shortcut to create a cross dissolve. And as you can see, it does that for the beginning and the end. Alright, you can see a bit of what's happening in the background here, right? And that's how we actually make the pictures, which doesn't have the same dimensions as the video look like it's seamless. I'm going to go ahead and add one more extra thing, and I'm going to go to the effects window, and I'm going to search for the Gaussian blur. I'm gonna apply it to my second video track. I'm gonna apply it to this one, and I'm gonna adjust it here. I'm going to adjust my blurriness. All right, so that it's slightly off to 25. And I'm going to go ahead into my timeline, select the video clip that I've made a change to with the gaussian blur, and then I'm going to right click and I'm going to copy, right? And then I'm going to highlight all the other clips on that track that I want to make the same change too. So I've selected these. Now I'm going to right click it, and I'm going to paste the attributes. And as you can see, it will add the effect, the gaussian blur with the value of 25 onto all of our clips. Hit Okay. Now we're going to go ahead and we're going to do simple animation or the C burns effect to the clip on the most top. All right? What we're going to do is we're going to select the clip we're going to go to effects control, and then we're going to set some key frames. So I'm going to go at the beginning. I'm going to toggle the animation. I'm going to go somewhere further the middle, and then I'm going to scale it up to one oh five. And I found that one oh five works because it doesn't zoom in or zoom out too fast. Alright, I'm going to set that there, and I'm going to view it. The grand splendor of Indonesia can be found anywhere. Alright. I can see that it works pretty well, and I'm going to apply the same thing for the second video clip. But instead of going from the original size to the scale value of one oh five, I'm going to do the opposite. Go to the center. I'm going to toggle animation, and I'm going to go slightly before the beginning of the clip, and then I'm going to hit the value one oh five. And then I'll just move the keyframes to the end. And as you can see, if I play this back, the grand splendor of Indonesia can be found anywhere and everywhere. From quite nice to its places of attraction. And then what I can do is I can copy the attributes from the first one and then I can paste it to here. So that attribute is called motion because I'm setting key frames to the motion, and I can apply that. And we'll see how it goes from its greeneries to its places of attraction. So come now and explore them. Alright? And then for this one, I want to do the opposite. So I'm going to take the I'm going to copy the attributes from the second clip. So that's good. And I'll go to the beginning and we'll see how it plays like. The grand splendor of Indonesia can be found anywhere and everywhere from its greeneries to its places of attraction. So come now and explore the land with us. See you there. Alright, so that looks good. Of course, you can tweak it how you like it, but this is the Can Burns effect, the zooming in and out of the photos to create a photo montage for your video. So I hope you found this lesson useful and see you in the next lesson. 74. 10.8. Nesting: Hi, welcome back. And we're going to be talking about nesting. And I'm in my scene establishing a sequence. Make sure that is selected. And I have the double exposure which I have created. And then I have the walk past scene here. And I have this problem because now I want to create a dissolve in between these two clips, right? And then I go into the effects window and I key in Dissolve. I drag the effect and see that it is not what I want it to be because it only affects the track that is on top, right? And I want it to affect both. So I drag, cross dissolve for the bottom video track. But it still doesn't give me the smooth transition that I want. So what I'm going to do is I'm going to nest both of these clips together because they are supposed to be one video clip. But also at the same time, I want to have the flexibility to edit them at a later stage. So I don't want to combine them together. So what I want to do is I want to select both the clips, right click on it. And then I'll go to nest and I'll make a new nest. So I'll just call this double exposure. So once that's done, I have one clip instead of two. Now I'll just drag this up. And then now I can apply my cross dissolve to affect both. So maybe I should just I want to create more handles here so I can add the cross dissolve. So I want to manipulate the clips within this double exposure. So I just double click on the nest and I'm inside of the nest, and I can see both of my clips and I can adjust both of them individually. So what I want to do now is I just want to extend the length of the clip. And then when I head back to my sequence which is seen as establishing, now you can see that the end of the clip doesn't have this, I'll just zoom in a bit. So you can see that it doesn't have that, which means that this is the starting of the clip. And if you have one at the end, it shows that it's at the end of the clip and that is why it is important to have handles at your beginning and your ending of your video clips so you can actually add some dissolves and play around and manipulate your video clips. So I'm just going to go ahead and cross dissolve. And then you can see that it applies smoothly onto the next scene or onto the next clip. So that's all for this lesson. I hope you learn from it, and I'll see you in the next lesson. 75. 11.1. Managing your editing time: Hey, yeah, good to have you back. And in this section, I'm going to go through the processes which I do to automate to become faster and much more efficient in my video editing processes. Also, do take note that keyboard shortcuts or key presses will be shown at the bottom of the screen for your convenience. So without further ado, let's jump into the next lesson. 76. 11.2. Organising Footages the NEW WAY: Hi, welcome back to another lesson. And in this lesson, I'm going to be teaching you about the biggest, most recent trick in the video editors arsenal. So it used to be that we would import all of our stuff accordingly into all the different bins in our edit here in this panel. And then we would just name all of them, and then put it in a different bean, and then we'll type in scene one and then create another one Scene two and so on and so forth. And then as we bring along our footages, we would rename all of our footages but there is a faster way, and some of the production houses are actually using them, too. So this is the new way that people are doing things to speed up their editing processes in post production houses. Alright, so what they will do is they will create a sequence. And then so in this case, I have an empty sequence, and then I'll just name it as logged footages, and then I'll name it as pristine or clean or whatever, right? So it is non destructive. Okay, so once we have that, let's bring in our footages. Let's import those. Let me see. Raw data, let's import all of our cards. Let's import all of our videos. Footages here. Alright, so the footages are in. Next thing I want to do is I want to import all of my audio. In this case, we only have one. Which is this one. Recorded separately. Alright, so that is done. Now, what we want to do is we want to bring in all of our raw footages into our timeline. I could drag it in or faster way I could do it is I'll just hit the comma key. So now it's all in. All right. So now all my footages are in, and then I'll drag in my audio. I already have one audio track here, but usually you'll have, like, a couple of those. And then you'll just go ahead and sync all of them. Because what we want to do here is we want to make our sequence as complete as possible. What? Sure. I'll drag the rest of these back. All right, so I'll just show you on one clip, but then you can apply it to all of the clips if, let's say you have lots and lots of audio clips that are recorded separately from the camera. I'll just hit on synchronize and okay, let it do its magic, and I should be able to have it here. Wait a minute. Just try that again. Okay, so it's done. Let's just hear our video. So what we want to do is we just want to make sure that it sinks together. Let's clean up the audio track here. Okay, that's good. Maybe I'll just disconnect that, disable this. And then I want to just for sharing. Make sure that the audio is good. Spring up. The volume a bit. This new facility with us, I think what I hear from our employees, everybody is very happy with the facility. We have put a lot of effort in it. We have put a lot of thought, and I really hope that your families also can enjoy today and see what a great investment we have done here. Alright, so that looks good. Now, what we want to do with the other clips is we want to label them, right? Okay, so previously, what we did was we would label the footages like this one, we'll name it. Maybe we'll preview it first. We'll name it as establishing shot Bouncy castle or something like that. And then we will just go through all of the different clips and just rename everything. And then we could actually just go over here, mark it, double click on that, and then we'll name it establishing shot, same thing. Bouncy Castle. Alright. So when we do that, when we actually type our bouncy castle here, it would actually appear. See, it appears here. So that is what editors used to do, right? But let me just go back. So what we tend to do now is we will just lay out all of our clips all in one sequence. And then we would just put our label there. Like so. Alright. Okay, I'll put it in the top layer, top track over here. And why we actually go ahead and do this is because if you're doing a sit in with a director or a producer or client or something, you could actually just show them all of the footage that you have on the timeline. And then as you scrub through, they can actually see the details here. Maybe I'll add in scene one short, one, one. So I'll do it like that. Properties. I'll just make this a bit clearer. Yeah. So something like this. And then we'll move on to the next shot. Well, name this. Oops, sorry about that. Well name this take two. And we'll go ahead and name this. Accordingly, Next one. Okay, so on and so forth. We'll name them, and then we can actually go through all these footages with the client, and then they will know, Okay, these are all the footage shot, and these are the details of the shots. As well as you can do all of your syncing here with the audio, like, in the case of this Bron we will be expecting 1,200 people or something like that. Sorry for the shakiness, but you get what I mean? So it's all done here. And then some of us editors would actually add in a bit of the color. Some of us would actually add in color right at the start so that we don't waste any time. So let's just quickly do some color. I don't know. So by doing this, you can actually work faster because the next step is the important one. I'll just go ahead and lock this sequence because I'm going to be making a duplicate of this clean lock footage sequence. And I'm just going to name it destroyed. And then I'm going to make one more sequence with my settings, and then I'm just gonna name it as my project or the client. The date. And the version. Okay. So once I have that, I could actually go over to the lock footage just destroyed, and then I can start creating something. So over here, maybe I want I really hope that your families also can enjoy today and see what a great investment we have done here. Right? I can take this out, copy it and paste it here. And I can go to another footage and I can grab it. Let's say I want the Ty Jeeps. Same thing I could lay down there. Maybe I'll make this into a Bro, maybe. So I can enjoy today and see what a great investment we have done here. Take one more shot at the beginning. And I really hope that your families also can enjoy today and see what a great investment we have done here. Okay, that's good. So as you can see, maybe we'll just add in a piece of music. Mm hm. And I really hope that And I really hope that your families also can enjoy today and see what a great investment we have gone here. Alright, so you get what I mean. We can use the log footage destroyed log footage sequence to construct our main sequence faster. And by doing so, when you go through the footages with the client, you can just scrub through. Let me just turn off the snap. And you can just scrub through the whole thing with the clients. And when they see that there's this black screen, it means like this shot has been taken to be inside the main sequence, right? So maybe if the client says, Hey, could you Could you change this to the first take? Then you can just go into the log footages and then take out the first thing, right? Something like that. Let me just shoot this to the back. Okay, so I can just replace it. And I really hope that your families also can enjoy today and see what a great invert. Right. So from there, I could actually lengthen this again so that I know and the client knows that, you know, now my main sequence has this spot taken but not take two. And then we can see that the Jeep is taken as well as the spot over here. From the From the speech. Right? So that's the reason why this is a much faster way than how we used to do it with all the bins and searching through all the different types of bins and all the types of naming because we could actually name it wrongly. It could be in a different folder or we could have, you know, accidentally deleted. But if you through it here, you can actually see the shots in sequence. This one is MVI 12 24. And then after that is VI 12 25, VI 12 26. So editors can actually double check through the whole of the clips and see that there's nothing missing in the middle. So I hope you found that useful. I'll see you in the next lesson. 77. 11.3. Project Timeline Sheet: Hi, and welcome back to another lesson. So for this lesson, I'm going to be talking about the project timeline sheet. So I created this one for myself so that I know exactly or rather in prospective terms how how long I take for one edit project. All right? So I got two pages of this, so just bear with me. I'm going to go through it rather briefly, and I'm going to put this document up in the downloadable section, so you can just go ahead and take a look and create one for yourself based on this. So I'm just going to go right ahead and jump straight into. So this is the I call it the number of steps that I'm going to be using. This pseudo code is just basically a term that I use for describing the process of each segment that I use for the post production process for each project. And this one is basically an elaboration of what that is. And then, WAL is when I'm not finished with another segment, I can do this segment in the meantime. So that's what it means. And then for phase, it just means that I like to put everything in phases, so I know how long it would take or rather it gives me a peace of mind as to, like, which phase of editing I'm in so I know how long more I would take. And the duration is in number of minutes, how long I'm going to take to do each specific task. All right, so let's start from the beginning. So first of all, I transfer the rushes to the local drive, and this is right after the event or after the shoot or after each dais. And dais are rushes or raw footages that I'm going to be receiving after each day of shoot. Alright? And then the next step is I'm going to transfer the rushes after backing up to Local Drive, I'm going to transfer it to the online server. So most companies nowadays, they use an online server, so the editor gets to work off of the server, and then everyone else who needs to use the server to create animation or motion graphics, they can actually go ahead into the server and then just make changes to it from within the server. And that saves time. So I'm going to transfer everything to the online server. And then I'm going to label it into the different folders. So I have project, which is the working files, which is the premiere profiles, the preview files, and what have you. And then I'm going to have the rushes or the raw footage, and I'm going to label it within the Rush's folder. I'm going to label it according to day. So like, day one, Day two, and so on, so forth. I'm just going to create a music folder, sound effects folder, graphics folder, my export. My after effects files, my external audio. So these is the these are the folders that I'm going to create first and foremost. And then the rest of the folders, I'll just play by ear and see if there are any other folders that I need to create specifically. So for example, in the company that I'm currently working in, we do something like this, but we have more folders like client materials and storyboards and whatnot. So it really depends, but make sure that you have the basic folder structure here. And I will go through about it in detail in later subsections. So just bear with me. Then we're going to go to the next step. The next step is for me personally to digest the grief briefing from the director or the producer, as well as read the script or see the storyboard. And then it's in soft or hard copy, and then we'll move on to the next. And then this is where I actually look for the music. So I'll look for the music, and I can use UPM. I can use audio blogs. I've used Sonic Pro before. Well, there are lots and lots of websites that, you know, companies use for their stock music. So it depends on which stock music they're actually using and you use it accordingly. And then I have sound effects, which I will prospectively look out for. And I will usually go through soundbible or freesound.org. I'm sure by now you are familiar with freesound and also sometimes orange free sounds. Alright. And then I will do steps three to five, probably before I start the project. And probably once I receive some sort of news that, you know, the production team is shooting their projects now, I'm going to start on doing these three steps to shorten the time I need to edit. So once that is done, I'm going to go and color tag my video files and rename it. So I'm going to rename it, if let's say, sometimes your production team when they shoot, they will reformat the cards, and the number sequencing of the video clips will restart back from one. So when that happens, and when you have a couple of days of shoot, it can be confusing because when you import your video clips, you have a few clip number one and clip number two and so on and so forth. So I would like to rename it probably just add like day one or day two at the end of the video clip. Alright? So I will rename the extension. And then this is a custom format that I will usually use for my clips. Of course, I have to do this before I make any attempt to edit. Otherwise, Premiere Pro or any other software that uses the video clips won't recognize the change in the video clip title. So you have to do this before. Otherwise, if you do not have time, you just need to make sure that you change the name of the clip within the software itself, just to make sure that everything is organized. So I can do this while I'm transferring or before. So I usually like to do it while I'm transferring, and then I'll change the name inside of the local drive or on the online server as according to what I've set. And then moving on, we're going to go to Premium Pro in step seven, and we are going to create and organize all of our project items. And then see here, I'm just going to create proxies, especially since nowadays, we use a lot of four K footage. So I would like to create proxies, make the video dimension smaller so that I won't experience any lag in editing it, right? And then I'm going to set a few things like make sure I'm on ten ATP, 25 frames per second, preference for media. So sometimes, if you have different types of video dimensions from different sources, archival footage, you know, footage from news agency or what have you, the dimensions is going to be different. So I usually would want to set to frame size or scale to frame size. And then I'll make sure that all my settings, according to this. And then I'm going to create my inns in Premiere Pro to keep it organized. Usually, I will do this four, but it also depends. So this is just a rough guide. And then moving on, I'm going to create slates and dns. So I'm going to do all of my placeholders according to the script so that when I receive or when I edit, it becomes faster. I know where everything is going to be at. So it's just basically putting in text on my timeline, laying the music, putting on the sound effects to make sure that, you know, I get as close as possible to the finished structure of my first draft. And then if I would need to use stock footage, I would do so based on this is the accounts that I have. So I filled it up as such. But if you are in a company and you have a different place where they subscribe to or a bunch of stock footages, then you can fill it in accordingly. All right? So step nine, I make the proxies, and then this is just the detailed steps of it. So I'll go through the media encoder to change everything, make the proxies, and then I would start on my assembly. So assembly is the stage of editing where I create the most roughest of cards, and it's just basically placing all of my footages in in the places in which I want it to be placed as according to the script. So usually I break it down usually I break it down into the main sequence and then all of the interviews with the time code and then the Bros. And then I'll compile all of this, and then I'll place it in together. And then I have a rough, very, very rough assembly. Then I will start refining it and I will place the replace and I will replace the placeholder sequence with all my footage. Hopefully, by then I would receive the motion graphics or the animation and hopefully also the archival footages or footages from other agencies. Otherwise, I would create the dynamic link, and I'll do whatever it takes to make sure that my sequence or rather my project is on the way to export. And then I'll do some audio sweetening once I'm finished with editing or rather I finished the first draft. I'm going to go through cleaning the dialogue. I'm going to make sure that everything is on stereo. That it is on both channels and both left and right channels are displaying the audio correctly. I'm going to have continuous music. I'm going to do a sound effects cleanup, and I'm going to lastly add on all of those effects that I would need on the audio track mixer. Like, for example, I'm going to add in the hard limiter, and sometimes I do add an overall denoiser on the audio track mixer master channel. And then I'm going to do the color. So over here is just make sure screening is calibrated. And then I will create I will first do the color correction on each of the lumetr color for each of the video clips to make sure that they look the same. And then I'm going to apply, I'm going to apply an adjustment layer over everything, and then I'm going to grade my color so that it looks awesome. And then now I'm in my first card export. And this is called the producer for approval for internal. And then I'm going to show it to them. They like it. They will ask me to make some more changes. I'll make the changes, and then I'm ready to export for the client viewing or rather for the first for approval. And then this picture log is just the third and final client viewing, which is the third for approval. All right? So once that is done, the stock footages that I've inserted in, we will actually place an order and purchase those, and then we will refine our final graphics, and then I'll export it all on media encoder. And that's the end of this phase, and we can submit everything, right? And that is considering if we only have one for approval for the client and everything goes well, but this is probably not the case for this is probably not the case in the real world. Alright. So I've added a note here, and I will allow 15 minutes of problem solving and research buffer. And then I've calculated the whole process, and it takes about about 17 hours, excluding the client viewing and the motion graphics to actually, you know, finish the process from the end of shooting all the way until the first draft and the first FA. So I hope you learn from this, and you can use this worksheet. It will be in the downloadable folder and see you in the next lesson. 78. 11.4. Template Folder Structure: Hi, and welcome back. So for this lesson, it's going to be a brief one because we're going to be talking about the folder structure, which I'm pretty sure by now, some of you might find it familiar, especially when I'm browsing through my folder structure to either import my files or export out my videos. So I'm going to click on the folder template that I've created here. And in this template, um, I've named it as such template underscore client underscore project, underscore date. So you can download this in the downloadable folder in the later sections. And for this, we can change it to the name of the client and the project title, as well as the date or the first date in which we are actually doing the project or starting it. So inside the folder, we can see all of these folders, and they are arranged as such. We have the project files where all of your working files is going to be in. So if you just click on that, you can actually see a template Premiere Pro project which I have created. And the naming convention of this Premiere Pro project is the same. So it is client name, the project title, the date. And lastly, this is an additional thing. It is the version of the project. And don't worry, it's just an empty Premiere Pro project. And when you create the project, remember that you have to set your hard drive to input the Premiere Pro previews, folder, and whatnot into these project files. So everything that belongs into Premiere belongs into this project file. So make sure your directory is correct. Alternatively, you can also create a premier project by yourself and then just save as into this folder. So I'm going to go back, and then we have the footage folder, which is basically your rushes. So you can actually do add a new folder, and then you can name it day one. For example, you have if your production team has four days of shoot, then you can just um create four days worth of folder and then just input your rushes in the day according. Alright, so I'm just going to go ahead and delete that. Then we're going to go back. And then we have the audio folder. So sometimes some of the projects, you're going to be receiving the audio, which is separately recorded from your video, and then you can actually store them here. And then next, we're going to find the illustrations. So this would be the Adobe Illustration files or any of the vector EPS files. For example, if your clients give you some EPS files to input into your project, you can store it here. For example, there will be logos that you have to receive from them and whatnot. So we're going to go to the next folder, which is the music folder. So this one you will populate it with the music that you think might fit with the video. So you can actually populate this folder first. And then we're going to go on to the graphics folder. So all of the graphics output from your animators Motion Graphics Designer will belong here. Any we're going to go to sound effects, which is all of the sound effects that you have populated. You can store it here. For example, if you have already bought some of the sound effects online through websites or if you have some previous ones that your production team have shot and recorded, you can leave it here. And then we'll go on to the exports folder, and this is one of the most frequently used folders because you will be exporting a lot of stuff. And I personally like to have an old Exports folder. So every time I'm exporting a new one, it will just appear here as just one file, so it doesn't confuse me and it doesn't confuse anyone else who has to uh, who needs access to the most recent exports. And then, whenever I export a new one, I'll just drag and drop the old export file into the old exports. That way, I keep everything organized. And then we go into the storyboard scripts. So these are the storyboards that the client has approved. Always, always keep the final version because you don't want to confuse everyone else and make sure that you always always get the most recent ones if you need to keep updated with any of the storyboard or the scripts. But usually, by the time the storyboard or the scripts come to you in post production, everything would have been locked down. Then we go to the client materials. So usually I keep my deliverables specifications sheet inside this folder, as well as some of their extra stuff. Like, sometimes they will have pictures of their awards or whatever documents that they need us to keep and keep track of. We can actually I can actually put it here. And then Miscellaneous is for everything else that doesn't have a place, you can actually place it here, but I don't usually use this. I just have it here. So that's it for the file folder structure. So I hope you learn from it and see you in the next lesson. 79. 12. CONGRATULATIONS - Conclusion: Hi. And you have reached the end of the course. Congratulations because you have made it this far and accomplished your goal. Remember to download and keep the certificate that you have earned from finishing this course. Feel free to ask any questions in the Q&A section as video editing is constantly evolving, and I might miss out on some things to help you in your journey. Now that you're on the way to becoming a full fleshed professional video editor or content creator. Evolve the skills to make sure that you thrive. It's been a great journey. And if you have time, please leave a review for this course so that I can improve the course and keep it updated. If you have any questions, do leave it in the Q&A sections below and also help other cursmts who are struggling with a question. So now you are equipped with a know how to maneuver around real world video editing situations, and I'm going to give you a few ideas on what you can actually do now. So these are some of the sites that I use besides the local jobs that I have here, to be able to edit more dynamic works and have more diversity in my video editing portfolio. You can check out stage 32 hands linked in mandy.com. So those are just some of the few websites that you can get started on getting professional video editing projects. So go ahead and expand your portfolio and land that job editing as a professional video editor. All the best to you and see you around.