Transcripts
1. What's included? An introduction to the course: Hello. My name is Sian and welcome to this Premiere Pro master class. I'm a freelance photographer, videographer, and animator, working with a complete range of clients in a complete range of different sectors, from travel companies to proxy builders. If you're new to Premiere Pro, then to be honest, I don't actually recommend this course for you. If you want to learn the basics, go and check out my other course on Skillshare which you can find in my profile. In this course, we're going to be going through a range of areas which can be seen here on the screen now. So if there's anything that tickles your fancy, you may just skip to that specific episode. If not, sit back, relax, and enjoy the course.
2. How to customise keyboard shortcuts : In this lesson, I'm going to show you how to customize your keyboard shortcuts in Premiere Pro. Let's get into it. To make your work flow work for you in order to be the most efficient you need to know your keyboard shortcuts because you lose a lot of time having to go through the settings, trying to find the tool that you want. You can change this by going onto Premiere Pro once it's loaded up. Go to Premiere Pro keyboard shortcuts. This is what your keyboard looks like without you modifying anything. For example, if you wanted to save something you'd hit Command S to save something. So that's where your key is. Then if you want [inaudible] click Alt, but I do Alt and then X and that clears in and out because I often select here and don't mean to. Like when I hit Command I, I want to import. Command M, I want to go to a media then so I can render the video. I did a keyboard shortcut as soon as I came into Premiere Pro because I used to use Sony VEGAS to start off with. For the [inaudible] tool, it used to be X instead of C. So I actually turn the [inaudible] from C to X. You can click on the key and just click the little x. It will delete that certain command. So then you can click on the letter and you can actually just drag and drop it on like so. It's really easy to use. Just set your keyboard shortcuts so it's personal to you, and you can use it really easily.
3. How to customise workspace layouts: In this tutorial, I'm going to be showing you how to customize your workspace layouts in Premier Pro. Let's dive into it. Let's jump in and customize some workspace layouts. In order to do this, you can see all your different workspace is along on the top of the screen. However, there are some tabs that just aren't necessary. For example, in editing, there's often the source clip and the actual monitor. I don't actually use this much at all because I prefer to drop everything into a timeline in the assembly workspace. I can actually do closed panel and that's it. I've got rid of it. It stops at selecting at first. Also if I wanted to go into color, I want the effect controls to be selected before anything else. I'd love to just drag it to the front, like so. But say you've got a panel that's missing and you need to add it, all you need to do is Window and then find which ever panel you're missing. For example, say that I really wanted captions. Captions is for your subtitles of your video. But it's just automatically selected and put it in there. You can actually hold onto the word captions and drag it out. Whether I wanted to put in effect controls and add it along the top, or say I wanted to add it on the same one as that, or say I wanted to add it as an equal to that one. You cannot actually undock and mix things around. Just say if you had two screens, for example, which I don't, you could have a reference monitor by itself and then your whole timeline and a cellphone here. Say I had my computer monitor here and then an actual big monitor here, I wanted the video on the big screen and then I can just edit away timelines here and just keep referencing up and down so have more room. That is how you do that. Window, reference monitor for example, it's gone in there. Just say I wanted to even that or say I wanted to undock it, move it up or right, whatever to another monitor and you just drag it out and then resize it to the page and then say if you really messed up and you don't have a clue what you've just done. You can go to Window, Workspaces and then reset to save layout, and it will just reset it to what it was before you started messing with it. Simple.
4. Adding transitions to your project: In this video, I'm going to be showing you how to add transitions to your project. Let's hop into it. I've just found four lovely clips from a free stock footage website called Pexels, if you ever want to use it. I'm going to be showing you how to add transitions to this. I'm just going to create a basic layout now. I want to do is a gradual some peaks. Just going to click that "Command L". I'm just going to hop over to the Editing Workspace now, just to scale that down, just going to cut it at five seconds. Cut this tail down a little bit. Ten seconds. Take that bit down. Then yeah, that's already five seconds. Lovely and pretty indeed. I'm going to go and add transitions now. It's going to be in Effects workspace and do a video transitions. Now, I'm thinking a nice cross dissolve on this, mainly because it won't look as harsh and it will show a better passing of time. Crop the cross dissolve and just drop it on this clip. The standard cross dissolve time, I think it's like to set on a one second. We just preview that in a momentum. It is lovely. However, I want it to be a bit longer. I'm just going to zoom in a bit by pinching on my keyboard. Once you get extend the clip, you can see this little tomb that gets highlighted. You can actually drag out if you wants it to be a bit of a longer one. There the reason why I actually trim these clips in the first place is that you've got to make sure that you've got enough clip in order to dissolve it. Say I had two glasses cases, these represent my two clips. That's a hard coat but I want it to dissolve. In order for it to dissolve at that coat there needs to be some overlap. Now if you trim your clips to start off with, they automatically lose that overlap. Then it already has an overlap when you apply the transition. I hope that was well enough described for you. Now that's just too long. I'm going to bring it back down a bit. That's lovely. I'm going to try a film dissolve on this next one just because I can. Now you might be wondering what's the difference between a cross dissolve and film dissolve. A film dissolve I think, correct me if I'm wrong, actually don't correct me, I'm always right. It disperses the highlights and [inaudible] the shadows. The whites compensate first and then it goes into the shadows. If you look between the difference of a cross dissolve like they both pretty much lights and darks that dissolved together. The film 1, it gets the middle of that. The highlights seem to go first. Then you can see within the buildings in more detail. Additive dissolve, don't know what it seem like of these. That seems to pop, creates some sort of brightness difference and make it popular. You can actually make your own transitions, which I'm going to show you how to do now. I'm just going to drag this clip on top of that one and I'm just going to lower the opacity. The opacity is automatically selected already. When you command it on the keyboard to make a keyframe and then make another keyframe just drag it down like so and look you just made your own transition. That's when my doing it and then save here the created transition. I do actually have one in my previous video that I've just uploaded to YouTube, I have a shop where I put my hand over the camera to create a transition and then just cut it, just a simple cut, handover and then hand off the lens. If we go through that, keep keyframe by keyframe, you just got to try and make a match rates, pretty much older made a cut. Then that's an in cameras at transition. You can do the same by using movements. Say, you can hedge your camera and you want to create the effects of someone being dead and leave it to be there. You can hold onto him. Then a quick pan and then get into move to stand there, shoot the panel again, and then the stand in there. You can actually cut in between that pan and make a seamless transition. Yeah, that's how you can do that.
5. Advanced animations with keyframes: In this video, I'm going to be showing you how to animate with key frames. Let's talk into it. We're going to start off really simple, and that is these time lapses that I showed you before. I've taken the transitions of them. I want it to be like it's slowly getting bigger. What I'm going to do is I'm going to highlight them all "Right-click" and then click "Next." This basically creates a sub-sequence within a sequence. If you're familiar with After Effects, this will be nothing to be a precompose. But yeah, that's essentially what nesting here. So you can actually double-click the nested sequence and it's there. But we don't need that right now. I'm going to click on the "Nested Sequence" and I'm going to click "Scale." I wanted to slowly zoom in, make sure the little toggle animation, things highlighted. Then I want to do one tag. For example, it's quite long drawn out sequence. Let's just preview this, slowly zooming in. It just gives it a different cinematic look. Like so. That's how you use key frames by going and just trying to find an imperfection in a clip. Nothing wrong with that one. Say this end clip, and I wanted to rotate a little bit because it wasn't quiet level. It's a bit shaky. So there are four stages are a bit shaky. I'm going to go "Rotation." I'm actually going to scale it in a bit because otherwise if I go like this, you can see the black bars and that's not what I want. So just 110 and I'm not going to move it that much. So you can't see the black bars. I know this is probably doing a lot of people's heads and that isn't a perfectly straight video, but this is just an example. Then I'm going to move it along a bit. Look, for example, it's so slowly moving back, so I'm going to move it that way, like so. We say it moves too robotically. I'm going to highlight the key frames like so. Then I'm going to do "Auto Bezier." What this does is it just gives it a bit more character. You can also click on the ones like "Linear," which is the one that you had. "Ease In," I absolutely love using "Easy Ease" as it is an option in After Effects. That's how you can use key frames in order to animate things. I'm going to be using key frames in the next video. Now that we've got that over and done with, let's hop into the next video.
6. 5 creative video effects to add to your next project: In this video, I'm going to be showing you five creative video effects that you can use in your next project. I just downloaded this from my favorite bright. I'm going to show you these five effects now. First effect. We're going to head along to the " Effects tab'' and type in that, like so, drag and drop the effects onto the production and look it's all changed. That weird. However, if you go over to the Effect controls, we're going to go down and do in-phase chrominance. There we are actually, we are going to use quadrature chrominance, because it's pretty cool. I'm going to use the toggle animation feature here. I'm just going to blend it, keep having it go from a 100 percent of the effect to zero percent of the effect. Let's see how cool this is going to look now. That's one effect you can use. It was actually used in I believe Calvin Harris's feels music video. If you want to check that out, you can get some inspiration from it. The next effect we're going to use is called Paint book it. Well, you can create the drawn on effect, with this. I further receives the stroke. Look how cool that is and color lets pick much of it. Let's use a cool orange less people would be saying it's not a cool orange. Yeah, and let's whack up that stroke width. That doesn't look too bad at the moment. However, the fill point, which can be toggled, if you just move this around and say that stroke down a little bit as well. I want the affects to see like if it's coming in and out, so you can turn a tolerance right down. I'm going to click the toggle. Go all the way up to 50 if not more, actually we'll do 70, but you can just play around with it. Then back down to say 20 and then to 100 and then to zero. Let's just have a look at that. These are simple effects or even just using general just a spice to make them look a little better, you might just turn the opacity down a little bit. Not as a new face, but yeah, it's pretty cool. Let's move onto the next effect. The next effect that we're going to use, is something called [inaudible]. Drag and drop that onto the other side. Wow, it's changed a lot looks like some video star actually. Let's change a few just play around by completely play around with all the contrast. We're not actually going to blend with the original. We're going to click ''Alt'' to copy about. Just going to remove the effect on the bottom clip. Then the blend mode, we're going to drop down and go all the way down to color. Then you've got this weird 3D/. Just a really nice 3D looking effect. For this next effect, I'm just going to copy the clip again by clicking ''Alt'' and dragging up. We watch this. This is the standard effect that you've got. You can use these effects quite sparingly, if you're willing to play around with them. I'm just going to show you something actually, if you could construe and go down to makes layer transparent. It will flicked the layer that's underneath it. We have a look on it, until now. Just going to pull it back a little bit, struggling. I'm just going to render now. Essentially, what it would do is it's going to make it a nice little strobe effects on making it jitter. The final effect we're going to do a full color gradient. We are going to change these colors a little bit because I know that the blue is probably going to be a wildcard, so let's just do a nice whole blue-green, just softer colors.. It's a little bit better. Done the blending mode and add the opacity down a bit. That doesn't look too bad.
7. How to green screen: In this video, we're going to be diving into the world of green-screen. I'm going to be showing you how to green screen slash blue screen in Premiere Pro. Let's hop into it. A very overused effect is the green-screen. It is simple and effective. Years ago, they didn't have this type of technology and when they did, when they introduced it in the 80s and 90s might even be before then. I'm going to import my video that I'm going to be using and just create a quick sequence. To find the green-screen effect, all you need to do is go to a video effects and keying. There are so many different green-screen effects, but the major things that we're going to be covering is covered in Color Key. Just drag and drop that effects on and by default, if you go over here, it's a blue-screen and blue-screens were traditionally used before green-screens. When I remove the green background, we're going to get the toggle, toggle color picker and we're going to go for a color that's closest to her. Then it's a bit easier to mask it out if possible. Now we're going to go all the way over to Color Tolerance and we're just going to turn this up a bit. The composition of this green-screen is pretty much flawless. You can see a few green tingles to the cloth and everything so we're just click play now. It's not perfect, but it's nearly there. Let's just increase it until it doesn't affect her. We're going to do Edge Thin, Edge Thin essentially from the edge of the mask that we saw creatively skin color. It can either go plus or minus. You can either go into or out of it. You might want to do edge thin by one, and then set that key tolerance down a little bit as well. There we have it. If you want to put, maybe an image underneath it, all you have to do is just find an image that would be suitable. Yeah guys that's how you green-screen using Premiere Pro.
8. Masking in Premiere Pro: Hello, welcome to this video. In this tutorial, I'm going to be showing you how to mask in Premier Pro. What we're going to do it today. I know these are a perfect match because they're at different angles. You get the idea of how to mask through this. What I want do is I want to mask on an insane sensor here. The horizon is pretty much the same throughout. How are we going to do that? We're going to go to editing. Then we're going to click the free draw bezier. I'm going to draw a mask along the horizon. I'm just going to zoom out from this and I'm going to mask the sea. Since what we want to keep is the sea. I'm going to put on a little further. Just further there a little bit. That it's not so much for harsh line. Then of course, if your mask moves, you can actually toggle an animation and create keyframes. In Premier Pro and also after effects, the technology has become so much more advanced from when I first started masking and video editing. It can track itself instead of you moving each individual point so if we click that, it's going to track the whole of that clip and make sure that it's on the horizon. The horizon is always that. That would be fine. Just going to drag that up and drag on this. It won't be a perfect color match because they have both been graded completely different but you get the idea. I'm just going to zoom out a bit. That's how you can do on sensor. However, I am just going to do a little trick, but it's not really a trick. Turn around. I'm going to do rotation 180. Here's a blend mode. I'm not so sure what blend mode maybe at, apply darker. I want the colors to crops in this. Blend modes half the time, I'm just experimenting with what looks good. What looks not, overlay maybe, perhaps soft light. Soft light looks okay. I'm just going to move that down there. One, two, three, four. This is actually going to keep the right portion of what I want. It's not perfect at all. I might have a look and say, works okay actually. Passed it down on it. There we are, that looks okay. That's all I can say, like practice makes perfect and I know this isn't perfect at all. I would have found a completely different image in than that but you still get the idea. I would have actually done this in after effects, and that even I did, a gradient onto it just to see where the light is coming from. The gradient would be further towards the front cliff but I brought it outside.
9. How to properly colour grade your video: In this tutorial, I'm going to be showing you how you can properly color grade your video. Color grading makes or breaks a video, same as sound design, so let me show you how to do it. Let's jump into the color grade. I've just copied a clip over for this cause. I'm just going to mute that. I head over into the "Color" tab and as you can see, it's like a dull picture. That's because I've shot in something called S-Log2, which I believe Sony cameras are capable of shooting in. Basically, why I shot in a S-Log2 is because you get a better dynamic range and I'm just throwing all these words at you now. Dynamic range is the difference between the shadows and the highlights, so the blacks and the whites. By having a bigger dynamic range which S-Log2 allows, and it also helps eliminate the whole any grain in your picture if done correctly. First of all, you need to make sure that your clip is correctly exposed and luckily, I was shooting in a controlled environment, so my clip is perfectly exposed and what S-Log does is that it completely takes out the saturation, so has a true black and white. Bring up a bit more saturation, also gets some of the contrast so I'm going to add a bit more contrast in there. As you can see, I'm looking a little bit yellow, which is fine. Going to open the "HSL Secondary" now and go to "Lumetri Scopes." Right-click and do "Vectorscope HUV," I believe. Essentially, what this line is down the middle is where your skin tone should be. As you can see, there's a lot of red, there's even a lot blues in here, which is probably from the background here actually. But you can see on my face, I'd say it's a little too yellow in certain places. What I'm going to do is that there's a little paint drop at all here. You can click on it and drag it all over the skin, and what this does is that it gets a profile for the skin, all the colors that is in your skin. I'm just going to add again, click the "Add" button, and if you toggle with "Color/Gray," it'll come up with all the areas that been affected, which to be honest, is quite good because it brought pretty much most my skin. If we look here, that would have been from the blue shadow, from the lights in the background. What I do to correct this is add a little bit of "Denoise" and "Blur" onto those certain areas because then that'll just get rid of any sort of imperfections that are in my skin. The highlights, these are all pretty much from mid-tones that have been affected. Crop the mid-tones and put it up here, that's when you can see my really bad orange, so let's put it back in the middle. I want to almost be going towards the blue, a little tiny weeny bit because that is the opposite of the yellow. You want it to be on this line pretty much all the way down so if we just "Unclip" that, a little less yellow now. Then I can turn the saturation down a little bit as well, and there we have it. My skin tones are completely back to normal the way that they should be. That's just me color correcting it by myself. However, I do like to use LUT. To get a LUT, I'm going to go into "Projects." You need to make sure that that's highlighted and I'd like to add as an "Adjustment Layer," so "File," "New," "Adjustment Layer." Just drag that over, drag that all the way down and I have lots of creative LUTs. Many, I've actually bought, many are very intense, but very cool. Since I wanted to use this LUT, it's a classic orange and teals of look. Because I shot this in S-Log, there's not really much room for me to alter a lot of things so I'm going to click on the actual image and I'm going on the actual original clip, I'm just going to increase the contrast a little bit. There we are and that's it corrected. Color correction takes a long time to master and it's not something that you pick up straightway just even from this tutorial. I picked up color grading from a number of YouTubers that have taught videos even. I've called them and been like, "I'm stuck." I've even watched Skillshare courses on it. It takes a while for you to pickup the eye for it, but I'm sure in time with a lot of practice and you'll be able to pick it up.
10. How to match a colour grade: In this video, I'm going to be showing you how to match colors styles between a range of clips. Now, say you have a video where you shot on two separate cameras. The likelihood is that picture profiles aren't going to be the same. I'm going to show you how you can match it with this very simple Premiere Pro tool. I'm going to show you a cheap way of how to try and match a certain style with your color gradient. Now, this probably won't work at all because I've actually put grade on one of the other clips. Actually, let's just delete that. Say that I've color corrected this first clip which I just quickly have it, not perfect at all. You need to look to intervene and then compares to the second clip, there's a huge difference. Now, I'm going to try this little trick that I've used a few times and let's see if it works. I'm going to open comparison view, which is there. But if you don't have it, you can click on the little button, and just drag on comparison view. I'm going to open it up now. Open comparison view and then just drag the cursor along. I'm going to go into color wheels and match. Now this is going to try and apply a match as close as possible to the previous clip. Click apply match. I've done it in terms of, this is looking at the skin more than anything. But it is just a simple trick that I had to use. If you look at the skin tones, it's the same etch. I'd much prefer for people to gather and calibrate and eye for it, but this is just a little cheap way to even push you in the right direction. Which has already. So use this wisely.
11. How to time remap with style : In this video, I'm going to be showing you how you can use the time remapping tool correctly in order to achieve a certain style of video. Timely mapping can be done either good or bad. This time, I wanted to show you how to do it so good. The first thing I'm going to do is make the track larger, unlink the audio because it comes up with a weird error thing otherwise, and just zoom in. I right-click on the first edge, go down to show clip key frames, timely mapping, and then click speed. Let's just watch this clip through. It starts off at ground level and then starts moving. I think once it starts moving like that, I'm going to add a key frame by using Command on my keyboard and clicking ''Add a key frame''. I want it to slow down there, so I'm just going to add another key frame. This bit in the middle, I want it to be fast, so I'm going to pull it all the way up to save as thickening. Save that. I want it to essentially start offline really quickly and then I want it to slowly slow down. I'm just going to drag this out like a solid sensor sort of style. It goes up and as it comes down, its nice and slump. You can use this with a range of different clips. I use it in property when you are walking into a room and trying to show remarks. Initially when you walk in, you just so want to do first impression then when you move into a different spot, have it speed up on through and then have it slowly slow down. So many different clips you can use this with but time-lapse is the main ones that I use it for.
12. Synchronising audio and video: In this video, i'm going to be showing you how you can synchronize your audio and video channels in Premier Pro. Let's hop into it. [MUSIC] If you're a professional, I actually have a mic that's plugged into my camera. But if your subject is too far away from the camera and you don't have a long enough lead or wherever. You can use an external audio recorder. If you look at my screen. Now, I have two different audio wave forms that do actually line up around this region. I want to sync them together, the reason is you can either pull it along and then zoom in and then onstage, claps and everything. You can do it that way or you can do it the simpler way. You can highlight it, right click, synchronize, audio. I can identify this from this area which is going to cut back. Usually it hasn't usually found an 85 percent chance of getting this right. But if you want to help yourself out a bit more, you can do claps. If you match up the audio, like so. That's how you do it. You're welcome.
13. How to mix audio and dialogue correctly: In this video I'm going to show you how to successfully mix your audio. Let's hop into it. We are talking everything sound design. Now, this timeline is from one of my recent projects that I put together is desk transformation, which is a video that I took on YouTube. All the time, I had a backing track, a soundtrack, a voice-over, and some sound effects. If we look now, it isn't perfect, but, I will talk you through exactly what I did because I feel like talking to examples is probably best seemed as you know how to add key frames and stuff there. Yeah, let's do it. If you look on the right-hand side, you can see the output monitor. I tend to like that to stay roughly around 12 to six. I don't like it peak in over line. It doesn't sound good. It doesn't export well and want a video to be the same as when people watch other videos in YouTube so then having to adjust volume. For the whole output stay between 12 and six at a maximum. To be productive, it requires a few constants. A constant is a value that never changes as it worked just right to get the results acquired. One constant for me isn't. That was a sound effect. One constant for me. You don't want it to be overpowering the whole voice over, so usually when people edit the item full blast so, they'll turn the volume all the way up but I don't want to be doing that right now. One thing that isn't right in my current work, getting that all, add content. See there it feel up a bit higher. There is nothing inspiring there, just white shattered surfaces behind my MacBook screen. Yeah, it's coming. [inaudible]. I had a key frames which you just press Command and make it quiet here. But yeah, essentially just want it between 12 and six. But yeah, that's roughly how you do sound design. You need to make sure that it's between a certain constant and if you want to provoke emotion within the USC, I didn't want to provoke any motion really with the sound design of this video, mainly just to add sound effects but, say if you want it to open a viewer or you can have a dark drone shape for example, of forest and it's got a lot hayes, a lot of myths. You can have a really quiet soundtrack, but really focus on the sound effects such as birds and breaking branches and stuff like that. Tends to go with the formula of 50-50, so 50 percent is sound design and everything else and then 50 percent is the actual visuals that people see. Next time you go and watch a film mute it. Does it provoke anything? Next time you come watch a film, close your eyes and listen. A viewing experience is made up of two halves. Yeah, I hope this helped even though there wasn't anything really in depth there but it's really important that sound design is a part of your production.
14. Advanced text animation: In this video, I'm going to be showing you how to use some advanced text animations to take your production to the next level. Let's hop into it. Hello, I'm going to be showing you number one: firstly how to add a text. There are two different ways to add text into a video. Might seem a little basic and number two, add effects that you can use on your text. Without further ado, let's get into it. You can do one of two things depending on your shortcuts that you may be [inaudible] , but my shortcuts are the default ones. You can do Command T and it will create an essential graphic I believe, new text layer. Hop along into editing and you'll be able to see the text here. The Adobe have common leaps and bounds with the Text Tool. It never actually used to exist. You had to make a legacy title, which is what I'm going to show you how to do next. However, to start off with it was a bit basic. They've got a lot more in their options now. That's how you can quickly add text. You can also add text a different way. If you go to File, New, and then Legacy Title, brings up a window here. Let's just move that across and we'll replicate the same thing again. [inaudible]. They have a lot of different styles that you can just click and go, "I want to use this now." They are pretty terrible to be honest, but you get the idea. Say I wanted to use that one, and you got to drag it along onto the timeline then. Let me show you an effect now that you can use on your titles. We are going to use an effect called Displace. I wanted to essentially be really displaced, and then go all the way to zero. You can have a [inaudible] play around with all of these. I'm thinking of doing a full series of video effects and text effects on skill share. If you like the idea of that, just give this course a review and tell me in the review that you fancy learning a few tricks from me.
15. Understanding what export options to use: There we have it. Welcome to the last video. We're going to be talking about everything exporting. So if you want to know the ins and outs and how to export a video correctly, keep watching. Let's talk export options. I feel as if this is overlooked quite a lot by a lot of people and those simply just drag and drop a preset onto it and not even think about having the best quality video coming out of Premiere Pro. What are video codecs? A codec is a method for compressing and then decompressing a video file almost like a JPEG and there are a few of them. Video codecs are ways to get high quality result with a reasonable file size though each comes with its set of advantages, trade offs, and limitations. The standard for uploading video and always has since I've created videos, is a codec called H.264. This is designed so you get a really good quality video without it being ridiculous big file size. H.264 was the standard for Blu-ray, Vimeo, and YouTube. As time has gone on, we now have H.265 and it's the successor of H.264. It guarantees 20 to 50 percent better compression and is basically designed for AK video. H.265 does however require more processing power, is something that you should bear in mind depending on the specs of your computer, whether it can handle it or not. Part of the hierarchy of a codec, so H.265 or 264, is the option to choose between constant and variable bit rate. Constant is, as you'd think, a constant value across a whole video. Variable bit rates lets you set a target and maximum bit rates, which means Premiere will aim for a certain amount of data throughout the video. A quick exporting rule of thumb, a good rule is that if size isn't an issue, export the highest settings and quality that you can. If size is an issue, then begin a gentle trade-off between size and space. Learn to trust your eyes and you can start to customize the settings once you feel more confident. If you like this course, please let me know. I have a few more planned dependent on how well this one goes. If you're a beginner and you just watch the holidays, well done. You might want go and watch my other course I made in Skillshare as well. Thank you for watching.
Sian Morton, Videographer
