Video Editing In Adobe Premiere Pro For Beginner YouTubers

1. Introduction: Video Editing is impossibly hard. That's what I told myself after a few times of trying and failing to do it. But that was two years ago. And after making hundreds of YouTube videos using Premier Pro, I've gotten so used to this process. I taught myself how to edit videos by watching YouTube tutorials and experimenting myself. And so over time, I refined my editing process to be extremely efficient. So in this course, I'll take you through my Video Editing Workflow if you want to create your first video, but you're not quite sure how to get started. Then this course is for you. I'll tell you everything you need to make a YouTube video from start to finish. Firstly, we'll walk over all the basics like how to create a project, navigate Premiere Pro, interface, import and organize Footage, Create Sequences and cuts, transitions, Effects and Keyframes. Then we'll learn how to edit Fast by using keyboard shortcuts, Adjustment Layers, and other effective editing techniques. Next we'll explore The Art of storytelling and engagement, which will allow us to make videos even without showing her face. And finally, we'll add a cherry on top with audio and sound effects to create an immersive experience for our viewers, I'll be going through things step-by-step. So feel free to skip sections that you feel like you've already mastered or slow down and rewind. If you miss something in this course, you'll see me using Premiere Pro because that's the software that are used for Editing my videos. But most, if not all, the things that you'll learn should work in any other popular editing software, such as the Vinci Resolve, you'll probably just need to figure out how it's called and where to find it. I designed this course for complete beginners. So you don't need to know anything about creating videos in order to start, all you need is a computer and a Video Editing Software, in this case, Premiere Pro. So yeah, thank you for watching and hopefully we'll meet on the other side. 2. Class Project: Awesome, Welcome to this course. In this lesson, I'll tell you about the class Project and it's going to be very simple. By the end of this course, I want you to make a simple video by using the key takeaways from this course. It doesn't have to be anything extreme. Just a short video with some of the editing techniques that you'll learn later and then post it in the project gallery so others can take inspiration and see the progress that you've made. But the main thing that I want to emphasize here is that it's very important to try out new things that you learn yourself. You see our brains are not designed for keeping information when we don't put it to use. That's why I encourage you to open Premiere Pro and go along with me pausing the course along the way and trying the Keyboard Shortcuts, tips and techniques yourself. As I showcase them, that way you're going to improve your chances of actually remembering stuff when you need to use it in the future. And with all that said, I'll see you in the first lesson. 3. The Types Of Videos I Create: Now before we jump into things, I want to show you what Types Of Videos I make and how I go about making them so that there's some context as to why I'm showing you the specific editing tips and techniques in this course. So essentially there are two types of videos that I Create for my YouTube channel. Number one is a Voiceover Video, and number two is a talking hands Video. Conventionally, it would be called a talking head video because people usually show themselves, not their hands, but that's what I do. Now it's different as to how I put each of these videos together. Let's start with the Voiceover video. So the first thing that I do is write out a full script for this video and then record a Voiceover. I then lay out the Voiceover in my Editing Software, which is Premiere Pro, and then Cut up the Voiceover and remove all the mistakes. Next, I gather or record Footage myself and add it on top of the Voiceover and thus compose the video that way. And for the second format with the talking hands, I usually don't write a full script for such a video, but just bullet points or a rough outline. In some cases, I do scripted out fully. Next, I record my hands as I speak and then import that footage into The Timeline. This is called an aryl, and then I record and add different Clips on top of my a roll, which is called B-roll, and thus can pause the video that way. I usually never create videos outside because I'd never go outside. And that's why most of the shots that are used for my videos are stationary or handheld and shot inside. So in this course, I'll show you how I make these Types Of Videos. So a Voiceover based video where you can just showcase your screen recording or some footage on the screen and they talking hands or a talking head video, because they're essentially the same, just like this one. Now, these formats are pretty versatile for YouTube videos because essentially you can create almost any type of video with this format. The only exceptions being vlog style videos and spectacle style videos like Mr. Beast mix. That's why in this course, I will not be focusing on holding your camera or color correcting because that's a thing that I don't do frequently for my own videos. So let's open up Premiere Pro for the first time and see how to do it. 4. Creating A New Premiere Project: Let's open up Premiere Pro for the first time. So this is what you're going to see once you install the software on the screen that opens up, you'll be able to see your recent projects and then open a new project or create a new project, I'm going to click Create New Project. At the top-left, I can see project name where I'll be able to name my project. I'm going to call it less than one. Then in the project location, I can expand this and choose where I want to save my project. I'll click Choose location and select my desktop. Now, I usually ignore all of this, which lets you import footage from this screen into Premiere Pro, and they usually do it later. So now I'm going to click Create. There we are inside of Premiere Pro. Right now it's empty because there's no footage inside, but that's what we're going to figure out next. So this is how you create your first project. 5. Layout Of Premiere Pro: When you first launch Premiere, this is probably not how it's going to look like because you can move all of these panels around and resize them around however you want. I've resized them in a way that it fits my editing style. You'll probably see something like this in the very beginning. And this is just too cramped for me. But let's see how to move these panels around and place them wherever you want. Essentially, if you want to resize a panel, just click on it to highlight it. And then on the border here, just click with your mouse and drag and you'll be able to re-size whichever part of Premiere Pro that you want. Now at the top of each panel, you'll see its name and this hamburger icon. You can click on the name and drag it somewhere that you want. You'll notice these blue boxes appear and this basically indicates where you want to please the panel. If I want to place it on the very left-hand side of the screen, I can move it left and then a little more left. And you'll notice this green bar. That means that the panel will take up the whole left side of the screen. I'll show you my favorite layout and you can copy it yourself if you want. The Project panel goes up here by the Effect Controls. Then I close out the libraries, I close out the Media Browser, I close out the info Effects, go here at the top. Markers I close and history I close. Now you'll notice that the timeline spans across the whole screen, which is what I want. The Timeline is where I do most of my work when editing a video. It's where you see all of your Clips and you can move them around. Now this panel is the audio meter. It will jump up when there's some sort of audio playing in the timeline. But you'll notice if you expand it just a little bit, it starts showing the audio levels and that's what I want. So I'll keep this panel very tiny, but not too tiny so that I can see these Audio Levels which will be important later on. On the left, I have all my tools here. I have the Project panel, the Effects panel, and the Effect Controls panel. Then I close the Source panel because I rarely use it. And if you accidentally close the panel that you didn't want to close, you can always go to window and look for that Panels name. So I just close The Source Monitor. I can click on it and it will open back up to close it. I can just right-click close panel. Now, there are a few more Panels that I like to add to the default layout that I use quite frequently. Essential Graphics, Lumetri, Color, and essential sound. Now you'll notice that now these Panels take up the whole right-hand side of the screen. So I can take each of these Panels and attach them to the right side of the Program Monitor. Now if there are separate like this, I can click and move them into one single panel. Now when I want to change between them, I can just click like so. This is my preferred layout. I have the timeline over here, the tools on the left, the audio meters on the right, The Program Monitor in the center, the Effect Controls Effects and the project panels on the top-left and the Lumetri Color and essential graphics panel on the top right. Let's import some files to see what each of these panels can do. 6. Importing Footage & Housekeeping: In order to Import Footage to Premiere Pro, you can either go to Import on the top here and then browse for the footage on your computer through this Premiere Pro interface. But I don't really like that. What I usually do is just drag and drop stuff in here. So for example, I have this folder here on my desktop with my footage. I can just take it and drop it into the Project panel. It's important that I drop it in here in the project and not in the timeline. This is how it would look like if I was using my own layout, I'll be using it moving forward. Now there are few important things to mention when talking about organization. So right now I have everything in one single folder, which is not the best way to go about things. What I usually do is create new folders for specific projects that I'm working on. So for example, this will be Video one than another folder for video two. Now, let's please this footage inside of video one and see what happens inside of Premiere Pro. If I go back, you'll notice that it located media for a little bit. It was trying to find it, which means that Premiere Pro doesn't actually store files within the program. It's sort of locates them on your computer and then link them together. This helps keep this project file small. And that also means that if you move your footage around, Premiere Pro will not be able to find it. So for example, if I place it on my desktop and not within this folder and go back to Premiere Pro. You'll notice that it didn't find my footage. It doesn't know where it is. It's asking me to link media, but I can do now is click Locate and then go through here until I'm on my desktop, which is not ideal and I would rather not have to do this because my footage is usually deep inside some of these folders and not on the desktop, but in this case, I can click desktop Footage and click Okay, and now it linked it back together. The folder structure that I use for my videos is something like this. I have a folder for each video. Then inside of it I have a folder called B-roll, which basically houses all of my visuals. So Footage would go into the B-roll folder. Then I have a new folder called unedited sound because I record my audio separately and I'd like to keep the original after I edit it, and that's pretty much it for the Video folder now somewhere separately on my computer. So not within these Video folders, I will have a music and sound effects folder, which will house all of my sound music and sound effects from everywhere that I've gathered. When I open a New Premiere Project, I will always go back to the place where my music and sound effects folder is and drag it into Premiere. I've imported my actual music and sound effects folder, and you'll see that I can click this arrow here to expand it. And I have sound effects, music and Video Effects. If I expand music, you'll see that I have a bunch of music tracks here, since I don't really want to redownload music and place it within each video. Every single time I work on a new video, I just have it separately and import it into Premiere Pro every time I Create a new project. Now for the projects, I have a separate folder as well called Project. So my projects live separately from the Video Footage, and the video footage lives separately from music and sound effects. Now you'll notice that Premiere created this, but it is, is basically Premiere Pro saving your project automatically for backup. So if you're Premiere crashes or closes unexpectedly or you lose power to your computer, you can always go back to this autosave folder and open the recent Auto Save to save your project once you work on your footage, Premiere Pro will add even more folders, which will include audio and video previews. Those just make it easier for the program to work. But whenever I want to work on a new video, I will just create a new folder, name it Video three, and then drag it into My Premiere Project. I usually do is work on phi Videos within one single project. And then I move on to the next project. I found five to be the sweet spot, because if I add any more, Premiere Pro gets cluttered and there's too much stuff going on. And it feels like I often lose control of what I'm doing, trying to fiddle with all the Footage and all the timelines that I have. 7. Creating A New Sequence: Now that we have our footage inside of Premiere Pro, what we can do is create a Sequence. And the sequence is essentially a container within which you'll be able to place multiple Clips of Footage, sound effects, audio, and compose your video To Create a Sequence, there are really two options. The first way is to right-click, go to new item and then sequence. But this is going to bring up a very confusing menu which I don't know how to use. So I'm going to click Cancel and then use the second method. The second method is to either drag your footage into The Timeline and it'll create a Sequence. You'll notice that the video popped up here in the Program Monitor. Or what you can do instead is right-click on the Footage and say New Sequence From Clip. It'll do the exact same thing. Now you'll notice in the Project panel, a new sequence appeared. It looks like this. You can make these icons larger or smaller, or also toggle between different views. So right now I can see this is my Footage and this is my sequence. They look the same now because they essentially are, since I have my footage inside of the sequence. So let's go back here. Now for example, if I have a screenshot or something and then I import it into Premiere Pro and then Create a Sequence From this. You'll notice that the sequence sort of inherited all the aspects of the screenshot. So the size is smaller. The FPS over here is also different. This essentially means that whatever clip you use to greet your sequence will have its settings applied to the sequence. So if you want to create a video in 30 FPS and your footage is in 60 FPS, your sequence will be 60 FPS. How do we change that? We can go up here into Sequence and click Sequence Settings cure. You'll be able to customize various different things about the sequence. For example, the size of your video. I'm going to make it HD for this example. So 1920 by ten at, now, I want it to be 30 FPS and not 60 FPS here in the Time-based, I can expand this and choose 30 frames per second when I click Okay, and then OK, again, my sequence will have changed. You'll notice that my footage is 60 FPS and the sequence is in 30 FPS 8. FPS - What Is It?: Fps is essentially how many times per second your Video refreshes. So if it's 30 FPS, that means every single second that the video plays, your eye will be able to see 30 images. Because a Video is essentially just a bunch of images put together. They just switch very quickly, so our eyes interpret it as a Video. Now, what kind of FPS Should You Use? Well, for YouTube videos, they are essentially three options that you could choose from. The first one is 24 of PS. This one loves the copyist, but it's what most people are used to because most movies are shot at 24 FPS. This makes your footage look cinematic. Then there's 36. This one doesn't look super cinematic, but it's also not too smooth. So it's a nice middle ground. Graders like Peter McKinnon or Ali Abdallah use 24 FPS in all of their videos. And creators like MTBE HD use 30 FPS. So it's really just a matter of choice. And then there's 60 FPS. 60 is best for something like gameplay footage where you want stuff to look super smooth. Now if you're doing screen recordings like I'm doing right now, your footage will usually be recorded at either a 30 or 60 FPS. Which means that if you want to make a video that has a lot of screen recordings, you should probably make your Sequence either 30 FPS or 60 FPS. The good news is that footage that you record it at 60 FPS could easily be converted into 30 FPS to know if your footage easily converts, what you can do is simply divide the larger FPS by the smaller FPS. And if you get a nice round number, like to hear, that means that you can convert from 60 FPS To 30 FPS without experiencing any drawbacks such as repeated frames. Now, what if I wanted to convert 60-24? I would divide 60 by 24. And you'll see that I don't get a nice round number. That means that it will not convert very nicely and that will get repeated frames after some time. Now if you're interested in learning more about this topic, this is a great one-hour long video from Terran, who was a former editor for Linus Tech Tips. He explains everything there is to know about mixing different frame rates. In this video, I highly recommend watching it. But if you don't really care, just know that 24 usually looks cinematic. 30 is a nice middle ground and can be converted down from 60 Without any drawbacks. And 60 is good for smooth playback. And if you're starting a gaming channel, basically, it looks very nice and smooth 9. Mastering The Timeline: Once we have the clip in our timeline, we can start editing the video first things first, you can zoom into your timeline by using these sliders over here, but these are kinda finicky and hard to get used to, which you can do instead is hold Option on Mac or Alt on Windows, and just zoom in with your scroll wheel. Next up you'll see this blue thing and that's called the playhead. If you move it two different spots in your timeline, you'll notice that the footage in your Program Monitor is changing and now the video is paused. So if I want to unpause it, I can click Space-bar or this Play button here, and it'll unpause. You'll see that the play head is moving along as the videos playing. Now you can click with your mouse on this clip and move it around. You can move it either left or right or up and down. Why would you want to move it up? You'll notice a bunch of stuff here on the left. These are called tracks. So each line here represents a track. And what attract basically is, is for example, if I import something else here like this screenshot and place it on the timeline, you'll notice that it was put on the second track. If I start the video and play head moves onto this clip, you'll notice it will appear on the Program Monitor. That's how you can stack multiple clips together in Premiere. Now there are three Video Tracks and three audio tracks. You can add a new track by simply moving your clip up where there's no tracks and a new one will be created or moving your audio down here and a new audio track will be created. If you've done something that you didn't want to do, You can press Command Z on Mac or Control Z on Windows to undo. So let's talk about these tracks here. Let's not worry about all of this stuff here, and let's focus over here so you can click the mute button and it will mute the audio from this video. Now you'll notice that if I play it, There's no Audio. If I click this again, there is Audio. If I have multiple audio tracks and mute this one, I will still be able to hear the other one beneath it and the letter S, Let's use Solo attract. So no matter how many tracks you have, you can have 50 or 100 tracks. If you click S, only this track will play. It's very useful so you don't have to mute everything else like this individually. One more thing that you can do in the timeline is click and drag to select multiple clips. I want to delete all of these audio clips. So I'm going to press Delete on my keyboard and they're gone. What I can also do is lock attract. So if I click this lock icon here, I will be able to move the top track anywhere I want and do whatever I want with it. And if I start cutting up this Footage, you'll notice that this track doesn't change at all. You can also lock video tracks. So now I can screw around with audio and the Video Track doesn't change, it stays in place, and there's nothing I can do to it. Now, you'll notice that when I click on the video track, the Audio Track Select as well. And that's because I have this option enabled Linked Selection. If I disable it, you'll notice that if I click on the video track, it selects separately. I like to keep this on at all times because if I select and move audio separately, it will now not be sync with my video. So it's a good practice to always keep this on. This option is called snap in Timeline. So if I have another clip in my timeline and I disabled the snap feature, you'll notice that if I move my clip, it's very hard to align it. I have to zoom in and align it exactly. It doesn't snap into place. If I have snapping enabled, if I start moving my clip close to this clip, you'll notice that it snaps in place so it makes it easy to align Clips, which you can also do in the timeline, is adjust the size of Clips. If I move my mouse at the very edge, you'll notice my mouse cursor changes into this red thing and they can click and drag left to make the clip shorter. Now, I can do the opposite if I want to make it longer and once the clip ends, it will no longer. Let me make it longer. One more thing that you can do is click this I here and it hides the track. It doesn't lock it, but it makes it invisible. So for example, if I had this screenshot here in the middle of the screen, and I want it to work on the bottom clip, but this one is blocking the view so I can just hide it and do something with the bottom clip, maybe make it shorter or add some Effects. I'll be able to see it because this is not blocking the view to make this clip visible again, just click on the eye and it will become visible. I'll talk about the track targeting later because it's not important for us right now. Now if you have a small screen which you can do is make your tracks bigger, you'll notice that if I hover my mouse over the edge of both tracks, I can now drag it up to make it larger, or drag it down to make it smaller. I can also do the same with audio tracks. So I can see the audio waveforms. If I hold the shift and double-click on this gray area right here, it will make all the tracks the same size. The first time you do it, it makes them the default size. And the second time that I hold Shift and click on this gray area, it makes them double sized. So now all the video tracks or bigger, if I do the same on the audio tracks, hold shift and double-click, make audio tracks bigger. If I want to return back to default, I can do it manually or I can hold shift and double-click and it will return how it was before. Another way is to use a keyboard shortcut Command or Control plus on Windows will make the track bigger and command minus or Control minus on Windows will make it smaller. I usually never make my video tracks larger. I only do it with audio because when I'm editing Clips, I look at my audio waveform and based on that, I cut them up more about that in another lesson, you'll notice that there are a bunch of tools here on the left. So let's find out what you can do with them. 10. Duplicating Clips Fast: The first tool in our arsenal is the selection tool. It's basically your mouse pointer, but you can do with it is click on your clip, drag it around, and also click on the empty space. So for example, if I have to Clips like this and I click on the empty space, I'll be able to click, Delete and delete the empty space. It will join these clips together. I can click on the empty space here or here, and also click Delete to delete that space. With this tool, you can move and resize everything that you want. Now it's very important to memorize the keyboard shortcuts for these tools because that's what you're going to want to use. It's very slow switching them with your mouse. And you'll have to do with thousands of times, which will cost you a lot of time. So the keyboard shortcut for this tool is V. If I have another tool in my hand and click and V, it will toggle back to the Move tool. The next tool is the Track Select Forward Tool and the keyboard shortcut for that is a, what this tool allows you to do is select everything on the right of these arrows in your timeline. So if I click here, it will select everything on the right. You'll notice that it didn't select this first clip. If I move my arrows here where it covers the first clip and click once you'll notice that it's selected this clip as well, what I can also do is select with my move tool, the keyboard shortcut is V, so I can just click and drag to select. However, the move tool is not always useful for selecting stuff. If you have a super-large Timeline with a lot of Clips, then it's going to be very hard to select everything precisely with the Move tool. That's why we can use the track select tool. If I want to select everything from here onwards, I can click a to bring up the track select tool, and then just click here and it'll select everything up until the very end. Keep in mind that if you have your track locked, it will not select it. You will not be able to move your locked tracks with any tool, whether it's the Move tool or the track select tool. What you can also do is hold shift, and instead of two arrows, you get one arrow. This will let you select everything in only one track. So if I click on this track, it only selects footage that's in that track. So if I want to move only the bottom track, I can select it, press V on my keyboard to bring up the Move tool and just move these tracks like so. The next tool is the rate stretch tool and the keyboard shortcut for it is our, don't worry if you don't remember all the Shortcuts, just try to use them every time that you switch a tool and you'll remember them over time. If you forgot a shortcut, you can just hover over the tool and it'll tell you it's Shortcuts. So what the rate stretch tool can do is change the speed of your Video. I can either increase the speed, like so. And you'll notice if I play it back, it became wave Faster. And they can stretch it out the other way to make it slow motion. You'll see that now the clip plays very slow, but this tool doesn't really allow you to change your speed precisely. You'll see now it's at 46.79%. What if I want to do 50 per cent? It's going to be very hard to use this tool and adjust my clip to where it's 50% exactly. What I can do is click command R or Control R on Windows. And it'll bring up this clip and Speed Duration panel. The other way to get there is to right-click and click speed and duration. Now I can type in 50% click Okay, and my Clips speed is now 50%. Cool. Next is the eraser tool. If I hover over my clip with the razor tool, you'll see this line up here. And if I click, it'll split the clip. So if I come back to the Move tool V and then move this clip, you'll notice that it's separate from that clip. Then I can press C to go back to the Cut tool and then make all the cuts that I want. I can then bring up the Move tool with the V Keyboard Shortcuts and move all of these clips around. However, I don't recommend using the Cut tool because it's very slow. I'll show you a keyboard shortcut, which will allow you to Cut up your Clips like so Without using the Cut tool later on, because cutting is the action that you'll do very often when editing videos. Let's move over to the next tool, which is the hand tool. I'll skip over these three tools. So the slip tool, the Pen tool, and the rectangle tool, because as a beginner, you're probably not going to use them and they're quite complicated. So what the hand tool allows you to do is just click and drag on your timeline. That's it. You can use it instead of scrolling. But I found that using my mouse scroll wheel to move horizontally through the timeline and using alt or option to zoom in and out is just a lot easier. Next is the type tool. Once you select it, you can come up to the Program Monitor and click once to add a text to your video. Text appears as a separate element in your timeline, which you can resize, move around, and place anywhere that you want. I'll talk about manipulating text in the next lessons. The only annoying thing with this tool is that you can switch back to the Move tool by using the keyboard shortcut, because if I press V, it just Types the letter V. So what you have to do is just click on the Move tool with your mouse and then you'll be able to get back to it. That's the only drawback of the type tool with any other tool, you can toggle between them by just using keyboard shortcuts. So this was the overview of the most basic tools 11. Tools & Basic Keyboard Shortcuts: Now you'll notice that I'm always duplicating Clips. There are two ways to do that. You can either click on a clip, press Command C on Mac or Control C on Windows, and then come somewhere else and Command V or Control V to paste. However, this is very slow, but I can do instead is select a clip hold Option on Mac or Alt on Windows and just simply drag. This will duplicate my clip 12. Cutting Clips Fast: Cutting stuff inside your timeline with the razor tool is kind of slow, especially because you have to constantly switch between your move tool and eraser tool. It's a lot faster To Cut Clips with a keyboard shortcut like this, and I'll show you how to set it up. So to find keyboard shortcuts, go to Premiere Pro and keyboard shortcuts. Here you'll be able to customize every single shortcuts in Premiere Pro. And there's a lot of them. So you can see the basic ones like the zoom tool is Z. You can also click on your modifier keys to see Shortcuts with those commands. So for example, command Z would be undo, and I can click on command to see just the default Shortcuts. Now I think the default shortcuts to split the clip is Command K, control K on Windows, but the control and command keys are very far away from the K key on your keyboard. And since you're going to be cutting up Clips a lot, it's better to set a more easy to reach Shortcuts. So what I have done is set my S key to add, edit, edit, edit basically means split a clip here in the search bar. I can search ad edit. And then over here where it says shortcut, I can click on it for you. It's going to look something like this command K. So I can click here, click the X, click again, and then press the shortcut on my keyboard that I want. So it's going to be S for me. So now once I click, Okay, I'll be able to hover over my Footage and hit S on my keyboard and it will split it immediately. This is going to save you so much time because you won't have to constantly switch to the Cut tool and then back to the Move tool. I would recommend working not with your mouse but with keyboard shortcuts because that's going to greatly improve your editing speed. Also, if you've made a lot of cuts and then you can't go back with control Z. As you can see, I'm pressing Control Z and nothing's happening. You can select the Cut like so by just clicking on it and then click Delete on your keyboard and it will remove it. So as long as the clip is the same, you'll be able to remove the Cut. But for example, if I move this part over here, I will not be able to remove the Cut because obviously it's not from the same clip. It's not continuous. But if I move it back where it was before, I'll be able to simply hit delete and remove the Cut 13. The Effect Controls And Effects Panels: Let's talk about the Effect Controls and the Effects Panels. The Effects panel lets you search up different Effects and add them to your footage. And the Effect Controls panel lets you customize those Effects. If I go to Effects and look for something like horizontal flip, I'll be able to click on the Effect and then drag it onto my footage in the Timeline. And once I let go of my mouse, this effect will be applied. So you'll notice that my Footage flipped horizontally. This is how it was before. This is now before. Now, what I can do now is go to the Effect Controls. And here I'll be able to see all of the Controls for this clip. Now if you don't see Effect Controls, That's because you don't have a clip highlighted. So once I click on the clip, all the Effect Controls appear for that clip. Now, every single clip has these Effects, Motion, Opacity and time remapping, and anything else that you add appears on the bottom. If your clip comes with Audio, you'll also see Audio Controls. You'll notice that horizontal flip has appeared. So every single time that you apply an effect to your footage, it's Controls will appear within the Effects Controls panel. But for now, let's go back to the Effects. As you can see, there are a bunch of default Effects within Premiere. You can also create your own presets and your own Effects like I have done here. So here you'll find Effects for Audio like various filters and equalizers, noise reduction and everything that you can possibly apply to your audio. It's easier not to go through these menus and simply search for an effect with the search bar, because there are a lot of Effects here and you'll waste a lot of time looking through these folders. Now, one of the most common Effects or Video Transitions, for example, if I Cut up my video like this and move it to the very end, you'll notice that when these Clips change, there's a very harsh Cut. Let's look at that again. What you can do is apply a transition if you want to make it more seamless. So let's go to Effect than Video Transitions. And here you can pick from any transition that you want. These folders are full of interesting transitions. So I'm going to click dissolve and choose cross dissolve. This is the most popular transition that you'll see out there. It basically fades from one clip to another. Now, normally you would apply Effect by dragging them onto the clip itself. But with transitions, this sort of live in-between two Clips. So that's where you need to drag it. So I'm going to pick it up with my mouse and then drag it in between both Clips, like so. Now you'll notice that when I play both of these clips back, they nicely fade together. It's very hard to see the harsh Cut. Now if I don't like the length of this transition, I can zoom in. And then when I hover my mouse over the edge of the transition, you'll see that I can pick it up and extend it or make it shorter. Let's see how it looks. If it's shorter, the Cut is still not visible. Now for YouTube videos, you don't really want to use a lot of transitions. It's better to use just hard, simple cuts, but it's useful to know that transitions exist. I'm going to add a blur to this clip. So I'm going to search for a Gaussian blur, which is the name of the blur effect. Click on it and drag it onto the clip. Now you'll see that on the Effect has been applied to the clip because this Fx here has turned green on Clips that don't have customer Effects. You'll see this yellow rectangle. And here on the clip that I've applied a customer Effect, you'll be able to see a green rectangle, but nothing happened. Nothing became blurry. And that's because I need to control the Effect in the Effect Controls. So if I scroll down, I'll be able to see gaussian blur. This wasn't here before because I hadn't yet applied an effect. So here I can see blurriness and I can input a number. So for example, 100. This will now blur my clip. Now instead of clicking on the number and then entering it, you can simply hover over it and then drag right or left to increase or decrease the value. If you want to go to the default value, just click this arrow here and it will reset it to default. This works with any effect that you apply. So these are the basics of how to add effects to your Clips. 14. Linked Selections: If you want to detach your clip from Audio, you can select, right-click and choose unlink. Now when I click on my footage, I'll only be able to see Effect Controls for this clip because it's separate from the audio. Also, I can now freely move this clip without moving the audio track. There's also a keyboard shortcut for this. It's Command or Control L. So when I press Command L, the footage will be unlinked. And if I select both of them again and press Command L once more, they will be linked. This little V here indicates that the footage is linked. So once I unlink it, the V disappears. It's an easy way to tell if your footage is linked with Audio. Now, if you want to remove audio from a clip, you can hold Option and select only the audio and click Delete on your keyboard. The same goes for footage. If you only want to select a certain part of a linked clip, you can hold Option and click on the part that you want to select. It will select them separately. Keep in mind that you can link multiple things together. So if I unlink and then link again, all three of these clips are now linked. So even if I select this text, everything moves together and you can see that it's linked from these V indicators. They might not be visible on some Clips if you're zoomed out too far, but if you zoom in, you'll be able to see it. So this is how Linked Footage works in Premiere 15. Mastering Effect Controls: Once you click on a clip inside of your timeline, you'll notice that in the Effect Controls panel, there are bunch of controls that appear. All of these controls are usually default for every single clip and they let you change the motion of your clip, the opacity of your clip, and the speed of your clip. If you're clip has Audio, they'll also let you change the audio of the clip. So let's explore what they do. Let's start with the position. This is the horizontal position, and this is the vertical position. Now the scale Controls how much your clip is zoomed in. So if I drag it to the right, you'll see that it zooms in more. And then if I drag it to the left, you'll see that it zooms out more. If I click this reset arrow, it resets it back to how it was before, but it only reset the scale if I want to reset motion as well, I'll click on this arrow and it'll reset motion. Now what I can also do is click on the word position and you'll notice that this blue rectangle appeared outside of my footage, which means that I can hover my mouse inside of the program, monitor and control the position with my mouse. So I can just drag this clip wherever I want it to be. The same goes for scale. If I want to increase the size of the clip, I can simply hover my mouse here and adjust the size. Now if you forgot to highlight your clip, which you can do is come to The Program Monitor and simply double-click on the clip and it will select it like this. You'll be able to move it around and resize it. One important thing to mention, if I have another clip on top of this clip and I double-click onto it. It will select that clip, but it will not select the bottom clip. That's why if you have a bunch of layers of Clips, you'll most likely want to select the clip first, then click on motion, and only then move it with your mouse. You'll also notice that when I move this clip around, the numbers on the left in the Effect Controls panel are changing and the same thing happens with scale. Now, rotation is pretty self-explanatory. If I drag it right, it's going to rotate it right? And if I drag it left, it's going to rotate the clip left. If you want to adjust these parameters in smaller increments, you can click on the number and click the up or down arrow key, and it will rotate it by one. If that's too slow, you can add shift and these numbers will jump intense. So if I have the rotation set at zero, I click inside of it, hold Shift and click the up or down arrow. It's going to change the rotation in increments of ten. Now, if I hold Control and click Up or down, it's going to change it in very small increments by 0.1. And if I just press my arrows, it's going to change them by one. So that's also the way that you can control these parameters. Now, let's look at opacity. It controls the visibility of your clip. So if I drag it down to zero, the clip becomes invisible. And if I drag it up, it becomes visible. Blending modes basically work the same as in Photoshop, but I'm not going to go through them right now. Now. I usually never changed speed in this panel because I can use the Rate Stretch tool by clicking R and then adjust the Clips speed like so. Or I can click command R and then input the speed that I want. So if I want the clip to be at 100% speed, I'm just going to say 100 here and click Okay, and the clip became 100% speed. Now the reason that this clip didn't become longer is because this clip was in its way. So when it became 100%, this Clips cut into this clip. You'll notice that in Premiere, if you move one clip over another cliff, it overrides the other Clips. So if I wanted to return back to how the clip was before, I would have to move it back and then stretch it back out. And if I check the Clips, speed is at 100%. So this is how you change Basic Controls of a clip inside of Premiere Pro 16. Copying Effects Across Clips: Now what happens if you've Cut up your clip a bunch of times and you want to apply an effect to multiple clips at once. The first way to do that is to select a bunch of Clips and then drag your Effect onto multiple clips. But this is not very efficient because you'll still have to change the Controls for that effect for every single clip individually, it will not change all of them at once. Another way is to set up all of your Effects on one clip, then go to Effect Controls and edit all of the effects however you want. And then select the clip, hit Control C, select all the other Clips, then right-click and choose Paste Attributes. A new window will pop up and it'll let you paste attributes from one clip to another. And attributes are basically Effect. So here I can choose what I want to paste. Right now. I don't want to paste volume, so I'm going to deselect it. I only want to paste the Gaussian blur and the Zoom amount. So I'm going to leave motion and Gaussian blur checked once I click Okay, All of these other Clips will now look the same as the first one, because I've pasted the motion attributes which are positioned, scale and rotation, and also the Gaussian blur attributes. What you can also do is select multiple clips or one clip, then right-click and choose remove attributes. Here you'll be able to change which attributes you want to remove. So let's say that I want to keep the Clips motion, but I don't really want to keep the Gaussian blur. So I'm going to deselect everything and choose to only remove the Gaussian Blur once I click. Okay, you'll notice that these three Clips kept the same scaling, but there is no longer the blur effect. And the other Clips still have the blur effect. So this is how you can easily paste attributes from one clip to another and remove attributes from multiple Clips 17. Mastering Keyframes: Now you know how to zoom into a clip by using the scale attribute. But if I click play on my keyboard, this clip is not moving. But what if I want to zoom in on this rock? One way to do that would be to cut my clip in half by clicking Command K or S to split the clip. Then on the other clip, I will just adjust the scale attributes and the position attributes to where they're positioned on this rock. Then when I play the clip, it's suddenly just zooms into this rock. But what if I want to make it a gradual Zoom? What I can use are called Keyframes. If I click on the word scale here, it will add a keyframe. This right side right here, acts the same as your timeline. You'll notice when I move my play head, it also moves in my timeline. And over here, It's just zoomed into this clip. So if I move it to the very end, you'll notice that it's at the end of my clip. So essentially when I select my clip, this is a zoomed in Timeline into the clip. It's very useful for adding Keyframes. Now let's add another keyframe, and you can do that by clicking this diamond here. And now I have two keyframes onto this clip. Let's see what happens when I play the clip. Absolutely nothing, because I haven't adjusted these Keyframes. Now to select and adjust the keyframe, you can simply click on it with your mouse and you'll notice it turn blue. I can now move my play head onto the keyframe, which will allow me to see what I'm doing. By the way, if you hold shift and move the playhead around, you'll be able to snap exactly on the keyframe. So now let's increase the scale. What happened now is you'll notice if I scrub left, it's sort of gradually zooms in. And that's because this keyframe is at 89 and this keyframe is at 300. Let's look at what happens if I play the clip. It starts zooming in when it's in-between these Keyframes. What you can also do is just click on the keyframe and move it a little bit to the left to make the zoom and faster. So if I play this again, you'll notice that the zooming happened a lot faster. So that's what you can deal with Keyframes. Now, if I wanted to, I could click on the first keyframe as well, then hold shift and move to it with my playhead so that I can see what I'm doing and zoom even more out like this. Now if I play back the clip, you'll see that in-between these Keyframes, it's sort of gradually changes the Zoom amount until it reaches the second keyframe. What I can also do is add another keyframe here and then say that I want to zoom back out To this. I'll just move them closer together so it happens faster. And you'll see that when I play my clip, it zooms in until it hits this keyframe and then sorts zooming out until it hits this keyframe. Now since there are no Keyframes here or here, when I play it in the beginning, the clip just stays stationary. One very important thing to note is that if you make your clip shorter on the timeline, you'll only be able to see some Keyframes because you cut off the others. Remember that this zooms in only on the clip, on The Timeline. So if you want to see other Keyframes, you have to expand the clip. So and now all the Keyframes are visible. To remove a keyframe, you can click on it and press Delete on your keyboard. Or you can remove multiple Keyframes by simply clicking and dragging over them and then clicking Delete. Now, I can also add Keyframes for deep position. So if I add a keyframe here, this will lock the current position. I will move my playhead to the right and specify another position. And once I added one keyframe, I don't really have to add another one. As soon as I start changing parameters, it will automatically add another keyframe for me. This makes my job a little easier. So now I'm going to move my clip to the top-left, like so. And let's see what happens when I play my clip. There are no Keyframes here, so the clip isn't moving and then it starts moving to the position until it hits this keyframe. And then it stops moving because there's nothing here as well. Now you'll notice that the transitions between two keyframes are harsh. So if I want to zoom in, this, Zoom in, sort of starts and stops abruptly. What you can do to make the transition nicer is right-click on the last keyframe and then choose ease in and right-click on the first keyframe and choose Ease Out. You'll notice that now the transition becomes a lot smoother. That's because it's not linear. If I click this arrow here, you'll be able to see the curve of the transition. If I zoom in here, you'll notice that it's a nice Ark. But when I had them both set to linear, you'll notice that it's very harsh. It's sort of starts moving in instantly and then stops instantly. But when I select the last one and choose Ease In, you'll notice that the ending becomes very smooth. And when I choose the first one and choose ease out, the beginning becomes very smooth. And so it starts off slow, then gets faster, faster, faster, and slows down at the end. You can also control the speed of these transitions with these handles. But for now, just know that if you click ease in or ease out, the transition is young to be a lot smoother. The same goes for the position attribute as well. So if I set my position here and then I want to move the clip here, you'll notice that if it's set to linear, it will start moving very quickly. Then stop moving very quickly. I can select the last keyframe, right-click Temporal Interpolation, and choose ease in and for the first keyframe, right-click Temporal Interpolation and choose ease out. Now you'll notice that one might Clips moves. It eases into the movement and eases out of the movement. Like so. Now, if you've selected this clock, which enables Keyframes, you'll notice that if I want to adjust the scale or position of my clip, it automatically adds a keyframe and then if I want you to do it here, also adds a Keyframes. So if you want to stop Keyframes and adjust the clip just normally without any transitions, you can simply click on this clock and choose, Okay, and it will remove Keyframes. So it doesn't matter if I adjust the position here or here, the position will stay the same throughout all of the clip, I can do the same for scale as well. So now whenever I adjust the scale or position, and if I move my play head to the left, nothing will change. It will not transition from one position and one scale to another. Now, if I add keyframes, adjust the size here, then move here and adjusted again, you'll see that it added to Keyframes. And now if I play it, it's transitions through both of them. So if I don't want that, I can just click on the clock, remove the keyframes, and now if I adjust the Clips scale, it will stay the same throughout the whole clip. And you can add keyframes to any effect within Premiere Pro. So for example, if I add a Gaussian blur effect to my clip, and if I want to start blurring my image slowly, I can add keyframes to blurriness, then move my playhead right and increase the blur to 100%. Now if I play back the clip, you'll see that the blur sort of emerges slowly. And this works with virtually any effect within Premiere Pro. You can set Keyframes, or if you don't want that, you can just adjust the blurriness normally, but it will not transition and stay the same throughout the whole clip. 18. Mastering The Program Monitor: This is called The Program Monitor, and it's where you see what's happening on your timeline. So if I scrub along with my playhead, you see the changes that are happening in the Program Monitor. Now there are few interesting things about this Monitor. The first thing is that if your footage is running slow, you can actually decrease the resolution at which it's playing yet. So if you click here where it says full, you'll be able to select the resolution. If I select one-fourth is going to play at a lower resolution. Now, nothing seems to have changed right now because when the video is paused, the resolution is actually false. So you can see the exact image. But when I click Play, you'll notice that it becomes a lot more pixelated, like so. And if I stop, it shows me the normal picture. So if you have a lot of things on your timeline and then you notice that Premiere starts lagging a little bit. What you can do is simply decrease the playback resolution. You can go all the way up to one-sixteenth if you have a big enough Video file. Now let's say we add a few pieces of text here. Let's say turtle. Let's duplicate it by holding Alt, clicking on the clip and dragging. Then let's put another word, ocean. I'll go back to the Move tool and then move this text down. Now you'll see that both of these are not really aligning very well. So what I can do is enable guides. Now, if you don't see these guides button, you can click on the plus icon and then pick it up from here and simply drag it down here. Guides are basically these blue things here. You can remove guides by dragging them out of your canvas. And you can add new guides by enabling the ruler. To enable the ruler, just click Command or Control R on your keyboard and you'll see this ruler up here. I usually don't have it enabled at all times because I just don't really use it whenever I needed. I just enable it with Command or Control R. Then from one of the rulers, you can just click and drag out a guide. Now I will disable the ruler with Command R. And you'll notice if I pick up my text, hold Command on my keyboard or Control on Windows and drag my text close to the ruler, it snaps in place. So I can do this with both of these text elements and they will align perfectly. Now what I can do is add a horizontal ruler like so. And now the text will snap to both of them, which is very useful. What's also cool is that you can right-click on your guide and select edit guide. Here you'll be able to enter the exact position of your ruler. Now you can either choose to specify pixels or percent. If I say 50%, this guide will jump to the exact middle of my screen. Now if I remove this one and then right-click on the vertical one, edit guide, choose percent and say 50%, it'll jump to the exact middle again. So right now I figured out where the exact center of my footage is. And now I can pick up my text and snap it exactly in the center of my footage. If I turn off the rulers with Command R and then turn off guides right here. I know for sure that the text turtle is in the exact center of my frame. Now, a simpler way to do this is to just click on the text, hold Command on Mac or Control on Windows and then drag texts. You'll see that these pre-made guides appear. Premiere Pro has these two default guides just here at all times. So you don't have to create guides yourself. But if you want it to snap texts, for example, here or here, then you can create your own guidance. I also recommend adding this Effects button, which turns off all of the Effects on your footage. This is pretty useful if you're Timeline is full of Clips that have complex Effects to handle for your computer, you can simply click on the FX button and it'll disable all the effects temporarily. Of course, you can click it again and all the Effects will reappear. So for example, if I blurred this Footage, like so, and then if I mute all global Effects, you'll notice that the blur disappears, but I can toggle it back on anytime that I want. This option will also help your Premiere run a lot faster because it doesn't have to worry about showing you all the effects that you've applied to your Clips 19. Mastering The Source Monitor: What's you'll notice is that if you double-click on your footage inside of the Project panel, it will open up any new panel called The Source Monitor. This is not the same as your Program Monitor. The Program auditor shows what's on the Timeline and The Source Monitor just shows you your footage. Now if you accidentally double-click on the name, you'll be able to rename the Footage to open The Source Monitor. Just double-click on the icon or in the empty space right here. But why would you want to see your clip inside of another Monitor and not in your timeline. You see there may be times where your footage is very long and when you drag it into your timeline, it takes up a lot of space and you have to keep scrolling in and out to see various points. So that's what The Source Monitor is for. It allows you to grab certain parts of your footage and insert them directly into your timeline. So here at the bottom, I can scrub through my Footage, just like with the playhead on The Timeline. And I can choose to either insert only the video part into my timeline or only the audio part into my timeline. I can also just click on the Footage and insert everything, the video and the audio. Now whatever I want to only include this part into my timeline, what I can do is click on my keyboard, which will set an endpoint. And then I can scrub along and click on my keyboard, which will set an out point. This basically tells Premiere that I care about this specific part of my Footage. Now, if I click on the thumbnail and drag it down, you'll notice that the clip is a lot shorter and it's because I only picked up this part. Now you can move your in and out points like so, or adjust the ends of it to make your clip shorter or longer to clear in and out points. You can right-click and choose clear in and out. Or you can press Option X and it'll clear the in and out points. Now what's cool is that you can use in and out points in your timeline as well. So if I press I and then oh, here, you'll notice that it's selected this part of my Footage. Why would I want to do that on the timeline? Well, for example, if I have a bunch of separate videos in one Timeline, for example, lessons for a course, I can select only a specific part that I want to export. I'll show you how to export footage later on. But now just know that if I selected only this part, then only this part will be exported. What it's also useful for is rendering Effects. So whenever you apply a complex effect to your footage, maybe add some Keyframes or something else. It becomes complicated for Premiere to play back that Footage nicely. This depends on how powerful your computer is, but if you add a lot of Effects and color correction, almost any computer will start to struggle. So if you want to preview the final version of your footage, which you can do is set an end and an outpoint, then go over to Sequence and choose render in and out. Now Premiere will render out only this part of the Footage and it to let you play back smoothly. Now this yellow line at the top of your sequence basically means that the Footage hasn't been rendered, but Premiere doesn't have a lot of trouble playing it back. But if you have a red line, it means that Premiere is struggling. It's probably not going to playback smoothly. So what I can do now is hold Shift and then move my playhead to the very beginning of this clip so it snaps in. I can hit I on my keyboard, then hold Shift again and move it here, click on my keyboard, go to Sequence, render in and out. Once Premiere renders it out, you'll notice that it plays back smoothly. So these are the main places where you'd want to use in and out points. Now when I edit my footage, I very rarely Use The Source Monitor. I usually work with short clips and drag them directly into the Timeline and resize them there. Or I trim clips with the default preview tool on Mac beforehand. It's a very great feature that macro has has, And you basically press Spacebar to preview a file. Then click here, and you'll be able to trim either the beginning of a clip or the end of the clip that you'll know you will not use in your video. The reason I do this is that some stock footage just takes up a bunch of space. And if I know that I will not use it, I'd rather just save the space on my computer so I don't have to keep buying hard drives to fit all the previous footage for videos that I've made 20. Using Nested Sequences: One of the coolest things in Premiere Pro or Nested Sequences. If I select a clip or multiple clips, I can right-click and select Next, this will create a Nested Sequence. Now I can choose a name for it, but I usually just keep a default name that Premiere gives me. If I click. Okay, you'll notice that in the project Monitor, a New Nested Sequence appeared. If I double-click on it, it will open a new sequence like this. So this is my normal sequence, and this is a Nested Sequence. You'll notice that the footage inside of my normal sequence became green. And the Nested Sequence is basically a container that can hold multiple Clips of Footage. So if I go to my Nested Sequence, you can see all the clips that I have here. But why would this be useful? For example, if I wanted to zoom out on the turtle clip and also on the text at the same time, I would have to go into the turtle clip, then go to Effect Controls, then set up the Zoom that I want. And then I would have to do the exact same thing for the text. And it would be very hard to get the Zoom amount exactly right. So what I can do instead is go back to my normal sequence and set up the Zoom here, which will zoom out everything that's inside of my Nested Sequence. So everything together. So a Nested Sequence is just a great way to apply effects to multiple Clips at the same time, which otherwise would be so annoying to do. Of course, if I wanted to zoom out only on the turtle clip, I can just go into my Nested Sequence and zoom out the turtle clip separately from the text. Now if I go to my footage, you'll notice that now only the turtle Clips slowly zooms out and the text stays in place. So essentially, Effects that you apply to a Nested Sequence will apply to everything that's inside of the Nested Sequence. And the fact that you apply to separate Clips will only apply to those Clips. And you can re-size the Nested Sequence however you want and fiddle with it just like you would with a normal clip of any Footage. So you can add any transition Effect, Set Keyframes and do anything that you want. Now if you delete a Nested Sequence inside of your timeline, you can go back to the project Monitor and simply drag it back in, which we'll drag all these separate clips that are inside of that sequence. However, if you delete this Nested Sequence From the project Monitor, it will delete everything, so you will not be able to drag it back in. You would have to select all the clips, right-click, and choose nest to setup a New Nested Sequence. And as you can see inside of it, live all three of my Clips. So by using Nested Sequence, you can easily apply an effect to multiple Clips of Footage at the same time. 21. Cropping Clips: When you select a clip inside of Effect Controls, you can do many things like move it around or scale it in or out. However, one thing that you can do by default is Crop your footage. So for example, what if I wanted to show only half of this lake here? Well, I can go into my Effects panel and search for Crop. Then I can drag this effect onto the footage in my timeline. If I go back to Effect Controls, you'll notice that Crop has appeared. I want to crop the left side, so I'll drag the left slider and you'll see that it crops my footage. However, this is very inefficient if you're constantly cropping a bunch of clips, which you can do instead is click on the word Crop and you'll notice these handles appear on my Footage. Now if I click and drag on the handle, it will crop in automatically. So this is a great way of cropping your footage efficiently. 22. Adding & Customizing Text: Inside of Premiere, you can click T to bring out the Text tool. And if you click on The Program Monitor, you'll be able to type any text that I want. So I'll say Text. However, this text is blank. It doesn't have a shadow and outline. So To Add those things and modify your text, we're going to use the essential graphics panel. We've added it before here on the right side of our Premiere, and here it is at the top left. Now if you don't see this panel, you can go to Window Essential Graphics and it'll appear, Of course you can please the panel anywhere that you want. I prefer to have it on the right side of my screen. Now to edit your texts, you'll have to double-click inside of it so that it highlights like so if you click only once on your Text, it'll bring out the motion Controls and you'll not be able to change things like the font size or add any fancy effects to your text. Make sure you double-click inside of it so the text is highlighted in red. Now here inside of the essential graphics, I can select my text, which is selected by default if you only have one piece of text on the screen. And if I scroll down, you'll notice that I can change various things about my text. This is the font size. What I like to add onto my text is either a stroke or a shadow. A stroke is basically a thin outline on the outside of your texts so that it stands out better right now the color is white, so I'll set it to black and click. Okay, I'll place the text on top of my Footage so you can see the changes that are making. Now I'll double-click inside of the text again to be able to edit it. And if I scroll down, I'll be able to increase the thickness of my stroke. Now you'll notice the Text stands out from the background. What I can also do is add a shadow here inside of the shadow box. I'll select the shadow to be black and set its opacity to 100% so it's fully visible down here. I'll increase how big the shadow is. And here I'll increase the spread of the shadow. You'll see that if I drag it over to the very end, the whole background of the screen becomes black. You'll have to fiddle with these settings yourself to find a text style that fits you best. Now what I can do, just hold Option and duplicate this text. Or alternatively, I can add another piece of text within this box of text. If I want to add more text, I usually just duplicate these textboxes. Instead of adding another piece of text inside of one single textbox, it just makes things a lot more simple, but nevertheless, I'll show you how to do it. So over here, you can see Text. If I click Control C to copy and Control V to paste, you'll notice that another piece of texts appear. I can now move it elsewhere. And all of this text is inside of this one text box. Instead of copying this text, what I can do is select this box, then select my Text tool and click anywhere on the screen and it will add another piece of text. And if I type something, you'll notice that there's a third piece of text here. But for me this is quite complicated. And what I usually do is just hold Option, Duplicate the clip, then double-click on the text and add another piece of texts, say nature. Then I choose my move tool and move this text wherever I want. That way, I have both of these texts in separate boxes. And if I want to edit them individually, I can just select the textbox that I went to edit, double-click on the text and make the changes that I want. Of course, these texts Clips act just like normal Clips of your footage. So you can also animate them by adding various Keyframes and increasing their size or their position. I usually just pick and have one text style across all of my YouTube videos so that I don't have to fiddle with Text every single time that I want to add it onto my Videos. It's a good idea to experiment with a text style that you want and then pick and use it across all of your videos. This means that you'll have consistent branding and also save a lot of time since you won't have to style your text every time that you make a new video. So that's how you Add and manipulate text in Premiere Pro 23. Mastering Adjustment Layers: One of the coolest things that you can use in Premiere to improve your workflow is Adjustment Layers to add an adjustment layer, click this icon right here, and select Adjustment layer. This is going to show you settings that you have for your current sequence. So usually you would just click OK and you'll notice a new adjustment layer has appeared in the project panel. Now I can click and drag it to my Timeline. Now you'll see that if I move over the Adjustment layer with my playhead, nothing is happening. And that's because there's nothing here because I haven't yet applied any effects to the Adjustment Layer. So what the Adjustment Layer can do is if you apply a bunch of effects onto the Adjustment layer, they will all be applied to everything that's below the Adjustment Layer. For example, if I add a Gaussian blur onto the Adjustment Layer and then increase the blurriness from zero to something like 100. You'll notice that the clip below the Adjustment Layer became blurry even though I applied the effect to the Adjustment layer itself. If we move over here where there was Text, you'll notice that the text is also blurry. So everything that's below the Adjustment layer has inherited this effect. Now if I move here, you'll notice that there's no more blur. This is very useful in one specific situation. If you have Cut up your footage like this, and then you want to apply a specific effect to every single clip in this footage. What you would have to do normally is go to Effects, apply a Gaussian blur, then tweak its parameters, then hit Command or Control C, select all the other Clips and hit Command Option V to bring up the Paste Attributes panel and then deselect all of these and only paste Gaussian blur. You'll see that now everything is blurry. However, it would have been a lot easier to just add an adjustment layer and simply add the Gaussian blur effect onto the Adjustment Layer instead of fiddling with all these Clips. What's also great is that if I decide that I don't want blur on this clip anymore, I can simply cut the Adjustment Layer into two pieces and delete the middle. And now this clip is not blurred and everything that's covered by the Adjustment Layer is blurred. And this is how Adjustment Layers can improve your workflow in Premiere Pro 24. Color Mattes: In the project window, if you click this button, you can add more useful things. In particular are Color Mattes. A color matte is basically just a solid color. If I click Okay to apply the sequence settings to my color Mattes, you'll notice that a color picker pops up here. I can choose a color. For example, let's pick this coral red. And if I click Okay and choose the name of my color Mattes, it'll appear in the project panel. Now if I drag it to the timeline, you'll see that the color matte is just a plain color. For instance, if I wanted to re-size this clip, I wanted the background not to be black. I can move all of my Clips up and then place a color matte underneath. And so I'll get this background color. Now if I remove the Adjustment Layer that adds a blur, you'll see that the background is no longer black. What you can also do with color Mattes is insert transitions inside of my project panel. I will add one more color matte, and this time I'll make it full white. I will drag it to my timeline and then duplicate the bottom color mat on top of it. Now, I will add some Keyframes in the Effects Controls panel. I'll select the clock next to the motion to start adding keyframes. I'll move the first keyframe to the very beginning and then move this color Mattes down, like so. I will right-click on the last keyframe, go to temporal interpolation and choose ease in, and they'll choose Ease Out for the first keyframe. Now you'll notice when I play it back, it's transitions to a wide color, but the transition is slow. So I'll move this keyframe closer to the first one. Now the transition is a lot faster. What I can do now is copy these keyframes, come up to the white color matte and paste them here. Then I'll adjust its size so that it starts after the first Color Matte has already started moving. We'll do the same for the last Color Matte as well. And now this is what we have. However, the transition starts abruptly with this color. So what I want to do is extend this clip here, then grab the first keyframe and move the color Mattes out of the screen so it's not visible. And after tweaking a few Keyframes, this is how the transition looks. Now, I can simply cut off the end here because there's nothing visible on the screen. So now if I have to Clips of my footage, for example, one clip of a turtle and one clip of a lake. So and then if I place my color Mattes like so, I'll get a nice smooth transition between two of these Clips. Now this is quite large. So what I can do is select, right-click and choose nest and click. Okay, now the transition becomes the single clip that I can Duplicate around and move to another place where I want to apply it. What I can also do is come back to my project window and switch these colors around, for example, into a dark blue and then into this coral color in the middle. And you'll notice that my transition updates. Now when it plays, one of the color is blue and the other one is that coral red color Mattes are not only useful for adding a solid color background to your Clips, but also for making interesting transitions 25. Using Ripple Delete To Edit Faster: Ripple Delete. It's a very useful trick for Editing a lot faster. So let's see, I have this clip here and I don't really like this part. I want to cut it out from the middle. What I could do is bring up the Cut tool or the razor tool by hitting C on my keyboard. Then make a cut here, here, then switch back to my move tool by hitting V on the keyboard, select the clip, delete it, select the space and delete it again. Now, you could do this a lot faster with Ripple Delete. All you need are two cuts inside of your footage. And if I hit option Delete or Control Delete on Windows, this clip will be deleted and everything else on the right side of the Timeline will be moved to the left. This is very useful because it's going to save you a lot of time when editing. So again, if I want to get rid of this part of the clip, I will come here, hit my keyboard shortcut for Add, Edit. And for me the keyboard shortcut for that is S. By default, it's Command or Control K. But I've showed you how to change it to the ascii before. So now if I press S, it's going to split these two clips here. And then if I press S again, it's going to split here. Now I just have to have this clip selected and press Command Backspace or Control Backspace on Windows. And it'll delete that middle clip and move everything that was on the right to the left. Now, Control or Command backspace is on a different end of the keyboard and you'll probably have to remove your hand from your mouse to hit this keyboard shortcut. That's why I've set up a custom keyboard shortcut for Ripple Delete. The keyboard shortcut that I like to use is the letter X. If you want to do the same, just search for Ripple, Delete, and simply pick it up and the drag it to the ax. If you want to add it to another key, you can just drag it on top of that key and you'll see that now, if I press F 11, it's going to Ripple Delete, but I'll just keep mine to the X using Ripple Delete is a very fast way of trimming clips without having to constantly switch between these tools. It's going to save you a lot of time. 26. The Q And W Keys: There are two more keyboard shortcuts that can save you a lot of time when editing a video. These are called ripple trim, previous edit to play head, and ripple trim. Next edit to play head. I've set them to my Q and W Keys so you can search for ripple trim and then scroll down, and here they are. So I've set ripple trim next, edit to play head to my W key and ripple trim previous edit to play head to my Q key. You can do the same by simply picking up this text and dragging it on the letter that you want to assign it to. I'm going to click Okay and show you what these keyboard shortcuts can do to better illustrate what's happening, I'm going to add a few markers on this clip by clicking M on my keyboard. Markers are basically used to mark specific points of eclipse. So you remember where they are. So now, if I come to the beginning of these markers and hit Q, you'll notice that the beginning of the clip disappeared and the rest of the clip moved back into its place. Now if I come to the end of this clip and hit W, you'll notice that it just cut off at the end. So that's what Q and W Keys can do. Let me add some more footage to The Timeline, and I'll add a few more markers here just so it's easier to understand what's happening. And so if I move over here and hit Q, you'll see that what was on the left of my playhead got removed and the rest of the clip got moved into place. Now if I want to remove the end of this clip, I'm going to hit W and it'll just trim the end of the clip and move everything that was on the right to the left in the beginning, Q and W Keys are going to be a little hard to get used to. But once you do, you're going to be able to edit a lot faster 27. How I Use The Q And W Keys To Edit Fast: Here I have some footage from previous lessons of this course that I haven't yet edited. And I'll show you how I Use the Q and W Keys To Cut up the Footage a lot faster, you'll be able to see the keys that I'm pressing here on the left. So I edit my Clips based on the audio waveform, as you can see here, is where I start my sentence. So I'm going to hit Q, and this is where the clip we'll begin. Then I'm going to hit S here because let's say this is a word that I don't want and then move here and hit Q. So it will delete that word and move everything from the right to the left. Here, I have a space, so I'll hit S and then Q as Q, S, Q as Q. I'll notice that these sentences are both the same, so I'm going to hit Q to remove the second one, or I can remove the first one by Ripple deleting For me the keyboard shortcut for that is X. So I'm going to Ripple, Delete that split here, Q, split Q and move along like so. Let's say that I want to keep this section and then remove this section. I'm going to split here. Then come here and hit Q. It removed everything and move this clip to the left. If I wanted to do this manually, I would have to hit C, Cut here, click V to bring up the Move tool. Select this clip, Delete, select the space, Delete. That's a lot slower, whereas with keyboard shortcuts is just so much faster To Cut up your Clips like so, remove silences or sentences that you don't want. So that's the power of using Ripple Delete, and the Q and W Keys 28. How I Set Up Keyboard Shortcuts: Now when setting up your keyboard shortcuts, It's important to have them on the left side of your keyboard that it's easy to reach with your left hand because you don't want to be removing your hand from your mouse and then clicking a key on the keyboard and then coming back to your mouth, it's going to waste a lot of time. That's why the keyboard shortcuts that I use most often are on the left side of the keyboard. I can simply use one hand to perform these Shortcuts, and I don't have to lift up my other hand from the mouse and place it on the keyboard to perform the Shortcuts. That also saves me time over long periods of Editing. Of course, if you run out of space here, you can simply add a modifier key, like command or shift, or Command and Shift and then set a shortcut here. So for example, I don't have a keyboard shortcut with Command Shift X, and instead of setting it to the minus key, it's a lot better to set it to Command Shift X because I'll be able to perform this keyboard shortcut without moving my hand over here. Well, assuming that your hand naturally rests on this area of the keyboard. So that's one thing to keep in mind when creating Keyboard Shortcuts. 29. All My Premiere Pro Keyboard Shortucts: So here are all of my keyboard shortcuts for Premiere, I'll show you the most interesting ones that saved me the most amount of time. I've talked about a few of these previously, but I'll go over them again just to have everything in one place. So first I have set S to add edit. What it does is if I hover over the clip with my playhead and hit S, it's going to split the Clips right here. I have the queue set to ripple trim previous edit to play head, which as we've seen before, this where it removes the first half of this clip and then moves all the other Clips to where the beginning of that clip was. I have W set to ripple trim. Next edit to play head, which does the exact same just to the end of the clip. So if I call it W, This part is going to get deleted and this clip is going to move in its place. Then I've set D to enable the clip. What it does is it basically disables or enables the clip. When I clip is disabled, you can't hear it or see it. So it's the same as pressing this eyeball here. So my D key just simply hides or shows the clip. Next, let's move over to the Shift key. The first one is shifted Z, and I have it set to open the project window. So to find it, you're going to search for projects. And under application, you'll find projects right here under workspaces. By default, it's shift one, but I've said it to shift Z. Basically what it does is it lets me get to the Project panel no matter which other panel I have opened. So if I have the Effects panel, I can click Shift Z and it will jump to the Project panel. Next, shift X is the Effect Controls panel. So no matter which panel I'm at, I can press Shift X and it'll jump to Effect Controls panel. And the final panel is Shift C, which jumps to the Effects panel. So no matter where, if I click Shift C, it's going to open the Effects panel. I switch between these three panels constantly and having a keyboard shortcut to do that for me, instead of having to go here with my mouse is a lot faster. By the way, the keyboard shortcuts to get to the Keyboard Shortcuts is option command K. So that's pretty much all that I use the Shift key for. Another useful shortcut is Option X, which clears in and out points. So if I've set an in and out point, instead of having to right-click and choose clear In and Out, I simply hit Option X and it clears the in and out point. Of course, there are many frequent shortcuts that I Use with the command key command Z to undo, Command X to cut, Command C to copy and Command V to paste. Also Command S to save. One more very useful keyboard shortcut is this over here. It's the tilde key on keyboards that have a US style layout, this key is right here, but if you're from Europe, you're going to find it next to the Shift key. This is the key I'm talking about. It's the squiggly line. So when you press the squiggly line, it will maximize whichever window you have selected. So if I select The Program Monitor by clicking on it and press the squiggly line, It's going to maximize it than if I press it again, is going to minimize it. I can do the same for the timeline, for the Effects panel, for Essential Graphics. Anything else within Premiere, even the toolbar. This is very useful when you want to manipulate something inside of the Program Monitor or your timeline. Because right now The Program Monitor is small. So if I hit T on my keyboard to bring up the Text tool, and then I type something here. It'll be quite hard to edit this text because it's very small. So what I can do is hit the Tilde key and it becomes a lot larger. Now, I can move it precisely, exactly where I want. Maximizing is also useful for creating masks with the pen tool, but more about that later, I also frequently used the G key to adjust the gain of audio. So if I select an audio track by holding Option and clicking here, because these two clips are linked and if I press G, it's going to let me adjust the gain of my audio. So if I say minus ten, it's going to lower my Audio Levels by 10 db to more amazing keyboard shortcuts that I've set or on the comma and the period key. Whenever I highlight the keyframe and press comma, it will set its temporal interpolation into ease out. And whenever I highlight the keyframe and press period, it will set it to ease in. So it's a lot faster than right-clicking, going to temporal interpolation and then sending it manually like so, here's how to set it up. So just search for keyframe temporal. And you should see both of these options here. Set your period key to and the comma key to ease out. Now whenever you have to, Keyframes just come to the first one and click the comma key, which is on the left, just like the keyframe. So it's easy to remember and then come to the last one and press period, which is on the right side of your keyboard. So it's easy to remember. There's one incredibly useful keyboard shortcut in Premiere Pro and it has to do with selecting a clip. So normally if you have a clip and then something else above that clip and you double-click inside of your Program Monitor, you'll notice that it selects whatever is on top. So in this case, it selected the Adjustment Layer and it's letting me move the Adjustment Layer instead of the clip What I have to do is click on the clip and then click on the motion attribute inside of the Effect Controls panel. And only then will I be able to move the clip itself. So what I can do is set a keyboard shortcuts for that. And I've set it to command T, because in Photoshop, if you have something on the layer, you can simply hit Command T and control the position of that thing. So that's why I've said the same shortcut for Premiere. Now you'll see that if I have my command key highlighted and click on the TI, it will show me the shortcut, which is activated direct manipulation in Program Monitor. So you can search for that, activate direct. There it is. And then simply drag this keyboard shortcut onto the letter T. It will apply it automatically. I'll click. Okay, and now whenever I click on the clip, I no longer have to go to my Effects Controls panel and click motion. What I can do instead is simply click on it and press Command T on my keyboard and I can move the clip. You'll see that now I'm not moving the Adjustment Layer, but the clip underneath this keyboard shortcut makes it so much faster to adjust Clips inside of the Program Monitor without having to do it with the motion attributes, especially useful for YouTube videos because you usually have to adjust a lot of things like texts and other elements that pop up during the video. So I would highly recommend using it. Also, I Use N to nest my clip. I believe this is not a default keyboard shortcut, but I usually nest Clips very frequently. So I've set up my N key to Nesta clip instead of having to right-click and then search for Nest. Next are the J, K, and L Keys. These are not custom, but they're very useful. They're basically just like pause, play, and rewind buttons. So the J key will start playing backwards. The KCI will stop the playback, and the L key will start playing normally. Now this might not seem so useful, but if you press J or L twice, it's going to double the playback speed. So if I'm looking through my footage, I don't have to do it at one speed because it's just very slow. What I can do is hit L and then hit L again, and it's going to start playing a lot faster. If I hit L one more time, it's going to start playing even faster. I think if you hit L twice, it's going to play Add to speed. And if you hit L1 more time, I think it's five X or even ten. I'm not sure, but it's very fast. So you can quickly playback your footage by using the L key than stop with the KCI and rewind a little bit with the J key. If you've missed something, these three Keys are very useful for previewing your finished video or just looking for errors in your footage. Of course, the minus key and the plus key or the equals key is zoom in and out of your timeline, which is pretty useful. Or you can use Option or Alt on Windows and scroll with your mouse. Let's move over to the Command and Option key. So they're really only two shortcuts that are used for this, and it's Option Command C and option command V. What they can do is if I have an effect applied to the clip, for example, Gaussian Blur, I can hit Command C and then come to another clip and hit Command Option V. And it's going to bring up the Paste Attributes panel, which lets me paste attributes or Effects from this clip to another clip. If I click, Okay, Gaussian blur will be applied to this clip as well. These are the main keyboard shortcuts that I Use. There are many more, but you'll learn them along the way if you feel like they're useful to you 30. Editing Horizontally: When you're editing your footage, It's a lot faster to do it Horizontally and did not vertically. So instead of only working on this beginning part, cutting it up exactly as I want, then adding effects than adding something else on top, then adding something else, maybe a transition here. It's a lot faster to work Horizontally. Instead of finishing everything with this first clip, what I will do is just move along and Cut up everything right here until I reach the very end of my footage. Then during the second pass, I will add zoom ins or blur things that I don't want people to see. During the third pass, I will add animations. During the fourth pass, I will add sound effects and doing the final path, I will add music. It's a lot easier to edit Horizontally and not vertically. Because when you edit vertically, you're going to spend so much time perfecting this one clip. And then if you move to another clip and add a bunch of stuff here, you won't have so much energy to do it all over again. Your video, we'll just have gradually less cool things And Effects. So for example, the first thing that I do is Cut up my footage like this. So there's no ohms us and breaths in between. And then I will go over it again and add zoom ins and animations. Then I will do the third pass across all of the Footage and add transitions and so on. With each new task, I will come back to my Footage and go through it all. Again, working on that one specific thing, it's going to make your edit a lot faster rather than just piling everything on top from the very beginning. Here's an example from one of my YouTube videos. In the beginning here I have a bunch of stuff and things going on, but I didn't start off like this. The first thing I did was layout all of these Clips at the bottom. These were my main footage. Then I moved on to the second layer and added more things. And finally, I added nice touches on top, like this animation here. Next, I moved over to sound effects and added all of these sound effects here. And finally, I added the music as the very last thing, this let me work horizontally, not vertically, which means that I saved a lot of time and also didn't spend too much time on one specific area of the video. 31. My Editing Workflow: This is how Premiere Pro looks when I edit one of my YouTube videos, you'll see that there are three videos in this Premiere Project, my music video, and then a Sequences folder. In the Sequences folder, I just keep all the Sequences because if I want to come back to one of my videos from awhile ago, I'll just be able to find the Sequences that I want instantly. Now this is the progress of the video. It says done, but when I'm still in the progress of editing the video, it says unfinished. When I finished editing it, I'll just rename it to done. This is the number of the video and that's the title. What I usually do is edit five videos inside of one Premiere Project. If I start to do any more than five, it just gets very messy. So for now, I've done three in this project. Inside of one of these folders is the video. There's the B-roll and there's the audio. Now How are usually go about this is record all the B-roll in the beginning and then Create a New Sequence From the clip. Like so, this is just a shot of me closing my hands. Now the next thing that I will do is find my Audio and then drag it into the timeline. I usually edit audio in Audacity, so I don't have to do it in Premiere Pro. It's just part of my workflow. But if I don't edit it before, I'll just go in Premiere. And the first thing that I'll do is Cut up my audio. Next, I will lock the audio track and start importing my B-roll. You'll see here that I didn't really named my B-roll in correct order. So now I can't really remember what goes after what, but usually I do. It's a good idea to rename your Clips like so. If this clip was the first one, I would name it 1.1, then one point to and when I come into Premiere, I'll know exactly which Clips is going first. But for now, let's pretend that these clips are all in order. So dialed in goes first.in the X goes second, then drag and drop and so on. What I'll do is drag the first clip into the timeline, then play it, listen to the audio and see where it lines up. I will then cut it up accordingly and drag in the second clip, I'll go through this process for the whole Timeline. So I'll just lay out my a roll like so. You'll see that here. This is the part where the arrow is. Then after I have everything laid out like so, I'll move over to the second step, which is filling in the gaps if there are any gaps. So sometimes there may be gaps because I didn't have anything recorded for this section, which means that they'll usually get footage from the Internet, like stock footage, gifts, photos and stuff, or I'll just make something in Photoshop. So the second step is to fill all the gaps. And you'll see that in this video all the gaps are filled. Then I'll move over to the third step, which is adding nice things, for example, Text. And I will not worry about anything else as I'm adding taxed. The same goes for any part of this process. If I'm cutting up my a roll Clips in the beginning and I know that there's going to be Text here. What I can do is simply cut it up a part of my footage where the text is going to be and then go to label and choose a different color. That way, I'll know that they're supposed to be something above this clip. If I forget that there were supposed to be Text here, that means it probably wasn't so important. So even though I know that I should put something here, I will not do it when I'm going through my first pass. I'll only add those things later when the time comes next. I'll move over to the intro and make it extra fancy because that's important for YouTube videos. Then I will add a bunch of sound effects, and finally, I will add music. Finally, I will watch the final video and improve things or add something that I feel is missing. This is pretty much my whole editing process. Some videos that I do look like this and others looked like this be in this example, there are a few things that I show on the screen, namely the shot of my MacBook and the screen of my MacBook. So I'll have three main layers here. This at the bottom are just these dots in the background. So the first layer is my full screen footage. Then the second layer is this picture in picture thing, and the third layer is my screen recording. I'm disabling and enabling them with the keyboard shortcut that I showed you previously, which is D, It's very useful in these situations when I went to toggle between different cameras or views. And this is how a simple 10-minute YouTube video will look like 32. Importing Third Party Footage Fast: One of the things that will slow you down a lot while editing a video is importing Third Party Footage. So if you have those gaps in your timeline that I mentioned before, you're probably going to want to find Footage to download and import to Premiere Pro from the Internet. Now this process is pretty slow because if you want to download an image or a stock video, by the way, pixels is a great website for finding free stock footage. And if you're looking for something nicer, I think Envato Elements has a great subscription. So stock videos, photos, templates, sound effects, and music all in one subscription. So it's pretty good for finding footage for YouTube videos. So as I've said before, every single video for me, it looks something like this. I have the state of the video, so unfinished. Then I will have number of the video, let's say 69. And then the name of the Video, Video, one inside of this folder, I'll have two more folders. One will be called B-roll, which will hold all My video clips. And the other one will be called audio. That's because I usually record audio separately from my Video Footage. So how do you make this importing thing superfast? Well, whenever I download the clip onto my desktop, I immediately move it to B-Roll, and then from B-roll, I drag it into My Premiere B-roll. What I usually do is double-click on my B-roll folder and it'll pop up as a separate panel. So I know that here I will find every single clip that I need for my project and then I'll simply drag it onto the timeline. If I see that I need another clip again, I'll go to my stock photo website, whichever one it is for you, and then search for that clip. So for example, Keyboard, I'll download this shot of the Keyboard now landed on my desktop, so I'll quickly hide my browser. You can do that on Mac with Command H. Then I'll switch to my Finder or File Explorer, go to my desktop and move it to B-roll than from B-Roll into My Premiere Pro and then it can go onto the timeline. I found that having folders open like this in new tabs rather than separate instances is a lot faster because you can simply drag files from one place to another. If you have them separate like this on Mac, you can go to Window and merge all windows and it will place them inside of one window as tabs. And I can quickly switch between Premiere, my Finder, and my browser by using Command Tab on my keyboard. If I keep holding command and then press Tab, it will just move from one app to the other. When I released the tab and Command key, it will jump to that app. So this is a very quick way of switching between applications. And it's especially useful when you're downloading footage from the internet that you want to import into your Premiere project. It also works the same on Windows and the keyboard shortcut for that is Controls tab. So that's my process of downloading and quickly importing Clips into Premier Pro 33. Creating presets: A thing that can save you hours of time of editing in premiere or presets, and you can make them yourself. So for example, if I insert a new text layer and type some text over here, you'll notice that the text is default. Now I've customized my text. If I click the T key to bring up the type tool and add another text over here, you'll notice that it has the same features as my customized text. However, if I quit Premier even if I save it and then if I open it again, you'll notice that if I add another text layer here, the text is now back to default, which is very frustrating. I will now have to remember everything that I did to this text to make it look the same as this one, or I could just copy previous text, but this is not possible if you open another project. What you can do is create a preset. If I select this text and go to my Effect Controls panel, my keyboard shortcut for that is Shift X, or you could just click on Effects Controls over here, and here is where I have my text effect right here. I can expand them with this little arrow over here and then edit my text in here as well. You don't have to only do it through the essential graphics panel. It also is possible through here, through effect controls. Right now, I want to save this as a preset. So I'm going to right click on the text here and choose Save Preset. Now, the first thing is the name of your preset. I'm just going to leave it like this. The second parameter is the type. This is not important if your preset doesn't have any keyframes. However, if it does have keyframes, then this setting is very important. Tell you the difference between these a little later. I can also add a description to my preset, but I'm going to choose to leave it blank right now. If I click Okay and go to my effects panel, you'll notice that under presets, my new text preset has appeared. Now if I restart my premiere pro and then open it back up again, you'll notice that in the presets folder, the text preset is still here. Now if I add a text layer that is blank, I can drag my preset onto this blank text and it'll add my previous text. I simply have to highlight and delete this placeholder text, and then I have my nice text leftover. You can create presets with any effect controls, not only text, so I can create a preset with opacity, rotation, scale, position, anything, and I can also create presets that are animated. For example, let's say that I want to create a nice pop up animation for my text. I'll insert a keyframe here and here. This keyframe is where my text is going to land, and the first keyframe is where it's going to come from. Then I'll set this keyframe to have an ease in interpolation and this one toes out. You'll see that when I play it back, the text comes up into the middle of my program monitor. So now, instead of having to create these keyframes each time, I can save it as a preset. I can click here on vector motion. You'll notice that it doesn't let me save a preset if I right click only on position. So you have to click on the group of effects, not the effect itself. So I'll right click on vector motion and click Save Preset. I'll name my preset move up animation, and here's where the type is important. Let's see what happens if I choose scale. I'll duplicate another text make it longer, and then I'll go to effects and apply my move up animation. You'll notice that now the text moves up very, very slowly. That's because look at the gap between these keyframes. When I apply the preset, it looked at the overall length of this clip and then it proportionally applied these keyframes. So if my clip is longer, the gap between the keyframes also becomes longer and if the clip is shorter, the gap also becomes shorter. But in this case, I don't want. Want my animation to be the same. So I'm going to remove these keyframes and then create another preset. Remember, right click on vector motion, save preset, and then I'm going to choose anchor to point. What that will do is no matter the length of your clip, it will anchor the keyframes at the beginning of your clip. No matter how long or short your clip is, those keyframes will always start at the beginning of your clip distance between them will be the same. So this is what I want. The other option will anchor them to the outpoint. So if you have a fade out animation or something that you want to put at the end of your clip, you would choose the anchor to outpoint, and the last keyframe will also be at the very end of your clip. I'm going to click Okay, and now if I find this preset, I didn't set the name for it, so it should be vector motion preset here and apply it to my text, you'll notice that this text layer this text layer have the same animation because the keyframes have been anchored to the very beginning of this clip. They didn't spread out based on the length of this clip. Of course, you can create and apply presets to anything that you want. It doesn't have to be a text layer. It can also be an image or video, a color mat, an adjustment layer or anything else. If I want to animate this clip, I'll come here, set a keyframe for motion, then move a little bit and set another keyframe. Now I'll change the first keyframe to be down here. And I'll set the appropriate interpolation just so the transition looks a lot smoother. I'll move them closer together to make the transition a little faster. Also, I'll animate the opacity of the clip. So 0-100. I I play the clip, you'll see that it fades in and moves up at the same time. I can hold Command or Control on Windows and select both motion and opacity, right click and choose Save Preset. I'll name it opacity move up. I'm going to choose anchor to Inpoint because I don't want it to adjust keyframes based on the length of this clip. I want them to stick to the beginning of the clip. I'll click Okay, and if I add another clip, I can go into my effects and choose the opacity move up preset, then drag it onto my clip. And if I play it back, you'll notice that it moves up in the same way that the turtle clip so this is how you can work a lot faster in Premiere Pro by creating and using your own preset. 34. Batching Videos Together: One of the best ways to speed up your video production process is to batch Videos Together. So instead of working on only one video at a time, you could be working on multiple videos at a time. This can save a lot of time since you eliminate the setup process. For example, if each time that you want to record a video, you set up your camera, you turn on the lights, remove the battery from your ticking clock so the audio sounds better and do a bunch of things. Then each time you lose so much time, what you can do is set up your camera once and then record five videos at the same time, which means that you will eliminate four times of the setup process. Another reason why this strategy works so well To save time is that you don't have to get into the mental state of recording videos. If you batch the task, you only have to get into the mental space of doing that task only once. However, if you work on only one Video, then each time you have to do another task in the video production process, it's going to cost you some mental energy. For example, if I were to do each video separately, then I would have to create a new folder for each video, set up a New Premiere Project, import all the Footage and late all out on the timeline. However, if I work on five Videos, I can do all of this at the same time. So I'll create one project for five videos, then create five folders for each of the Videos, and then import everything at the same time. It's so much easier both time-wise and your mental energy wise to just do it all at the same time. The same goes for editing. If you've recorded four or five videos, what you can do is edit them all Horizontally at the same time. For example, instead of laying out the B-roll for this video and then Effects on top of it, and then Sound Effects. What I'll do is lay out the Bureau for this video, then go to another video and do the same for this video. Then for the third video, until all five of them are finished. Next, I'll move over to Effects and do them across all five videos. This makes the editing process a lot faster because you don't have to multitask and switch your brain to do different tasks. Once you get started with one thing, it's a lot easier to keep going and doing that thing instead of switching, I found that switching a task is a lot harder than just continuing the same task that I have been doing with inertia. So batching Videos Together, Both in the editing process and in the production process. So scripting, Recording, Voiceover recording, B-roll, and doing anything else. If you batch up these tasks together, you're going to save so much time and mental energy and your output will be the same. It's very useful for YouTube in the beginning because at the start, every one of us sucks at making YouTube videos. You need to put in the work and make a lot of them to get good at making videos and learn the ropes of YouTube. So with batching, you can create more videos Faster and thus learn faster. So batching Videos Together to produce more videos in less time and waste less mental energy 35. Creating Masks: Now I have two images right here and I want this image to appear inside of the screen of this phone. What I can do is mask out the screen of this phone and then put this picture inside of that mask. Let's learn how to do that. First, I'm going to increase the scale of the phone so that it fits the whole screen. And then here in the opacity, I can either choose the ellipse mask tool, the rectangle tool. Pen tool. You'll also see both of these tools over here. By the way, if you see this little triangle on the bottom of some tools, that means that there are some tools hidden below these tools. To access them, you simply hold Option or Alt on Windows and click on that tool. You'll see that it toggles between the Ellipse tool, the polygon tool, and the rectangle. There are some tools that have a few tools hidden beneath them. Like the text tool has a vertical text tool or the hand tool has the Zoom tool. So since what I want to mask out is a rectangle, I'm going to choose the rectangle tool, and you'll see that it immediately drew a rectangle. But I want to make this part invisible and this part visible. So what I'll do is click Invert it and it'll invert the mask. You'll see that this part is now black. Reason it's black is because there's nothing below the phone layer. If I move the phone layer above the Rick layer and move my playhead here, you'll see that a mask sort of punches a hole through my clip. So if you select something with a mask, it's going to only show that area that you masked out. And if you select something and invert that mask, it's going to punch out that area, make it invisible. And now I can make this panel bigger by pressing the Tilda key on my keyboard and adjust this mask like so. I'll just grab the end of the mask and place it where the phone screen begins. Now, if I come back to my move tool and click away, you'll notice that the edges of this mask are not really shar, and that's this option over here. It's the mask feather. If I increase it, the edges of my mask become more and more blurry, and now I can't really make out what's going on. So I'll decrease mask feather to zero, which means that the edges of my mask are razor sharp. Also, I can adjust mask opacity, which will increase or decrease its opacity. So if I hide the ric clip, you'll see that when I adjust the opacity, everything becomes more see through. That's why you're able to see the ric clip in the background. This doesn't really fit into frame, so I can click on the Rick image and then click on motion and simply drag to adjust its position. I'll also make it a little smaller. So now I've used a mask to punch out a hole in the middle of this phone and then placed a clip beneath it to fill that hole with Rick Astley. You'll see that under opacity, a new mask appeared, and if I delete hole in the middle disappeared. You can also create an elliptical mask with the ellipse mask tool, and it's going to create a circle. By the way, if you want to make your circle perfect, just hold shift and drag, and it's going to be a perfect circle. If I invert the circle, you'll see that Rick is now inverted. This is very useful for picture in picture if you want to place your webcam on some part of the screen, and so if I adjust the Rick notice that it now looks as though he is making the video and showing something on the screen. You can create an elliptical mask and then place your footage of you talking in here and you'll create this picture in picture effect. Now, of course, these don't have to be picture files, but they could also be videos. You can create masks not only for pictures but for videos. For example, what if I wanted to only see this turtle, but mask everything out in the background? Well, I can come to my effect controls and under opacity, select the pen tool. Now, the Pen tool will let you create a mask for a complicated if it's not a square or not a circle, you can use the pen tool to define exactly where your mask is going to be. So I'll make this panel larger with the Tilda key and then start outlining the turtle with my pen tool. Now, if you've never used Photoshop, using the pen tool might be a little hard at first, but once you use it enough times, you're going to get used to it. It took me quite a while until I learned how to use it. So I'll just create a rough mask around this turtle. I'm not going to do it super precisely because this is just an example. And there we have it. We only have a turtle, but there's no background. However, this is a video. So if I play the video, my mask will just stay in place and the turtle will just swim away. So I would have to create a keyframe for each frame of this video and then adjust my mask each time that the turtle moves. However, this would probably take me 10 hours because I would have to move along here, then select the mask and then make it large again and adjust each of these little points to fit the turtle. So no one wants to do that. Luckily, Premiere has an auto tracking tool that can do this for you. So if I select my turtle clip and go down here where my mask is, I can create my first mask path keyframe here. Mask Path basically means this blue path around my mask. So the one that I created with my pen tool. Now you'll see if I move my playhead, the mask path stays in place, and I want it to move with the turtle. What I can do now is click this play icon, and Premiere Pro will try to do its best to track the turtle. So let's see how it performs. Depending on the resolution of your clip, this process may take a while or it may just take a few seconds. And boom, you'll see that Premiere Pro automatically created a keyframe, every single frame of my footage. So every single frame has a new keyframe. Let's see if it did a great job if it actually tracks the turtle. I'm going to click here to remove the path so we can see the turtle better. As you can see, it got the base of the turtle correct, but it didn't really get the arms, and it doesn't look very good. In this case, what I should do is delete all the keyframes on the right side and then start adjusting the ones that it got wrong. So it seems like it got everything wrong. So I'm going to delete these keyframes and then come here and on the sec third on the third keyframe, I'm going to click on it and then adjust the mask. This will tell Premiere what I want to move. Now I can come back to this keyframe that I adjusted and click Play again and see if Premiere does a better job. Of course, with complex shapes like the turtle, it's probably not going to get it right, but if you have something that clearly stands out from the background like a human or some sort of a ball, then Premiere Pro will do a much better job. Already see that it didn't really catch the hands, but that's okay because this is just an example. You're probably not going to be removing turtles from their backgrounds anyway. Here's a better example of how you can use a mask. Here I have a clip of someone walking across the street and I'm going to place this Rick image at the bottom. I'm going to focus on this person right here and mask them out so that when they walk across the image will disappear and the RC image will appear. First things first, I'll move to a place where this person starts walking and I'll start creating my mask. I'll pick the pent tool, then make this larger with the Tilda key and I'll mask this part of the frame. Of course, I want to invert the frame so that this part is black. Also, I'll reset the parameters for my Rick clip so that it fits the entire screen. Now, you see that instead of black, the RC image has started to appear. I'll come back to my clip and select this clock here to toggle a keyframe for my mask frame. That means that I can move one frame forward or a few frames forward. And if I create a new keyframe, that one will still stay in place. I'll select my mask and then make this bigger and adjust the mask so that it fits even more of the screen. I'll move a few frames forward and then add another keyframe then again, I'll move this mask so that it covers everything that this person is revealing, something like this. And essentially, I will have to do this all the way until this person walks across the street to the other side. So I'm just going to go ahead and play with the keyframes and I'll show you the final result. And this is how the final result looks like. So this is how you can create and use masks in Premiere Pro. 36. The Transform Effect: I want to show you the transform effect. You'll find it in the effects panel by searching for transform. You'll see that I already have a few presets with this, but we're looking for transform under distort. If I pick it up and drag it to my text, nothing happens, of course, because we need to control this effect in the effect controls. If I scroll down, you'll see the transform attribute. And this transform effect lets you transform your text, but it acts very similarly to the vector motion controls. So you'll see that if I move my vector motion position left text moves left, and if I move my transform position left, the text also moves left. So what's the difference? Well, there's one specific setting that's very useful, and it's right here, the shutter angle. It lets you add very nice motion blur to the things that are moving on the screen. So for example, if I set a few keyframes inside of my vector motion, which doesn't have that setting, and I'll say that it will start at the bottom, and then it will end in the middle like, so I'll also make these keyframes non linear. Remember, you can do that by right clicking, choosing temporal interpolation and choosing Ease out for the first keyframe and then choosing E's in for the last keyframe. Now, the text will move in nicely from the bottom. I'll decrease the distance between these two keyframes so it happens faster. The problem is that when things move in real life, you usually can't see them very clearly. They look blurry. And if I play this right now, it doesn't look blurry. It's just text moving up on the screen. That's where I can use the transform effect. I'll undo everything with Command Z or Control Z on Windows, and then inside of my transform effect, I'll create the same position keyframes. So first, the turtle text was at the bottom, then I'll move a little right and then reset the keyframe so the text teleports to the beginning. I'll also make them non linear like so with the keyboard shortcuts that I set previously. Now, when I play the clip, the exact same thing happens as if I had set the vector motion keyframe. However, if I scroll down and change the shutter angle to 180 degrees, now when my clip moves up, there's a motion blur. It's hard to see, so I'm going to set this to the maximum and make it a little shorter. So you'll see that the text is a little blurry when it comes up on the screen. This would be a lot more visible if I were to change my sequence settings from 60 FPS to 30 FPS. You'll see that now the blurriness is a lot more visible. Best setting to use for this that our eyes see in the natural world is 180 degrees. This will give you the most realistic blurring that our eyes see in the real world. So now if I play it, this text is moving up, but it has a subtle blur effect. So by using the transform effect, you can add a nice motion blur to the elements that are moving on the screen. Of course, this works with everything, not only text. So if I had a shape here or a clip, I could apply the transform effect, set my key frames, then increase the shutter angle to 180 degrees, and that clip will have a nice motion blur effect when it moves. 37. Color Correction & Color Grading: Premiere Pro has many advanced tools to do color grading. What color grading is is basically adjusting the colors of your clip to fit a certain look. For example, a lot of movies have this teal and orange look to them. So you'll notice that most of the elements in the background have this teal color, and most of the elements in the foreground have this orange color. This is because these are complimentary colors. So if I open a color wheel, you'll see that orange is opposite of blue. Tail. That means they're complimentary colors. They complement each other very nicely. They stand out for our eyes. There are many other color combinations apart from the complimentary, which is basically colors on the opposite side of each other. There's monochromatic, which are different shades, tones, or tints of the same base color. There's analogous, which are three colors next to each other on the color wheel. There's triadic, which is like a triangle on the color. All of these color combinations make colors look very nice and appealing to our eyes. One thing to mention is that there's usually a lot of one color, and there's a little bit of the other color. You'll see that the dominant color in this clip is teal and there's only a little bit of orange in her hair and in her skin. Usually one color is a lot more dominant than so within Premiere Pro, you can do basic color correction and then color grading inside of the Lumetri color panel. Now here, if I select my clip, you'll notice that controls for various things like color, light, and other adjustments pop up. And if I change something, for example, the exposure, you'll see that my clip is changing as well. Also, in the Effect Controls panel, a new effect has appeared called lumitry color. So you can either adjust these effects right here inside of Effect Controls or by using the Lumetri color panel. Of course, if I delete this effect, clip will revert back to normal. There's a lot that goes into color grading and making your footage look nice. But in this course, I'll only touch the basics. So if I click Auto, Premiere Pro will automatically adjust the clip. If I click this FX icon to hide all the effects, you'll see the difference. So this was before and this is after. And these are all the adjustments that Premiere made. So if you want just a basic bare bones adjustment to your clip, you can simply hit Auto and Premiere Pro will analyze your clip and try to apply the best color correction settings to your clip. Of course, if you don't like it, you can simply tweak these yourself. I'm going to click this arrow to back to default. Now, down here, you'll see various other controls like the creative control, which lets you color grade your shadows and highlights. I I drag my shadows over to the red color, you'll see that the dark parts of this image are becoming red, and if I drag my high life color to something like green, you'll see that the bright areas are becoming green. Now, since these colors are blending together and red and green make yellow, that's why this turtle starts to look yellow. Again, I'll click this arrow to reset everything. So this is how we can add that teal and orange. Make the shadows sort of teal just a little bit, and if I make the highlights orange just a little bit, you'll see that the clip changes. Now, it's very hard to see on this turtle example because it's underwater. So I'm going to add another clip and apply a few adjustments here. If I drag the highlight color over to orange and if I drag my shadow color over teal, you'll see that this clip has slightly changed. So this is how you can apply just a very basic look to your footage. If I collapse the creative panel, you'll notice that there are check boxes next to each panel. So instead of resetting everything, I can simply deselect the check box and it'll remove that adjustment. Now, the curves adjustment works exactly the same, just like in Photoshop. So if you've used it before, you'll know what it's about. But basically, the top of the curve controls the highlights and the bottom of the curve controls the shadows. So if I add a point here and move it down, you'll see that all the dark parts of the image are getting darker. If I move it see that those parts are getting brighter. If I do the same up here, you'll see that the bright parts are getting brighter and now the bright parts are getting darker. The most common curves adjustment that makes your footage look nice and contrast is the S curve. You want to add a point here and then here, and then just slightly drag it down and this one slightly drag it up. So it resembles an S. This will add contrast to your footage and make it pop a little more. I can do the same for the turtle clip by simply clicking on my footage, hitting Command C, copy and then command option V to paste attributes, and I'll be able to paste the lumitry color attribute. I'll click Okay, and now this curve has been applied to the turtle. So this is before, this is after. Before, after, you'll see that there's more contrast in the clip. So here where it was blue, it's now a lot more blue, and these fish stand out a little more. So you can use the S curve to add some contrast to your image. Also, instead of having to do this every single time, you can come to your effect controls panel. Scroll down a little bit until you see lumetri color with only the curves applied because most other adjustments will vary depending on the clip that your color grading. You can right click on Lumetri color and choose safe preset. Let's name it the S curve. Now if I remove my lumetri color attribute from this clip, I can go into my effects, click on presets and drag the S curve onto the clip. It automatically applied the S curve to the turtle and added more contrast. More important thing is that you want these adjustments to be very subtle. You don't want to drag this all the way up, so it blows out the highlights, and you don't want to drag this too much down, so it makes the shadows super harsh. All the color adjustments should be barely noticeable and slightly enhance the look of your image. Don't overdo it. One useful tip when you apply color grading to your footage is to simply leave, go take a walk or do something else, and then come back to the footage and look at it with fresh eyes. If you notice something's not right, you can then tweak it again. You're adjusting the clip for the first time, it's hard to see what you did wrong. So taking a break and coming back lets you see things more clearly. Let's collapse the curves adjustment and disable it and move over to Vignette. Vignette lets you add those dark corners to your footage. So if I drag the amount to the left, you'll see that the corners of my footage become slightly dark, and if I move it to the right, they become slightly white. I rarely use this effect, but it's useful to know where to find it. So these were the basic color adjustments that you can do in premiere. 38. How To Edit Picture In Picture Style Videos Fast: I want to show you a very cool editing technique that involves the D keyboard shortcut. I've set my D key to enable or disable a clip. So if I click on a clip and press D, it enables it, and if I press D once again, it disables it. When you disable a clip, you'll no longer be able to see it, and if you disable an audio clip, you'll no longer be able to it. This feature makes editing a picture and picture style video like this where I have my webcam or in this case, my hand cam and some other footage over here. I set my clips in three layers like so. This bottom one is just a dotted background like that, so you can ignore it. What's important here are these three layers. If I disable everything, you'll see that the bottom layer is just my screen recording placed on the top right of the screen. If I go into my effect controls, you'll see that I've adjusted my motion parameters so that this clip is placed on the top right. Then above this clip, I have my picture in picture style hand cam, and on top, if I enable this, you'll see that this is the recording in full screen. So this makes it very easy to edit my footage. I will start a video by laying out these three layers like so and then highlighting the first layer and disabling it entirely. Now, what I'll be left with is the bottom layer, which is my screen recording footage, and then the top layer is this hand footage. And whenever I want to cut to my hands during the video, I will simply highlight the top layer and click D on my keyboard, and it will switch to this camera angle. Makes it super easy and gives the illusion of switched camera angles. And if I wanted to do it manually, I would have to duplicate the bottom clip and then come to motion and reset attributes and also these rounded corners. So it would take me four steps to add this new camera angle. Whereas now I can just hover over the place where I want to show my hands, click on the clip, and press D on my keyboard to enable the clip. Or if I'm making a video that's primarily my hand footage, instead of disabling this first layer, I'll simply it. Now, wherever I scroll, I'll just see my hands. If I want to switch to the picture and picture footage, I'll simply highlight the clip and press D on my keyboard to go back to the picture and picture mode. If you have a video in this picture and picture style, this is a very fast way to put it together in the edit. 39. White Glow Preset: I have a bunch of my own presets within Premiere Pro, and I want to show you what they do and also walk you through how to create some of them. So the first preset that I have is called 1% white Shadow. And if I add it to this MacBook image here, you'll notice that on the outside of this image, there's a slight white outline. It's very hard to see because I made this effect unnoticeable on purpose, but if I increase the opacity, you'll see that a white outline appears outside of the image. It basically just adds a subtle glow to the clip. It's also useful for text. So if I add some text here and then go into my effects, drag on the 1% chado and make it a little bit more visible, you'll see that the text starts glowing a little bit. This is what this effect does. In order to create this effect, just search for a drop shadow effect inside of your effect panel and then add it to any clip. Then in the effect controls, scroll down and adjust the shadow to your liking. So my preset has these settings for the shadow. The shadow color is white. I keep the opacity very low, and then I increase it depending on what's on my sequence. Direction is 135, distance is five, and softness is 126. So that's the first preset. 40. The 3D Screenshot Preset: Moving over to the basic three D effect, and this one is very useful. So for example, if I record my Max screen right now and do something within Premiere Pro, for example, just fiddle with my mouse over here, and then I stop the recording, import it into Premiere Pro, and look what happens when I apply the basic three D preset. Footage turns into this three D screen. So if I play it, you can see that it looks three D and it's moving. What this effect basically is is just a basic three D effect with some keyframes. I'll show you how to set it up. In the effect panel, search for basic three D and apply a basic three D effect under the perspective in video effect. I'll go to your effect controls panel, and here you'll see the basic three D panel. Let's see what happens when I change the swivel. If I increase it, the clip rotates to one side, and if I decrease it, it rotates to the other side. Now, the tilt does the same but vertically, and the distance to image is just basically the Zoom amount. So you can control it with the scale attribute as well. So for this effect, I want my screen recording to feel like it's moving, like the screen is being recorded with an external camera. So for that, I'll use keyframes. First things first, I'll decrease the swivel, so it's something like this, and then decrease the tilt, so it looks something like. Next, I'll click this clock to toggle keyframes. I'll scroll to the top and add a scale keyframe and a position keyframe. I'll zoom in a little bit so that the black edge is not visible. And I'll move the position slightly to the left. I'll move my playhead over to the right side, then decrease the swivel, so the clip will rotate like so, and also decrease the tilt. So it's going to look something like this. Now for the final position, I can decrease the scale because the clip is not rotated too much so I can zoom out, and then I'll adjust the position so that it shows the middle of the screen. Next, I'll select all the keyframes and move them to the and select all the keyframes over here and move them to the right. This is how it looks like now. The clip is moving and rotating, which gives it this three D appearance. One more thing that I like to add here is inside of my project panel, I look for screen texture, which I always import into every single one of my projects inside of my music folder. I basically have sound effects, music, and video effects and screen textures are under video. I'll drag a screen texture over this clip, which will add this RGB sort of texture. Then inside of my effect panel, I'll select this clip, increase the size of it, so it covers the whole screen and change the blend mode to overlay. I'll just decrease the opacity, so it's very subtle. Now, you'll see that this footage does look like an external screen that's being recorded. I have to do now is come back to Effect Controls, right click on the basic three D and choose safe preset. You can either choose scale, which means that the keyframes will span across the whole of your clip or anchor to in point, which is what I did because I like to preserve the movement that I created. Since if I select scale and the keyframes are spread out, the movement will be a lot slower. However, if you choose anchor to Inpoint, you'll have to manually adjust keyframes each time that you apply them to a new clip. So that's the basic three D effect. 41. Eye Shaped Blur Preset: Next preset that I have is the eye shaped Goshen blur. If I add an adjustment layer on top of my footage and then apply this effect on top of it, so just drag it on, you'll notice that the sides of my footage became blurry. The reason I did this on an adjustment layer and not on the footage itself is because the footage is zoomed in. So only one edge of the blur would be visible because that end of the screen is off the canvas. Now I can go into effect controls and tweak the blur amount so that it's not super blurry. Just a little bit. This effect helps direct the viewers focus to the middle of the screen because the edges are a little blurry. I sometimes use it with the basic three D effect, so for showing screen recordings and images on the screen, let's delete it and I'll show you how to set it up. Inside of your effects, look for Gashenblur and drag it onto an adjustment layer. To create an adjustment layer, come to your project panel, click this icon down here and choose adjustment layer. A new adjustment layer will be created and you can drag it onto your timeline. Select the adjustment layer and go to Effect Controls. Scroll down and you'll see a Goshen blur. The first thing that I'll do is increase the blurriness so I can see what I'm doing. Then I'll create an elliptical mask by clicking on this circle here. Now I want the blur to be on the edges, so I'll click Invert. Everything that's outside of this circle is now blurry. What I want to do now is increase the circle with these handles. But now the blur is sort of harsh. So inside of effect controls, I'll increase the mask feather, and it will make the masks transition a lot smoother. Now I can simply decrease the blurriness and have this natural looking blur effect on my footage. So everything in the center is in focus and everything outside is blurry. You can also click on the mask here to see exactly which part is not blurry. Here you'll see that the inner circle has no blur, but everything outside of it has a little blur. What I can do is make this inner circle a little larger by dragging on this handle and you'll see that it gets a little bigger. So now everything in this inner circle has zero blur. Everything from this line to this line is transitioning 0-20 the amount that I set, and everything outside of this last line has a 20 blur, so the full blur amount that I set. So this is 20 over here, and this is transitioning 0-20. 42. Johny Harris Photo Preset: The next preset that I've created is this Johnny Harris photo preset. I named it that way because I took inspiration from Johnny Harris because he showcases his images in a very similar way. So I have an image of my MacBook and I'm going to select it and click N on my keyboard to nest it. If you don't have this keyboard shortcut, simply search up for nest inside of your keyboard shortcut and then drag it onto the letter N. So I'll click N to nest it and then apply this effect. See that nothing changes except here in the beginning. What happens in the beginning is the image starts off a little blurry, and then it moves up the screen as it comes into focus. This is a very cool way to showcase an image. What I will also always add with this preset is a sound effect called shutter click. It's basically just a camera shutter sound effect. And this is how it sounds like. So it's just a camera shutter sound effect and a nice pop up animation with a blur. And it looks really nice when you're watching the video instead of an image just simply popping up on the screen. I'll remove all the attributes from this nested sequence. By the way, you always want to do this effect on a nested sequence because it works with the motion and scale attributes. And if your image is super zoomed in like so, it's not going to work very well. So before adding this preset, always nest your image, which will set its scale to 100 and its position to whatever position it. Select your nested sequence, go into your effect panel and search for Gaussian Blur, then drag it onto the clip. Now inside of the effect controls panel, I'm going to enable keyframes for blurriness and then for position. In the beginning, I want the blur to be very high. So let's say 20 pixels. And I want the position to be a little down because this clip is going to move move my playhead slightly to the right and reset the position to the default place and then reset the blurriness to zero. I'll select the first keyframes, right click, temporal interpolation and ease out, and then select the last keyframes. Right click, temporal interpolation, ease in. This will make everything smoother. Finally, I'll select the first keyframes and move them to the very beginning and I'll see how it looks. It's very slow, so I'll select the last keyframes and move them closer together. And now it pops up. I think it's still very slow, so we'll move them even closer, and now it looks like this. The image just pops up. Next, I'll select motion, scroll down, hold Command on my keyboard, and also select Goshen blur. This will make a double selection. Then I'll right click and save this as a preset. Make sure to se anchor to in point because we don't want the keyframes to spread out and we always want them to be at the beginning of the clip. So for this preset, anchor to in point is very important. And now, whenever I have an image inside of my timeline, I'll adjust its size to however I want it to look, then I'll click N to nest it, and then apply my photo effect to this clip. And you'll see that it pops up nicely on the screen. All I need now is just the sound effect, which will make this transition even better. 43. The Move Up Animation Preset: Is the move up animation preset, and I use it only for text. So I have a text layer here, and if I apply this preset, you'll see the text just pops up from the bottom. I can also adjust the keyframes like so, and it pops up faster. So this one is pretty simple. If I have a text layer without any effects, I can simply set my position to the very bottom, then move a little right and reset the position. I'll make the first keyframe to ease out and the last one to ease in, then move them to the beginning and closer together. And now I play it, it pops up from the bottom. To save this as a preset, just right click on vector motion, save preset and choose anchor to point because we don't want the keyframes to spread out depending on the size of this clip. 44. Moving Edges Preset: One of my coolest premier presets is moving edges. If I add an image onto my timeline and then apply the moving edges preset, you'll see that when I play the clip, the edges start moving with this cool effect. What lets me achieve this is the roughen edges effect. So I'll duplicate this clip, remove the attributes and show you how to set it up. In the effects panel, look for roughen edges and add it to your clip. Then in the effect controls panel, scroll down, and here we animate the edges. So if I play around with the border, you'll see that it has this sort of effect. Next, I'll increase my edge sharpness 1-10, so the edges are very sharp. The fractal influence basically decreases these fragments. So if I make it zero, you'll see that this just turns into rounded edges. I'm going to just slightly increase it. Then the scale will make these bigger or smaller and they'll set the scale to 300. Obviously, just fiddle with the settings and find what looks best for you. Now, we're going to animate the fractal influence and the offset. So click on the clock for the fractal influence and the offset. Move your playhead to the right and then increase the offset, which will make the edges move to one side and increase or decrease the vertical side, so it moves up or down. You'll see this is how it looks like now. This is a little too fast, so I'm going to decrease the offset a little bit. If I play it, the edges move a lot slower. You can also add more complexity to these edges or decrease the complexity by adding a fractal influence keyframe. So I'll set it to go from 0.4 to one. So I'll move these keyframes to the left and to the right. And now if I play my clip, you'll see that the edges are moving. Just save it as a preset, right click on roughen edges, save preset and choose scale. We're setting it to scale so that the keyframes span out across the whole clip, and we don't want the edges to stop moving randomly in the middle of the clip. So this is how you create the moving edges effect. 45. The Round Corners Preset: The next preset is round corners. It's essentially the same as the moving edges preset, but just simpler. If I apply it to my image, you'll see that the corners become rounded, essentially, it's just a rough and edges effect with edge sharpness set to ten, fractal influence set to zero, and the border I set to 129. If I increase the border, you'll see that the edges become more and more rounded, and if I decrease it, you'll see that they become more and more square. So when I apply this preset, I just play a little bit with the border to get the corners to look just right, this doesn't have any key frames. So when you're saving it as a preset, it doesn't matter which type you choose. 46. The S Curve Preset: The next preset that I have is the S curve. And when I apply it to my clip, you'll notice that the contrast of the image increases or the video. And that's because it's just an S curve inside of the lumetric color panel. So here's how to set it up yourself. At the beginning, you'll see something like this. You can collapse the basic correction and expand the curves panel. Now, here is where we're going to create the S curve. So just put a point somewhere here and move it slightly up and then put one point down here and move it slightly down. You'll notice that it adds contrast to your footage. So if I disable it and then enable it again, you'll see that the blacks in the image became a little more black. The brighter parts sort of got more contrast. So before, after, before, after. Now, when watching a movie, you'll probably notice that the blacks aren't super black. They have a slightly grayish look to them. And so we can achieve that down here. I'll add one point over here and then move the bottom point slightly up. I'll move this point over here so that the blacks are slightly if I look at the image, you'll see that this is pretty black but not super black, and this is the aesthetic that most movies have. It's also the same for the highlights. So the brightest part in the image is usually not full white. So I'll do the same for this end and clip the highlights. And this is how my own preset looks like. So you'll see that it's pretty much identical. So the S curve is a very common way of making your footage pop. It also works on pretty much any footage. So if I go back to my turtle clip and apply my preset, you'll notice that the contrast increase. Or if I come to this image of my MacBook and apply the same preset, you'll see that the contrast slightly increased. So the S curve is just a simple adjustment that you can use to make your videos pop. 47. The Whip Transition Preset: The next premier preset that I have is this slide slash whip transition. It works with an adjustment layer. So I have two clips here. One is a truck, and then another one is just a picture of my MacBook. This preset is basically just a fancy transition which whips from one clip to another with a nice motion blur. What I'll do is come to my project panel and add an adjustment layer, and then I'll make it super small, so it's just the length of the transition. Next, I'll go to my effects panel and apply my slide slash whip transition. See that if I play the clips now, it quickly whips from one clip to another. Now, if I want to make it longer, I can undo and increase the length of the adjustment layer and then apply the transition again. Let's see how it looks now, and there it was. So because this clip is not full screen, it doesn't look super good, so I'll just increase the Zoom amount on this MacBook and let's see how it looks like now. It looks good now. So essentially, this preset works very well if you have two full sized clips that take up the whole frame and then if you want to transition between them and here's how to set it up, come to your program monitor and then click this icon over here and choose adjustment layer. This will insert an adjustment layer to your project panel. You can then grab it and drag it into your timeline. Now, resize the adjustment layer so that it's roughly the length of your transition and place two clips underneath that adjustment layer. We're going to be using the offset the directional blur and the Alpha adjust effect. So just search for offset and apply it to your adjustment layer. Then search for directional blur, apply it again, and search for Alpha adjust and apply it to the clip. Next, come to the layer and go to your Effect Controls panel. Under the offset effect, I'm going to set a keyframe here for the shift center two. Then I'll move my playhead a little right and adjust this parameter so that it makes a full one rotation. Just like so. Next, I'll hold shift and drag my playhead to the first keyframe so that it snaps in place and add another keyframe for the blur length. Now, we don't want the footage to become super blurry immediately because it only started moving here. So I'll leave the blur length set to zero. Now, since our image is moving from the left to the right, I'm going to set the blur direction to 90 degrees. Next, I'll hold shift and jump to the next keyframe and add another empty keyframe here, so the blur is zero. And then I'll come to the middle and add one more keyframe for the blur and now make it super blurry. So let's say 100. Finally, under the adjust Alpha, I'm going to select Ignore Alpha. Also, I'll make these keyframes non linear so they transition nicely. Since this one's in the middle, I'm going to right click and choose Auto Bezier. This will turn it into a circle. Since this keyframe is in the middle, I can't really say ease in or ease out because it has keyframes on two different sides. So it needs to ease in and ease out at the same time. Now I'll move everything to the edges of the adjustment layer and move this circle in the very middle. Now if I play this clip, you'll see that I get this whip transition. Next, I'll come to the adjustment layer, hold Command and select all three of these effects, right click and save preset. I'm going to set it to scale because I don't want all of these keyframes to be anchored to the very beginning of the adjustment layer. I want them to spread across the adjustment layer because I'm using the adjustment layer as the length of my transition. So if I insert a long adjustment layer and then apply this preset, it's going to make this transition very slow. And if I make the adjustment layer smaller, it's going to make the transition faster. And if I click Okay, I'll have my preset. 48. The Slow FPS Animation Preset: The next premier preset that I have is the slow FPS animation, and it basically makes things that are animated basically more stuttery. So here, I'll have my text come up from the bottom and you'll see that it just comes up normally. Now, if I apply this preset, you'll notice that my text now comes up sort of in a stuttery way. It has a lower frame rate. This is just an aesthetic that I like to use for some elements inside of my videos because it makes it more interesting. And this preset is just a posterize time effect. So if you want to apply it to any moving thing in your sequence, then you can come to the effect panel and search for posturizeT under video effects time. If I apply it to my text, you'll see that the default number is 24. So basically, it turns this clip into 24 FPS. Now my sequence is in 30. So if I play this clip, everything else will be at 30 FPS and this hello text will be at 24 FPS. Now, since this at the bottom is just an image, I'm going to replace it with some other clip so you'll see what's actually happening. So here I have a clip of a Shore, and so this clip is going to be playing at 30 FPS because in the project monitor, you can see that the frame rate for this clip is 30. And since my sequence is also at 30 FPS, the clip is going to be playing at 30 FPS. But since I applied the pasteurized time effect to my text, it's going to be moving at 24. This is probably not going to be super noticeable. Well, it's a little bit noticeable, but I like to decrease the frame rate to 15, and now it's very noticeable. So you'll see that my text sort of glitches as it comes up. Now, this depends on your taste, and maybe you hate this effect. I'm just showing you that it exists. So in order to create it, just apply a postiz time effect to anything in your sequence, then right click on pasteurize time and choose Save Preset. Since it doesn't have any keyframes, the type doesn't matter. And if you click Okay, you'll be able to drag the posturize time effect onto any clip in your footage, and it'll decrease its FPS and make it stuttery as it animates. 49. Text Presets: Next, I have two text presets. So the first one looks like this and the second one looks like this. These are just text styles that I use for my videos. So whenever you have some sort of a text that you want to save it as a preset, you can simply highlight the text here, come to your Effect Controls panel, select the text over here. Right click and choose Save Preset. The type doesn't matter here as well because there are no keyframes. And once you save a preset, you'll be able to click T on your keyboard to bring out the text tool. Then click once inside of your program monitor, come to your effects and simply apply the text preset to your text. The reason that I clicked once and didn't type anything so that it inserts this text box into the timeline but adds nothing onto my see that this text is empty. I can either delete it, or what I usually do is just leave it there because it doesn't matter. No one can see it. And then I can drag the preset here and have my actual text as a new separate text layer. I can then change this text and have its style consistent across all of my YouTube videos. 50. The Transform Up Preset: The next preset that I have is this transform up preset. So if I apply it to my clip and then play it from the very beginning, you'll see that it pops up from the bottom with a nice motion blur. So here's how to do it. First, search for transform inside of your Effects panel, and under video effect distort, apply a transform effect to your footage. Then come to Effect Controls, and we're going to be adjusting the transform effect. The only thing that I'm going to be key framing here is the position. So I'll add my first keyframe and move this clip to the very bottom. Then I'll move a little to the right and reset the position. Next, I'm going to set the shutter angle to 180 degrees to add a nice blur effect. I'll also set these keyframes to ease in and ease out and, of course, move them to the very beginning. Now, if I play my clip, it pops up from the bottom. The speed is a little too slow for me, so I'll move the last keyframe closer to the first one. And now if I play it, this is the effect that we get. So I'll right click on Trans if preset, select the anchor to endpoint because I always want my keyframes to be attached to the beginning of the clip, and no matter the length of the clip, I want the spacing between the keyframes to be the same. That's why I'm not choosing scale. If I chose scale and the clip was longer, then the gap between these keyframes will also become longer. So if I click Okay, this preset will now be saved into my effect panel. 51. The White Outline Preset: Another preset that I have is a white outline three pixels. What it does is it basically adds a small white outline on the edges of the clip. I usually use this for images, so I'll demonstrate it with an image. So if I drag this effect onto the image, you'll notice that a slight white outline appeared on its edges. So here's how to do it. Inside of your effects panel, just search for Drop Shadow. It's going to be under video effects and perspective. Drag it onto my clip and go into my effect controls. This outline is essentially four drop shadows on each end of my footage. So first, I'll configure the shadow. I'll make the color completely black, then I'll set the opacity to 100. You'll see that an outline already appeared on one side of the clip. Next, I'll set the direction to zero. So it's only going to appear on top. Then I'll set the distance to three. This is going to dictate how thick the outline is. So if you want, you can set it to ten or five or whatever you prefer. For me, it's going to be three. I'll leave the softness at zero. Now I'm going to select this drop shadow effect. Command C on my keyboard to copy and command V to paste. Now I'm simply going to change the direction to 90 degrees. So you'll see that the outline is now on the left. I'll copy and paste it again and set the direction to 180 degrees. Now there's an outline on the bottom. I'll copy the effect one more time and set the direction to 270. And now all four corners of my image have a white outline because the first white shadow is at zero. The next one is at 90 degrees. The next one is 180 degrees, and the final one is at 270 degrees. So basically in all four directions. Just collapse these shadows like so, then select them all, right click and save preset. The type doesn't matter because there are no keyframes, and when I click Okay, this preset will be saved to my effect panel. So next time I have an image, I'll simply go into my effects, then expand my presets and apply this outline, and you'll notice that it immediately looks better because an outline. So these are all the presets that I use for Premiere Pro. Now, every time there's some action that you keep doing over and over again, it's a good idea to create a preset. It's going to make your workflow so much faster because you won't have to do it over and over again. I constantly keep adding new presets to my preset folder as I discover new tricks or find things that I keep doing repeatedly every time that I make a video. So definitely set and use your own presets because it's going to make your editing workflow so much faster. 52. Copying a Preset From Others: Now when watching YouTube videos, you might notice effects that you may want to use for yourself. For example, I was watching this video from Benny Productions. He's basically a Photoshop god, and over here, I really like how he showcases these images. So if I play the video, you'll see that images sort of slightly pop up and down left to right, and I really like this effect. I'll try to replicate it for myself and show you how you can do that, too. I'll do this for the Mac image. I'll zoom in so it's full screen because that's how Benny productions showed this photo, so I want to replicate it as accurately as I can. I'll start off by nesting this clip because now all the motion attributes have been reset. If I was doing this on a non nested clip, you'll see that the scale is already 246. So the next time that I would apply this preset, it would immediately set the scale to 246, no matter the actual size of the clip. So always create your presets that require scale on a nested. I'm going to insert the scale and position keyframes and move, let's say, three frames to the right. By the way, if you move with your arrow keys, it's going to skip one frame at a time, but if you add shift, it's going to skip five frames at a time. So I'm going to hold Shift and move 15 frames to the right, and I'll add two more keyframes. I'll also add keyframes for the rotation because we saw that these images slightly rotate. So I'll experiment with the rotation and set it to one for now, and I think that's going to be enough. Now I'll slightly increase the scale to 105 over here and over here so that the image fills up the whole screen. This is what we have now. The image only slightly rotates, but I noticed that here, it also slightly changes position, and it goes into these four corners. So that's what I'll do. So I'll move this slightly to the top left. And now this footage moved to the top left. Each time that I add new keyframes, I'll increase the scale by two. So here it was 105, and here it's 107. That'll give me some wiggle room for the position. I'll also move them closer. So now it moves to the left. I'll expand this and also expand my clip inside of the nested sequence so I have more space to work with. Then I'll copy these keyframes and paste them over here. I'll set the rotation back to zero. The scale is going to move back, let's say to 106, and then the position is going to go to a different corner. So it's going to go down I'm just playing with this, seeing what works. So now we have this, one, two. So these keyframes aren't exactly where I wanted them to be. Then again, one, two, three, these keyframes should be over here. I'll now decrease the rotation to minus one and then move the position to the bottom left of the image, just like so. I'll add the final set of keyframes over here and then set the rotation back to zero. I forgot the scale over here, so I'm going to set it to 108, and on the last keyframe, I'll put it to 110. I'll set the position to the bottom left, and this is what we have now. It's moving very fast, so I'll double the distance between the keyframes. I'll hold Shift, one, two, three, one, two, three, and move all of them to the right. Then again, one, two, three, one, two, three, move all of these to the right. I'll expand this clip inside of my nested sequence even more so I can duplicate these keyframes. So if I have something that I want to show for a long time, these keyframes will just repeat themselves. I'm going to highlight all of these keyframes and set all of them to Auto Bezier. Now I'll just highlight all the keyframes, one, two, three, one, two, three, and paste them once, then highlight everything again. Come to the last one, one, two, three, one, two, three, and paste them again. So I'll just paste everything until it covers the whole nested sequence. If I play the clip, it should move very nicely. This is a little too much movement. This is a lot worse than what Benny Productions had, but we still managed to copy the concept of this effect. I'm going to remove all of these keyframes and tweak the first ones again so that I get a nicer effect. This is probably going to take some time and adjustment to dial it in just right. This is how you can think out of the box and recreate effects that you already see on YouTube. It's going to make your editing skills better and also help you notice effects that other people use in their videos. I 53. Showcasing Images: If you make a lot of YouTube videos, especially faceless ones where you don't show your face, chances are you're going to be showcasing a lot of images, and to make your showcases better, you can use the Ken Burns effect. It's basically slowly zooming into a picture or a steady frame of the video. This creates the illusion of movement and entices the viewer to watch longer. So for example, I have this screenshot of my YouTube channel. Instead of popping it up on the screen like so, I can decrease its scale to something like this and then add two keyframes. The first one is just going to be the default size, and the second one, I'll just slightly zoom in. So now when I play this clip, the image should start zooming in slowly. It's a little too slow, so I'll move this keyframe over here and increase the Zoom amount just a little bit and move it to the very end. And now it looks something so the image is just slightly moving into frame, which helps increase engagement. Instead of looking at something steady, the viewer can see something that's moving. Now, what you can also do is instead of adding these keyframes, you can add an animated background. For example, I use these MKBHD inspired dots that I made, and so I just place an image on top of them, and when I play it, the background moves and the image can stay steady. This also creates the illusion of movement and keeps the viewer watching. Don't have to create your own animated dots or anything. You can simply use the same image. So, for example, I'll duplicate this image by holding option and dragging. Then I'll go into effect and add a blur. Next, I'll increase the blurriness so it's not super visible. I'll come to the lumetri color panel, and in the basic adjustments, I'll just decrease the exposure so that the background is slightly darker. Now, all I have to do is just zoom in on the background. I'll add a scale keyframe and then just zoom in like so. And now if I play this clip, you'll see that the background is slightly moving and the image is staying still. I can move these keyframes closer so that the background moves a lot so you get this background moving effect. To make this look even better as a bonus, you can add a drop shadow and then adjust its parameters so that the shadow is a little more soft and more visible and you'll get this nice separation from the actual image and the background. So to keep viewers engaged when showcasing images, you can either slowly zoom into that image or add some movement in the background. What I can also use is a preset that I showed you how to make previously when we looked at how to replicate presets from other YouTube videos. I can simply add the Benny productions movement preset and you'll see that now the image moves in weird direction. Is also a good way to keep viewers engaged and add some sort of movement to your steady frames or images. 54. The Compounding Nature Of YouTube: When you're making videos for YouTube, you have to keep in mind that everyone sucks in the beginning. If you've never made a video in your life and you're making your first one, chances are it's going to be horrible. That's just the reality of it. If you go into a basketball court and try to beat LeBron James, it's just not going to happen. You're going to fail many, many times, for many years until you fail so many times that you can learn from those failures, and then you become better. And the same goes for YouTube. YouTube is a marathon, not a sprint. It took me ten months and more than 100 videos to get monetized. Cringe so hard when I look at my first videos. They're terrible. And this is good. If you look back at your old videos and you can't believe how horrible you were at making them, it's a sign of progress. The reality is that if you're not a pro, you're going to have to pay your ignorance debt. You're going to have to make a lot of videos to learn the ropes of YouTube. However, they are good news. Growth on any social media platform is exponential. It's not linear. It looks something like this. So at first, you're going to be putting thousands of hours into your YouTube channel, making videos and not seeing any results. It's okay because this work will compound over time. As your video library grows, more and more people will start watching them, and your channel will get views not because of one video that goes viral, but because of the library of content that you create over a long period of time. Building a successful channel takes time, effort, and a lot of trial and error. At first, it will feel like an uphill battle, but as you learn more and gain experience, things start to fall into place. You begin to develop strategies that to hook viewers in and keep them watching and get a better sense of what they want to see from you. Consistency and patience are key to success on YouTube. The thing that I like most about growing a YouTube channel as your business is that you have to put in a lot of work beforehand, which clears out a lot of competition. But once you do put in that work, it can become a passive income generating machine. Once you publish enough content and your video library grows, the new videos that you will make don't necessarily have to bring in that many views. Old videos that you made don't disappear on YouTube. They get recommended to viewers forever. Just notice how on your home feed, there are many videos three, five, or even 10-years-old. I really like the way Ali Abdel puts it, and he says that you can think of your channel as a large wheel. It's very hard to get that wheel spinning in the beginning, and you have to use a lot of force to get it moving, even just a little bit. But once there's enough force, it's slowly, but surely starts spinning and rolling on its own. You don't need to push it any further. Inertia carries it through. At that point, only a little bit of force is required to keep the wheel spinning. In the beginning, most videos will get two, three, tens, maybe hundreds of views at most. That's why it's very important to be patient and stick with making videos. The payoff comes later. You have to delay gratification. The more patience you have, the more each video will spin the YouTube wheel and the more your channel will grow. 55. Small Changes Remarkable Results: You need to fail in order to win. The most important thing to success on YouTube is not the editing software you use or your camera equipment. It's your mindset. The average channel doesn't go viral overnight. According to To Buddy, a Chrome extension that lets you do keyword research on YouTube, an average YouTube channel that reaches 1,000 subscribers have published 152 videos. That's a crazy amount. It's not ten or 20 videos, 152. That's a large number. This just proves that at the start, you're making videos to learn, not to earn. You know nothing about YouTube. So look at your first 100 videos as a learning process. The beginning is going to be the hardest because you have to look at the videos you publish, not as something that can go viral or make you money. Of course, it's nice if it does, but if it doesn't, you should look at them just like reps putting in reps to get stronger and learn how to do YouTube. The best way to learn is through trial and error. The more videos you upload, the faster you can learn. Of course, don't just pump out videos just for the sake of pumping out videos. Try to improve something each time that you do it. If you get 1% better each day for one year, you'll become 37 times better by the end. Make each video better than your last. The changes don't have to be noticeable to the viewer. At the start, they probably won't be. You're going to add L or JCAts, focus on the pacing of the video, but over time, small improvements will add up. Soon, you look back at your old videos and think, What the hell was I doing? That's what happened to me. That's a sign of improvement. With each new video, try to make it 1% better, even if it's just smiling when you talk to the camera, cutting out one more breath, watching a video once it's done, and correcting one mistake or taking 5 minutes to search for inspiration for your thumbnail. Small changes will lead to remarkable results over time. 56. 3 Qualities Of A Successful YouTuber: It might seem like small channels keep randomly popping up with 100,000 subscribers everywhere, but that's just a very small percentage of people who try to make it on YouTube. It skews your perspective because you never see the thousands of channels that never make it on the platform. So there are three qualities that you need to have in order to maximize your chances of becoming a successful YouTuber. Number one is long term mindset. Necessary not to quit. Number two is continuous learning. It's necessary so that you can improve. And number three is the ability to adapt. It's necessary to adapt to changing times and viewer behavior so you can grow and not stay in the same place. I really like the quote from Ali Abdaal, and he said, If you can publish at least one video per week for two years, I guarantee your life will this just speaks for what you need to do in order to succeed on YouTube, publish a lot of videos, learn with each video, and improve at least something for the next one. If you keep doing that for a long time, it usually takes around two years, you'll be able to explode your channel. Take a look at your favorite YouTubers. Look at their old videos if they're still listed. They most likely were terrible. It took Marques Brownlee, MKBHD, 100 videos to reach 76 subscribers. Think about that. To get good faster, take the quantity approach, not the quality. Quality approach will not work at the start because you have no idea what you're doing. You'll most likely put tons of hours into your first few videos, but the unfortunate reality is that probably no one is going to watch them. The point of your first 50 to hundred videos is to learn. Don't expect to have a viral hit within your first ten videos. It's like stepping out into a ring with a professional boxer having trained for 10 minutes. Needless to say, the odds aren't in your favor, but of course, something magical could happen, and you can just knock him out with one punch. Here's a cool graphic that a YouTube channel answer in progress made. It basically shows the four key pillars to success on YouTube. Number one is follow the terms of service. If you don't do this, your channel will just be banned. So obviously, you need this in order to have your channel on the platform. Number two, is make rewarding videos. The key here is rewarding. Create content that is attention grabbing in the short term but still fulfilling in the long videos can be rewarding because they're either entertaining or educational. For example, one viewer might find it rewarding if you teach them something new in your video or another viewer just likes to watch things that entertain them. You usually don't really learn anything by watching a Mr. Beast video, yet billions of people watch his videos because they find them rewarding through entertainment. Number three, is package your videos properly. You need to have good packaging, AKD title and thumbnail in order to get views in the first place. If someone doesn't click on the video, they don't watch. If your video is super amazing and no one clicks on it, then no one's going to watch it. Also, don't use Clickbait because you will lose trust in your audience. Finally, target people who will be fulfilled. Answer in progress, say to focus on reaching people who will care about your content and will help the platform identify similar people. Don't make videos for people who you don't care about, who you don't want watching your video. There are so many people in the world. So why would you even make videos for people who you don't want watching them, who don't resonate with you? Just like they say, views from people who don't care risks noisy data and low audience engagement. Focus on that one person who truly cares about the stuff that you're making videos about. 57. Upside Of Becoming A YouTuber: This is what the view graph for my channel looked like. So for more than 80% of time, I was getting zero views, and in the last 20% of time, the majority of views for the channel came in, and I've been publishing videos consistently for the last 1.5 years. Moreover, 5% of videos brought in more than 95% of views. That's the Pardo principle in action. It basically says that in many areas of life, 80% of the inputs will only lead to 20% of the results and 20% of inputs will lead to 80% of the results. In my view graph, this is clearly visible. For more than 80% of time, I was putting in the work but not seeing any results. The views that I got during this period are equal to less than 20% of total views, but the last 20% of time contributed to more than 80% of views. So it just goes to show that YouTube works exponentially. In the beginning, you put in tons of work, but don't see any results, and over time, they compound massively. Even though you don't see results for a long time, it's still worth it. Starting a YouTube channel has an almost limitless upside with a little downside, your time have to sacrifice your time for the upside, but the upside is that you can learn new skills, make money while you sleep, potentially have the ability to not work ever again, have new connections and career opportunities, make an impact. There's no ceiling for the amount of money you can make. You can monetize in so many ways. Even if you're not monetized through ASNs, you have the ability to work from anywhere in the world. You have the ability to turn it into a self sustaining business by outsourcing later on, and it all costs zero. If you have a computer and a phone, you can just make videos for free. The only downside is that it requires a lot of time. 58. Channel Growth Examples: Let's see some examples, and this is Ali Ab Dal. And you can see that for half the lifespan of his channel, it wasn't really getting that much traction. But in the last 50% of time, he's made over $1 million from his channel, and each day his channel is getting more than 150,000 views. That's insane. This is another channel called Matt Does Fitness, and this is his first year on YouTube, and this is two years later. He's now making more than $250,000. So the first year doesn't matter. In two days, he makes more than his channel made for the whole first year. That's why in the beginning, you should focus on learning and not earning. You learn will compound over time and bring you extraordinary compounded returns later. All big creators started small. They upload, upload, upload, and then upload one more time until they can begin to see results like this. I like this quote from Gary V, and he said that it takes only one piece of content to change your life forever. You just don't know which piece of content it's going to be. So just keep putting stuff out there until it all compounds and changes your life. 59. Picking The Format: Picking the right format for your videos is very important. I have two formats that I use for my videos. The first format is just a voiceover and something on top of it. It's usually like a screen recording or some graphics. With this format, I usually prepare and write out a full script that I then record, import into Premiere Pro without any footage pre recorded, and then I go through my voiceover and record clips accordingly that I want to show in the video. So the video is basically glued together from a script and then a bunch of separate clips that I record afterwards. The second format is me showcasing something with my hands as the Face. One usually involves me doing something real time and going off of not a full script, but a bullet point list. So this one is better if I want to show something in real life without having a perfect script or an outline that I had prepared previously. And I think your format is very important. Pick the format that you can stick with and that you'll enjoy making videos with because if you pick something super cinematic, then you'll get in your head. And instead of keeping to produce videos, you'll overthink the next one because it has to be better than the previous just pick a format that's easy for you to do and stick with. For example, for you, it might just be a talking head video like this or just a screen recording or doing something log style like in a forest. Maybe it's slides. Maybe it's a voiceover and you just pile clips on top of it like I do. Maybe it's showing your hands. Experiment with different formats to see which one works best for you. Of course, you can have different formats for different styles videos. One video might be an explainer where you just talk and show slides on the screen. The other one can be a cinematic recording of you showcasing a product next one could be you just drawing inside of Apple Notes. There are hundreds of formats to choose from and make sure to experiment to see which one works best for you. 60. Importance Of Pacing: The pacing is one of the most important things about your video. The most common retention hack is just to put as many cuts as possible, put hundreds of moving elements on the screen and overwhelm your viewer with stuff so that they don't have the time to put their attention elsewhere. But this on its own, doesn't really work. You don't want to start off your video with 100 cuts each second and for it to die off as soon as the first 30 seconds are over. Pacing is everything. It's the flow of viewer is always subconsciously looking for a reason to quit watching your video, so don't give him that reason. Your video should flow nicely, keeping the viewer entertained each second. But that doesn't mean that every 10 seconds, there should be a cut. If there's a part that doesn't add to the story of the video, just throw it away. Or if there's a point that you feel like you dragged on for too long, remove it. However, if there's some important formation, don't be afraid to leave it in. Don't just think I showed this for 10 seconds already, so I have to move on to the next thing. If you have to drive the point across, there's no need to insert 300 effects or text on the screen because nothing was moving for 5 seconds already. That's why editing is very important. The video comes together in the edit. If you recorded something, it doesn't mean that it has to make the final cut. If your footage doesn't contribute to your video and doesn't make it better over, should remove it. So back to the pacing, most people think that the pacing of the video looks something like this. This is a bad example, and usually it reflects in the audience retention. So if you cram all of your action in the beginning of the video, add 100 cuts, focus only on the intro, and then it dies off slowly, then your viewers will also start leaving slowly. Moreover, what's important to understand here is that pacing is relative. If it's always high, then that's the base. Order to increase the pacing, when it was always high, you have to put in so much work. Whereas if your pacing slows down and then ramps up, it creates this contrast, and even though it was slower than in the first example, it feels faster. You want viewers to be able to compare different parts of your video subconsciously and notice the difference in pacing. In reality, good video pacing looks something like this. You can start off the video super fast, then slow down to explain something, then ramp it up again, then slow down, ramp up again, and so on. Try to always keep it super high because that's going to become the baseline. So even if it's high, it's going to become the new normal because there's nothing to compare it to. It's just like becoming rich. Once you're rich, you get used to the money you have, and ordinary things like buying clothes or a new iPhone, don't give you that much pleasure anymore because that's just your baseline. It's just ordinary. I'm not rich, so I wouldn't know, but that's what I've heard. So put your video together in a way that viewers can subconsciously compare and notice the differences in pacing so that when your pacing becomes faster, it's actually noticeable because it was slow before. Of course, pacing is not binary. It's not just fast or just slow. It could be somewhere in the middle. It can ramp up and down. But the key thing here is to not think that it should be high across all of your video. Even worse is to think that it should be high at the beginning and then slowly die off as the video progress. 61. Storytelling: Tell stories in your videos. Humans love stories. Try to tell a story, even if you're making a gaming video or a simple tutorial. Stories make it easy for our brains to understand information through emotion. Stories can cause laughter, make people cry, and make them feel angry or anxious. But the outcome is the same. Through stories, people gain powerful learning experiences. If you give information, then it's just that. It's information. People don't care about information. Think about it. Information is all around you. The key pieces of information that really get you are the ones that invoke emotion. People don't care about information. They care about their transformation, and transformation usually requires emotions. So tell stories in your videos. They can be super simple, but just try to have a story structure somewhere in your video. It's going to make them so much more personal and relatable to the viewer. And that's what you want. You want viewers to know, like, and trust you. These qualities make for a great audience. If your audience knows, likes, and trusts you, you're all set. You'll have no problems growing and monetizing your channel. 62. Importance Of Personality: Don't want to watch robots. It took me so long to realize this. In the beginning, I was just making faceless videos without including myself. It was the same like AI was making the video. I was just scripting things and reading things without any personality. It took me so long to realize that people don't just care about information. They care about you. They follow you because of who you are. If you're afraid to show yourself, well, not necessarily yourself, but what you're thinking, what you're feeling, or what do you think about things. If you always live in the gray area where you're afraid to express your opinion or your thoughts, no one's going to subscribe to such a person. It's just like subscribing to a channel that's been generated by AI. It has no soul. Moreover, just have fun. I tend to notice that videos that I have the most fun making usually get the most amount of views, not always, but I'm starting to see a trend. If you think you have nothing to share wrong because viewers care about you, your take on things, not the things themselves. So if you have a thought about something that you read or you have an idea, just share it. Have fun with it. Your audience is not stupid, and they can immediately sense that you're making something just for the sake of making it. You're not enjoying it. So by trying to have fun, you're going to do yourself and your viewers a favor. Your viewers will enjoy the videos more, and you will enjoy the video so just have fun. Share cool things that you learn, express your perspective, and don't live in the gray zone. If you say a thing that some people disagree with, that's okay. You want them to disagree. It's much better to express who you are and your perspective about things rather than being neutral. No one is truly neutral, and your audience can sniff that out immediately. So if you don't like something, say you don't you see other channels saying that this is amazing and you think it's pretty bad, just say it's pretty bad. It's going to make you enjoy making videos and also attract like minded people that know like and trust you into your audience. So don't be afraid to be authentic. Your audience don't care about dry facts. They care about your personality. This took me so many videos to realize. And as soon as I did, as soon as I showed some personality, some mistakes, my audience started seeing me as a human and not a robot. Don't be afraid to take a stance on something and don't be afraid to change your mind about. Ultimately, you want to build a personal brand. You want people to care about you, not the thing in the video itself. Of course, it's great if they care about you, and the thing that you're making the video about, it's just a massive plus, but if they care about you, it doesn't matter the video that you make. They're going to watch it anyway because you made it. This is why big brands pay influencers to make ads about their products. If you just see a product or a random video, just feels like an advertisement. But if you see your favorite creator with that product, it immediately feels so much more familiar, so much more human. And the product suddenly doesn't really matter. You're watching a video because that person is in the video. It's not about what's in the video. It's about the person in the video. So be human in your videos. Don't be afraid to show weakness because we're all human except Mark Zuckerberg going to be hard in the beginning to show personality, but by doing so, you're going to make it very easy on yourself because you don't have to fake anything and also because you're going to attract people that are like minded and think like you. And ultimately, that's the audience that you want. You want people who think like you in your audience. It's going to be much easier to make videos for them, and it's going to be much easier for them to consume the videos that you're making. So just be yourself. 63. J And L Cuts: Let's talk about the J and L cuts and how they can make your videos so much better. So here I have two clips. One is this clip of an ocean and another one is this clip of a ship, and I want to nicely transition between them. I also have this music track which will introduce some music to the clip. So the first thing that I could do is just leave this clip here and these two clips here, and then press Space Bar, and they will transition like this. The music will start abruptly, but this is a terrible transition. It just suddenly shows the ship and music suddenly starts playing. The viewer will be confused because there's just a random ship popping up on the screen. What we can do in that case is use a Jcut, which basically means that the audio of the clip starts before you show the clip. So simply move the audio here, and this will create a Jacut. Reason it's called a Jcut is because these two clips resemble a letter J. It looks like a capital J. And so the letter L is the opposite. So if the audio was from this clip, I would move it right there, and this would be an L. So that's why they're called J and LCAT. Anyway, I'll move this clips audio over here so that it starts playing sooner than I show this clip. And let's look at how much smoother this transition becomes. So you start hearing music which helps you anticipate that something's going to happen next and only then you see the ship. And this works exactly the same with voiceover audio. For example, Peter McKinnon uses J and LCATs in almost every single video. Let's take a look. I just don't like many of these photos. Makes it a little harder. You see, he started speaking about a thing that he was going to show on the screen before he actually showed that thing. Notice how right now he starts speaking before he shows what he's speaking about. Wanna call that? I do like this one. I shot this. He said, I do like this one while still showing the previous photo on the screen. This helps the viewer anticipate what's going to happen next and makes your videos flow a lot better. For example, right here, as well. I did it again underexposed, a little bit more inside. He starts talking about the thing that he's going to show first and only then he shows the thing. So that's the JCAt. Now, let's say that we want to transition into some sort of a scene where two people are talking. So here I have a clip from the Pirates of the Caribbean movie, and instead of plopping it up right here at the end of this clip, what I'll do is hold Option and make this shorter and then drag it to the left, like so, this doesn't have to exist. So now we'll start hearing the audio before we see what's actually happening on the screen. Let's see how this transition looks. And it's got to be the best part I've ever seen. So it would see. Okay? That was a little too far, so I'm going to move it there. I want him to say so it would seem as soon as we start seeing him on the screen. And it's got to be the best part I've ever seen. So it would seem. This flowed a lot nicer than if I was to have just this. It just immediately cuts to these people. The ship clip would feel so out of place and the video wouldn't have a nice flow. So basically, whenever you change a scene, you can use a J and L cut to make your video flow a lot nicer. Instead of having a very harsh cut at the video portion and the audio portion, you can first introduce the audio and only later the video of that clip. That way, your video flows a lot more nicely, and the viewer can anticipate what's going to happen next, which just makes for a more pleasurable viewing experience. 64. Marking Your Footage: One cool trick when editing your videos is setting markers and color marking your footage. So here I have a timeline of one of my videos, and as you can see, it looks pretty messy. What I can do in this case to make it easy for me to understand which clips represent what is make these clips a different color. So for example, if I wanted to make this bottom row a different color, I would right click Choose label, and then set a different label. For example, I'll choose yellow. And now these clips are yellow. Now if I want all of my camera footage to be a different color, I'm going to select all my camera footage, right click label and make it mango. So now all of my hand footage is mango and all of this is yellow. It makes it easy to differentiate between different parts of your sequence if it gets quite complicated to understand. One more cool thing that you can do is if you're editing horizontally. And for example, as I'm cutting up this footage here, I decided that I'll want to insert some text on the screen, but I'm working horizontally and I don't want to disrupt my workflow. So what I can do is insert a marker. To do that, I'll just click on my keyboard, and you'll see that here a marker appear. Marker does nothing except adding this little thing over here. It just marks that spot in the sequence. So when I finish cutting up my B roll and then come back to do another pass, I will see that there's a marker here and that I should add something here. Of course, I might forget that I wanted to add text, and what I can do in that case is hold option and click on the marker, and it'll split it into these two parts. Now I can drag it and it becomes larger. So now it highlights a bigger part of my sequence. Then I can double click inside of the marker and give it a name. There should be text here. Now, you'll see that inside of the marker, there's this text. So the next time that I come to this part of the sequence and zoom in, I'll know exactly why this marker is here. Also, I can double click and choose a different color, but I usually keep the color the same because I don't add too many markers. What's also cool is that instead of adding a marker on top of the sequence, you can also add a marker onto a clip itself. So for example, if I wanted to add a marker onto this clip, I would highlight it and then click M. You'll see that now the marker is on the clip and not on the sequence. If I want it to be on the sequence, I would select the clip by clicking anywhere else and then click and now it adds it on the sequence. To remove a marker, right click and choose clear all markers or clear selected Marker. Clear markers will clear everything, and clear selected Marker will just remove this one. All the tricks that apply to this marker also apply to the markers on your clips. But in order to split a marker on your clip, you can't really hold Option or Alt on Windows and click over here. Instead, what you have to do is go into the source monitor and then hold Option or Alt on Windows and click on the marker here. You'll see that it split it up in the time. If you hold option and click on a clip inside of your timeline, it only selects that clip and nothing else. So if the clip is linked with an audio track and you hold Option, you'll only be able to select that clip. That's why it doesn't work on the marker because the keyboard shortcut is the same. And now I can expand this marker and double click to say something, and now I'll see this marker on my clip. I rarely use markers on my clips. Instead, I add them on the whole timeline because it's just a lot easier to fiddle with them when they're on the whole timeline and not on the video. This is how you can label your clips with different colors so that it's easier to remember what they are and set markers inside of your sequence in order not to forget important places or things that you wanted to add onto your video later on. 65. Showcasing Screen Recordings: Now let's talk about screen recordings. When you want to show something on the screen, there are so many options to make your screen recording look better, especially if you record your voice over and then make a screen recording later. That could present some challenges because it's going to be hard to sync what you're saying and what you're showing on the screen. So here are a few tricks that you can use. Let's say that this is the audio for my screen recording, and this is the video. So I made the voice over first, and then I recorded the video, and now they're not I could do is cut the clip like so and then remove the parts that I don't need, but then it wouldn't really sink to what I'm saying in the voice over. So there are two options to hide these cuts. The first one is to zoom in. Let's say that I want to make a cut here and then for the footage to end up over here. Instead of just making a cut like so, you'll see that the mouse cursor teleports randomly. What you could do is zoom in on the second clip where you can see the mouse cursor. And now, when they transition from each other, it doesn't look like it was cut, but rather it was zoomed in. The other option is to use the rate stretch tool by clicking R on your keyboard. So we don't want the mouse cursor to teleport, and we can make this middle clip very fast so that it looks like the mouse cursor travels a lot faster. I can also make this clip faster so that it ends exactly where my voiceover ends. And since this is a screen recording, no one can really tell that the video is sped you're just moving your mouse, there's nothing else happening on the screen. Of course, if you speed up the portion of the screen recording that has some sort of a video, then it's going to be obvious that it's sped up. But if it's only your mouse cursor moving, it's not so noticeable and it's better than just having a harsh cut. But I do prefer zooming in instead of making clips faster. So if there's a cut here, I'll just zoom in on this clip. And if there's another cut here and I want to remove this middle part, then instead of having this last clip zoomed in, I will reset it back to default. So now, these two cuts are sort of hidden because this clip is zoomed in. So as I play it now, it zooms in, then I showcase something, and then it zooms out. It seems like there was no mistake there, and I just zoomed in to show the viewer what's happening. Another trick that you can use to hide cuts like this is instead of zooming in, just showing something else on the screen. It will really depend on what you're talking about. But let's say I was talking about something to do with growing your audience. So I'll add a brief clip of me showcasing how audience growth looks like, and now it hides this cut. So when I play my video, you don't see the cut, and then it resooms back to the screen recording. Makes the video flow a lot nicer than if it were to have harsh noticeable cuts. Now, if you don't have anything to add here and you don't want to zoom in, instead, you can use an effect. I showed you before how to create this three D preset, and if I apply it to my clip, you'll notice that it sort of becomes three D and starts moving. So it's also a great way to hide the noticeable cuts in your screen recordings. Now here it doesn't look quite right, but I can add a transition, and it will look amazing. Inside of my music folder and video effects, I've downloaded a 16 millimeter film burn, and now it looks like this, which doesn't look good at all. So I'll go into my effect controls, increase the scale so that it takes up the whole screen, and also I'll set the blend mode to linear Dodge add. Now I'll scrub through this clip to see where the brightest part is and it's over here, I'll add a marker and then move this clip in between two clips. So now when I play this clip, it has a nice transition into this three D effect. I can duplicate this on the other side, and now it will transition both ways. So it transitions in and then out of the effect. So by using transitions, different effects, making the clips faster or shorter with the rate stretch tool or adding B roll, you can easily hide noticeable and harsh cuts in your screen recordings, which will make your video flow a lot better and just make it more professional. 66. MKBHD dots: Now you'll notice that in some of my videos, I use these moving dots in the background, which were basically inspired by MKBHD because he uses a very similar style of background to showcase something on the screen, for example, images or photos or something else. I really like the aesthetic of it. Now, these are obviously not exactly the ones that he uses because I made them myself, and I'll show you how you can do that, too. This will probably make your computer pretty laggy, so just be prepared. So firstly, you're going to need a color mat set to black and then duplicate it twice more. So I have a black color mat on the bottom with completely no effect. Then I have two on top of it. Let me start with the top color mat. This one has the VR fractal noise effect with these settings. You can copy them if you want or experiment with them to have different style of dots. I also animated the evolution from 55.3 degrees all the way over to 50 times 84 degrees, this basically dictates how fast the dots are moving. So you can play with the evolution. And so this color mat only has this effect. Now, the second color mat has three more effects. The first one is a cell pattern, and this basically makes the have the cell pattern set to bubbles, the contrast set to the maximum, which is 10,000, and I have the size set to 35. Then I have a turbulent displace effect which makes these dots move. So without this effect, the dots just look steady, and I also have their evolution animated with key frames which dictate how fast it moves. And the final effect I've applied to the second color mat is the Track Matt key. And the composite is set to mat Luma and the mat is set to Video three. This video three is basically this color mat. So if you have your top color mat, for example, on video track number five, you would select Video five inside of the Track mat key. So basically, wherever this clip is, you go onto the second color under the track mat key, you choose whichever layer that third color mat is. So for me, it's on video track number three, and I will select Video three. Now, at the top here, if I hide everything else, I have just moving dots like this. It's just basically a dotted texture that I change the position of. It's very simple to do. You'll see that the position for the first texture is default, then for the other one, it's different. For the third one, it's also different for the next one and so on. I just cut this texture up, then changed the positions of each of these little clips and then duplicated all of them across all of the sequence. So this is how you can make these moving MKBHD inspired dots for the background of your videos. Of course, feel free to experiment. I've made separate versions of these dots myself, so these move slower. These are a little different, and these ones have different movement and just move vertically a little bit. 67. Value And Time Ratio: Viewers will choose the highest value and time ratio when deciding which video to watch. A viewer wants as much value in as little time as possible. Now, value is relative and it's also perceived. The real value of the video usually is not the same as the value that your viewer perceives when choosing to watch it or not. So if you can give infinite amount of value to the viewer in as little time as possible and other videos can't do that, then the viewer will choose to watch your video. Now, time is very simple. It's the length of your video or the play. Value is a little bit more complicated. It can be many things. It can be entertainment, education. It can be how funny your video is or how familiar the viewer is with your channel. The more familiar the viewer is with your channel, the more perceived value that he's going to get from your video, compared to someone who he doesn't know. I really like how Veritasium once said that the hardest part on YouTube is letting people know that you even exist. Most times the viewer will assess the value of the video just from its packaging. So the thumbnail and the title. And that's why the thumbnail and the title are very, very important. They're as important as the video itself. If a viewer doesn't click, they will not Now, what's cool is that if you've already made the video, you can't really change it. It's there on YouTube, and to change it, you can only delete parts with the built in YouTube editor. But if you want to add something, it's impossible. But that's not the same with thumbnails and titles. If your title and thumbnail sucks, you can simply change it to a new one. This strategy can revive old videos that were underperforming because of bad packaging. However, don't use clickbait. If the viewer perceives the time and value ratio to be extremely good from the thumbnail and the title and then clicks on the video to realize that he's been trick never going to watch another of your videos. That's why it's very important to deliver and if you can overdeliver with the video after the viewer clicks on the title. So these two things go hand in hand. You want the viewer to get as much value from your video in as little time as possible. But also, you don't want to overpromise what's going to happen because expectations are the thief of joy. If your viewer expects the video to be extremely good and entertaining, and then when he clicks, he sees that you're just rambling something that wasn't even related to the thumbnail, he's immediately going to quit watching and then never watch your channel it's best if you reinforce the viewer's decision to click on the video within the first 30 seconds. For example, if your video is about the latest iPhone, don't start it off with a travel montage where you're going to pick up the iPhone. Just immediately show the iPhone. That's what the viewer came for. He's going to get the value that he expects in as little time as possible. So that's one thing to keep in mind. Think about it this way. A viewer will always be looking for a reason to quit watching your video as soon as he clicks. So don't give him that reason. Give him a reason to stay, to watch till the end. And the only way to do that is to provide as much value as possible in as little time as possible. But again, value is subjective. One viewer may see value as education or some sort of information. Another viewer will find value in just seeing a familiar face, or another one will see value as entertainment or laughter or relaxation. Many forms of value that viewers look for your videos. You have to know what your audience expects and then deliver on the promise. So to summarize, a viewer will always watch a video that has the highest perceived value to time ratio. The more perceived value your video provides in as little time as possible, the better. 68. Become An Active Viewer: Good artists copy, great artists steal. The best way to improve on YouTube is to become an active viewer. Make it an experiment to analyze yourself when you watch YouTube as a content consumer. Think about why did you click on this video? Why did you not click on that video? Why did you quit midway through watching a video? Why did you watch all the way to the end? Analyze everything. How did the YouTuber begin or end his video? What clever words did he use in the title to hook you in? Why did you click on that thumbnail and not this thumbnail? Can ask these questions in your head as you use YouTube as a content consumer. Over time, you learn to transfer this knowledge to your own videos and make them a lot better. The only thing you need to do is make videos that people want to watch. That's what it comes down to. And if you become an active consumer where you try to notice what made you watch or what made you not watch, then over time, you'll start noticing and adding up simple things that make a video that others want to watch. So when you watch a video that you want to watch, chances are it has some elements that would make your viewers watch your. Just need to notice those elements and apply them to your own videos. And if you try to do this a few times a day, whenever you watch YouTube, these little things will add up in your subconscious mind, and your videos will naturally become better because you'll try to include the little changes, effects, cuts or thumbnail colors in your own video. 70. Enhancing Audio: So here I have a recording for some of the lessons of this course, and I'll show you how I process this recording. So for Editing my audio, I use a software called Audacity. It's basically just a free open source software that anyone can download from the Internet. It's available for Mac and Windows. So just go to their website and click download Audacity, you install it just like any other app. So I'll open Audacity and drag in my Sound Recording. You'll see that it's pretty long and that I make a lot of mistakes when recording my Voiceover, but nevertheless, here's how I process my Audio. The first thing that I do as soon as I hit record is just wait 10 s, just sit completely silently and just wait for 10 s. This gives me this silence in the beginning of my clip, and I will use this silence to remove the silence from the whole recording. So I'm going to select the silence by clicking and dragging, then go into effect and noise reduction. What this does is it basically analyzes this clip of my Audio and keeps note of the noise profile. So it gathers information for what to remove in the rest of my recording, I'm going to click Get Noise Profile. Nothing will happen. Then I'll double-click to select the whole recording, go into effect and noise reduction one more time. I will leave all of these settings default and just click OK. It will do its magic and the hissing noise in the background will be gone if there was any. The next thing that I do is again double-click to highlight all of the clip, go to Effect and normalize. I have it set to my end keyboard shortcut. What normalisation basically does is it changes the volume of your overall clip by a fixed amount to reach a target level. So it basically makes your Audio quieter or louder based on a certain standard, which is usually minus one decibels. So I'm going to leave minus one decibels here and click Apply. You'll see that my Audio became slightly more silent. Next, I'll go into effect and compressor for me the keyboard shortcut for that is C, to set your own keyboard shortcuts within Audacity, you can go into Audacity preferences and then Keyboard. Here you'll be able to set keyboard shortcuts, highlight your clip, Effect and compressor. For most of my recordings, I Use these settings for the compressor, but the default ones that come built into Audacity work just as fine. If you want to use my settings, you can copy all of them right here. And if you change something and you want to go to the default preset, just click Presets and settings, Factory Presets and defaults, and then click Apply. What a compressor does is it basically makes the quieter parts of your audio louder and louder part quieter. So it just compresses everything and makes it so the person listening can hear the quieter parts and the louder parts are not super loud. Once I have the compressor applied, I'm going to normalize the footage once again. So again, go to Effect and normalize. And that's it. I'm going to zoom out to see if there are any strong peaks like this. This is probably just a mouth sound that I made. Nevermind. It's me sneezing and sometimes there will be loud peaks like this, which will make the normalization not work. So if there's one super loud part, it's just going to decrease the volume of the rest of the recording. So what I can do is highlight this part and hit Q on my keyboard. And what Q does is it basically silences a clip. So I'm going to search for Q within Keyboard Shortcuts. And you can see that it has silence audio. It's under the Edit menu and remove special. If you don't want to set the keyboard shortcut for this, you can go to Edit, Remove Special, and then silence Audio, and it will just silence this part of the audio. The reason that I don't remove this part of the audio with Command X, which basically cuts out a piece, is because I'm going to sink this Audio To my screen recording. And it would make it super annoying and almost impossible to sink my Audio if it was a different length. So the way I do my recordings is I record this Voiceover on my iPhone and then I'm going recording the screen as well as the computer's microphone on my computer itself. The reason I'm doing this is because I can get my iPhone closer to my mouth and I can't really get my laptop's microphone close to my mouth with the ability to see the screen very well. That's why I'm recording it separately. And so if I remove this part of the audio, I will now have trouble sinking it up with the audio that comes from my computer because the audio from the computer is just going to be a little longer. Once I silence it, I'm going to double-click and normalize my Audio once again, it should become a little louder, and it did. Now I'm going to double-click to select it again, go to File, Export and Export Audio. I'm going to leave all these settings default, then pick a name for my clip, and then click Save. I'm going to click, okay, and this will be exported. So now I can import this into Premiere Pro and use it as my Voiceover audio. 71. Balancing Audio Loudness Levels: Now here I'm inside one of my video projects and I'm going to show you how to balance out the audio. As you can see, I used different audio tracks for different parts of the audio. I Use the A1 track and the A2 track for my Voiceover. The reason why I need to trax is because overlap my audio clips on top of each other. This helps reduce empty space in between sentences and are not sure that it works in terms of audience retention. And it also takes a lot of time. So you should probably not do this, but basically what it is is just the end of one sentence overlapped with another anyway. So I have my Voiceover on A1 and A2 tracks and I put nothing else here, so no sound effects and no music. Then on A3, A4, and A5, I have sound effects. These three tracks are always reserved for sound effects because I sometimes have to stack them on top of one another and they usually require three tracks at most. I always put music on track number 86. And there's a very good reason to do this. There's one more panel within Premiere Pro that I Use that I haven't showed you before. And it's the Audio Track Mixer to enable this panel, go to Window and then under Audio Track Mixer, select your Timeline. So it will basically change based on whichever Timeline you're on. So if I go to another video, it now changed to this Timeline. And if I go to the previous one, it now changed to this Timeline. And as you can see, I can balance my audio within these meters. So this says Audio one, and it basically means the audio of the first track. This is Audio two, and this is the audio of the second track. This panel basically allows me to add audio effects or change volume of the whole track. So instead of me having to change the volume of this clip, then paste all the attributes to all the other clips. I can just do it in here and the fact the whole track, That's why I have the Voiceover, all the sound effects and music on separate tracks so I can change their volume separately. So I'm going to solo the first two tracks, which are basically only going to play the Voiceover. And when I play it, you'll notice that in the audio meters here, the audio levels hit between zero and -12. And this is where I want my audio to be. So if it's not there, let's say it's somewhere like here, it's very silent. I'm going to boost up the audio with these meters. You can either do it with this slider here or just input a number. So let's say two. So it's going to be plus 2 db. I'm going to do plus two for both of these tracks because my Voiceover is on both of these tracks. And now when I play it, the Voiceover is loud enough. Now for this video, I had many different sound effects and I wasn't really consistent with their placements, so I changed volume of sound effects individually. So this is a whoosh. The Effect and the volume of it is actually -10 db. And this is a typing sound effect, and the volume is also -10 db. But for example, here it's -3 db, so it's not consistent and I didn't do it through the audio track meter, but usually I'll keep my sound effects within this range. So in-between -24 db and the -18 db. And finally is the music. I always set my music to be in-between -24 and -30 db. So here you can see that I've set my A6 Audio Track Two -24, and everything that's in this track is at -24 db. Now if I play back the video, it is that Sound effects are too loud. I can simply come here and just take these three just a little down so that the sound effects become a little quieter. And if I notice that my music is too quiet, I can simply bring this up a little bit and the music Across all My video will become louder. So to summarize, I tried to keep my Voiceover levels in between minus three and -12. My sound effects in between -18 and -24, and my music in-between -24 and -30 db 72. Exporting Footage: You've added transitions, some animated text to your video, and now you're ready to export it. Now, make sure to unmute all the tracks that you have muted before because they will not be audible in the final exports. Also, if you have gaps in your sequence, you can close them by using the Delete key. Or if you want to export only a specific portion of your sequence, you can come to the beginning of your Clips, kid I on your keyboard to set an endpoint and then come to the end and hit 0 to set an out point. And now you're ready to export a keyboard shortcut that I always use to export my Clips is Command or Control M. On Windows, it'll bring up the Export Panel. Now, another way to get there is at the top, just click this Export button. And here you can set settings for your footage. The best preset for YouTube videos is already built into Premier, so you don't have to configure anything. Click here inside of presets and simply scroll down until you find YouTube for K ultra HD, if this is not here, press more presets and then look for YouTube. Here you can favorite that these presets, and then they will show up in the preset menu. So if my sequence was in for K, I'm going to use the fork a preset. If I want to export a ten ADP video, I can use this preset and so on. I'm going to select it and click okay, here in this panel, you can see two columns, Source and output. Source is basically what you have in your sequence, and output is what you're going to get after your video is exported. Now let's take a look at the resolutions. You'll see that my Source video resolution is a lot smaller than the Export one. And that's because I've applied this preset. If I wanted to keep my original resolution, what I could do is customize the preset. I could go into video and here are fine frame size. So basically the resolution that it's going to export that. But I know that my original resolution is a lot smaller. So what I can do is click Match Source and you'll see that the resolution in the output has also been updated. In this panel, I can tweak just about any setting about my video that I want to change for the Export. In the video section, I can also click More and see even more settings that I could customize. For example, the bit rate, but the preset that I chose before already set very good settings for a YouTube video. So I don't have to think about any of this right now. The only thing that I wanted to change, what's the resolution of my Export, what I would potentially be interested in, as well as changing the FPS. You'll see that now it's at 60 FPS. But what if I want to export at 30 FPS instead of going to edit and then sequence, sequence settings and changing the Time-based of my sequence. I could instead use to edit in 60 FPS and then Export in 30 FPS. You'll find the frame rate below the video resolution in the Video tab, I will unselect this box so that it doesn't match the source clip and then pick 30 FPS. Now you'll see in the output it says 30 FPS. Now here in the filename, you can also set the name of the new file that's going to be exported. And you can choose the location by clicking here. I'm happy with my desktop, so I'm just going to click, Save and then Export. Since my clip wasn't super long and there weren't too many Effects. It Export it very quickly. Now if I go to my desktop, I'll see Footage one, and this is my footage. If I play it, there should be an animated text and the transition. There's the text and there is the transition. One more thing that I can do in the Export tab is saved my preset. So now what I've done is set match source for everything else except the frame rate. And I can save this as a preset. You'll see in the preset section, it now says custom because they've customized this YouTube for key preset. If I want to export all of my videos with this custom preset, instead of having to go into YouTube for K and then change it up every single time I can save my own custom preset. I can click on these three dots and click Save Preset. Then I'll choose a name for it. Demo preset and click. Okay. Now, even if I have another preset set to my footage, I can simply click here and find my demo preset. And when I selected, all of the settings will change to the ones that I wanted before. So this is how you export your footage inside of Premiere Pro 73. Conclusion: Congratulations, you've done it. Thank you for embarking on this incredible journey with me. I hope that now you'll have all the tools that you need to make incredible YouTube videos. Because look, all that it takes is analyzing other people's videos to see what works or doesn't. Then applying those lessons for yourself, recording the video and putting it together in your video editing software. So if there's one thing that I hope you take away from this course is that creating videos doesn't have to be a super hard and daunting process. You can just have FUN experiments, see what works or what doesn't, and go with that. That's why I encourage you to share the video that you've made in the project gallery. I really hope that this course was helpful and I'm looking forward to your feedback. Could you do me a favor and helped me improve by leaving a review for this course, I hope that you enjoyed and gain some knowledge from it. Thank you once again and good luck creating amazing videos