Video Editing for Beginners: Your Guide to Adobe Premiere Pro

1. Let's GO!: [MUSIC] Adobe Premiere Pro is a massive program, and when starting out it can be very overwhelming. Numerous windows, multiple buttons, and what seems like an endless amount of settings. Hi, I'm Sean Deakin, filmmaker and video editor from Canada. Don't worry, I'm here to help guide you through the video editing process in Adobe Premiere Pro. Working on your very own project, you'll go through the process of importing footage, editing, and exporting a finished video ready for upload. This class is for beginners so no video experience necessary. You will need access to Adobe Premiere Pro. The goal of this class is not only for you to learn Adobe Premiere Pro, but to actually understand the functions and processes taught. With this deeper understanding will come greater confidence in your video editing abilities, and it'll be that much easier to apply the learned material to future video editing projects. With that being said, let's take a look at the class project. [MUSIC] 2. Your Class Project: [MUSIC] Thank you for taking this class. I'm very excited to get you up and running in Adobe Premiere Pro. In this class, we will work on a short and sweet tourism-esque sequence. I'm talking about less than one minute, and you can use this project for your own personal use. Maybe you'd like to include it in your portfolio or create a quick video for any of your social media accounts. In this class project, the footage is all from Vancouver, BC, Canada area, and I will be creating my project about this location. You're going to have access to a variety of footage and graphics to assist with your edit. Of course, if you have your own footage, you're free to use that as you follow along with the lessons. Use all of the assets, use some of the assets, use none of the assets. Apply what you learn in whatever way you are inspired to do so. This project is great for learning the basic, creative, and technical editing workflow using Adobe Premiere Pro. It is also very important that you apply what you learn as you go. Get hands-on, so the learned material actually sticks. Let's get started. 3. Creating a New Premiere Project: Before we open up Adobe Premiere Pro, we're going to take a look at our project folder. As you can see here, I've labeled all my folders 1 through 7, and this is just create some hierarchy to the folder system. In the first folder we have our class footage, which is just all the footage that you can use for your project, sound effects and music. Well, these folders are empty and that's because this is a beginners class, adding sound effects and music is optional. If you're feeling inspired or motivated to do so, I encourage you to do that because it's great to learn and you will have to source out the sound effects and music on your own and I go through this in more detail in Lesson 13 using the basic editing tools. Then within our GFX folder or graphics folder, we have alphabet graphics, which I will explain in a later lesson, and some animation that you could potentially use for your project. Then of course, we have our Adobe Premiere Pro projects folder, which we will use to store our Adobe Premiere Pro project and then exports folder, which is where our final project will be compiled and exported to. Then we have the Documents folder, which is great for adding your own reference files. Anything that's related to your project, such as links or online videos that might help in assisting with your project. Now after you've downloaded this project folder, it's probably just sitting in your downloads folder somewhere on your desktop. It's important to take this folder and store it on a dedicated hard drive or even your internal hard drive just anywhere but your downloads folder or desktop. This is the first step in staying organized and keeping all of your project assets in one location. Let's go ahead and open up Premiere Pro and Premiere Pro is located on your C drive or your boot drive, but easier than that, go to your computers search bar, you can type it in. You can see that I've opened it up recently already, so I don't have to type it in and because I use this program so much of actually pinned it to the taskbar, which you can do by right-clicking and select "Pin" to taskbar. I've already pinned it. That's why it says unpin from taskbar and once you have that, you don't have to type it in every time you can just click on it from here. It also makes your desktop a bit less cluttered. If you prefer a desktop icon, that's fine too. I just like to have my desktop a bit cleaner. In this section here we have all the recent projects that I've been working on. Then we have the option to open up an existing project or create a new project and because this is a new class project, let's click New Project. This screen, [LAUGHTER] I've got to admit it's a lot to take in, but we can ignore most of it for now. To start, we only need to look at these two items here, project name and project location. We can start by creating a project name, and I'd suggest using the current date along with your project name. This way you know exactly when you created the project and when saving your project, you can organize different versions of your project by the date modified. If you make lots of progress or you want to backup, save as if the data is the same, you can add a different version number to the date or if it's a new date, you simply add the new date. When you have multiple versions of the same project, you can see that we have a clean hierarchy right here and you know that the latest date is the latest version of your project and you can always revert to older project versions. This offers a lot of redundancy, which is good when it comes to saving your project and in case Adobe Premiere Pro crashes, hopefully not. If it does and your project is corrupt, you always have your backup projects if necessary. For me, I'm going to type in a date 22 for the year 2022,09,01. That's September 1st, 2022 and I'll use an underscore to differentiate the different segments of my title. To keep it simple, I'll just name this project tourism. You can name it whatever you want as long as it clearly describes what the project is at a glance. Actually after saying that, I might just add another underscore and type in Class Project there. Now that we have our project name, we need to choose a location to save it, and that is located right here in project location. Click the disclosure triangle and skip all of this, go straight to choose location. This is going to look a bit different for you, but you're going to have to locate your project folder and once you locate your project folder, double-click on it. When you hit Select Folder, that is where it will save your Adobe Premiere Pro project. There you go. Once you have that set, navigate to the create button at the bottom right of your screen and that's it. That's how you create an Adobe Premiere Pro project and as you can see here, if I tap back to my project folder and click on Adobe Premiere Pro projects our new Premiere Pro project is right there. To recap, use the date within the name of your Adobe Premiere Pro project for backup options and to be able to see at a glance which project you're currently working on and what your project is, save your Adobe Premiere Pro project within a dedicated class project folder. Projects can get very overwhelming quick, so it's so important to stay organized and finally, click on Create new project. In the next lesson, we're going to take a quick tour through the main panels in Adobe Premiere Pro. 4. Exploring Premiere Pro's Window Layout: [MUSIC] After opening up Adobe Premiere Pro, you're going to get a default window layout that looks like this. All of these windows have their own important function that throat the editing process. To avoid getting overwhelmed by all of this, we're going to quickly summarize what each window does, and then in the following lessons, take a deeper look at each one individually. Just to clarify, I'm going to be using the words window and panel interchangeably at times. To begin, the first is the project panel where all our assets are located. This is used to import clips, it's used for organizing files, and quickly previewing clips. The source monitor, which is this one right here, is for previewing clips and pre-editing clips in preparation for the timeline, it's also used to bring these pre-edited clips into the timeline. The timeline is where we edit our assets, including video, audio, and graphics. Anything within this timeline will appear in what's called the program monitor. The program monitor is this tab right right. The source monitor and the program monitor contain the same controls and window layout. However, the source monitor connects directly with the project panel, whereas the program monitor directly connects with the timeline. This is a tour of the windows, so don't worry if this is confusing, it's going to make a lot more sense once we practically take our footage through the editing process. We also have our tools panel, which is located in the bottom left corner. These various tools are used to edit our project. Then finally we have our effects controls panel, which allows us to make additional adjustments to our clips. If at any point throughout this class you accidentally close the panel, you can easily reopen it by navigating to Window and then locating the closed panel from this list here. As you can see, there are many windows available within Premiere Pro, and we will be using some in addition to the ones we introduced within this lesson. But the ones within this lesson are the main panels that we will be using throughout the class. [MUSIC] Let's go into more detail about each of these panels and their importance to the editing process in the following lessons. I know you're itching to get creative and we have a few more things to cover before we start slapping things together. Be patient, we're setting the foundation for our project, it's very important and we can't overlook this. Otherwise, it's not going to make any sense why we're doing things the way we're doing them. In the next lesson, we're going to learn how to import assets. 5. Importing Media: The first part of any edit is to import our assets into the Project Panel so we can begin to organize and edit our project. There are a number of ways to import assets. I'm going to take you through all of them so you'll get to learn all the options. But in the end, I'm going to give you one recommended option, to keep things simple and straightforward. [MUSIC] There's a few different ways to import your footage. You can simply double click on the Project Panel, locate your class footage, and import the folder. You can select "File", "Import" and select the footage folder. You also have the option to click and drag your class project folder directly into the Premiere Pro Project Panel. You can hit Command or Control I as a hotkey to quickly browse your files for import. Another option which can be done upfront when creating your project is to select the import tab up here. You probably recognize this screen again minus the new project and project location items. From here you can select any of the media that you'd want to import and hit "Import." This gives you a lot more options, including some light organization of files and creating sequences. We're not there yet, so I'm not going to explain that. But basically, if you want to get ahead on your organization and import your files right away while you create your project, this is a good option. I'm a bit old school. I've edited with so many different versions of Premiere Pro that I simply like to use the media browser to import my media. Navigate to window, click on "Media Browser" and this opens up a new window that allows you to browse your files directly from Premiere Pro. After navigating to my class project folder and locating my class project footage, I can pick and choose the media I want to import directly from the media browser. What's great about these panels is that you can move them around and place them wherever you like. Customizing your workspace layout. Now I'll do the same for My Media Browser Panel and click and drag it to the left of my Project Panel. In this case I actually had to undock the panel using the hamburger icon next to the panel's tab. Normally you don't have to do this, but for whatever reason, I wasn't able to actually click and drag the tab directly to another panel to adjust my window layout that just shows you that sometimes Adobe Premiere Pro can get buggy. Hopefully, that's not the case for you. If at any point after reordering panels or expanding windows, you want to revert back to the default window layout, you can click on Window workspaces and then from this list, select reset to saved layout. Now with my Project Panel and My Media Browser, I can click and drag and directly import my media as needed. What's great about this option as well is if I select this thumbnail here, which is thumbnail view, I get to see a preview of all of my clips and I can actually hover over the clips, essentially scrubbing through the clip itself. To switch back to my list view, simply click on the List View icon. I can hit Command or Control A to select all my clips. Click and drag to import and there we have it. I would recommend sticking to one of these options and this is the option I'd recommend. Having a process that you can stick to each and every project will save you time and make you a more efficient editor. One thing to note is that once our assets are imported, any editing decisions made within Premiere Pro are nondestructive to the source file. Our class folder is where our source files are located, but Premiere Pro is using these imported files as a reference. This means that if I cut it up, adjust or delete a file within Premiere Pro, the original source file sitting in your organized folder will be untouched. If you accidentally delete a file within Premiere Pro, it's easy enough to click and drag and re-import it. Remember the Project Panel is not to be confused with our project folder. We need to move all of our assets into Premiere Pro to begin working with them. Once imported, premier records the location of these assets within the project file. The Premiere Pro project file itself can be seen as a map. It contains all of our editing decisions, records the location of the source files used, and records other important project settings. That's also why it's incredibly important to keep all your class footage organized and located within your class footage folder. Once you start moving things around, Premiere Pro won't know where the footage is and you'll have to manually tell Premiere Pro where it is so it can locate it, but stay organized and you won't have to worry about this. [MUSIC] To recap, there are six ways to import clips. Click and drag, double click on the Project Panel, control or command I using the import tab, clicking on "File" then import and finally my recommended option using the Media Browser window. It's quick, it's accessible located directly beside your Project Panel. Before you move on to the next lesson, I'd suggest you give all of those import options to try and in the next lesson we're going to dive deeper into the Project Panel. 6. Navigating the Project Panel: Let's take a look at the project panel. This again is where we import different assets, preview clips, and maintain an organized project. If you haven't imported any files yet, go ahead and do that now. It's super important to stay organized no matter how many assets you have in a project. There's nothing worse than having to look at the project panel and see a cajillion files all unorganized like this. Every time you come back to this panel, you want to be able to find things quickly and easily. Within the project panel, you can click on this little bin icon and it says New Bin. That creates a new folder, and what I would recommend is naming it similar to your class project folder. If I want to maintain that hierarchy of folders, I'll name this O1_Footage. Sure. You can call this folder footage or video. Usually, I call it video. In this case, I don't know why I named it footage. I can select all my clips by clicking on the first, holding Shift and then clicking on the last to select all, click and drag into my footage folder, and using this little disclosure triangle, I can close the folder or open it. If I don't want to get overwhelmed by all of my clips, I can simply close the bin. Another quick and easy way to create a new bin is to hit Command or Control B. The other option when opening up a bin is to select the bin and use the right and left arrow keys to open and close it, and you can also use the arrow keys to move through each clip. This way of navigation is very effective when you have multiple folders and sub-folders. If you accidentally double-click on your folder, it'll take you inside the folder, and don't worry, you can click on this arrow back folder icon to get back to your home folder. View Options allow you to toggle different viewing options of your files and folders. Right now we're in list view. We can select icon view to see these gigantic icons, and similar to our media browser, we can hover over our clip to preview the clip itself. This is great if you don't need a whole lot of detail when viewing the clips, so you can see what's in them. The camera movement that's happening, or the movement within the frame itself. If you are in thumbnail view, you also have the option to sort your icons according to any of these properties here. Selecting the list view is also beneficial in that it offers more information options such as whether the clip is in 4K or HD or 8K or whatever it is. What I'd love about the list view as well, is that you can organize your clips in this view according to these different video properties. If I click on "Video Info", it'll organize all my clips according to which ones are in HD and which ones are in 4K in this case. If I want to scroll back and set the organization based on frame rate, I can click on frame rate and it will organize my clips according to lower to higher frame rates. The freeform view gives you a more creative way of looking at your footage. The project panel is a bit cramped here so I'm going to use the tilde key to expand the panel to fullscreen. Don't panic, you can always get out of this full screen by hitting the tilde key again and the tilde key applies to any panel that you're hovered over. As you can see in the freeform view, I can click and drag clips around. What's great about this is that it allows you to visualize sequence ideas without committing them to the timeline, and if you're anything like me, I do not like the mess. I'll right-click, reset to grid, and of course, we have all of these options available for organization. We've just reset our grid. I'm going to hit the tilde key to get out of fullscreen. For the most part, I keep things in list view, which helps me see all my assets from a top-down view, and if I want to get a better idea of an individual clip, I'll switch to thumbnail view for a quick preview. But again, I'm not stopping you from pre-visualizing your clips if you prefer to use the freeform view. To recap, stay organized. Keep your project folder hierarchy as consistent as possible with your project panels folder hierarchy. This can reduce any confusion when working on your projects, streamlining the editing process as you import new assets. Use the icon view to quickly preview your clips and the list view for a general bird's eye view of data relating to your assets. Freeform view has its place, especially for brainstorming potential sequences. Finally, in the next lesson, we're going to create our first sequence. 7. Creating a New Sequence: Before we can start editing within the timeline, we're going to need a sequence. A sequence can be seen as a container for all of your media. You're able to open up a sequence within the timeline, add clips to it, make edits, use the various editing tools available and preview your edits as you go. There are a number of ways to create a sequence. When first starting to edit, a common way to create a sequence would be to click on this paper icon, the New Item icon, and then select Sequence. But then, of course, you get these Sequence Presets, Settings, Tracks, all of these settings that are customizable. Yes, a sequence to function properly needs to have appropriate settings, but it can get complex very quickly, especially if you're new to editing and video settings in general. There is an easier way to do this. Rather than trying to customize and create the perfect sequence settings using this window as a beginner, it's easier to use this next option. We'll cancel. The general rule of thumb when creating sequences is to have your sequence settings match your clip settings. That is why I recommend this option. First, right-click on a clip, and then select New Sequence From Clip. What this option does is it creates a sequence with settings that matches your clip's properties. After selecting this option, you can see that the clip we've chosen is now within the timeline, and the sequence we've created matches the settings of our clip. It's also created this sequence icon, which is currently open within our timeline. Because it's different than these clips, I'm going to create a new folder and name it sequences. I'm numbering it just to keep the hierarchy easy to view. Again, I use the Number 5 to label my sequences because I have the numbers 2-4 normally reserved for sound effects, music, and graphics. Because it's in our subfolder, I'm going to move it out. There we go. We now have a sequence that matches our clip settings. However, not all of our clips are the same, they contain different properties. Most of our clips are HD and 23.976 frames per second. But we do have some clips that do not match these properties, such as the 29.97 frames per second clips, and 4K clips. But John, you said our sequence settings must match our clip settings. Well, yes and no. In this case, we do not have consistency through all of our clips properties. But the good thing about Adobe Premiere Pro is that it's able to accommodate clips with different properties while still maintaining smooth playback. In general, our sequence settings should match the majority format of our clips. Even though Premiere Pro can mix multiple formats and frame rates, it's still important to keep as much consistency as possible to maximize performance and quality and avoid all those little conversions that Premiere Pro has to compute. That's why I chose that clip because that clip matches the settings of the majority of the clips that we have in our class project. In addition to matching our sequence settings to the majority format of our clips, we also need to be aware of mixing multiple frame rates. Most of our clips are 23.976 frames per second. That makes it easier for the majority of these clips to comply with our sequence settings, and when it comes to our 29.97 frames per second clips, we have more flexibility with our clips in that we have the ability to use slow motion. That's why placing a higher frame rate clip within a lower frame rate sequence is preferred for the ability to enable slow motion. If I were to try to fit a 23.976 frame per second clip within a sequence with settings that represent higher frame rates, that means that Premiere Pro would have to duplicate or even triple the amount of specific frames to fill the time that it takes for a lower frame rate to fit into a higher frame rate sequence. For example, if I were to take this 29.97 clip, right-click, create New Sequence From Clip, that means I'm creating a sequence with the same settings as this clip, and if I were to go into my Sequence Settings and adjust the time base to 60 frames per second, click Okay, our sequence settings are now at 60 frames per second, whereas our clip remains at 29.976 frames per second. That would mean now every single frame I go through is doubled, so Premiere Pro is actually adding additional frames to fill this 60-frame-per-second sequence. Although it doesn't look terrible, it's just not a best practice. The best practice is to fit the higher frame rate within a lower base frame rate sequence. Now if I change the sequence to 23.976 base frame rate and I place this 29.97 frame per second clip within this sequence, Premiere is no longer doubling frames. But instead, dropping additional frames to fit the higher frame rate into the lower frame rate sequence and I can actually take this slightly higher frame rate, slow it down, and make use of this very subtle slow-motion look. The other thing to be aware of is that we have a mixture of both HD and 4K clips, and I did choose this sequence to have HD dimensions. The reason why I chose an HD sequence is because it's easier to scale those 4K clips down into a smaller dimension while maintaining quality resolution, rather than scaling our HD clips up to fit the 4K resolution. Now, if I take this HD sequence and HD clip and I adjust our sequence settings to 3840 by 2160, which is 4K, then you'll see that our HD clip has this black border around it showing that it doesn't even fill the frame. If I did attempt to fill the frame up digitally to match the 4K frame, we'd lose some quality. Let's change our sequence settings back to 1920 by 1080. By no means do you have to go into sequence settings and you don't totally need to understand all of what I'm saying now, I just need to tell you how it works so that you know why we're choosing the sequence settings we're choosing. [MUSIC] The reason why we're choosing an HD sequence is to maintain consistency of quality throughout all of our clips. To recap, think of a sequence as a container for all of your media. You need that sequence in order to work within a timeline to use your various editing tools, to add clips, and to preview your edit as you go. Don't worry if you ever close your sequence, you can always double-click to reopen it within the timeline. Use the New Sequence From Clip option to quickly and easily match your sequence settings to your clip settings, or even clicking and dragging the clip directly to the note icon, which will create a sequence matching the settings automatically. There is even one other option. If you have an empty timeline, you can click and drag the clip directly to the timeline, and it will create a new sequence that matches the clip settings. In general, our sequence settings should match the majority format of our clips. Fitting higher frame rate clips within a sequence with settings of lower frame rate is the best practice. Fitting larger frame sizes into a sequence with a smaller frame size setting will help you maintain the highest quality. Next up, we're going to preview clips within the source monitor. 8. Previewing Clips in the Source Monitor: The source monitor is the next step in the process. This is again where you can preview your clips and pre-edit them in preparation for the timeline. First double-click on any clip in your project panel. Double-clicking loads the clip into the source monitor here. You can see we have the source monitor and the program monitor within the same panel. Depending on which function you are using, it will automatically switch between the source and program monitor. When moving to our timeline, you can see how it switches right back to using the program monitor. Again, this is because anything that's playing back within your timeline plays back in the program monitor. Now watch as I double-click again the clip and load it into the source monitor, it automatically switches back to the source monitor. Within the source monitor, we can playback a clip and decide which part of the clip we'd like to bring into our timeline. There are a few different ways to play back a clip within the source monitor. You can click on the Play button. You can use the spacebar to start and stop playback. Or you can use the hotkeys J, K, and L to navigate playback. This is the method that I recommend. L plays the clip forward, K stops playback, and J plays the clip in reverse. Try that for a second now. If you want to play back the clip quicker, either forward or in reverse, simply double, triple quadruple tap the L and J keys for your preferred playback speed. You can also slow down the playback dramatically by holding the Option or Alt key while pressing J or L. To increase the speed, simply double-tap, triple tap, or quadruple tap the J and L keys. As we're going through these options, I encourage you to stop the playback of this lesson, test it out as you go. To get the most out of these lessons, it's so important that you actually test out these options so that the material actually sticks. Now if you want to get even more precise and quickly look through a clip, another method which I prefer is the use of a scrubbing, which is simply clicking the playhead, which is this blue marker right here, and dragging it through the clip in your source monitor. Alternatively, you can click on the timecode, which are these numbers here, and click and drag through as well. To get precise frame-by-frame navigation, you can tap the left or right arrow keys. Holding Shift while pressing these keys will move the playhead five frames at a time. Alternatively, you can hold the K key and tap L or J to move frame by frame. I know this is a lot of options, so what I would recommend is stick to your J, K, L hotkey options for both general playback and frame-by-frame navigation. This is recommended because it tends to be the most efficient. You can keep your left hand resting on these keys as a default position. If you want to move through your clip quickly, scrub through with your mouse. But of course, if you prefer any of the other options, use those because remember, it's also important that editing is enjoyable. To recap, there are numerous ways to play back a clip within the source monitor, clicking the Play button, using the spacebar to start and stop, using your J, K, L hotkeys. There are various combinations to adjust the speed of playback and previewing your clip frame by frame using the left and right arrow keys, but more efficiently holding the K key while tapping L or J. Then finally my favorite, just clicking and dragging the playhead, scrubbing through your clip. Now start by just loading up clips within your source monitor and giving these playback options a try. Preview the clips, think about which clips you might want to use for your project and pay attention to which options you find come most naturally to you. In the next lesson, we're going to learn about the different ways to bring your clips into the main editing timeline. 9. Moving Clips to The Timeline: [MUSIC] In this lesson, we will learn how to pre-edit our clips in the source monitor and the different ways you can bring them into the timeline. Pre-editing allows us to keep our clips at a manageable length when moving them to our main timeline. As we preview our clips using the playback options learned in the previous lesson, we can determine which segment we prefer to use by setting in and out points. In and out points create a selection of a clip which can then be moved to your timeline for further editing. I'm going to find a different clip to load into our source monitor. I've already looked at a clip that I want to edit, it's Gavi-Gastown-4. Yes, this is the right clip. What I like about this clip here is this movement of the camera and the lights in the background from the Jeep, and I like this segment right here. In this case, if I were to move this to the timeline, I'd have a 12-second clip within our timeline and I'd have to edit it in here which is fine, that's an option. But because I already know what I want, it's around this part of the clip that I want. What we can do is we can set in and out points. To set in and out points, you can use these buttons right here, which is Mark In or Mark Out. If I click on here, we'll get an endpoint. Then I'll move towards the part where I want to stop and I think I'll stop it right before he looks down at the camera, we'll click the Outpoint. You can see here we have this nice little segment selected from our source clip. You can also use the hotkeys I for in or O for out to complete this action even faster. The first way to bring your clip down to the timeline is to click on the Insert button here or hot key key. Take a look at the play head within our timeline. When I click on the Insert button, it inserts the clip at the beginning of the play head and cutting into the clip we already had in our timeline. Now if I hit "Control" or "Command Z" to undo that action, we can revert straight back to what we had. Again, because we're in the timeline, our program monitor is active. To switch back, we can either double-click on the original clip to load it back in the source monitor or we can click on the source monitor panel to easily get back to it. Now, if we didn't want to insert the clip into the timeline we can use the Overwrite function, which will overwrite anything that is at the play head. As you can see here, it overwrites the clip already in our timeline. It doesn't push the clip forward at the cut. Now, another option is to simply click and drag your clip directly to the timeline. This option works great because then you can more easily and quickly place the clip on any of these video layers and by default, when you use this function, it overwrites. Let's undo that. I'm going to click and drag the clip again but this time I'm going to hold "Control". When you hold "Control", you can see that the icon switches to the Insert icon meaning that when we let go, it inserts the clip and slices the clip beneath it into two, pushing the remainder of the clip forward. We can also click and drag directly from our project panel to the timeline and because we already have our ins and outs set on this clip, it remembers those ins and outs directly in our project panel. Let's undo that. Yet another option is to click and drag the clip from your project panel directly to your program monitor. When you hover the mouse cursor, still clicking and holding the mouse, you'll get all of these different options for inserting into your timeline. We have the Insert Before the clip within the timeline option, I'll undo this. We have the Overlay option, which will overlay the clip onto the second video track. We have the Insert function which inserts at the play heads current position within the timeline. We have the Replace option which replaces the clip within the timeline. You can see here that because the clip isn't long enough to replace the clip within the timeline, we get these diagonal lines which just shows that there is no video here to replace this segment. Now I'll undo. We can overwrite which overwrites the clip on Video 1. Finally, we can insert the clip after the clip in our timeline. As you can see, that is a lot of options. I know it's overwhelming and you don't have to use all these options. I don't even use those options themselves. For the most part, I'm clicking and dragging directly to my timeline and using the modifier keys to insert or overwrite. The reason why I use this option is because it's fast and I've grown accustomed to doing it this way for so long that it's become habit. I encourage you to choose any one of these options. But when you do try to stick to using it so that you're not feeling overwhelmed by choice. Just stick to one of these options. But of course I have to lay out all the options for you before you stick to a decision. If you don't like that decision, you can always refer to another one. I've changed my own workflow many times and that's just part of the process of editing. You're also going to notice that when I click and drag these purple icons from the project panel directly into the timeline, there is no audio track. That's because these clips don't contain [MUSIC] audio but these ones here do. When you click and drag those ones to the timeline, they contain audio and video. However, the audio in these clips are muted, but I did want to include some clips with both video and audio so that you could see the differences. Let's do a recap, but we're going to change it up this time. I'm going to recap all the different options for bringing our clips into the timeline by actually bringing some of these clips into the timeline and getting a rough sequence together. I'm just going to randomly do this, but you can take your time, pause the lesson, select the clips you want and follow along. Let's start with Jericho-Beach-1. Scrubbing through I like the bird portion of the clip. We'll start here, mark in here and we'll click the mark out button. Now we have our in and out points. Because this clip is actually contains audio and video and because the audio is muted already, there's no point in bringing the audio into our timeline, it'll just clutter up our timeline even more unnecessarily. I'll click on the Video Only and I'll drag it down to our timeline. Here we go. I knew this was going to happen eventually. Clip mismatch warning. This clip does not match the sequence settings, change sequence to match the clip settings. We're going to keep our existing settings and the reason why is because this clip that we just dragged down to the timeline is a 4K clip. Our sequence is an HD sequence. We want to keep it at HD because if we switch it to a 4K sequence, that means that when we place our HD clips into the 4K sequence, they won't fill the screen and if we do fill it digitally, the resolution will suffer. But we can take our 4K images and scale them to fit within our HD sequence. Scaling down a 4K clip doesn't result in loss of quality. We want to keep our existing settings because at this moment, our existing sequence settings are HD 1920 by 1080. You'll notice right away our clip within the timeline is cropped and that's because we fit a 4K clip into an HD sequence. An easy way to fit our 4K clips into our HD timeline is to right-click the clip itself and click "Set to Frame Size". If you have any experience with editing, you might be using Scale to Frame Size. Don't use this option, use Set to Frame Size. Once you click on "Set to Frame Size" it'll adjust our 4K clips to fit neatly within the HD sequence. I'm going to explain this. It might not make any sense, that's okay. But I'm going to explain this so you understand why we use Set to Frame Size over Scale to Frame Size. That's because Scale to Frame Size actually rasterizes the file to fit the sequence frame size. Essentially turning our 4K resolution clip into a 1920 by 1080 resolution. Selecting "Set to Frame Size" actually adjusts the 4K clips scale, scaling it down to HD, maintaining its 4K resolution and allowing us to rescale and readjust the 4K clip as we want, giving us more flexibility later on. This might make a bit more sense once we actually start using the effects controls panel within less than 15. Let's find another clip. We'll select "Queen Elizabeth-Park-5". This is cool. It's a nice reveal. I will start the clip here, mark in, and probably end the clip around here, mark out. Because I don't want to insert the clip in-between the clip already on our timeline, I'm going to click and drag the play head to the end of this clip and then go back to our source monitor, select "Insert" or the comma hotkey. Now you can see, we got both of our clips in there. You can see that this clip also is a 4K clip and we're cropped in. To fix that, what do we do? We right-click, "Set to Frame Size". Now we've fit our 4K clip nicely within the HD sequence. Let's find another clip to move to our timeline. How about Seawall-1? Why not? Here we go. I'll use my hotkey I for an in point and O for an outpoint. Then we will use our Overwrite function. We've got three clips into the timeline and this one's also a 4K clip, right-click, set to frame size, we got it. Now let's move to, how about Vancouver-Downtown? Here we go. Cool. This whole clip, it's a short clip, it's only two seconds long. We don't need to set in and out points. But what I'll do is I will click and drag from the project panel to our program monitor and use one of these options. Because I want to insert it after the clips, I'll use the Insert After option. Great. Now I'm looking at this clip here. I don't really like it. We'll use a different option here to replace the clip Kits-Beach-6. Why not this clip here? This clip here, mark in I, mark out O. We're going to go to our clip within the project panel, click and drag it to our program monitor, use the Replace function. This will replace the unwanted clip in the timeline with this new clip. You can see it switch. Now we have all of that in place the way we like it. Now let's load one more clip into the timeline. How about Shaughnessy-Park-3. Click and drag through. We got this flare action here. I'll use the hot key I for in and O for out. I want this clip to go before this clip here on the timeline. I'll place my play head over the clip. As I click the clip that I want to load into the timeline and drag it to the program monitor, I can use the Insert Before option to insert the clip before the one within the timeline that our play head is hovering over. [MUSIC] When I let go, it places the clip neatly before the clip within the timeline. Then finally, I'm just going to take a stab at any one of these. Let's try Bridal-Fall-3. I'm just going to click and drag it directly from our project panel into our timeline. As you can see, it's huge. We have our audio and video intact here. We don't need the audio, we'll delete that in the coming lessons. But that is another option without pre-editing the clip in the source monitor. Now that you understand the many different ways to bring clips into the timeline for further editing, I would encourage you to try out all of these methods, practice, set your in and out points on various clips. Then once you've experimented with the different ways of bringing things into the timeline, try to stick to using one option and get used to that option. Awesome. In the next lesson, we're going to discuss more about the timeline panel. 10. Navigating the Timeline: Part of the art of editing is to piece together related and seemingly unrelated clips together to tell a story. The timeline is where we really start to experiment with how each clip might connect to another and how all of our assets can best tell a story. You're familiar now with most of main panels within Adobe Premiere Pro and finally, we're getting to the timeline. The timeline and the program monitor are linked so whatever assets are in the timeline will appear in our program monitor. All the playback controls within the program monitor or our timeline are identical to the source monitor playback controls. We can click "Play", we can go back frame by frame, forward frame by frame. We can also use our J, K, L keys within the timeline. Everything you learn within the lesson, describing how to preview and pre-edit your clips within the source monitor applies to the timeline. Within the program monitor, we can also double-click our clip and load it up into our source monitor. When we pull back our view, we can see the entirety of our clip and also the portion that is within our timeline right here. We can now make adjustments, say sliding our in and out points within the source monitor and it will directly update within our timeline. There are a few additional view options within the timeline which are quite helpful. You can click and drag on this slider here to view the timeline. However, I prefer using the hand tool, which is the hotkey H. You can click and drag the hand tool wherever on the timeline to quickly navigate through. You can also click and drag on these little handles to zoom in or out on your timeline. Alternatively, you can use the zoom tool, which is hockey Z. Click to zoom and hold Option click to zoom out. But an even quicker option is to use your plus and minus keys to more quickly zoom in and out of your timeline. If you did simply want all of your clips to fit the entirety of your timeline, you can use Shift Option or Alt Z to fit to view. For the most part, I'd recommend using the hand tool to navigate your timeline and the plus and minus keys to zoom in and out quickly. To recap, remember, the timeline is directly connected to the program monitor. Any playback within the timeline will appear in your program monitor. But when double-clicking on a clip within the timeline, it will load it into the source monitor where you can view the entirety of your clip along with its in and out points. You can also slide your in and out points in the source monitor to change the selected portion of your clip within the timeline. Playback options within the timeline are identical to playback within the source monitor. I would recommend using the plus and minus shortcuts when zooming in and out of your timeline while using the hand tool to quickly pan your view of the timeline. Now that you have a basic understanding of the timeline and how to navigate it, let's take a look at how to use the selection tool to adjust our clips. 11. The Selection Tool: [MUSIC] The main tool we are constantly using throughout the entire editing process is the selection tool. The selection tool is found within the tools panel and you can use the hotkey V. This tool allows us to select certain clips within our timeline and move them around. You can also click and drag a lasso around multiple clips at once [NOISE]. You can also grab an end or an out point of your clip, and click and drag it to shorten the clip or to extend it back out. You've probably noticed that when moving clips around, the in and out points are automatically snapping to these various edit points and you can turn snapping on and off by using this magnet icon or the hotkey N. When it's off the clip, no longer get stuck on each edit within the timeline. Turning it back on, then we get these snapping options. The reason why this snapping function is so important, is because it helps you avoid any empty frames within your timeline. If I zoom in here and I don't have snapping on and I were to place this clip here [NOISE], I can easily miss the fact that there is a blank frame right right these clips. With snapping on, it helps ensure that we're avoiding those blank frames. Toggling on and off snapping is very important to maintain frame accurate edits. [MUSIC] To recap, the selection tool, hockey V, is our main tool for selecting clips and even adjusting the ins and outs of a clip. Use the magnet icon or hotkey N to toggle snapping. But, be aware of any blank spaces created when editing your project. In the next lesson, we're going to learn more about adjusting video and audio within our timeline by auditioning clips. 12. Auditioning Clips: Auditioning clips is a great way to figure out which clips work and which don't within your timeline. In this lesson, I'll show you the process of auditioning clips. So far, we've kept our clips mostly on one video layer. But the timeline is your Canvas, so use more layers if you prefer. You can either click and drag your video clip up using the selection tool. If you need more than the three layers provided, you can click and drag it up one more, and it will create additional video layers as you move up. If you don't like that many layers, you can also right-click on this empty space here to delete the unwanted tracks. Of course, this also works on our audio layer. I don't mind this clip, but I want to try something else. I might decide to try this clip here. It is 4K, I can see it's cropped in, so I'll right-click Set to Frame Size. I'll also click and drag with my selection tool and snap it to the same length of the clip in question. What's great about layering your clips on top of each other is that I can preview the top clip. Then if I want to see what our previous clip looks like again, rather than deleting this clip and pressing Play, I can use this eye icon on Track 2 to mute the track altogether. Now anything on Track 2 won't be visible. If I select this eye icon again, we'll see the clip on Track 2. But this allows me to quickly review each clip in question. Alternatively, you can right-click on the clip. Then you can see here there's a check mark beside Enable. We can disable the clip clicking here, and the clip remains in the timeline, but it's not enabled. We don't see it. Whenever I'm on the fence about a clip, I like to use this option, especially when I have additional clips on my second track so that I'm only muting the clips that I don't want to see, rather than muting the entire track. Again, this is your Canvas. You may have a number of clips which are muted and a number of clips which are beneath other layers and that's fine. Just eventually, you will want to keep a clean timeline and delete those clips when you're certain you don't want them in your edit. To recap, use multiple layers to addition your clips within the timeline. Adding additional layers is as easy as clicking and dragging your clips to the upper or lowermost portion of your timeline. Use the eye icon to toggle the track on and off to quickly preview each layer. If you are still undecided, then simply disable the clip in question and let it remain within your timeline for safe keeping. If you haven't already done so, try choosing 5-10 clips that you think will work well together in the timeline. Place them in the timeline to fill roughly 10-15 seconds. You don't need to stick exactly to this time, but having some parameters, is a great way to start. In the next lesson, we're going to go over the basic video editing tools. 13. Using the Basic Editing Tools: In this lesson, we're going to learn how to use the basic video editing tools within Adobe Premiere Pro. [MUSIC] When starting an edit, placing music first when working on a project is a great way to learn. Music has a variety of beats and then over a length to help contain the overall edit and each cut you make individually. I do have a piece of music that I've chosen for my project, which I will find in the Media Browser, Malleable Cody High, and I will click and drag it to my project panel and it will directly import my music track. I'm going to create a folder for my music Control or Command B for a New Bin, and I'll name this O3 music. The reason why I name it O3 is because normally sound effects is reserved for O2. To make sure that these are in the correct order, I will click on "Name" to organize the order. Because this track is so short and it's already cut to length, I will click and drag my music directly into the timeline. If the clip is super long and it needs editing, it's a great idea to load it into the source monitor and then bring it into your timeline. A great place to start for free music, royalty free music, copyright free music is YouTube Studio by clicking on your account icon in the top right of your web browser on YouTube.com, and navigating to YouTube Studio. Once in YouTube Studio, select "Audio Library", and then you'll be redirected to an entire audio library of music and sound effects that are completely free and copyright-free. Just do be aware that some of these tracks do require attribution. We aren't covering that here. If you don't want to bother with that, avoid the tracks with the CC logo. I would also highly suggest that you start by organizing the available tracks by duration first. Click on duration, and then you'll get a list of songs from shorter to longer. As a beginner, it might be better to find a piece of music that is cut to length or shorter, so that you don't have to match the beats and cut down a longer track. That is quite a bit more challenging but again, this is your project, you go ahead and cut a track down to length if that's what you want to do. Now that we have our music in place, we're going to start adjusting our clips to hit the different beats. Let's do this by exploring the different tools within Adobe Premiere Pro. Our tools panel is located in the bottom left corner of Premiere Pro. If for whatever reason it's not showing up, you can navigate to Window all the way down to the bottom of this menu to Tools. The razor tool is this icon here, and the default hotkey is C. The blade tool is used to make cuts on a clip and you may decide you want to cut a clip shorter, or that you want to break up a single clip into two or more segments. You can simply select the razor tool and make a cut anywhere on a clip. You have now broken up the clip into more than one piece. Sometimes you may want to cut a clip into two and move them into separate places within your timeline, or you may just want to select the unwanted clip, switch to your Selection Tool, hit "Delete" and move on your way. Let's undo all these edits. When the razor tool is selected, you can see that we have a single blade. Because we're not highlighting a clip, we have this red cross through, but once we move on top of a clip, it gives us the go-ahead to make an edit on any single frame throughout the clip. Sometimes pressing a modifier key with each tool can change its function. For example, when holding Shift while having the razor tool enabled, allows us to cut multiple clips at once. If we let go, we have an individual blade, if we hold Shift, we cut multiple clips all at once. You can see here we've made an edit on both the video and the audio. I do like this time-lapse shot of the sky train, but I might decide I want to choose a different portion of the clip to fill this space. I can double-click on the clip and load it into the source monitor and click and drag my in and out points to where I'd like to feature the selected clip and it will automatically update within our timeline. But there is a more efficient way to do this that contains less steps. We can make quick work of this by using the slip tool, which is this icon right here, or hotkey S. Using this slip tool, we can click and drag our in and out points directly within the timeline, finding the portion of the clip that we'd like to feature within our edit. That's why it's called the slip tool because we're slipping the selection of our clip backward and forward, locating the portion we want to be displayed within our timeline. You can also see that we have within our program monitor numerous thumbnails of our clips. We have the shot before, we have the in point of the clip we're adjusting, and we have the out point of the clip we're adjusting, and we also have a smaller thumbnail of the clip after this one. When I let go, switch to our selection tool and now you can see we've changed the portion of the clip we're using within the timeline. Let's take a quick look at the first five seconds of our edit. [MUSIC] Did you hear that? We have this beat right here. [MUSIC] I think the edit would look better if we had the clip begin at the same time as our beat. Yes, we can quickly move this over, and then click and drag, and then play it back [MUSIC] and there we're on the beat. Or, let's undo that, a quicker way to do this is to use the rolling edit tool, which is this icon right here, or hotkey R. This tool allows you to adjust the edit itself. If we click and drag, we can move the original placement of our edit and I can quickly click and drag and snap it directly to our playhead, which is located at the beat of the music. Now playing back, [MUSIC] our edit is on the beat, and it's much quicker than using the selection tool to click and drag the in and out points of each individual clip. When your edit is selected, you can also use your Right and Left Arrow keys to nudge the edit frame-by-frame. If you're holding Shift, a modifier key and then pressing the Left and Right Arrow keys, you can nudge the clip five frames at a time. With your own piece of music, try using the rolling edit tool to adjust your edits to match the beats on the timeline. A quick tip here, change to your selection tool and double-click on your audio one track in this empty space here, to expand the audio track, and what this does is allows you to see the beats on your audio waveform. The audio waveform is a visual representation of the peaks of your music. The peaks on your waveform indicate the different beats. Of course, it's important to play back your edit so you can see the edits and the beats in action so you can ensure that your edits are in fact on the beat. [MUSIC] Sometimes you may not be able to see the beat on the waveform directly and in that case, scrubbing through your audio is a great way to find the beat. I'll play that back. [MUSIC] The rolling edit tool is incredibly powerful when getting those frame accurate edits quickly over your entire timeline. Go ahead and find those beats within your own music. If you don't have music, that's fine. Try using the rolling edit to create some sort rhythm based on feel and how long you want the clip to be seen on your timeline. When you're creating some pacing and rhythm, it's important to not have every single edit on the same beat. Try mixing up the lengths of your clips while still remaining on the beat. This way your edit isn't so predictable, it's a bit more interesting and complex. While you're using the rolling edit tool to make these edits, you can use the hand tool to quickly navigate your timeline. Now, I've gotten in the habit of using the hand tool as a way to quickly navigate the timeline. Yes, you can click and scrub through your timeline, but then of course, every time you need to go to left or right of your timeline, you get a bit of this laggy playback, which isn't great. But with the hand tool or hotkey H, you can click and drag anywhere on your timeline to quickly push and pull your view. This is a beginners class, so we're only going to cover these basic tools. This will get you up and running and when you feel more comfortable, you can expand your knowledge and experience with some of the more advanced tools within Adobe Premiere Pro. To recap, we have the razor tool to cut individual clips, holding Shift as your modifier key to cut multiple tracks at once. We have the Slip tool which allows you to slip the in and outs of your selected clips on the timeline. We have the Role tool allowing you to select and move your cuts, either by clicking and dragging, using your Left and Right Arrow keys to move the edits frame-by-frame, or while holding the Shift key and Arrow keys to nudge your clips five frames at a time. Then lastly, we have the hand tool for fast timeline navigation. Now that you have a grasp of these basic tools, it's time to put your creativity into action. Place the rest of your chosen clips into your timeline along with your music or no music, that's fine too, and use the different tools you've learned within this lesson to complete this portion of your edit. In the next lesson, slow motion. 14. Adjusting Clip Speed: Enabling slow motion in some of your clips can add that extra little cinematic flare and polish to your videos. [MUSIC] Now, of course, enabling slow motion doesn't just happen with real-time clips, you do need clips that are shot at a higher frame rate within a lower frame rate sequence to enable slow motion. As I mentioned in the lesson on creating sequences, we did choose a sequence with 23.976 frames per second settings, so that allows us to take our 2,997 frames per second clips and slow them down. Now of course, slow motion is a lot more effective when you have access to higher frame rate clips. But we can still make do with these 2,997 frame per second clips. Now, I do like this shot of Gavi in the snow. I think this shot can make use of very subtle slow motion. To enable slow motion, right-click on the clip that you want to slow down. Then select Speed/Duration. This is also hotkeys Control or Command J. This is a beginners class. We're going to ignore all of this stuff down here and we're just going to focus on speed. Now, you could speed the clip up as well if you really wanted to. But in this case we want to slow it down. We want to slow it down to the point where we are making use of all our frames. If we slow it down too much, for example, say 30 percent, and then we play it back. [NOISE] Then you get this choppy playback. We right-click select Speed/Duration again. The trick here is that we don't want the clip to go below 23.976 frames per second, or we will get that choppy playback. I've memorized these percentages. I'm not really great at math here, but 80 percent of 2,997 frames per second equals 23.976. It slows it down by 20 percent, while also not going below 23.976 frames per second, giving us smooth playback. We'll click, "Okay". Playing this back. [MUSIC] You can see it's very subtle, but it certainly does add a little something to it. [MUSIC] To recap, slowing down a clip can dramatize and emphasized movement, giving it that cinematic flare. When slowing down your clips, make sure to use a clip with a frame rate higher than your sequence settings and make sure not to go beneath the base frame rate of your sequence. If you have any clips within the timeline that are 2,997 that you think could benefit from slow motion, go ahead and add slow motion to those clips. In the next lesson, we're going to learn how to use the effects control panel. 15. Working with the Effects Controls Panel: [MUSIC] The effects controls panel allows us to further tweak and image and is especially helpful when working with 4K clips. Now in our timeline, At this moment, I have this Vancouver City skyline image. Then we cut to this time-lapse that I filmed months later when snow hit. The idea here was to combine these two shots to show the difference between summer and winter. Right now, however, we have this first clip with the horizon line on the upper third of the frame. Whereas this shot is a bit more of a 5050 framing to capture more of the sky. If I right-click on this clip, select "Properties", we can see that this clip is 3840 by 2160, which is 4K. [NOISE] Let's take a look at this clip here. Right-click "Properties". This one is actually 4,096, 204, which is a non-standard 4K format. With this information, we know that we can digitally zoom into each clip to readjust the framing if we prefer to do that, we need to use the effects controls panel. The effects controls panel allows us to manipulate a number of our clips' properties so we can achieve matching compositions between these two shots. Within the effects controls panel, we have the ability to change the position of our clip. Clicking on this radial arrow icon allows us to reset the parameters. We have the ability to adjust the scale of our clip and if you click on this disclosure triangle, you can also use a slider, which allows for a bit more control. Let's click our reset perimeter and of course, we can also unclick uniform scale, which allows us to adjust the width and the height individually. But I wouldn't suggest doing this, in this case. Click uniform scale to make sure we're locking the x and y properties. Can also change the rotation of the clip. We can change our anchor point. When selecting the anchor point property, it will reveal this target in the middle, which allows us to click and move the anchor point wherever we want on the frame. What the anchor point does is it determines where the center of our frame is. If I take the anchor point and move it to this top-left corner here, and then I adjust our rotation properties rather than spinning in the center of the clip, it will use the anchor point to determine the center of this clip, so when rotating the clip, it rotates using the anchor point as its center. Let's undo this. [NOISE] You might have noticed that when we're resetting these parameters, it's resetting based on the source clip. We reset the perimeter, but it reset it to a 100 percent scale. But because this is a 4K clip, it's cropped. To quickly reset that, we can right-click on our "Clip" set to frame size, and then also our position is out of whack, so we'll reset the position. The anti-flicker filter control can reduce or eliminate flicker. Sometimes an image might have sharp edges to it and it can flicker when it's shown uncertain displays. When you increase this parameter, it'll actually soften the image but eliminate flicker. If you have images with a lot of sharp edges and high contrast and it's flickering on a different type of monitor or TV, you'll want to turn this up. For now, just leave it at 0. Also, when selecting the effects icon, we can toggle the effect on or off. [NOISE] When we deselect it, you can see here that we are seeing the original clip within our timeline with no scaling effects. Moving down to the opacity effect, which refers directly to how transparent and image is, you can see here that we have a 100 percent opacity, meaning that there's no transparency to this image. If we were to select this and click and drag it down, it becomes darker, but it's actually becoming more transparent because, by default, Premiere Pro is background is just a blank black screen. I'll show you what I mean. If we click and drag or opacity up to around 26 percent, and we click and drag this clip up to track 2 and we move this clip directly beneath it, you can see now that we have both clips appearing at the same time. That's because our opacity on the clip above is at 26 percent. Cranking this back up to 100 percent means that there is no transparency, so you can't see the clip beneath it. If you were to push it to 0, we have complete transparency and you can see the clip beneath it, but you don't see the clip on track 2 at all. Let's reset that parameter. We're actually going to move these clips back to where they were. Blend mode. This is an entirely different beast altogether. But basically, each blend mode have different ways of blending layered images together. This is too much to explain in this beginner's class, but a great way to begin to understand what each of these blend modes do is to just try them out, try layering some clips, and test them out for yourself. Now, time remapping allows us to adjust the speed of a clip throught its entirety, where 100 percent of the speed is the clip being played back at real-time and anything lower will slow the clip down. Anything higher will speed the clip up. Again, this class is a beginner's class, so we're not going to be delving into time remapping. Now that you understand the effects controls panel in greater depth, you're aware of all of the different options. Let's begin to adjust the more practical parameters to match the compositions of these two clips together. [NOISE] This might take a bit of experimentation. I'm thinking I'm going to have to take this one and zoom in and adjust it to this one here because we don't have any room to work within our sky in this image. However, we have a lot more room to work with this clip. To match the compositions of these clips, I'm going to actually use the opacity to see how close we are in matching these clips up together, I'll click and drag this clip to track 2 and extend the one beneath it. Now, having our clip on track 2 selected, we can adjust the opacity so that we can see both clips at the same time. Now we're getting a better idea of how close these compositions match. You can see that clip 1, the horizon line is a bit too high. We can technically move it down to match. But then of course, when you look at clip 1, there's no sky to work with, so we don't want to do that. What we'll have to do instead is move the position of the clip above it to match the one at the top. But this also requires experimenting with the scale a bit and because this is a 4K a clip, we don't have to worry so much about the resolution suffering because we're not even close to 100 percent of the scale. If you're beneath a 100 percent scale, the quality should be adequate. If you start pushing above 100 scale, that's when you start seeing degradation of quality. While pushing the scale up, we actually have a lot more flexibility in where we can position the clip. I might just move the scale up just a bit more. Let's just move it to 60. I'll click and drag it up. Make sure it's not cropping off the bottom there and I'll do the same with the clip beneath it, will scale it up just a bit, trying to match those buildings. Looks like we're getting pretty close here. Obviously it's not going to be perfect. You can see that the house here is not overlapping perfectly and that's because I shot these at different times. The angles and the heights aren't identical. Here, I'm just going to try to get this as close as possible. Maybe this will be 56 scale instead. See that's getting pretty close. I'm just looking at the buildings here, trying to match the buildings up as close as possible and these houses actually are looking a bit better as well. [NOISE] That's pretty good. It doesn't need to be perfect because the music, the cut itself, and eventually the graphics we use will help hide those imperfections in our edit. Now that I'm happy with these compositions and how they're matching up. I'll take our opacity back to 100 percent and will play back. [MUSIC]. Right on, so that is the effects controls panel. Now you can see how it can practically come into play, especially with those 4K clips. A lot of the time, you're not even using all of the options that are available. To recap. The effects controls panel allows us to tweak a number of our clips, effects, and its properties. You can select the effects icon to toggle an effect and reset each effect's parameters by clicking on these icons to the right of each property. In the next lesson, we're going to add some of our graphics and continue to use the effects control panel. 16. Harmonizing Graphics and imagery: In this lesson we are going to start adding some graphics. If you haven't already done so, import the graphics from your media browser or your preferred important method. Opening the GFX folder, you can see all of the graphics, both the alphabet graphics and motion graphics available to use for this project. One thing to note about all of these animations is that they contain an Alpha channel. What that means is that all of the areas that are black blank space will be transparent. If I click and drag this file over top of our video, you'll see that our animation appears above our video. We also have heart coming in. And one thing to note as well, the I and the heart go together. If you place the I, the heart beside it, then you get the I and the heart coming in together. You could use them whatever way you want. The next interesting thing we can start looking at are these alphabet graphics. They also contain transparency in their layers, clicking and dragging those down to our timeline, the blank black spaces will be transparent within our timeline. Go ahead and add your letters into your timeline the way you prefer. One thing to keep in mind to make your timeline a bit more organized is to try to keep all your graphics on the same layer and then all your video on a few layers itself as well. You can even move it a couple of layers above your videos so that it's very clear that all of my graphics are in video layer 5, whereas my clips will be on the video layers beneath it. After adding my own graphics, I noticed that some of the visuals are getting a bit lost. There are a few adjustments we can make to gain control over our visuals. We have this nice symmetry with the letter V. However, this person in the shot is not perfectly centered, which is bugging me. What I can do is select the clip and I can reposition the clip using our Effects Controls panel. What I would encourage you to do is go through each clip and try repositioning it to find a composition that you find the most pleasing. Another good example right here is the letter E cuts off all of this lighthouse. What I could do is just move this lighthouse over to fit into this area. I can even shrink this down just a bit, just so we can get some of that. Not the crop. We don't want the crop in there, but we can get some of that landscape in there too. That's cool. There now we got something here. That's really cool. Let's see what we can do here. I want GAVI there or there. This actually might be the best option. You might find as you're going through with some of your alphabet graphics, that the clip you've chose might not fit as good as another clip. Feel free to change the clips as necessary. [MUSIC] To recap, you have a number of graphics and motion graphics available to use for your own project. All of them contain an Alpha channel, which represents transparency information, allowing us to see the layers below within the timeline. Do your best to keep the timeline organized, reserving the first few tracks for video while keeping your graphics on a couple of tracks above. This helps you to more easily interpret your timeline at a glance. Finally, find combinations of compositions between graphics and video that compliment each other. What I think would be cool at the end is to have I heart then couver. In the next lesson, I'm going to show you how to add text and to adjust that accordingly. 17. Adding Text: In this lesson, we're going to add text. To add text, we want our timeline panel to be active. Select the timeline and then navigate up to Graphics and Titles. From here we can select "New Layer" and then Text. Now what this does is it automatically adds a text layer within our timeline and we have text within our Program monitor and you can click and drag the text automatically. As you can see, it's actually snapping in our Program monitor and that's because I have snapping enabled. Snapping is this little icon here and you can de-select it to disable it, but I would suggest having it on so that your texts has perfect placement. Now, if you don't see this snap in "Program Monitor" icon available, you can click on this "Button Editor" and add the button directly from here. Click and drag it onto your button layout. What you'll also notice after adding your text layer is we have our text layer within our Effects Controls panel as well. If we open up this triangle, we have all of these different text style options available, including different properties to adjust the text as well. I'll reset that. We also have the essential graphics Window available to adjust our text. In this class, it doesn't really matter whether you use essential graphics panel or the Effects Controls panel. Use whatever you feel comfortable with. For now, we're going to stick to using the Effects Controls panel because that's what we've been learning in this class. Let's highlight our texts and then type in what you want it to say. To adjust the font, ensure that the text is selected or highlighted within the Program monitor. Then adjust your preferred font. If you want to have your font match the "I" within this graphic, select if you "Futura Extra Bold", and then slide your font size over to 130. But don't worry if you don't have Futura font available, it's not important that your fonts have a perfect match here. Adjusting the position of our graphics and texts can be done by simply eyeballing the position. To help with this strategy, you can use the safe margins located within the button bar down here, to get a rough idea of the center of the frame. But more accurate than this would be to use our guides. To activate guides, make sure your Program monitor is selected, then navigate to View. Select "Show Rulers". Make sure that Show Guides is also enabled. This enables measurement on both the vertical and horizontal axis and when clicking and dragging from either of these rulers, you will get a guide. You can click and drag as many guides as you like. Of course this is too many so to delete them, you can click and drag them back where they came from or navigate to "View"; select Clear Guides. I'll click and drag one more guide out. Right-click on the guide; Edit Guide. You'll get some extra settings and most importantly, this allows us to gain pixel perfect placement. Now, I'm not suggesting that we absolutely need perfect center texts for our project, but guides and even safe margins can be a helpful tool to achieve accurate texts position. I'll create two guides and position them in the center of my frame. The first guide, I will type in 960 because this is half of 1920; 1920 pixels across, divided by 2 is 960. That leaves our first guide in the center of the frame and our second guide, 1080 divided by 2 is 540. Now you can see our guides intersect directly in the center of our frame. Now with snap in Program monitor enabled, we can click and drag any of our text or graphics and allow them to snap along these points of contact using the horizontal guide as a snapping point to keep things centered and our vertical guide as a way to see where the center of the frame is. Of course, you can use even more guides to get perfect placement if that's what you want, but by no means do you have to do this. [NOISE] Our graphics are directly in line with our horizon line, which is distracting me a bit. I could try this so that we have our horizon line further to the bottom of the screen and the graphic on top. That could work. By no means do you have to do it this way. You can experiment and fiddle with settings until it looks good to you. [MUSIC] We'll also match our Vancouver graphic layer to our animation layers. Now we have these layers all flush in length. [NOISE] You might be wondering too, well, actually Vancouver shows up right away, maybe we need some sort of transition to the word "Vancouver". To test on some video transitions, click on the "Effects" panel, and if that's not showing up for you click on "Window", "Effects". From here, navigate to the Video Transitions folder. Open that up, and then you have a ton of different options for transitions. What I'm going to recommend you do is avoid all of these star wipes and wipes and zooms and slides. Keep it simple. In this case, all I think this needs is a simple Cross Dissolve. I can click and drag on the Cross Dissolve and apply it to the beginning of our clip. What it does is add a cross dissolve to this clip. If I frame-by-frame through, you can see that the text is slowly fading onto the screen. [NOISE] You also can click and drag the transition shorter or longer depending on what you're going for. In this case, I think the best option is going to be to match the fade-in of the graphics we already have in place. I'm going to find out where it's fully in view, probably around there, then I'm going to click and drag our graphics to match. If we really want to make sure we're on the right frame, we can zoom in. Looks like we are. Play it back. Nice. [NOISE] In addition to the character options, we can also adjust the appearance, which includes the fill of the text. We can change the color of the text. We can add a stroke to the text, which is just an outline itself and the thickness of that outline, we can add a background to our text, change the opacity of the background, the size of the background, and the corner radius, which allows us to add smooth corners. We can add a shadow as well and in this case, adding a shadow doesn't hurt because the current graphics we do have already have a shadow to them. After I've added that shadow, I'm noticing that actually the white we've used on the fill doesn't quite match the fill of our text. We can click on the "Fill", use this eyedropper and match it to the same shade we have within our graphics. Click "Okay", and now that matches a bit better. The shadow looks good now, but we can change the opacity, the direction of the shadow itself, you could change the distance, the size, and the blur. Playing this back; [MUSIC] cool. We got it. To recap. Add text by selecting the Graphics and Titles header, then New Layer; Text. You can adjust your text and its properties from the Effects Controls panel or from the Essential Graphics tab. Make use of snapping safe margins and guides to help adjust the position of your text and graphics. To add a text transition, open the Effects panel, not to be confused with the Effects Controls panel, then open Video Transitions to locate the various options available. In the next lesson, we are going to export our edit. 18. Exporting Your Edit: [MUSIC] Once you've tweaked everything to your liking, it's time to export your video. The export process takes everything in your timeline, renders it, were compiles it together then encodes it into your selected format. In what this gives you is a video file that is ready for playback and upload. There are a few ways to export your video. You can click on " File"," Export", media or you can also use the hotkeys control or command E and you can also click on the export tab at the top of the window here. Once you click on the export tab, we get our export window layout. This allows us to change a variety of export settings and it also gives us a preview of our edit which we can scrub through along with the source settings of our sequence and what the output settings will be once the video is exported. Really the only thing that we need to worry about here in the preview window is what portion of our edit we are going to export. In this case, that is determined by the range. You can see here by default, we have selected entire source and what that gives us is the entire source of our timeline. If you do have any clips at the end of your timeline, I would delete those now because when entire source is selected, it will export everything on your timeline. You can also select source in and out, work area or custom to enable in and out points which allows you to export only a portion of your edit. For now, I will keep it selected to entire source. We also need to select an appropriate location for our exported video file. Navigate up to the settings window and select the location. Locate your export folder and you can see here in my Premiere Pro exports folder, I've already exported a previous draft. I'm happy with the title of my file so I'll click save. Now, that we've determined that a location for our file, it's time to select our export settings. As I mentioned, there are tons of different options that you can select and adjust and change. Because this is a beginners class, we're going to keep it simple and stick to presets and presets are great. I use them all the time to quickly get exports out for review. If we select the preset tab, you can see here that I have a number of presets that I've used or I've favorited. To get the full list of presets, click on "More Presets". I'll just move this so we can see it a bit better. The preset manager shows us all of the presets and it also gives us information such as format, frame size, frame rate, target rate, category. In this case, when choosing a preset, It's important to think about where your video is going to end up. Which platform is it going to be on? Look at this. We've landed directly on YouTube 1080p Full HD, which is a great preset if you are exporting videos for YouTube. The other important aspect to keep in mind is that your frame rate is based on the source. If you remember creating a sequence lesson, we created a sequence using a frame rate of 23.976 frames per second, so it's important that we export with the same frame rate. Based on source will do, It will match the sequence settings frame rate to our export settings frame rate. [NOISE] But I do prefer a preset over the YouTube or Vimeo presets themselves. Now, if you scroll about halfway up, you'll reach high quality 1080p HD. This is what I prefer. It's a bit higher quality, has a higher bit rate than the YouTube and Vimeo presets, is suitable for any online platform. Click, "Okay" and that's it. That's all you have to do. Once you select this preset, you can click "Export" and then our video file will be created. Now, if I tab over to my window browser and open up the exports folder, could see my newly created video file right here. Double-clicking and opening it allows me to view it within my [MUSIC] chosen video player and this video file can easily be uploaded to the web. Congratulations on getting this far in your edit. This is a huge accomplishment. This point you should have a rough edit of all of your assets together and if you want to do some tweaking to your edit, this is a great time to do that. Remember to think about the beats that your edits are on and if you don't have music, think about the rhythm and the variety of lengths of your clips. In addition to the pacing and rhythm of your project, think about the composition of your clips, especially in relation to the graphics that we've placed on our timeline. Use the effects controls panel to adjust this as necessary to create compositions that you find the most effective in telling your story. [MUSIC] If you haven't done so already, finished tweaking your project, then export and upload your video to show other students and for feedback. To recap, the export process takes everything in your timeline, renders it or compile it together and then encodes it into your selected format. You end up with a single video file which you can use the playback and upload to the web. The export settings you choose will be determined by where the final destination of your video will be. Because we are exploiting and uploading for web, we really have a lot of options here. Of course, I want you to learn as much as you can about export settings and everything that comes along with that. But because this is a beginners class, I suggest that you start by using presets. The preset I recommend is the high quality preset. This preset works great for uploading to a variety of different platforms online and provides adequate playback. Great job on getting this far. Now, it's time for the final recap. 19. Final Recap & Thank You!: Congratulations on completing this class. It is no small feat to begin your learning journey in Adobe Premiere Pro, so I commend you for that. In this class, we began with the project folder and its assets. Stay organized to avoid any issues with missing files and to be as efficient as possible. We then created a new Adobe Premiere Pro project, saved it in our project folder, and imported all of our media, including video, audio, and graphics. Adobe Premiere Pro can be intimidating, but moving through each panel as part of the editing process makes things a little less scary. We organized our assets, which are located within the project panel, then created a sequence, which is basically a container for all of our media. We can open up this sequence within the timeline where we can then utilize the various editing tools and add things like slow motion. We, of course, can also preview our entire edit, and not only can we preview our edit or our clips within the program monitor, but we can also do so in the source monitor, which is really the main tool for previewing and pre-editing our clips before we move them into the timeline. The work completed within the timeline made use of the effects controls panel, which gives us more creative control over our clips and text properties. Finally, we made use of export presets to streamline the export process, ending up with a single file for viewing and upload. Now, that was a lot of material we covered and there's even more to learn, but that was a great place to start to hone your video editing abilities and to expand your technical knowledge of Adobe Premiere Pro. If you have a class project ready for upload, please be brave enough to do so as it will help encourage others to upload their own project. Please follow my profile for updates, new class releases, and occasional giveaways. Please also consider reviewing this class. Your feedback helps me to improve and be better. Thank you so much for taking my class, and remember, story is your guide. Oh, I actually didn't really mention story in this class, so if you want to understand what that means, then try taking some of my other classes and you can learn more about storytelling. Until next time.