Transcripts
1. TRAILER: Hi, D. I'm Dani Haj, a video editor with six years of experience
in the film industry, and I'm thrill to
welcome you to the video editing Quick start with
Ad premier propers. In this course, you'll learn
all the essential tools and techniques to get you editing confidently
in premiere ap. Whether it's your
first time opening the program or you doubled
in addicting before, but you're still struggling
to get the angle of it. We start with the basics that getting familiar
with the interp and porting ideas and we'll work our way up to
cutting footage, sinking audios, and ado effects. By the end of this course, you not only know how
to navigate PMA po, but also have the skills
to create an addict to your very own video project
from start to finish. We even go through a re project together cutting, organizing, and polishing it
until it's ready to a sport. Who is
this course for? It's perfect for beginners
while just getting started. But intermediate ners
will also benefit, especially if
you've been finding other tutorials overwhelming
or how to follow. This course offers a
fresh perspectives, making it simpler
and faster to grabs. What do you need to participate? Just a computer with premier pro installed and
willingness to learn? I'll be breaking things
down, step by step, coming down to your level and guiding you all the
way to the top. I've studied the existing
tutorials out there, and I noticed something that
many students struggle with. Information overload. That's why I'm doing things
a little differently. I've assigned this
course with a focus on the psychology of
learning video editing, making sure the process is as easy and intuitive as possible. Get ready. Let's dive in and lock your potentials
as a video editor. You have everything you need to cove and edit your first video. It's confident.
I'm excited to be your guide on this ny.
Let's get started.
2. Setting Up & Interface Tour: L essen one. Welcome
to Lesson one of our add Premier Pro Video
addicting Quick start course. If you're ready to kick off
your addicting joining, you've come to the right place. Today, we're going to get course with the
Premier Pro interface. Start a branding project, and most importantly get
our files in order because we doesn't love a
BT gizion right. Let's dive right thing. Pro. Before we get too
deep into the magic, you want to make sure Premier
Pro is in tip top shape. To do that, beset
the preferences. Don't worry, it's super
easy old down options in Mac OS or Hot in Windows. While launching Premier Pro, click Continue in the
research Options Daler bus. Boom, Fret start. All right. Now that you are all
set, let's get rolling. Setting up a new project. Click here to create
a new project file. Now, a quick note. Don't just call your
project something boring like titled,
I've been there. Give it the name that actually
make sense to future you. Once named, pick a spot savings. I would recommend making a new folder just
for this course. Trust me, you're going nine
sell for thank you later. Out of the interface. Let me show you a
round premier pro. It's kind of like
your new playground. Project window. This
is your media library. It's where you import and
organize all your video clips, audio files, graphics,
and other the assets. Think of it's like well organized back back.
Source window. You use this to
preview clips before you commit to adding
them to the timeline. It's like dating
your clips before marrying them into
the edit timeline. Here is where all
action happens. You cut, move, and
arrange clips, A transections, and
sprinkle a little bit of editing magic.
Program monitor. Want to see what your dia says. This is where you preview the video that's playing
on the timeline. To spanel. It's a two bus. This panel gives you all the tools you need to manipulate and edit
your timeline. Spoiler allat. You'll
be best friends with this panel so
Importing your media. Okay, time to load
up some contents. Go to file, Import, pick your video footage
and click open. It's like inviting
your clips to a party. They can't wait to be addicted. To follow along, be sure
to locate Project ase one. In the asset folder
provided for this course. This way, we're all working
with the same fibs, and it'll be easier
to keep up as we go. While we're on the topic
of staying organized, let's make life
easier by creating folders inside a project window. Make one for footage,
one for audio, one for graphics, and the
final one for sequences. Trust me, future you will
love outside the everything s. Got your folder, Suite. Now go ahead and move each file into its
respective folder. Think of it as the clotter
in your workspace. Marcondo will be proud. Essential tools. Let's
talk about a few of the tools that will
become second nature to you. Selection two, V. You go to
for moving clips around. It's like the ant that
reaches for snacks. Only this time,
you're moving clips, not chips. Reasor tool. Ready to slice things up. The two your clips
wherever you need. It's like Cesors, for Video. Undo command or control Z. The holy grail or
vidi addicting. Made a mistake. Don't
worry, just undo it. It's like control Z, it's saying, we never
speak of this again. Practice time.
Take a few minutes to move your clips around. Playing the layout and
see how each tools work. This hunts own practice is the foundation of a
smooth addicting process. Flaus, the more famina you
get with the interface, the less likely it feel like you're navigating
a spaceship. If at any point you feel lost, it happens to the best of us, feel free to rewind, pause, or replay any section
of this lesson. Once you've got a good and on the interface and your
files are organized, I five, you've successfully
completed Lesson one. What nest? Click on Lesson two, where we start cutting clips, sinking audio, and making
things look really good. See you there editing
P in the making.
3. Editing & Cutting in the Timeline Part 1: Now that you've got
the hang of setting up your project and
navigating the interface. It's time to roll up our
sleeves and dive into one of the most exciting
parts of the video editing. Cutting and ognizing
footage in the timeline. Before we jump into the steps, I want to point out something really important about editing. Whether you're putting together a a YouTube blog or a fin scene. You ultimate goal is to tell a logical and emotional
imatful story. For this project, we're
working with footage of a black boss lady
working late in the office after everyone
had gone home for the day. Each short tells a
part of a story. Different angles and framing sciences help to build the
narratives and emotion. Now let's get to
the phone paths. The actual editing. Step one, ver a selective footage
in the socks monitor. First, you need to import a media if you haven't
already done to. Make sure you've
located proj accept one from the accept food
that provided in this cops. Once you've got the media
in your project window, double click on one
of the video clips, to open it up in
the Sox monitor. It should pop up in the top
left area of your screen. All right. Let's take a moment to get familiar with
the source monitor. This is where you preview your raw footage before
adding it to the timeline. Just the play button or it space bar to
watch the footage. You notice a little
blue play head that moves along as
the footage plays. We can grab it and scrub through your video manually if you want to jump to specific points. Once you find the section of
the clips you want to use. Mark the beginning
of that section by taking the mac in button, short cut, and mark the
end with mack short cut. I'll do this in the footage of a bus lady working
on a computer. I want a section where she's intensely
focused on a screen. So I'll scrub through
until I find that pat. Mark it in and mark it out. Now it's your t. Do the same. Scrub through the footage
and find a section you like and mark in and out point. Step two, adding clips
to the same line. Once you've selected,
your in and out point in the source monitor. It's time to add the
clip to the timeline. You can Either drag the clip from the source monitor
dir cli to the timeline, or click the insert button, look like and arrow, which places the clip into your timeline and the
playheads position. I'm dragging my selected
clip to the timeline now. Quick brief on the timeline
track and navigating them. Before we go deeper, let's quickly introduce you
to the timeline tracks. Think of them as layers, where you place your
video and audio clips. V one, V two, V three, are video tracks. These are where your
video clips will go. If you start clips
on different tracks, which arrives on the top, we show up in the
program monitor. A one, A two, A three,
and audio tracks. You place your sound clips here. You can add multiple
audio tracks, which is handy for music, dialogue, and sound effects. To navigate the timeline, use the plus or minus
keys to zoom in and out and score left or right to move
across your timeline. This will help you
stay organized as you add more clips and audio. Before going further,
it is important to understand how to work within
the timeline effectively. The timeline is where you spend most of your editing time. Getting comfortable with it, early on will make the
entire process smoother. Let's go over some estenal
timeline techniques and tools you use frequently. One cutting and add edits. Cutting, use the result to shortcut C. Cut clips
at specific points. This is useful when you
want to trim down footage or remove wanted
sections. Add edits. You can also use the add
edit function control K or command K. Quickly
split a click at the playhead position
without switching tools in the first way
to make precise cuts. Two, snapping and
gaps between clips. Snapping Snapping
ensures that clips automatically align when
dragged near another clip. Eliminating the risk
of leaving gas. Make sure snapping is
enabled shortcut S. Gaps. Living gas between clips in the timeline can create black
frames during playback. Which can be jarring to view. You can easily close gas by
dragging the clips together and use snapping to ensure
they are lined perfectly. Alternatively, use the
rep delete function, right click on the gap, then select reput delete. Three, adjusting clip
lens by dragging. You can drag the
edges of a clip to either decrease or increases
duration in the timeline. If you drag a clip shorter, you're trimming away
part of the footage. If you drag it longer, it reveal more
footage, if available. Four overwriting clips. If you drag and drop a clip on top of another clip
in the timeline, I will overwrite
the existing clip. This can be at when you
want to replace the shot. But make sure you are
intentional bunting as the original footage
would be replaced. Five, duplicating clips. To duplicate the clip, simply old down
alternates or option. I drag the clip to a new
position in the timeline. This is a quick way to reuse a piece of footage without
needing to import them. Six adjusting frames. If you have a clip
that doesn't match the size of the timeline. You can right click on it
and select sets to frame size to resize this proportionally to fit
within the frame. Take a moment to practice these techniques
in the timeline. Familiarizing yourself with
out codsNP and manage clips. We give you more control
over your edit and make the process much
smoother as you move forward. Once you feel comfortable, continue with the lesson
and begin organizing your clips and fine
tuning the codes.
4. Editing & Cutting in The Timeline Part 2: Step three, organizing
clips in the timeline. Not that we've got a first
clip in the timeline. Let's start organizing
our shots logically. The key to start letting
a compelling story is to arrange your clips in a
way that makes sense. For this scene, I want to build the size of the post
Ladies dates dy grind. Next, I'll add another clip
of A leaning back on a chair. Maybe looking for
strictd, to do this. I'll head back to
the source monitor. Find that moment, set
my in and house point, and drag that clip to
the timeline right after the first one. Your tone. Add more clips to your timeline. Think about what story
you want to tell. Maybe the bus lady looks tired, then get a second wind. Or perhaps she receives
an important e mail. The way you place
these clips is part of building the story. Step four. Find tuning with this
result tune. All right. Now it's time for
some precision work. Sometimes, even after you add
up a clip to the timeline, you may find that it
needs further streaming. This is where the result two
short cut C comes into play. Let the result two and click on the point in the timeline, where you want to cut a clip. You see the clip gets split
right where you click. I'll use the result
two to cut parts, where the bus lady gets the
strata and looked at a phone. It's a little too long.
So I'll trim it down and make the same
tight up. Go ahead. Use the results to to trim Sss footage or split
your clips where needed. Step five. Using the
add edit function. Another way to cut directly in the timeline is with
the add edit function. No short cut this time. Just a simple click,
here's what you can. Place your playhead over the
short place your playhead, over the spots where
you want to make a cut. Simply place command
K or Control K. I'm using the
that edit function here to cut it shot
into two segments. It's a nice way to
get precise cuts without switching to the
results to your turn. Go ahead and try the at edit function by
clicking on your clips, where you want to split it. Step six. Closing
gaps in the timeline. If you've made cuts
or move clips around, you might notice gaps
in your timeline. Let's close those up to make sure the video
flows smoothly. Select the gap right click
it and choose we put the. This will automatically
put the clip together, closing up the space. Watch as I close the gap
between the two clips of the bus lady to make the
scene feel more flute. Now it's your turn. Check your timeline for
any gap and close them using reputing it. Step seven. Operating and fine
tuning the timeline. Let's iply recap out to
navigate the timeline smoothly. Zoom in and out on a timeline by pressing clos or minus
on your keyboard. This helps when you need to see details or a broader
view of your project. You can move clips around by selecting and dragging
them to a new position. Once you place your e
clips where you want them, use the results to
an un edit function to fine tune your edits. The goal here is
to make each shot flow logically into the nest, telling a current story of a bus lady's late work section. Step eight, review your story. Once all your eclips
are organized and placed in the timeline, take a moment to
review the scene. Does it flow? Does it tell
the story you're heading for. In this case, does it show
the bust that the working ds? Maybe frustrated at first,
but pushing through. Final thoughts. The purpose of putting clips together is
to tell a meaningful story. Each court should
start a purpose. Whether it's advancing
the narrative, or emphasizing the motion, the two in premier pro, whether it's courting,
arranging or trimming, help you craft the story that resonates emotionally
or logically. It's okay if your
edit isn't perfect. Now, if you've noticed that your edit doesn't look
anything like mine. Don't stress. I did
that on purpose. The goal is for you
to learn by doing. Editing is a skill that
improves with practice, and everyone's approach
is slightly different. If I had led you
through every step, ensuring your edit
matched mi perfectly. You wouldn't have
had a chance to experiment and make
decisions for yourself. The key here is try and error. Your editing instinct will strengthen with each mistake
you make and correct. If your sequence feels off, you can always start again and apply what
you've learned so far. Visual story telling. Logical editing, you must know. Here are some excession story
telling techniques to help your edit feel more
polished and coherent. One, maintain logical flow. When scrubbing for a clip, and you find an
important section. Don't just drag and
snap it next to the previous clip
in the timeline. Your edit needs to flow
sequentially and logically, matching the tone and
continuity of the scene. Only break this rule
if you're aiming for a deliberate jump cut
effect for artistic reason. Two sync with audio. Pay close attention
to the audio, whether it's voice
over or dialogue. You want to cut
your clips in a way that matches the emotional
tone of the udio. For example, in this lesson, I sync to my video clips
with the voice over track. If you're addicting
drama or dialogue sns, you need to ensure
the dialogue syncs perfectly with the
screen action. Three, mind the short sizes. When addicting, be
conscious of framing sizes. For example, avoid cutting from one tight shot to another. Unless the second shot
is an even tighter one, or you are cutting to a
wider shot for variety. The audience will keep up on any inconsistencies
in framing and flow may feed off if the cuts don't follow
ilgical progression. Now, let's apply
what you've lent. If you're still show about
your edit, don't worry. Go back and start all over using the new knowledge you've
gained from this lesson. It doesn't matter how
many times you repeat the process as long as you
len and improve each time. Watch for continuity
before your clips, ensuring that the action in one court smooth knee
transitions to the nest. By the end, your
court should feel seamless and emotional impact
should come through play. Each action should
logically continue in the next court without any upward lagging
or discontinuity. Let's integrate that
action constly, example in your lesson. Example, have two
clips of the bus lady, who is immersed in her work,
focused and determined. In the first clip, she
is sitting at a text, staring intensely at
a computer screen. Then she shifts a gaze, looking away from
the computer and down at the stack of
papers beside her. Want to cut from this
moment of shifting focus into the next clip where she's already looking at the papers. First, I scrub through
the initial clip and mark in right before she turns away from the
computer screen. I mark out just as he eyes lands on the stack
of the papers. Now, I grab a second clip where the post lady is already
focused on the paperwork. I want to continue the action
of I looking at the papers, then shift it back
to a computer. In the second clip, I
mark in as she's staring at the papers and mark out
right as she leaves a gaze, looking back at the
computer screen. By placing these two clips
back to back in the timeline, I create a smooth
continuity of action, seis a song from the
computer to the paperwork, and then back to
the computer again, showing the sameness
transiction, between ts as she remains
absorbed in a work. This sequence helps aise a
intense focus and work ethic, which adds depths to
the story telling without any distracting
cuts or jumps. Now, try this out
with your footage. This type of cut is all
about continuity of motion, and it's a key principle for keeping your audience engaged. When you're cut in between different angles of
the same action, always make sure that the motion remains
smooth and logical. Go ahead and apply this
example to your home clip, focus on keeping the
flow of action intact. Great job so far. Once you are comfortable with, you're cut an ognization, you're ready to move
on to the next stage, adding transactions and syking audio in less an
three. See you there.
5. Adding Transition & Syncing Audio: Lesson three, adding
transction and syncing audio. Welcome back to Lesson three of our premer pro
Quick staart calls. By now, you've
recognized the clips in the timeline and to the
rough action of your story. But to really bring
everything together, we need to focus on
two critical elements, smooth transections, and
audio synchronization. Let's go step by step. Continue with our projects of the bst lady working
late in the office. You've already
built the timeline, and now we focus on enhancing
the storytelling with seamless transitions and
perfectly syn audio. Step on. Understanding
transitctions. Before we get ants on, let's repeat discuss why
transitions are important. Transitions help smooth
the flow between shots, adding professionalism
to your video. Whether you're cutting
between two shots of the bus lady from different angles or moving one path of the
scene to another. Transitions can
guide the audience through your story
without jarring cuts. Step two, adding a basic
transition, cross Dive. Let's start with the commonly used transctions,
the cross Disve. This create a sub two
fade between two clips, which is ideal for smooth cuts. Here is out to add it. Select the edit point. In the timeline, find the
points where two clips meet. Apply cross the solve, go to the fed panel, usually on the right hand side. In the Sach bar,
type cross the self. Once it pops up,
drag and drop it onto the edit points
between two clips. Adjust the transaction. After you apply
the transactions, you can adjust the
duration by dragging its edges in the timeline. The shot duration will make
the transaction quicker. While the longer one creates
a more gradual fate. I'll apply a cross the
solve between the shots, where the bus typing and one where she
lens back in a chair. It to give a nice flow, showing a smooth
passage of time. Your tone. Go higher than apply a cross the surf between two of your clips in the timeline. Exploring other transitions. Why cross the self
is a great goal too. Prima Pro has other
transitctions that can add a bit more
flavor to your edit. Here is a quick overview. Deep to blank or deep to white. These are perfect
for transitions between ss or moments when you want to signal a passage
of time, white transitions. This create a slide
like effect and are useful for adding a bit
of movements between clips. Feel free to play around with a few of these
in your project. Just remember, transitions
should enhance your storing, not distract from it. A we place transition makes the video feel more
polished and coercive. Syncing audio with
video. All right. Now that your
transitions are set, let's focus on audio. In editing, syncing
audio is crucial, especially if you
footage as dialogue. Voice over or sound effects that needs to match
specific moments on screen. Now, let's think a voice
over audio with the video. One, locate the voice over. If you have a voice
over audio yet, Locate the asset folder and
import it into premier pro. Move it into the audio folder in the project panel to keep
everything organized. Two expand the audio tracks. To make audio
adjustments easier, you need to expand the audio
tracks in your timeline. Do this by scrolling
on the track with your mouse or using the
shortcut Shift plus. To expand and shift minus
to collapse the track. Three, drag the voice
into the timeline. Place the voice over
audio track onto the audio one track in your timeline directly
beneath the clips, four, syn the audio
with the video. Play through your timeline and adjust the position
of the audio track. It matches the action on screen. You can drag the audio left or right to get the perfect sc. Step three, adding bagund music, and taking clock sound effects. Now, we will enhance the
emotion and pacing of the video by having background music and the
ticking clock sound effect. This ticking clock,
we had a subtive, but powerful sense
of time passing, which ties into the theme of
working dates at the office. One, import background
music and sound effect. Import both the
background music and the ticking clock sound
effect in a hodio folder. T, drag the background
music to the timeline. Place the background music on the Audio two track
below the voice over. Three, add the ticking
clock sound effect. Place the ticking
clock sound effect on the Audio three track. You may want to look the clock ticking throughout the
scene or strategically, please it during key moments to build tension and atmosphere. Four, adjust volume levels. Use the audio track
mixer or manually adjust the audio levels
directly in the timeline, expand the audio track using shift plows and locate the horizontal audio
line within the track. You can adjust the volume by dragging the line up or down. T find tune the
volume over time, such as creating pads, adding key frames to the line by holding command or
control on windows, and clicking along the
lines to set points. I'm nowing the background
music slightly, so it's not overpowering
the message. Let's aim for
balance. Your tone. Adjust the volume of
your audio tracks to match the tone and the
mode of your video. Step four. Adding
fades to hold you. To make your do
transection smoother. L et's add some fades. This is particularly
useful at the start or end of a clip to
avoid ash audio cuts. One, fading or fade out. Go to the effects panel and
search for constant gain, for a gradual fade in or out or exponential fade for a
more dramatic effect. Drag these effects to the beginning or end
of the audio clip. Two, Adjusting fade lengths. Just like the video
transections, you can extend or
shorten the fade by dragging its edges
in the timeline. The longer the fade, the
smoother the transition. Imagine e fade into
the background music, so it doesn't start abruptly. A e fed out at the end of the ticking clock for
a natural transition. This helps the audio blend
smoothly and creates a more polished
experience. Your tone. Add fades to the audio to create smooth transictions between
different sound emates. By the end of the Slec you
must add out a transection, sync voice over audio, and hand your video with music and sound effect
like the ticking clock. You've also land out to adjust audio levels and apply feed
for smooer transictions. When you're ready, move
on to the next lesson, where we'll cover color
correction and adding titles. Keep going. You're
doing amazing.
6. Color Correction & Adding Text and Graphics: Color Correction, carding
texts or graphics. Welcome to lesson four of the
PMA Pro Quickstarts course. We've already built
the foundation of our video by organizing clips, adding transitions,
and sinking audio. Now, it's time to give your project some
professional polish by diving into color
corrections and enhancing it with
text and graphics. We're still working
on our project with the footage of the Post lady
staying late in the office. But now we make it virtually pop and had the finishing
touches. Step one. Understanding color correction
versus color grading. Before we start, it's
important to know the difference between color correction and color grading. Color correction
involves adjusting the colors in your footage, so they look as natural
as balanced as possible. Example, fixing the
lighting if the shot is too that or the white
balance if it's all. Color grading is more about
applying stylistic effects, like making a scene look warm, cool, or giving it
a cinematic tune. For now, we focus
on color correction to ensure everything
looks natural. Step two, basic color corrections
using lumetric color. Pema Pro comes with a built into for color correction
called lumetric color. Here is out to get started. One, set the clip. In the timeline, click on the first clip, we
want to correct. Example, the short of the
post lady typing on a decks. A Two, open the
lumetric color panel, go to window, lumetric
column to open the panel. Three, basic corrections. In the basic correction section, start by adjusting exposure, this control the arose
brightness of the shots. If the shot is too dark, increase the exposure slightly. Contrast, adjust this to make the whites brighter
and the blacks darker. Given the short
depth, white balance, if the colors looks too cool, blue or too warm yellow. Adjust the white balance to make the scene
look more natural. H highlights or shadows. Adjust this to balance out the brighter and darker
parts of the image. Take some time to make these adjustments for
each of your clips. Ensuring that the footage
looks consistent throughout. I'll start by adjusting the exposure on the close
up of our post lady to make sure her face is clearly visible without over
exposing the shots. You should do the same
with your footage, especially if some shots are
acer than others. Your tone. So elect one of your
clips and begin adjusting the exposure and contrast using the lidometric
color panel. Step three, matching colors
across multiple clips. After correcting
individual clips, the next step is to
make sure that all the shots match in terms
of lighting and color. Primer Pro makes this easy
with its color match feature. One, select the clip to match. In the timeline, choose a clip that looks
good as a reference. Maybe the white shot of
the office looks best. To apply column match. So let the other clip
you want to adjust, like the close up
of the possibility. Then in thelumetric,
Color panel. Go to the color wheels
and match section. Ick comparison view and choose the frame you want
to match to three. Click Apply match. Framer pro will automatically adjust the colors to match
your reference clip. The first alternative
in matching colors across multiple clips is
copying and pasting attributes. This is a fast way to ensure
your footage looks cohesive and doesn't feel
disjointed your tone. Use the color match to match the colors between a
couple of your clips. Another alternative to
matching colors across multiple clips is by pasting attributes from one
clip to others. This method is quick and ensures consistency across
your projects. Once you've color
corrected one clip, you don't need to repeat the
process for each e. You can copy and paste the
color adjustments to other clips easily. One, select the corrected clip. After you've applied
color correction li, click on each in the
timeline, select copy two. To select the other clips, shifts and click on the other clips that needs
the same color correction. Three, paste attributes. Right click on any of
the selected clips and choose paste attributes
from the main four. In a dallog box that appears, make sure to check the
lumetric color bots or any other effects you
applied. Then click. This will apply the exact
same color correction to selected clips, saving you a lot of time. Your tone. Copy and paste
the color correction from one clip to the rest
of your project for consistent color quickly. Step four, adding
texts and graphics. Not that your
footed looks great, it's time to add
pos and graphics to give your video more
content or branding. Add a basic title. Let's start with a
simple text over L, like an opening type two or name plate
for the bus leading. One, text two. In the t b, select the Type two, C two, add the Tito, click anywhere on your program
monitor and start typing. A text bos we apply on where
you can type in your text. Example led at the office. T, formatting the text. In the essential graphic spanel, go to window,
essential graphics. You can customize the fonts, size, color, and alignments. You can also drag
the text around the program monitored to position it exactly
where you want. Four, adding a fade in or out. You can make the text apply
smooer by hdding a fade, go to the effect spanel and
find across the soft effects, and drag it onto
the text layer in your timeline to create a
smooth fad in or fade out. A adding a simple
title that reads, lets at the office
in the opening s. It gives the audience
an immediate sense of the setting. Your tone. Go higher than a
title to your video. Whether it's am plates a
title or a description. Make sure it fits the
tone of your project. Adding graphics or logos. Let's say you want to add a logo or a custom
graphic to your video, perhaps a complete
logo or a watermark. Is, one, Import the graphic. First, import the graphic
file into your project. Just like importing video
or audio, go to file. Import and splate
the image file. E G, a PNG logo. Two, drag it to the timeline. Once it's in your project panel, drag the image file to the timeline above
your video clip. This will create a
new video layer. Resize and position. Use the effect control spanel to resize and position the graphic wherever you want on the screen. Imagine a small watermark
logo in the corner of the screen to give the video
a more professional feel. It's so t, but adds a
nice finishing touch. Your tone. Try adding a graphic
or logo to your project. It could be a watermark ilugo or an illustration that
compliments the story. Step five, within your project. Now that you've added text graphics and
adjusted the colors. Let's through the
entire project. As you watch, keep an eye on
how the color looks across different scenes
and how the text or graphics fits into
the overall video. Does the video feel cosive
with the adjusted colors, titles or graphics add value to the story telling
without being distracting. If you spot anything
that feels off. Don't exitate, to go back
and make adjustments. Final thoughts. Great job. By completing this lesson, you've taken your projects
to the next level with color correction,
fits, and graphics. These are the fine
details that really make your video stand
out and feel polished. In the next lesson, lesson five, we wrap up the cost by spotting your final project so you
can share it with the world. Get ready to take your
completed projects across the finish line.
7. Exporting your Final Video: Lesson five. Exporting
your final video. Welcome to lesson five, the final step of our Premier
F Quick start course. You've done an
incredible job so far. Organizing your
clips, syncing audio, adding transitions,
doing color corrections, and incorporating
text or graphics. Now it's time to export your final projects and get it ready for sharing or uploading. In this lesson, go over
the process of exporting your video with the
correct settings to ensure it looks great, no matter where it's viewed. Step one, understanding
the export process. Before we dive into the steps, let's quickly cover what
happens when we export a video. Exporting is going premia
protects all your edits. Cut color corrections,
transictions, and more and compiles them into a single
playable video file. This is the file you upload
to platforms like YouTube, Video, or share with clients. Step two, preparing your
timeline for exports. Before we export,
let's make sure your timeline is clean
and ready to go. One, play through the timeline. Start by playing through the
entire video in a timeline. From start to finish. Check for any unwanted gaps, cuts, or rough transitions. Make sure everything
flows smoothly. Two, check the audio levels. Make sure your
audio is balanced, no clipping, and no
audio dates to quiet. You can adjust levels in the audio track
mixer, if needed. Three, final color sweets. If any color corrections, upgrading looks
inconsistent between shots, nouns the time to make
quick adjustments. Once you're happy
with the video, it's time to move
on to exporting, setting the in and hot points. The in and hot points, tell premer pro what part
of the timeline to export. In most cases, you want to
export the entire sequence. One, go to the timeline. At the very beginning
of the timeline, press the key I to
set the in points. Two, go to the end
of the timeline. At the end of your timeline, press the key to
set the out point. Le select the entire
timeline for exports. Lease ensure that Premier will export the full
sequence and not leave out any clips or audio at the beginning or end,
exporting your video. Now that everything is set, let's export your project. One, go to File, Export, Media. This will bring up the
export setting window. Two formats. Choose h2c4 from
the drop down menu. This is the most common
format for exporting video, and it ensures that
your file will be compatible with
platforms like YouTube, Video, or social media. Three, preset. Choose Match surce, Bitrate. This setting ensures that
the video will be exported in the highest quality based
on your original footage. Four, output Name. Click on the Blue Text
nest to output name to choose where to save
the exported video file. Name it something
easy to identify, like final Bus Lady
projects, MP four. Five, sports entire sequence. Make sure that the
entire sequence is selected in the
source range section. At this point, you can
review other settings, but the match source Bitrate pie st should work
perfectly for most projects. Your tone. Open up the
export setting window. Choose h2c4 and make sure the maxs Bitrate
P set is selected. Check in the export setting. Before eating exports,
double check the settings. Video under the video tab, make sure the width and I
matches your project setting, E G, 192-40-1080 for HG. Brate. If you want a
higher quality export, increase the bit trates
to 15 MBP or higher. For most projects, keeping
it at ten MBP is fine. Audio, in the audio tab, make sure that the audio
format is set to AAC, and that's the sample
rate is 48,000. Once everything looks good, you ready to export. Step six, exporting the video. One, i exports. Once you're satisfied
with the settings, Click the Exports button. FEMA P will start
processing your video. To wait for exports to finish. Depending on the length and
complexity of your project, this might take a few minutes. You'll see a progress bar as
Premier compiles the video. Once the spot is complete, your video will be saved on the location you chose earlier. Your tone. Go ahead and click spots and lets
Premier do its magic. Once it's done, locate the
final file on your computer. Step seven, Ring the
Export ed video. Before sharing your video, it is important to
review the final file. One, open the Export ed video, navigates to the folder
where you save the video and open needs In your media player. To. Check for issues. Watch through the
entire video and check for any issues
like bleaches, audio sync problems, or
color inconsistencies. Make sure the transitctions are smooth and the video
quality looks good. She sits long after
the world has quieted. While the office
sleeps, she works. Every keystroke, every decision, builds toward something greater. It's in these quiet hours
that her dreams take shape. Her vision becomes reality. Determined, relentless. She knows that success
isn't found in shortcuts, but in the perseverance
to keep going when no one's watching because
greatness is earned. And today, she's
one step closer. This is more than just
work. It's her story. Three, file calles. Double check the file size to make sure it's appropriate
for your needs. If it's too large. You can always go back and
reduce the big trades in the export settings to create a smaller
file. Final thoughts. Congratulations. You successfully
exported your video, and now it's ready to be
shared with the world. Whether you're posting
it on social media, sending it to clients, or handing it to
your portfolios. You've learned the essential
skills needed to it, polish, and export a professional
quality video. Cost recap. In this course,
you've learned how to navigate premier pros
in tapes and tools, organize and import
media into a project, edit and arrange clips
in the timeline. Add transction, sync audio, and perform color correction, add text and graphics
to your video. Spoke the final projects with the right setting for
different platforms. I've come a long way, and now you have the
foundational skills to take on bigger and more
complex editing projects. Remember, the more you practice, the better you get,
so keep creating. Thanks for taking
this journey with me, and I hope to see
your awesome video edits out in the world soon.
8. Bonus Lesson Project Window Pro Tips: Hey, everyone. Now that you're
familiar with the basics. Let's take a closer look
at the project window. This is where you organize all the assets for your project, video, audios,
graphics, you name it. A well organized project
window will save you time and help you stay
on top of your workflow. Step one, organizing your media. The project window
is a media library. Think of it like a
digital filing cabinet for whole project assets. Bins are your best friends here. They're basically
folders that help you organize different
types of media. Lick inside the project
window and choose new bin, or just click the little
folder icon at the bottom. You can name your bins
based on asset type, footage, audios, graphics, ETC. This makes finding your
assets way easier later. Step two, searching and sorting. When you've got a
load of assets, you don't want to scroll
through everything manually. The Search bar in
the project window lets you quickly look
at specific clicks. Just type in the name of
your file in the results. It show up in the
results. Super easy. You can also sort your clips
by names, media types, or duration by clicking the
column as in the list view. Tips. You can change the
lease view to icon view. If you prefer seeing thumb
mails of your clips, it's y for quick
previewing your footage. Step three, previewing
in the project window. You don't have to bring clips to the timeline of source monitor
to get a look at them. Premier lets you
preview directly in the project window over
the tomb mail of a clip. And you can scrub through the footage by moving your
mouse left and right. Double click in A click opens it in the
source monitor for a more in depth review before you bring it
into your timeline. Why Maths. The project window is the foundation
of your project. Keeping it organized
and fully customized, we allow you to work faster and make your editing
process smoother. That's it for this quick dive
into the project window. Take some time to explore, Keth organized and
make it your own.
9. Bonus Lesson Workspace Customization: Hey, everyone, No that you're getting the hang
of things in Premier Pro. Let's take a quick
detail and talk about something that will
make your heat in life so much easier, customizing your work
space. Trust me. Once you've got things
stepped up the way you like, your workflow will feel
a whole lot smoother. Step one, rearranging panels. First and first, let's
move some panels around. Every panel you see
like a timeline, socks, monitor or effect
panel can be rearranged. To move a panel, click the
name of the panel and drag it. You see some blue outlines
appear as you move it around. Those are called drop zones. If it's a rectangle, that means to add the panel
as a tab in the group, if it's a trapezo, that means it's going to
create a new panel group. You can even make a panel flows by dragging it completely. Try moving the source monitor out for a bit of
a different film. Step two, resizing panels. Sometimes you need a
bigger timeline or a larger monitor
view to resize over between two panels until your coser terms into a
double wedded hardendra. You can adjust the source
monitor program monitor and timeline this way to get the perfect
amount of space for whatever tacks you're
focusing on Step three, saving your custom work space. Got everything
where you want it. Awesome, let's save it. Go to windows, workspace, save us new workspace, give me the phone name
like Da Mills, Pa Settle. You can switch back
to it anytime. Step four. Resetting the
work space just in case. If you ever feel like wait, I messed up everything.
No worries. Just add to window, what space, reset to save the day het to go back to default or your
last saved diversion. Why customized?
Customizing your workspace isn't just about looking fancy. It's about making your work
flow faster and easier. You spend less time
hunting for panels and more time doing what
you do best editing. That's it for the bonus lesson. Play around with these settings and make premier pro your home. You'll be surprised
at how much more comfortable the whole
editing process becomes. You're in the next lesson, where we get back
into editing magic.
10. Bonus Lesson Editing Pro Tips: Made it this far and it's
time to dive deeper into the source monitor and get some serious editing
tips under your belt. Specifically, you're
going to explore how to work with footage
that has embedded audio, how to leak it, and how to manipulate just the audio
or video separately. I'll show you how to link
them back up when needed. Sounds good. Let's get started. We talked about the
source monitor before. But now let's take
a closer look. This is your staging area
where you can review and make pre hedits to your clips before they
eat the timeline. Key features of the
source monitor. One. Setting in an out point. Remember, Just press
for your in points, where you want the
clip to start, and hold for the hot points, where you want it to hand. You can even trim the holdi
and video separately, but we'll get to
that in a minute. T JK Heald flip back Control. I'm telling you, using
J to rewind to pause, and held to fast forward is like driving with
cruise control. Top L a couple of times to
speed through your clip. Three, drag timeline. I'm just setting your
in and out points. Just drag the foot straight
into your timeline. But remember, you can
drag either video only or audio only from the highs below the
source monitor. Perfect. When you just
need one audio der. Working with the embedded audio, keeping things together
or pulling them apart. Let's get to the phone parts. Adicing footage with
embedded audio. This means you've
got both audio and video in one clip, and
they are connected. When you cut or
move them around in the timeline, they
move together. But if you don't want that, what if you need to
addict them separately? That's where things
gets interesting. Step one, cutting
clips together. By default. When you make cuts in the timeline with the
result two shot cut C, both the video and audio
are cuts together. That's because they are linked. So if you need to
make cuts in sync, like chopping up a
clip for a montage. This setup works great. Step two, linking
to edit separately. But what if you want to cut just the audio or
just the video? That's when you want
to unlink them. Here is how you do hit. One, select the clip
in the timeline, find the embedded video or
udio clip on the timeline. Two, right click. Select link from
the drop down menu. Now the video and audio
are two separate entities. Three, cut or move
them independently. Once linked, you can
select just the video or just the audio by
clicking on either track. When you do, the one that's
selected will be highlighted. So you know exactly
which one you're working on. Your tone. Unlink a video and audio clip, then make a call to just the
audio or just the video. Step three, using or
option for pos control. O an even faster
way to work with just the audio or just the
video without unlinking them, use in windows or
option in Mac OS. S. One odd down option. And click on either the video or audio track
in the timeline. Two. Now you can move or
cut just the parts you click on without affecting the audio track.
Super and the right. This is a great streak for
those moments when you want to manipulate one part of the clip without fully unlinking
the audio and video. Step four, relinking
audio and video. But let's say you predicted the e clips and now you
want to link them back up. One, select boats, the
Hudio and video tracks, d shifts and click them boats. To right click and select link. Just like that, they are working together again. Important tip. When you're working with
a lot of embedded audio, keep in mind that each
track has its own life. If your audio is recorded
separately and sync later, you want to link in
to the video to make sure they don't drip the path
during the editing process. Also, when it track, either audio video is selected, it will be highlighted, making it clear which
one you're working on. Always keep an eye on what's selected to avoid any
accidental edits. All right. Thanks to put everything we'll
learn into practice. Take a clip with embedded audio and one cuts the
clip as a whole, both audio and video. To unlink the audio and video. Then cuts just the audio
or just the video. Three, use or option to move or cut either the audio
or video without linking. Four, finally, link them back together once you've
made your changes. By the end of this bonus lesson, you'll be confidently
working with footage that has embedded ad, making smooth edits and using the source
monitor like a pro. Now you're ready to tackle more complex edits and
speed up your workflow. Keep practicing and as
always, enjoy the process. See you in the net cos.
11. Congratulations: Congratulations. You cannot
edit videos like a pro. You've made it to the
end of the course. Congratulations. Now
you have the skills to confidently edit
videos in premier pro. You've learned the basics from importing media and cutting
clips to color corrections, adding graphics, and exporting
your final projects. But here's the thing.
Prati makes perfect. The more you work on
your editing skills, the better and faster you
become. Don't stop here. Editing is and hats, and every new project you work on will teach you something new. Keep experimenting,
the creative, and most importantly,
enjoy the process. Next steps, forging
your learning. Editing is a skill that grows
with sign and practice. So further your learning, experiment with the new
editing techniques, try house different
types of transactions, effects, or color
grading styles. Watch tutorias, and learn
from other editors. See how they approach
storytelling and creative itself. Tak on reword projects. The best way to grow is by
practicing on actual content. Whether it's personal projects, finance gigs, or even
additive for phone. Every project helps you
refine your skills. Stay connected and grow with me. I'm so excited to have
been part of your journey, in video editing, but this
is just the beginning. Stay tuned and follow me
as I continue creating more courses to help you grow
your video editing skills. My goal is to take you step
by step from beginning to advanced to the point where you become a
professional video editor. The road ahead is
full of learning opportunities and
I'll be right here to guide you through it together
we'll reach the though. Call to action.
Let's keep going. One. Leave a review. Your feedback means
everything to me. If you enjoy this course, please take a moment to
leave a rating and review. Your review will help me improve future courses and reach
more students like you, to share your project. I'd love to see the work
you've created in this course. Once you've finished
your project, upload it to Google
Drive and share the link in the project
section of this course. I'll be providing
detailed feedback to help you improve your add. Three, stay tuned for more. If you're ready to take your editing skills
to the next level, I have more courses
coming your way. Keep an high house
for my next course, advanced video editing
with adult premiere pro. We will dive deeper into
more complex techniques. This will help elevate your work to a
professional standard. Once again, congratulations
on completing this course. You built a strong foundation
and I can't wait to see what amazing
videos you create. Let's keep pushing those
creative boundaries together. Stay tuned and keep editing. We're just getting started.
Damil Ajayi, Fulltime Video Editor
