Video Editing with Adobe Premiere Pro for Beginner YouTubers! | Ben Rowlands | Skillshare

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Video Editing with Adobe Premiere Pro for Beginner YouTubers!

teacher avatar Ben Rowlands, Professional Musician and YouTuber

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Learn Adobe Premiere Pro 2020 in 2 Hours Course Trailer


    • 2.



    • 3.

      Basic Overview - Adobe Premiere Pro 2020


    • 4.

      Importing Footage and Media - File Organisation and Workflow Optimisation


    • 5.

      Creating Sequences and Custom Sequence


    • 6.

      Basic Editing Techniques


    • 7.

      Working with Layers


    • 8.

      Video Effects and Video Controls


    • 9.

      Audio Effects


    • 10.

      Video Transitions


    • 11.

      Basic Keyframe Animation


    • 12.

      Titles and Lower Thirds - Essential Graphics


    • 13.

      Colour Grading with Adjustment Layers


    • 14.

      Thank You!


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About This Class

Learning Adobe Premiere Pro 2020 can be very overwhelming! So many options and menus to understand! I wanted to strip back Adobe Premiere Pro and create a clear course, covering  the most important and essential things to know! To help you create better and more professional video edits faster!

This class is perfect for people looking to create and edit videos for social media platform, such as YouTube! Lessons created for Adobe Premiere Pro Beginners, who are hoping to understand the software and begin using it in their video creation workflow! Not only do we cover Adobe Premiere Pro Shortcuts and Video Editing Techniques. I also share some tips and tricks, to help optimise your workflow. Explaining a simple file organisation method, that helps you organise all of your footage across your various projects! 

What you will learn:

  • Introduction to Premiere Pro and Basic Overview

  • Importing Footage and Media - File Organisation

  • Creating Sequences and Custom Sequence Presets

  • Basics Editing Techniques

  • Working with Layers

  • Video Effects and Video Controls

  • Audio Effects

  • Transitions

  • Basic Keyframe Animation

  • Titles and Lower Thirds - Essential Graphics

  • Colour Grading with Adjustment Layers

Meet Your Teacher

Teacher Profile Image

Ben Rowlands

Professional Musician and YouTuber


Ben Rowlands is a YouTuber and TikToker! With over 750,000 Followers and 400,000,000 Views! Within one year he grew his YouTube Channel to over 100,000 Subscribers! On TikTok it took only a matter of months for Ben to reach the same milestone!

Creating high quality, engaging and valuable content. Ben enjoys teaching and sharing things he has learnt along the way, from growing his social media platforms!  

With channels spanning multiple niches including Tech, Music, Gaming and Media! Ben is also a Professional Musician with BA (Hons) in Music Industry Practice. With a huge passion for creating and performing Music! 

See full profile

Level: Beginner

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1. Learn Adobe Premiere Pro 2020 in 2 Hours Course Trailer: now on the Internet that are a lot off Adobe premiere Pro courses. But the problem is, they're like 8 10 15 hours long. This is great. There's lots of information to consume, but for your average person, this is overwhelming one. They boot up the course, and they never finish it because there's too many videos to go through. So then what happens is they don't learn the core fundamental skills that they need to know in order to create professional level videos inside of Adobe. Premiere Pro. It's fast. It's possible now that's what I hope to achieve with this course. I want to take you from being a beginner inside of Adobe Premiere Pro. We're going to go through all of the basics on. We're just going to strip it back to the core fundamentals that you need to know in order to create professional videos fast inside of Adobe. Now I use Adobe Premiere Pro literally every single day weather that we had in my YouTube videos, course videos, my Instagram videos, Facebook videos and even freelance videos. If to be honest, I see that timeline way too much, but from doing that, I have learned so much, so many tips and tricks in order to speed up and make my workflow way more efficient and get better results faster. And I wish somebody told me this 56 months ago because I just saved so much more time and I couldn't produced way more videos. So if you're looking for a quick and fast solution to become a pro inside of Adobe Premiere Pro, then join me to learn more about the Adobe Premiere Pro 2020 Essential Basics. 2. Introduction: Hey, what's up? Hope you have a fantastic day or welcome to my Adobe Premiere Pro 2020 Basics course. We're going to be kicking this course off with a basic overview off the software. All interest to all of the different sort of work spaces and, as we progressively work through the course are start introducing more events, techniques that I use very frequently on a day to day basis. If you enjoy the course at any point, be sure to drop it. A review. It helps me out so, so much. And I really hope that this course helps you out as well. Thank you so much for pursuing that course. I'll see you in the next video. 3. Basic Overview - Adobe Premiere Pro 2020: so to kick things off, I want to give you a basic overview off Premiere Pro. I've updated to the latest version of Premier Pro 2020. You can tell by the brand new premier pro logo that we are up to date, and I just want to give you a basic overview of where all the tools are located. How to get into the software and get yourself started. So when you first put our Premiere Pro, this is the home page that you are presented with. So right now I've just got this little get to know more about Premiere Pro. That has automatically appeared because I have updated to the brand new version off Premiere Pro 20 twenties was just telling me about some of the latest features. Now, as you can see, there are a ton of new features that have being added, which is pretty pretty cool. But we are just going to get started with actually learning the software because for now, what is going to get started inside of Adobe Premiere Pro and I don't wanna overwhelming. So, as I said, I am running the latest version off Adobe Premiere Pro 2020 on this is indicated by the logo in the top left corner. This is the brand new premier pro logo, which they just recently changed from the more traditional warm inside of the home page. We have our recent projects over here now, it says. I haven't opened anything up for eight months because I usually Eddie on my Windows computer on. Right now, I'm on my Macintosh computer, which I havent used for eight months. So that's why it's saying you know it. So you don't think this guy never uses Adobe Premiere Pro? That's why it says eight months is just all my old projects in side of here. To open up a brand new project, you can go up to the top left over here, and you can just simply click and open up a brand new project. Likewise, if you want to open up an older project, so as you can see right now inside of my recent, I have my recent area, but it only goes down so far. So if I had even more things that were more relevant, I wouldn't find these folders from eight months ago, so I would have to open up the project over here and going side of my computer files. And it'll tell me where the all ask you. If you click inside of open project, it will take you into your finder, and then you can see you can scroll through your adobe creative cloud folders. Now, I'm just going to create a brand new project. So if you just click new projects and then now we can start creating our project. So I'm just going Teoh Coal, this adobe course demo. So I'm just gonna name the fold. It's essential you name them because otherwise you're never gonna find it if you need to reopen it in the future. Now you can see just below the adobe name that I've just created the file name we have the actual location where it's going to be saved. Now by default usually saves to either your creative clouds. If you have the full adobe creative cloud subscription, you will, it will save to your cloud storage or alternatively, it will probably save to the application location, which is usually the C drive. So if you're on a windows and you've got more pull hard drives plugged into the computer your files almost like you're just going to be saved onto that drive. Now I suggest changing this location if required, because all my Windows PC I haven't SSD is my boot drive, and he's only small. But I also have Adobe Premiere Pro saved on that boot drive and for ages, I hadn't realized that Adobe was saving all of my folders onto my boot drive, which now means my boot drive is super duper full. And I've tried to move all the folders off onto a secondary hard drive. But it's still got a still basically, you know, like SST is still full with legacy stuff that I can't fully locate inside of all of the fullness. So I suggest from day one create a foldaway. You know where it is personally and not the default location. So the way you just do that is inside of this location over here, So use click browser and then you can dive in, create a new folder, and then you could be from there. So if we just head onto my desktop on, we just scroll over to the bomb click new folder on we'll call this adobe saves and we'll call this adobe, but video and it say Just so you know, you call it a Premiere Pro, but I'm not gonna attempt to call it Premiere Pro Exile Probably spell premier wrong because I'm not very good at spelling. So we're just gonna roll with Adobe Video and it saves for now and simplicity so we can choose that. And now you can see that is changed the folder location for this project. Now the old something about Adobe Premiere Pro is every time you create a new project, it will save it to the previous location. So if we created another project, it would save it to this file location because that was our most recent file location where you can actually change the permanent default file location. But this is a fantastic way just to make sure it's saving to the most frequently used area that you want to say to at this moment in time. So we'll just roll with this for now, so we will proceed to the next setting. So next setting down here is actually the renderers. So you see, right now it says mercury playback GPU acceleration. So if we drop down this man, You can see we have a variety of different options now, depend on what specifications Computer you run. You can actually change the way the Adobe Premiere Pro renders the footage when you're editing. So if your computer has 1/2 decent GPU, which is a graphics card inside off the computer, then you go. I want to make sure that you change the renderers to something like, for example, Mercury playback. GPU acceleration open cl. So if you running an NVIDIA graphics card, you want to make sure you're on that open CL format to support those drivers. Now I'm going to roll with that because I have a GPU inside of here. That's video now. Some computers don't have a dedicated graphics card, and they just run off the CPU integrated graphics card, which can sometimes slow down your workflow. So I do suggest looking at a new computer if you run into any problems so normally, if you don't have a dedicated graphics card, it will not usually give you these mercury playback options because you don't have a GPU to accelerate with. So usually just be something like software only, or like dedicated to the CPU. So we're just gonna roll with GPU acceleration on open Sea El because that meets suspect off my computer and then we can continue. So you just have some other display formats down here. Time code. This is just how it will sort of manipulate the info on the timeline. We just leave. This is default for now on what is click. OK, so now we have configured our folder and we've booted into Adobe Premiere Pro 2020. I'll give you a little bit of your walk through of how the actual software is laid out in all the different work spaces within that software. So first things first, right here is our preview window. So if we created a sequence imported some clips, this would be where our video displays for editing inside off. Now to create a sequence, it's super duper easy. We just click command and and it opens up the brandy sequence. If you're on a Windows PC, I believe it's control. And on a Mac, it's command plus, and so this will open up our sequence options here so you can see we have a variety off available presets from Adobe provided out the box. So these are all the different sort of ones that are most common inside of video productions. You can see we have so like 10 80 p options here with the different frame rates. So you know, we have 10 80 p 24 frames a 2nd 10 80 p a 25 frames a second and so on. Now, right down at the bottom, you can see I have this folder called Custom and Inside of the Custom folder. I have a variety off presets I have personally made for the types of four months that I like to create, forcing, for example, I have some for Instagram for the different layout you can do on instagram video, whether it's a square or whether it's one of those more elongated ones that you often see on Instagram. Them finally also have my YouTube layout, which is a 2 to 1 ratio. So it's ah, it means it's widescreen. When you're watching on like an iPhone, for example, it will be split across the screen. Now we'll talk more about sequence settings and how to create custom sequence sayings later on in the course. But This is just an overview of how you access that. So for now, I'm just going to blow up a default once a 10. 80 p at 24 friends of seconds, usually an industry standard for YouTube videos or whatever you are shooting. So before we click OK, we want to actually name this sequence to something useful because if we just leave it a sequence one that will be the default name for actually exporting the file. So we may as well name what we want the sequence to be now because when we render out our finished project, then it's going to automatically name it fours off the sequence name. So we basically save time in the future once we've actually completed the project. So I'm just going and name it, for example. I'll just call it test, and it just because for now, I'm just demonstrating the software so we'll do test edit. As you can see, it now displays the video in the display box that I was telling you about earlier. No, just below the display box here. We actually have our timeline. So inside of the timeline, this is where will drag and drop our clips in on, we'll start cooking them and edit them together to actually create our video. Now remember, we'll talk about that later on in the course. Right now, I'm just giving you an overview of where everything is at. So if you notice when I created this sequence to the left hand side off the timeline we have this sort of like project been area. It's like basically where all the information of your project is all your files, all of the adjustment, layers of different things you've created the assets basically you have created for your project. I usually located in this little box here so you can see our sequence has appeared inside off the project folder. And then any footage that we import later on will appear in here as well for us to preview . And then we can easily access now also in this folder. This also doubles up as other work areas as well. So if we take a look at the top right, you can see we have the option here called effects. Now it's super duper Handley having your effects folders located to the bottom left of your screen. I cut. Explain how much time this is saved me since I discovered this was here a few like a while ago. I So I used Adobe Premiere Pro. So down here in the effects panel, we have all of the default transitions. That opera is not provided by adobe. So we have our all your transitions and so weaken seamlessly fade between clips. We have our video transitions or so weakened he like, fade in and out of clips as well. And also, we have video effects if you want to do anything fancy on also audio effects. If you want to add the Q compression reverb stuff like that so you can find all of your effects in this little panel here and easily just drag them onto the timeline when you're working in the timeline view. Now for ages. When I was new to Premier Pro, I never discovered or realized that this existed down here and for ages. I was literally switching between edit and effects over here, so I was switching between these two workspaces just to access by effects and drag them onto my clips. And then I would go back to my edit panel and continue ending, which was totally ridiculous. But because I was unaware and I hadn't watched any courses like this, that's why I was doing it. So you I already one step ahead of where I waas now. On the subject of actually switching workspaces, I just demonstrated there on the top bar here, we have different work areas that are optimized for different types of work to do within them. So if you go back to the effects panel, you can see the layout is totally different to when we were in edit. So you can see and it's the oldest is quite big down here. This panel over here, which we'll talk about in a moment, is bigger. Where's in effects? That tiny and this is tiny, but the effects is much larger, and it's the primary focus off this screen. So it is actually really useful if you're doing really affect heavy stuff to be in the effects panel. So if you are applying video effects, for example, then you're going to want to work in this view because it optimized the layout is optimized for this type of work. Flowers. If you're just adding transitions, it's super easy to just leave this panel open over here. Now, we also have these color Pile it over here. So we have the color panel and now you can see we have to leave me metric color appearing to the right hand side of the screen. So now this will be the best work space to start color grading and adding like atmosphere to order your footage and you can have different colors manipulating. Make it brighter, darker, more contrast. And we'll talk about that later on in the course. So the next cool panel is audio. Now you can see once again when we access the audio panel. Now an audio mixer has appeared and the layout has changed once again, more optimized around audio editing. So over here we have our mixer so I could make our adjustments pounding all that sort of stuff. We can't even expand using his little arrow here to actually head into the effects change. So instead of adding effects to each clip individually, we can just add it to the older channels. Of example, If we added some effects to all your Channel one for example, every single audio clip that will be inside of Audio Channel One over here that would be applied to this entire channel as opposed to a clip by clip basis. This is really good, especially if you're cbu can't handle having multiple effects on at the same time. But I'll discuss about optimizing your workflow later on when we get to that stage. Now, the next one, which I really like, is graphics. So in the graphics panel, you can now see we have these essential graphics over here which a different sort of pre made assets you can drag and drop into Premiere Pro. So, for example, let's just take a super default one. So this one is pretty cool. Just drag this in can see. Now we have a little clip and now we have a animation. So if I just click play by clicking space bar on the time night, you can see we have an animation. We have to do anything. These were just provided by Adobe out the box, and now we look like we actually what we're doing inside of Premiere Pro, so we can actually edit these animations which are provided. So if you don't want it to say, coming up next, you can just double click on it. You can see automatically start editing the text so we could type something in like, for example, Adobe and Boom. Now we have edited the text inside of this animation, and it looks like it's custom made, so we can now change back to the mouse tool because what you'll notice is the T has been selected here, that type tool. So if we go back to the mouse tool just by clicking here or using the shortcut V now inside the essential graphics panel, we can also manipulate and edit the actual animation that we boot it in. So you can see we have the different layers inside of here so you can see the shape lines, the text and also the other shape, which is the top line over here. But inside of the text, for example, if we go back to the text, we can switch out the color off the texting. See, I just change it out to this awful red color can make it even redder if we want to, or we could just switch it back to a nice, clean white color so then you know, it looks pretty slick. So we also have some alignment tools over here so we can snap the graphic to the center off the frame just by using these online tools, which is super handy if you just want to make sure something is bang on in the middle of your project instead of just eyeballing it with the human eye, which is never going to be 100% correct. So this way the software make sure it's 100% correct in the center of the frame. And then, from this point on, we could go down here, which is the scale tool. We can actually scale this up, then just realign it once again. And now you can see we've made this bigger and set it to the center off the frame, which is absolutely fantastic. Now we'll talk about in depth later on how to create your own graphics and also how to edit inside of the graphics panel one step further. But that was just a basic overview of what you can actually do inside of this panel. 4. Importing Footage and Media - File Organisation and Workflow Optimisation : So we now need to import some footage into our premiere Pro timeline. Now, there's a variety of ways we can go about doing this. Now, I have my footage on this SD card right here. So I'm gonna plug this into my computer. Now, there's something important to note. If you are using your SD card and that is you need to transfer the footage off the card onto your computer if you want to. Then eject the SD card now demonstrate what will happen if you do know, do this. So if I just head on over to my desktop, you can see here that my SD card has appeared. So I'm just going to double click and open this up, and then we shall access the file. So I'm just gonna go into this folder over here, which is Premiere Pro video editing. So what we're gonna do is I'm just gonna end it a video from one of my other courses. My boss, I see five or five music course, so I'll just demonstrate all of the techniques in this premier pro course today. So if I just open up the edit footage in this folder over here. Open that up and you can see I have these three different files. So the 1st 2 files are just my talking head footage. You can see this is just me talking into the camera like I am right now. And then you can also see if we opened up this one here that I have my overhead cameras. Well, for the actual product that I was teaching in this tutorial. Now you can see with the overhead footage it's actually upside down on. I'll demonstrate how we can invert this later on in the course to actually correct the fact that my camera filmed in the wrong way up. Now the final bit of footage is actually just a little bit of B roll off the product I was talking about as well. So you can see here. I've just got some really smooth Vero off a product. Different. Take stuff like that. So we'll edit this up into a sequence to demonstrate the actual products in the footage that I'm talking about. So if I just edit straight off the SD card, which you can do especially if you have a high quality SD card, that's pretty fast. That's perfectly fine. But the problem is, if you then eject the SD card, your premiere pro software will not be able to locate the footage. So let me demonstrate this. If I just drag and drop a clip into my timeline, it will automatically create a sequence from the settings off that clip. You can see it's automatically generated a 10 80 p sequence over here. And then what will happen is if I then inject my SD card. So just right Click Eject SD card. You can see that Premiere Pro will do this. It'll go media offline, and it won't be able to locate the footage. Now Don't panic. If this happens, you just basically need to re activate the footage. And the way will do that is we'll have to plug in our SD card again. So now that my SD card is being put back in, we can now click locate, and then it's going to take us into my finder on your computer windows on Mac, one of your own. You can scroll through all of the different files and then you can just find the folders name, click OK, and then it will reactivate a clip. Now, what I actually suggest doing is before you actually start editing your footage. I highly suggest you transfer the footage off your SD card into a full day and I'm going to demonstrate a fantastic workflow to organize your footage. Because what happens is you start building a huge library of videos that you've edited. Your whole hard drive just becomes clouded if you just drag and drop the clips on your desktop, so you need to have a streamlined workflow, which will talk about right now. So the workflow that I like to actually do is I like to create an individual folder for each project I'm working on. So we'll create and your folder here on, we'll call this just, for example, will call this video Eddie Demo. So now I know that this is the exact project I'm working on. Likewise, you could you call this like the actual video title of the video might be making for YouTube or whatever. Just see can recall it in the future. Super simple. So we're just going to create that folder and then inside the folder would like to do is I like to create sub folders. So we'll create a new folder just by right clicking, and we'll call this one the actual name of the camera. So, for example, my talking head for ages, shot on a canon M six months to on my overhead footage is usually shop on the cannon and 50 . So I like to call this full the M six. So I know that it's off my M six camera and they're like to create a secondary folder, which is in 50. So I know that that is from my canon and 50 camera. And then, finally, I also create 1/3 folder for any screen recordings. So, for example, just screen capture. If I've captured any footage and also ill make a final folder for my audio. If I've captured any audio like a guitar from a guitar demo or like a guitar solo video five during that time for tutorials, then I have everything in its own sub categories. So I have seamless organization now. What we'll do is we will transfer the footage from our SD card so we'll access the folders just like last time on. We shall just drag and drop it all over into my subcategory. So we got the copy. Track em six. So that are going to our cannon M six folder. We don't have our copy track and 50 which will go into the M 50 folder and then finally have my B roll, which I show on the M six as well. Now the reason why these folders called copy track is just at the name of the two tour, and I was demonstrating a copy track functionality on the music product. There's no reason why I called them copy track if you were wondering. So while this. But it is acting transferring. What I want to do is I want to actually create a new premier pro project now demonstrate why in just a moment, so we'll just close this one out. We won't save it because I've got no need to do this. So we'll just beat up Premiere Pro. And what we'll do is we'll create a brand new project, and I'll call this a copy track video edit, which is the name that the tutorial. And then you can see if you remember back to our basic overview of the software we have our save location. Now, if you want to have the most optimal workflow, I like to actually save the project file with all of the project footage. So literally everything is in one place, so I can just drag and drop that folder around onto USB stick whatever. And I can literally transfer the project all of the footage to go with that project. And it's just fantastic if you need to just share that folder in the future with a work colleague or whatever for that reason. So what I'll do is I will switch out the actual save location, so just click browse and we will save this to that fall that we just create. So if we go to my desktop and we look for scroll all the way down to the bottom, go to video Eddie Demo, which was the fourth we just created, You can see we have all of our cameras, footage etcetera in here, and we just simply save our premiere pro project into this folder. So we click Jews and now we will click. OK, and now we have our brand new project and everything is saved in the same location, right So now that we have organized all of our footage, we can now actually import this footage into Premiere Pro. Now I'm gonna show you two ways we can actually go about doing this. Now the first way is sort of the standard way. A lot of people go about doing it without realizing that there's actually a more efficient way to do this. So the way that a lot of people actually do this is they just open up that folded with all of their footage to the side off their project and they literally just going in on. They grabbed the footage and they drag you onto the timeline, and then they do the same again for the other clips. They go on in drag and drop the footage onto the timeline, and then that's them done. They've import everything, and now they would go about organizing it all inside of the sequence. Now these were very inefficient, especially when you have a lot of footage to deal with. You got maybe, like an hour long video, something insane. There's lots of different takes, lots of different things to organize. This isn't very good. It's perfect. Find if you do it like a quick one minute instagram video with just a couple of files. But if you're working on a huge project, you don't want to do it this way. Now you want to do it this way with just a few simple clicks. So if you take a look before we delete this footage inside of Premiere Pro, you can see all of the footage it we just inserted actually appeared down here in our project been our project folders. So if I just delete this out and I just really all of this stuff as well, you can see it now say, is import media to start and this is a super efficient way to actually go about doing it now, before I'm going to actually import the footage, I'm going to do one extra step for organizing the footage that we just organized earlier, and that is creating another sub. Folders. If we go back to our finder, you can see we have overall footage in these files here. Now, this is a fantastic workflow that we've done so far. But the problem is when we try and import this footage here into Premiere Pro What's going to happen is Premiere Pro because the project is saved in the exact same folder is the footage. It's also going to try and import the project folder, which we don't necessarily want it to do. So what we're going to do is instead is we're going to create another folder on We're just going to call this footage. So we click, OK, and now will transfer all of our organized footage into the foot each folder. So now that this is separate to our actual premiere Pro Project folder so now if we go back to importing a footage so we import our media with this right click click import and then we will head on over to our desktop scroll all the way down until we get to video and it And now we shall import our footage inside of this footage folder here. So we'll click footage and then we'll click import. And now you can see it's imported All of the footage that was found inside of those files. See, we have our canon and 50 footage on. We have our cannon and six footage, you know, copy track talking head, the B roll as well. So all of that was just imported in one simple click. Instead of dragging and dropping valuable things, maybe forgetting to import something and then you're missing a clip, and then it becomes a total nightmare. 5. Creating Sequences and Custom Sequence: So now that we have important all of our footage for our video edit, I now want to show you how to specifically set up a sequence with a custom presets. So in the basic overview lesson, I showed you just an overview off, creating a sequence and how you could use adobes presets. But now I want to show you how you can create your own preset to recall quickly. No, if we just head into Adobe Premiere Pro Select, I'll be display over here and now we'll just click command plus end for a new sequence. I'll put the windows short on the screen as well. So you have that if you're running a Windows PC now, as you can see right here, we have our available preset that we used, which was a 10 80 p 24 FPs, which is what we use in the basic overview lesson. Now what I want to do is I want to show you how we can create a custom aspect ratio for our video. So if you watch a lot of YouTube, I want to show you how we can create a video specifications that is optimized for watching YouTube on a mobile device. So the standard format for video is in a 16 by nine aspect ratio, so this usually displays in full screen on a computer monitor. It'll displaying full screen on an iPhone like an iPhone seven or an iPhone six, or even the iPhone eight. However, if you're running an iPhone X, the 16 by nine aspect ratio will display black bars on the side of the screen. So what I want to do is I want to show you how we can create a 2 to 1 aspect ratio so we can maximize the full length off a modern iPhone device. So this basically means when we're watching a video on YouTube, it will display essentially on the full with off the screen, and it will just create little black bars down the side here. So we're maximizing this display. The reason why you might may want to do this for YouTube content is because the majority of people consume you to content on a mobile device, and it's not just iphones that have this wider aspect ratio, like a lot of on droid phones and stuff are also maximizing this ratio as well so if you want a future proof your content, you may want potentially run in this set up. So the way we're just going to do this is we're going to scroll down to the bottom. You can see inside of the custom folder over here. I have already created a custom preset, so I have my YouTube one over here, 24 FPs, and also this is the ratio we're going to be running out. So this aspect ratio is 38 40 by 1920 which basically means it's four K. But it's skinnier because it's 1920 the aspect ratio. So that is what's making it the 2 to 1 ratio. So it's basically Scott more pixels, which is them making it fit this screen for that like wedge off the iPhone shaped like I'm not gonna explain it in detail. But these numbers just work for this former now because we're running in 38 40 by 1920. This means the video will be classified as a four K video. So when you up load this to YouTube, YouTube will be tricked, and l think, Oh, this is a full K video and as you may know if you are aware of the YouTube algorithm, it does favor four k video. So if you use this former, this is a bit of a way to kind of trick the algorithm, and I'll explain how we can upscale a 10 80 p footage later on in the course. So I'm gonna show you how we can create a brand new preset because it's not much use was using this pre made pre set that I have over here. So what we'll do is we'll just click on this 24 FPs video over here because that's what my foot, it is shot up and then we'll just go to settings. So now we are here in the settings menu and easy and see. We can adjust all off the specifications off this new sequence that we want to correct. The first thing we're gonna just is thief frame size over here, So we are going to switch out the horizontal to be 1920 and then we are going to change the frame size you see. Right now, it's a 1 to 1 ratio. We're going to double this number to 38 40 and now we have changed the aspect ratio to to toe wants. This means going to fit our iPhone display on sort of the full width of the screen. So now that we have configured this, we actually want to save this as a preset. Now you can change the time base over here which is off. See the FPs. So let's say, for example, you shot the footage it 30 FPs or you've shot the footage 25 FPs, especially if you in the UK like me. A lot of the cameras are set up by default to shoot at 25 FPs, so you may want to actually switch out 2 25 FPs if that is your case. But we are happy with 24 FPs. So we are going to scroll down to the bottom over here. We're happy with the audio sample, Ray. All that fine. No need to change out out run the default And now we will save the presets. You can see down here we have a save preset options that will click, save preset. You ask us to name it so we'll just call this course at a ratio. Just so you know we know which one it is. When we created that, we could even add a description. So, for example, you could put this is the preset for my YouTube videos. This is the preset for my course video system, that precept for my instagram and Facebook videos. Whatever. This is your preset four. You can add in a little bit of info for your reference. I'm not gonna add a description in because I'm never going to read it. If I do so I just click. OK, and now it's refreshed. Our sequence folder and you can see inside the custom box. We now have our course ratio, which we just created so well now renamed the sequence name to our course of video, which is what we're going to edit in today's video look like, Okay, so now we have created our sequence. We've created custom sequence we've saved is a preset, so we can recall that in the future to speed up our workflow and now we can get to end it in the video 6. Basic Editing Techniques: So I want to show you some basic editing techniques inside of Adobe Premiere Pro. So we've now important all of our footage. Our sequence is up and running, so we can now start creating our final project. So we've got our custom sequence over here that we created in. The last lessons of this is the one that is a 2 to 1 ratios and slightly more widescreen than a traditional 16 by 9 10 80 p video. So what we're going to do is we are going to drag in all of our footage, so import our talking head footage. You can see right now we have thes pop up saying, Do you want to change the sequence settings? And this is because the footage settings are different to the sequence settings that we just create because they're sequence is a different resolution to what our actual footage is. And I'm gonna show you how you can work with this an upscale the 10 TVP footage to this four K project. So we are going to say yes to keep the existing settings on. What's going to happen is if I just take my play head by clicking and dragging on the top of the timeline. You can see right now that our footage doesn't exactly fit our sequence. So in order to make this footage fit our sequence, we are going to have to scale it up too much. The sequence, size and the way we do this is inside of the effects controls over here. So you can see there's a lot of different things we can actually adjust with a clip in. The first thing we want to do is we want to change this scale value over here so you can see I can increase it just by clicking and dragging on. I can also decrease it if I wanted to make it smaller for whatever reason. Now some really cool things we can actually do inside of the effects control is if we can actually reposition a clip as well. So you can see right now, just above we have the position so we can move the clip to the left. Or we could move it up and down wherever you want to place it on the screen. So let's first actually scale up this footage to 200%. So then that means we basically doubled its size and it now fix our sequence perfectly on. There's no longer any black footage in the backgrounds. There's no black bars anywhere. So the full footage is now fit in the full sequence. So if we just now we're just the position because you can see my head right now is being cropped off by this widescreen video we are creating. So we're gonna have to lower this talking head footage so you can actually see the top of my forehead. So we are going to adjust the position so we'll just move this one down a little bit by clicking in Dragon, and you can see now my head fits the actual sequence size. Now, one critical thing we can do with these effects controls if you know what exact number you want to import. See, for example, you don't want to click and drag like we just did There. You can actually double click on the self and just type in the value you want. So, for example, will just type in 10 80 and you can see it Just move this up ever so slightly. So that's really cool for doing more specific adjustments. So if we now import our next clip, So if we go back to old Project, open up the footage and insert our overhead camera to Canal See, we now have our overhead camera for the product that I am teaching in this lesson. Now the problem is the actual footage isn't in sync with the other camera. You can see if we play these pace. They're totally out of sync. They're nowhere near one another Now. You could zoom into the timeline and match these up manually, but that's pretty time consuming. And we actually have a fantastic feature inside of Adobe Premiere Pro that allows us to do this automatically. So what I'm going to do now is I'm actually going to synchronize this footage with Adobe Premiere Pro. So if I just click and drag on the clips that I want to select, and then I just right click on those clips, you can see we have these open here called Synchronize. So if I just click synchronize, just going to ask me what exactly do I want to synchronize so you can see we have all of these different synchronization points that we can choose from. We've got the clips, Start the clip end or we even have audio. We have time code here, but we're not going to do that because this footage wasn't really filmed in time codes. There's no data really for this to be linked with. So we are going to actually go off the audio. Do you think these clips up? Because both of the audience had active microphones on So the premiere Pro project is going to basically go. Oh, I was saying this word here and also this word here and it'll match the audio waves up which will then synchronize the footage. This is a huge, huge time saver. When you're editing a lot of projects, what I'm gonna do is I'm gonna just click, OK? And then it will start synchronizing so I click. OK, you know, two seeds processing the audio and now the clips just jumped and now they have lined up with one another. Now, if we actually undo this briefly on I demonstrate the other synchronization so insecure synchronization, you can see if I go for clip end, it will actually just synchronize the clip up to the end of each other, So resume in here just by holding old on zooming in. You can see that the end of the clips have lined up with one another, but we don't want that to happen. We just want to synchronize the audio with each other, so well, undo that and we'll do that again. So synchronize change the settings to audio and just click. OK, so now that our audio has seemed up and our two different camera angles are perfectly in sync with one another, we can actually go about and taking these. And I'm gonna show you some basic shortcuts that are key to speeding up your workflow in adobe Premiere Pro. So if I just scrawling so we can use this little by here to zoom in using these clips are lined up with one another to clean things up so we can signify that these clips have bean organized. We going toe want to actually snip the end of that clip away. So then they are lined up perfectly, so it just cleans up our project. Now, a normal way we go about doing this is just taking the mouse on click and hold on the end over here and then just scroll. You can see that just directed over, and now they're aligned. But that can be quite time consuming. So what we can do is instead we can click see on our keyboard and you can see our cursor has changed to this little snipping tool. So we now have the cut tool enable, which means we can just click on the break point of the clip, and he's going to cut it in half. And then we can click V on our keyboard to go back to our normal mouse cursor. And then we can just select this clip and click back space to delete. Now, if you notice when I was switching between all of the short codes, the little toolbar over here signified which tool I had selected. You can see right now we have the selection tool, but when we click, see it switches over to the razor tool, which was the little snipping scissors tool type thing that I was using. So if I just click see on my keyboard and see switches via like keyboard, it's which is over here. There's a variety of other tools that we can choose from a swelling. You can see they are clearly labeled with short cut to actually access them. So the pencils p this one over here is a and the textiles teasers like like tea. I can start writing text on the video talk brother later on. So if I just go back to the selection tools like Quicken V, you can see they're all of the tools we can access in this little panel here or by using shortcuts on our keyboard. So there I just shared some shortcuts with you that I use all of the time when I'm editing videos and it's really optimize my workflow. Now, we'll actually show you how we can rotate this secondary camera over here. So if you go back to our effects panel on, we select our clip that we want to affect you. See, when we select the clip, it changes the effects panel here, so we'll make sure we got our cannon and 50 camera angle selected on were actually going to go to the rotation parameter over here. So, just like with the position and scale parameters, I can just click and drag to rotate the clip around if I want to, or I could just double click on the parameter and type in a value to actually flip the cameras. You can see I just typed in the rotation value of 180 degrees. So that flip that come around the correct way. So we now need to actually scale up this camera angle so it fits the sequence, size, and the way will do that is exactly the same as last time. Change out the scale to 200%. And now you can see that the camera is the false with off the screen. I'm actually gonna go a little bit further than 200% just to have the product actually fit the entire sequence. So it looks really nice now. Sometimes scaling up your footage isn't always the best solution, because obviously I've shot this in 10. 80 p, and I'm scaling it up to four K and then we're exporting that out and putting it onto YouTube. And YouTube does take the four K folder and, like have a better bit rate on it. So it does look slightly sharper, but sometimes if you try and upscale like 7 20 p, which is standard Haiti up to four k. Then you might actually see a bit of degradation in the quality off the footage because obviously the resolution didn't have that much data to begin with. And then you basically just amplified the pull bit rate. One final thing there were share with you is how we can actually expand the workspaces we are working in. So if you take a look on my keyboard, I have this little button here, which I think it's called a grave. Keep on. When I click this button in, it basically expands the workspace that I'm working so you cannot see my timeline, fits the entire screen and then clicking again it minimize it back to the regular size. Now, this is really handy when you are working on a single monitor. Right now, I'm just working on the single screen of my I Mac, so I don't have a secondary display to preview things, So it means when I need to do something in detail, I can expand the window, have it full screen and then minimize it back to the regular workspace so I can actually change all of the different settings. Now, if you are on Windows, this key is usually located up here next to the number one key on your keyboard. Sing just simply President, and it'll do the exact same thing. So if we go over to the video layer, this is where I use it all of the time. So, for example, I'll make my amendments in the little time line over here. And then, if I want of you in full screen, are just click on button and I can start watching the project back in full screen mode, which is really, really cool. Give you a better perspective of how it actually looks on a bigger monitor than actually the little tiny preview window that you normally editing. And same if you read it in your setting. NGO. You comm boot up your timeline, edit your settings at the same time, or just boot up your timeline full screen. It really does make a huge difference 7. Working with Layers: so the way that Adobe Premiere Pro Works is is in video layers, so you can see when we scaled up the footage off our overhead camera, you can see it over, laid the top off our secondary camera angle over here, our talking head, you can see we can no longer see it. And that is because in the timeline, our cannon and 50 footage is laid on top of our cannon and six footage. So the way the timeline is laid out is basically which ever clip is on top is the one that is going to be seen on the screen. Now a super handy thing to know when you are editing in Adobe Premiere Pro is you can actually disable video clip. So, for example, so if we take a look at our overhead camera over here, you can see on video layer, too. We have this little I, and this allows us to Tuggle whether the track is enabled or whether it is disabled as an overall. So any footage of that is on video to will no longer be visible, and anything that's underneath it will be now visible, so this is especially useful if you are editing the exact same scene that is being captured from multiple camera angles. So instead of getting your little sort of snip tool over here and removing the clip and then deleting it and then previewing it and going here that I prefer that you can just simply toggle it on and off to see which one you prefer. So basically, the way this little preview toggle works is essentially we're just muting the video track. So if you're familiar with working with audio, you know, weaken usually mu an audio track, and it still is in our timeline. But we just can't hear it anymore. So this is basically like muting the video tracks. It's still in our timeline. It just we kind of see it anymore. So on the subject off audio, if we actually take a look down here, we have all of our different order channels. And just like when I was referring to, we have the option to mute them. So, just like with the video Tuggle, basically we can just meet the audio channel so it's no longer audible, but it still exists inside of our project, just in case we need it now. Next to the actual mu track is the solo option. So this basically means is if you have multiple different audio channels, you can basically select certain wants to be soloed. So you could maybe listen to two at the same time so you could listen to track one and track three if you needed to check something specific on those audio channels. Another thing to be aware off when working with the layers inside of the adobe premiere Pro timeline is which track is being targeted. So what I mean by this is if you take a look inside of the time line to the left hand side of each off the video and audio tracks, we have this little square here on this little square here So you can see I can click on this video to and it will turn blue. And then I can click on the second box and it will toggle from here to over here. Now, what this means is basically it allows us to select which channel will receive any assets we drag and drop in. So so if I switch the blue box on to video to so it means I've enabled it for targeting. And then I move this little box to trap to as well. And then we scroll all the way over to the right, and we disable the tuggle on video one. Then we just simply copy and then paste. You can see that the paste has targeted video layer to even though we copied a track from video layer. Once it is basically allows it to copy and paste assets from different areas of the project or from another project, and then make sure that it actually pastes onto the correct layer instead of copying and pasting onto something that you don't want it to. So, for example, if I just undo that and then I re enable video warm and I just do the copy on then I paste . Here are just paste. You can see that it has now pasted this onto layer one, but it's deleted a bit off the first part of the video, which you might not necessarily want. So let's say you had done a fancy edit underneath here would lead to different cuts in given edits and you'd finished it, but you just needed to put one final asset like a subscribe button on the top over here, Then you copy and paste that in it would overwrite everything you just did. So the targeting track is fantastic for making sure you don't accidentally delete stuff when you're important and you asset from another project or from another area off your current projects. 8. Video Effects and Video Controls: right. So let's talk about some of the video effects inside of Premiere Pro and the video controls that we have inside of the effects panel. Now, I'm not gonna go through every single video effect in this video because I'm just gonna show you the essential effects that I think really help you create fantastic videos in Adobe Premiere Pro, Which is the reason for this course. It's to get you up and running as fast as possible. So if we just head into our effects panel so we could go into the effects workspace over here if you wish, or you could go down here, which we talked about in the basic overview. So let's take a look inside of the effects panel. So we have a variety of different effects inside of Adobe Premiere Pro. We have audio effects. We also have transitions. Then we are video effects, and we also have video transitions. Now we'll talk about audio effects later on in the course will talk about the video effects right now, and we'll also talk about the video transitions later on in the course. So let's first kick things off with the video effects so you can see when we expand this folder. There are so many different effects inside of Adobe Premiere Pro, and there's some really creative things you can do. Now I'm going to link to two videos over on my main YouTube channel. Ben Rowlands Music and these videos are music videos for my own songs that I have filmed myself edited myself inside of Adobe Premiere Pro. So if you want to see the variety of different effects inside of Adobe, Premiere Pro applied to an actual video, then definitely checked it out because I used quite a lot of different effect techniques inside of Adobe Premiere Pro to get quite a creative look inside of those videos. It's definitely worth taking a look at if you want to see some of these effects in action. But with that said, Let's crack on with the tutorial. So one of the key effects that I want to talk about in today's video is called Warp Stabilizing. You can find that in this panel here, which is called the store so we go in this panel down here we have this effect called warp stabilizer. Now the reason why I want to talk about this is like an essential effect that you need to know about in Adobe Premiere Pro is because if you shoot any form of beer oh, handheld, obviously, you can get a relatively smooth shots. But there's always just that little bit of shake because our hands naturally shake with the camera when we hold it, because we're not the steadiest, so we can actually apply an effect in Adobe Premiere Pro. That gives you a gimbal like feeling to your shot, so that basically just means it removes any shake out of the shot, and it makes it look like it was on a gimbal type device. So the camera was balanced and he got rid of the human shake. It's a fantastic feature I use all of the time. I never use any fancy Gimbels. I do all of my beer Oh, handheld. And it really helps a lot being able to apply this imposed production just to make it look slightly smoother than it was out of the camera, because I don't have any stabilization inside of the camera body. So let's boot in the B roll that I filmed, so I just drag and drop that into our timeline and we shall make sure that it's at 200%. So go back to the edit tab, scale it up. So it fits our project. And if we just play some of these back, you can see Right now it's got a bit of shake to the actual footage. It is. I've done my best to make sure it's smooth, but you can see there is very noticeable shake with the actual camera motion. So if we just back out of here and we go back to our effects, that will access them down here this time. So we'll just go down to the effects panel. We are going to take our warp stabilizer. So what I'm going to do is I'm going to select a segment off the clip that I want to work with, because when we apply the warp stabilizer to our clip, it's obviously going to stabilize the entirety off the clip. And as you can see inside of our project, this is a very, very long clips of it would take a while for the warp stabilizer to actually analyze and stabilizes clip because my computer isn't really the fastest right now because I'm off see screen recording at the same time as editing. So that would take way too long. So I'm actually going to just watch this clip through so we'll start about here. I like this start point so we'll use our short cut from our basic editing techniques. Will click see to access the sort of snipping tool, and we shall could there. Then we'll play along fast forward a little bit. It's to speed this up quite like this. Take here So we'll snip that and then we'll look for a second shot. So around here looks all right. So cook click V for our mouths tool delete with the back space key on the keyboard. That's forward a bit. Yeah, So I think we'll just have that little snippet they shot their cut that on will move this out the way. So we've got this little shot here nice and smooth. And then we have the secondary shot over here, which we shall fade into. So we've got this extra shot that we did just here. It's very make that a little bit longer on the actual focus off the control panel on the loop pedal. Right. So what I'm now going to do is we're going to drag and drop the warp stabilizer onto the two clips that we have edited down to the actual parts that we want. Now I'm going to show you something you have to bear in mind when you apply the warp stabilizer. So obviously what we want to do is we want to have these two clips seamlessly transition between one another, you see, So we want to go from here, and then we want to go to this clip here. So let's maybe make that a little bit shorter. So it's a bit more obvious, the actual change in perspective. So what we want to happen is we basically want this to go super smooth. And then we wanted to do a cross fade into, like, this clip here, for example. Now, right now, if we just applied the warp stabilizer to these two clips, what would happen is basically it would warp stabilized the entirety off this clip that selected, but it wouldn't walk stabilized Anything beyond this. Now I explain what I mean by this right now. So So if we apply the warp stabilizer this clip by this dragging and dropping onto the clip and you can see it's analyzing. So right here you can see it's analyzing the amount of frames, so it's done about 30 frames out of 256 frames. This is what I was talking about earlier about actually shortening down the clip, because if we applied the warp stabilizer to the entirety off the clip that it would have liked being like 1000 frames would have had to wait for. So right now this is analyzing, so I'll talk you through. Some of the effects permit is over here. So down here we have a variety of different things. We can actually change on the clip now. The most important one is this one here smoothness. So right now, the smoothness is at 50% which is quite an intense warp stabilized to the clip. This is the default one that gets loaded in. But what you may notice is because it's so high, there might actually be a lot of wobble to the actual clip that's artificial milk is the premier pro is obviously a just in the clip. So let's see how this plays back dignity right now that is way, way smoother than earlier with my hand. But you can see it's kind of a little bit of a weird sort of vertigo sort of wobbled to the clip, which is artificial, because that's what the guys kind of done. When you've applied these clippings or to see it here, it just looks a little bit wobbly and warping, hence the name of the effect. So what we want to do is we want to turn down the smoothness so the camera motion is still being stabilized and looks really smooth. But it looks less computerize with that weird sort of warp of the clip being moved too much . So we're just going to turn it down to about three or 4%. I usually run a maximum of 5% on of my warp stabilisers you can see. Right now the clip has cropped less. If we undo, you can see there's a big crop when we use 50%. If we go back to 3% we get more of the clip back. It's less cropped, so let's check this out. Now It's expand, see up place, so you can see. It's not as buttery smooth, but it still is a lot better than being handheld, and there's less weird sort of wobble going on on the actual clip. So we'll roll with 3% and now we'll apply the warp stabilizer effect to our second clip. So now we can see this second clip as being stabilized looks a lot better than it did earlier on. So what we'll do now is we will seamlessly switch between these clips because you can see this is cool clip, and then it's a super hard cut to the next lip, which we don't necessarily want. So what we are going to do is we are going to apply a cross dissolve over here, so we just go to visual transition to talk about these later on. But we'll just drag and drop a cross. Dissolve right now. Now, the support I was talking about early. Before I apply this clip, I recommend you apply your transitions first before you stabilize your clips and you'll see why in just a moment, cause when I apply this cross, these old it say's the clip needs analyzed again because there are new frames in the clip because obviously now we have additional frames on this cross dissolve. The clips have basically got slightly longer so they can fade between one another. So there's just basically means is a few extra frames that need analyzed per clip. So this now means we have to click, analyze on this cliff like, analyzed on this clip, and then sit and wait for the two clips to actually analyze themselves and then kick things back off with the video editing. So I suggest just for a time saving tip, apply all your transitions first, then apply your effects. So then you only have to analyse things once. Otherwise you're going to be analyzing, then applying transitions and then waiting for them to analyze and stabilize and everything again. And it's just gonna be a lot of time wasted teammates. We just do it once in the end of the project. So now that I have shown you how to apply some effects inside of Adobe Premiere Pro Officer , you can go about and explore with some of these additional ones, depend on what you want actually do. But now we've applied the main effect that I use in basically every single project that I create, you can see we now have super silky, smooth footage that transitions between one another with the cross dissolve. And he's lucky way better than it was handheld. Now, just before we close out this tutorial and move on to the next section, actually want to talk about some of the video control parameters we have over here. So what we can do is inside of Adobe Premiere Pro. We can actually reframe a clip. So let's say, for example, you composed your shot. But maybe there's just a little bit too much empty space on the top of the shot. You know, like above the hair care line on the thing, and it just doesn't look very good. Well, the awesome thing about Adobe Premiere Pro is we can actually reframe. I was shot so we can correct any sort of errors we may have made within the camera. So, for example, let's take a look at this shot over here. So let's say on this clip here, you actually want to focus on the menu off the product. So, for example, this number here, 45 Well, right now, obviously the type of lens I showed it on was quite wide angle. It's like 16 millimeter on the camera, so we haven't got that detailed shot off the menu that you may want to actually do. So. What you can do is you can actually crop in with the video effects over here so we could zoom in slightly on this clip and you can see it's starting to look a lot tighter, like I shot it on a different style of lens on my camera. But I didn't. I just started on the standard kit lens on the camera, so this starts to look a little bit more artistic now because we've zoomed in. We can now actually pull the clip down a bit. You can see if I pull this down. Now. We also have the black vast, but you can see this is an example of how you can actually reframe something. So now we can actually centralize this a little bit. Maurin the frame off our project. So this is more the forefront off our viewer would be focused on looking into the center of the friend. You could even zoom in a little bit more if you wanted to, just to correct the framing once again. Now you can see it's bang on in the middle of our project, and it's the focus off the shot. Where is before? When it was at, like, 200% the shot was a little bit more messy. So pretty cool that we can reframe things like this inside of Adobe Premiere Pro. I use this again all of the time as a tool for editing my clips. Now also, we can obviously rotate, which we've touched on earlier as well all of the same controls in the top corner over here . That was a quick overview of what you could do with the effects inside of Adobe Premiere Pro and also how you can sort of reframe shots using the video control panel, super useful stuff and also the essential things that I used in every single project warp stabilizer and also refraining shots by cropping in. Now when you are reframing shots, you have to be careful that you don't become too pixelated because obviously I shot this B roll in 10 80 p on our project is obviously already cropping in. So if we cropping too far on the 10. 80 p, it's going to start to lose quality. Now. Work around of this is to actually film all of your video in four K if you can. If you camera can do for K or your phone can do for cases, shoot everything in four K, but then do your project in 10 80 p. So this basically means you import four K footage into a 10 80 p timeline and then you can zoom in on that four K footage without losing any quality, because it's already higher quality than the project, which is 10 80 p. So this means you can do that reframing trick that I was showing you here and zoom right in on things and get really detailed without the worry of causing any pixel. I ization inside of the actual project. So it looks super crispy and super sharp because you shot in the high resolution but then exported a lower resolution. So it retained all of that information when you zoomed in and reframe the video. No. So you when you apply the effects 9. Audio Effects: right. So now that we take a look at video effects, I want to quickly show you audio effects. Now, this variety waste go about applying audio effects. Now, just like with video effects, we can apply audio effects on a per clip basis. So what I mean by this is if we go into our effects panel head on over to audio effects this time and you can see we have just like the video effects. We have a variety of different effect types now the one I use the most is amplitude, compression and also equalizer. Now that's first. Take a look at the Amplify plug in, so let's go into the amplitude for the here. I will take a look at Amplify. Now. The most obvious way to apply an audio effect is just a simply drag and drop it onto the clip that you want to edit. Now this is perfectly fine if you just wanted to specifically apply a effect to a certain clip. But the problem is one. This is super time consuming because now I'd have to then apply amplify to literally every single place where I've done it could. But then additionally also adds to even more CPU. Processing on the computer is inevitably just going to slow down your workflow because your computer has to process even more effects. So I just quickly demonstrate what's happened. Now we've applied the amplitude effect to this clip here, so let's just scroll and click on it. You can see we have amplified right over here. If I click edit, we can. Now we're just basically the gain of these clips or right now, it zero db. But we could just boost the volume off this clip to make it louder. Now, I'm actually going to delete this out, and I'm going to show you how you can apply effects to a channel. So let's go to the audio tab for this. And right here we're on the audio track mixes so we can like just the volume of each track over here. Now you can see in the top left is this little arrow. So if we do this to show and hide the effects and sent, this is going to expand out basically the effects chains for each channel. So basically, we can apply now each audio effect to this channel here and it will apply it to the entirety off the audio channel. So every single clip that is on that's specific channel. So this time, instead of applying our amplify effect to just this single clip, we're going to apply to our effects chain so every single clip will be amplified, so we'll click here. I would just go to a beach, you compression and will apply the amplify. Now what I'm going to do with the Amplify is I'm basically going to increase the overall volume off my clip because if we play this back so now that we took a look at how to save an exchange, our presets, we talked a little bit about in the saving module how to actually and sort of overwrite and copy and paste. You can see it's pretty quiet. The overall clip that's coming out of Adobe Premiere Pro. You can also see this by the little DB limited over here this space intelligence and featuring off volume so you can see it's sort of around the minus 24. Now a majority of things are usually around the minus 12 db reason, and even this region here when it comes to stuff just is an industry standard usually around that minus 12 db is something to aim for. Now we are going to boost this clip basically by 12 db because right now, 24 db and we want to be around the 12 db region. So now this clip will be louder and we'll see how it sounds in this module where I showed you how to actually save your phase memory banks onto your boss RC five or five. We actually took a look at how to kind of overwrite those phase memories and kind of copy and paste them to a new patch with the alterations that we just made, which is pretty, pretty cool. And also it can save you a lot of time, but we can actually go one step further on. We can actually copy and paste specific tracks from specific phase memory patches. So let me show you what I mean, So tragic in here. That effect has made our audio a lot a lot louder, which is much better, because beforehand if you were trying to listen to this video before any audio processing and you had your tracks on full volume you probably were struggling to hear it if you were on like an iPhone or whatever winsome headphones on. So now that we have sort that out, let's move on to the next effect. So the next effect that I usually like to apply is a bit of compression. So we go back to the amplitude and compression, and we're gonna open up the dynamics effect now. So we'll double click on the effective booted up, and you can see here we base just have a super simple compressor. Now I just like to use a preset for this. I don't usually do any manual adjustments. And the way we use a preset in adobe Premiere Pro is just using this drop down box here, so preset Go down. You can see there's a lot of stock presets provided by Adobe, and the one I like to use the most is soft compression. You can see all the promises of automatically changed, and it's now turned the compress. Iran, with some pretty generic compression effects that usually works universally across the majority of different things and then usually like to turn the limiter on as well. There's just again stops our audio from Peking. Now, if we take a look at our track plane back now to a new patch with the alterations that we just made, which is pretty pretty cool and also it can save you a lot of time, but we can actually go one step. You can see it's not that sound a lot more professional and also the DB meetings coming a lot higher now, Matt before his minus 24. But now it's around this order minus 12 6 region and it's still green. It's no peeking, so we don't want our order to be peaking right now. We've got a pretty healthy level coming out of Adobe. You can see it's in the green and little bit of yellow here, but it's pretty healthy. We basically don't want this to happen to our audio, where if I just push it too much, it starts to peak. You can see if I switch the limiter off. You can see right here. Our audio is now peeking, shown by the red lights, which isn't what we want. That's why I actually quite like to run the limiter on my tracks. Just make sure it's under that threshold that has been set. Now, the third effect that I use a lot of the time is the Parametric e que. So if I just boot up soft compression once again back to the default So we will just switch that out and then go back to the default Mitterrand. What will apply now is a e que So we're now going to apply our EQ. You just dropped down this menu and go down to filter and e que on. We'll look for the Parametric equaliser. I like this one best because it gives you a visual representation of what's happening. You can see we have, like a basically a graphics equaliser happening over here. Now, once again, you have loads of presets that you can play around with. But all I simply do with my e que is I do a high pass filter over here, So basically I just cut off the low rumble of the microphone just by tidying up a little bit. So usually there's a lot of low rumble in a voice in this region that isn't really audible or necessary, but it is usually makes the sound sound a little bit muffling and muddy, So it's nice to just sort of cook that mess out. Still, keep this sort of deepest off a human voice there, but just clean it up a little bit. So just a little high pass fielder here. Usually the stock one does the job, and that's usually all I do when it comes to the queuing. You can go further if required. Boost the highest boost, the mids of whatever you're actually e queuing that treatable. I do for my voice in these situations here. Now you can see in our effects panel. Over here, we have got obviously three effects. Now, the way these effects sound depends how you have positioned them within the chain. So if you put the compressor before the e two, it will sound slightly different. Whereas if you put the eq you after the compressor, it will sound slightly different. It's basically just the chain of effects you can play around to see what you prefer. I usually put my eq you after the compressor. That's just one I put I personally preferred when I also do when I'm mixing music. But I've seen some people put the eq you before the compressor, but it just depends what you prefer. The sound off 10. Video Transitions: Now let's talk about video transition. So in the last video, we took a look at the video effects, and we slightly touched on the video transition options inside of Adobe Premiere Pro. Now, there are a variety of different transitions we can actually choose from, so we're gonna go through some of them in today's video. So if we take a look, our timeline right here, I'm just going to sort of do a super quick edit just to demonstrate these transitions in action. So right here we're talking. So we just do not were talking head talking here. That's perfectly fine. But here I now look away from the camera and I'm actually taking a look at the product that I'm talking about. I'm now doing the actual tutorial. So obviously, in our video, Eddie, we want to have our clip show at this point, cause obviously we don't want people just looking at my face when I'm not looking at the camera, it kinda looks pretty silly. So what we want to do is a dead basic way is to just do ah, heart cook so you can just play this away and then it will do ah, hard cooked to the overhead camera that can work in a variety of different situations in action look really, really good. But what I like to actually do is I like to combine the heart cut with really smooth transitions. Just so it's not too jarring for the audience. It depends on what type of feel you want from your videos. I quite like the smooth feel compared to the heart cut. I try to avoid those this place, the way it looks really good, but I prefer a nice smooth dissolve. So inside of Adobe Premiere Pro, we close out the video effects, but we go back to the effects panel. You can see we have video transition. Just expand that if you haven't already. So there are a variety of different sub categories off transitions that you can actually choose from Now, I think some of the best transitions are actually in the dissolved menu over here because there are loads of transitions that air stock in Adobe Premiere Pro. But they do look a bit like my school project type things. Some of them I like flipping the camera a little just looks crazy, but if that's what you want. I'm sure it can be useful, but I try to avoid those so I'll demonstrate what I mean. So, for example, if we go to some of the three D motion ones that we can do like a cube spin so intricate cube spin on this clip here, well, you zoom in. And when we let this play, you can see as that pretty you know, 2005 style transition. So we'll just didn't do that. And in closest menu out like it doesn't exist. So pretty I'll go to the dissolve. These are some of my favorite ones, So in the dissolved, there's a variety of really smooth transitions you can choose from now. My most used one is the cross diesel, so we can drag and drop the cross. These old from this menu here on what you get is a super smooth transition into the next clip. This works really, really well in a lot of different situations now. Really cool thing about the cross dissolve transition is by default, Adobe Premiere Pro. It is the default effect. So if we just undo this the super fast way and the reason why I use this one so much is because we can click. So you see, I have this whole little red arrow appearing. We could just click on the edge of the clip and then we can do command Post E. And it applies a default transition for us. So now we have the cross dissolve without dragging and dropping. This re speeds up your workflow. Now, I do believe you can dive in and switch out the default transition to something else you may prefer. But I quite like it just being stalkers across this off because this is such a great transition that comes in the box. And it's the most use, one that I definitely use now, Another cool thing on the subject off the default transitions is right now we just have played it to one side of the clip. So you just zoom out off this clip, we go to the end of it. You can see there is no cross dissolve at the end, so you would assume well to apply at the end, you would just do the same process and you command plus D, and it would apply the cross dissolve. But there's actually a super fast way to apply the default transitions that both sides of the clip without doing this. So I'll just don't do that and I'll zoom. Oh, and we'll just go to this short clip over here. Let's just a play on this clip, for example. So on this clip, you can see I have the entire clip selected. You know, it's white all the way around. I haven't just got one side selected with the little Red Arrow. I've clicked on the entire clip. So now if I do command plus D, you can see applies across dissolve to both sides off the clip. So this means if there was a clip underneath here, it would just seamlessly fade in and then seamlessly fade out to the clip below, which is really, really cool. If you just want to speed things up during your workflow now, the next super useful effect is the dip to black effect. You see this used all the time indict documentaries, TV programs, movies and this is the effect where basically, you know, goes from one clip and it fades out to black, and then it gradually fades back up from black to the image. Super smooth, super classy. So the way we do that is just by using the dip to black over here. So I'm going to demonstrate the dip to black on the cup that we've got here between these clips. If I just removed this clip here on, we cut this clip, we just put them on the same land, so I'll grab the dip to black here, Just drop it in. Between the two clips, you can see it's gonna fade between the two on. We'll just click, play and see all this looks. CNC looks pretty cool, pretty slick and really fast to apply. Now, if that was a little bit too quick because it was quite an abrupt dip and then fade in, it was quite quick for my liking. You can see we can take the mouse and just go to the edge of the clip and you can see a little red expander appears on weaken. Drag the duration off. The effects of the transition will now be a lot slower on way more gradual, which is much more desirable effect you may want actually go for. So there are a lot more transitions inside of Adobe Premiere Pro that you can know explore inside of this menu. But they are some of the key ones that I use very frequently in pretty much every project I always use a dip to black and I always use that crossed is off. Another awesome, when I use is the film dissolve very, very similar to the cross dissolve, but just the way it fades between the clips is slightly different is very subtle, but it's slightly different sometimes could look just a tad better, but it's very, very marginal difference between the two. Now. Before we close out this video, I want to show you a manual way of actually applying various transitions. So if we just take this clip here and we zoom in, so let's just zoom in with the little bar over here and let's make this a bit bigger. Let's expand it out. So to expand the workspace, we'll use the grave key like we do on the keyboard. This little one here or, if you're on Windows, the one that's just located appear next to the number one key to just expand our timeline. So we click that in you can see it expands our timeline just to make it a little bit easier for you to see what I'm going to do right now. So obviously, so far we've explored the default transitions that we just drag and drop onto our clips. But we can actually manually apply cross dissolve style effects inside of Adobe Premiere Pro. So you can see here we have this really subtle line and this line controls the opacity off the clip. So if I just x it out, you can see it is just the opacity of the clip. So what we can do here is we can use key frames inside of Adobe Premiere Pro to basically take the opacity from 100% and then faded out to 0%. If you want to do a more fine tune, cross, dissolve, fade and fade out type effect. This is super handy, especially if you're trying to do a longer fade in, and you want it to be super gradual and have a stead specific curve. So the way we do this is we click command on our keyboard. If you're on a windows PC, you holding Ault and then you take your mouse and you can see the icon of our mouths is now showing this plus icon if I release the command, but on windows it disappears. So if we hold out and again, you can now see we can apply a key frame. So just by simply clicking on it adds a key frame to our clip. And then we can go to the other side and click another key frame and then weaken. Just release the command key or Ault, and now just drag this key frame around, dependent on how much of a fade you want. So we wanted to just fade out from 100% to 0% and will expand this out a little bit more. So it's a super gradual fade, and right now it's a very linear fade. You know, it's a dead straight lines, very robotic. The way it fades out is very, very gradual. Now what we can do is we can make this a lot smoother and natural looking and more cinematic looking, much less artificial, with the sort of dead, straight linear line that we've got right now in the way we do that is dead simple so the way we do this is with the exact same short cook that we just used to actually add. The key frame we holding command on our Mac or bolt on a PC on. We can just click on the key frame. You can see that it added in a little bit of a curveball. And do that and then I'll click again. You can see it's added in a super gradual. This is a super fast way of doing it just by doing your dead basic click. But we can actually go one step further. So if I just holding Alton, zoom in with the mouse wheel, we can actually find June this an extra step one. We can do our shortcut here to expand the curve, but you can see that there are some blue dots on the line, and this allows us to basically change almost the velocity off the fade between the key frames so we can adjust it So it's super fast, or it's like super slow, and we can find the perfect balance that you actually require for your video. So now you can see we have a very, very slow and then it just speeds up at the end to tail out on the actual transition. So there's some of the ways you can go about creating transitioned inside of Adobe Premiere Pro. You can do it super fast by using the default ones inside of the effects panel, or you can actually create some of your own with key frames like I just demonstrated in this video. 11. Basic Keyframe Animation: So now let's talk about key frame animation inside of Adobe Premiere Pro. So throughout this course, we have taken a look at how we can just the video parameters inside of the effects control panel. So how we've basically zoomed in on clips or we've like, rotated clips or even changed the positioning off the clip inside of the video. Now we can actually go one step further in animate these parameter changes. So, for example, we could make a clip, zoom in and then we could make a clip. Zoom out inside of Adobe. Premiere Pro is a super handy feature if you are on like YouTube, stuff like that, and you use one camera and you talk into the camera and you just want to add a little bit emotion to your videos because it could become quite boring if they cameras just x stagnant on a tripod and you just sit talking into it. This way, we can add a bit emotion, like someone's behind the camera, zoom in in zooming out and sort of pan into the left into the right. If you're pointing things and stuff like that, so it's really, really powerful feature for animating things inside of adobe friendly approach. So what we're going to do is we are going to do a dead simple punch in and punch out on this talking head clip over here, so we'll kick things off with the effects control panel over here. So right now we have our position and we have our scale. So these are going to be the two effects that we are going to adjust the most in this demonstration. So right now, if I apply a slight adjustment to my scale attributes, I just zoom in slightly. You can see it applies this adjustment to the entire duration off this clip, which isn't much use if you just want to do a dead quick punch in zoom. And then there's Oum El after you've said something on the camera. So we are going to have to create some key frames to make this achievable. So the way we do this is by clicking on this little sort of stopwatch animation over here in this allows it to toggle the animation feature on, So I'm just going to scale back to 200% and I'm going to turn on my stopwatch. So now you can see what's happened here. Is it added a key frame. So this little sort of diamond shape that we have here is a key frame. So now if we then adjust this scale parameter, it will then add another key frame to our timeline. So then, just like when we were creating our own video transitions and it was fading between the two key frames, the exact same principle is going to happen in this video. So what's going to happen here is I'm just move along the time line a bit and let's punch into, like, 210% so very subtle, but it's still apparent. So now I just click playback. You can see when it crosses this key frame and goes to the next key frame. It does a very subtle zoom in. Now I will go back to this key frame that we just did the 210 adjustment on, and we shall adjust it so you can see our play heads perfectly over this key frame right now. And this is blue. So what this means is we are on an existing key frame on. We can adjust the parameters off this existing key frame. If we go just one frame forward, you can see this is no longer blue. So to make this more obvious, I'm going to adjust the zoom in off our key frame. So right now, if I just dived into Adobe premiere problems like I needed to do me more, it's just going to add another key frame, which isn't much use because it's going to fade in and then suddenly jump in, which is not what we necessarily want. So if we just zoom in a little bit more when we go back over to these key frames, what we can do is we can take our play head and we can hover right over the key frame. You want to adjust and you can see right here. This is blue, which indicates we are on a pre existing key frame. If we just scroll over a couple of frames to the left, you can see this turns gray, which means we can add a key frame. So the reason this is blue just clearly indicates that we are on a key frame. So if you just click this and it will remove the key frame. So we'll go back to this one here that we added at the very beginning and we will adjust the parameters. So it's blue. So we know we are adjusting a pre existing key frame. So let's just go to something like 250 just so you can see the dead off your zoom. And then we'll just delete this key frame that we added les Iran just by selecting it and then clicking the delete key with the back space on the keyboard. So now let's play this clip out and see what happens. You can see now we have animated the zoom in, and it's a lot more apparent than earlier. Wrong. So right now we have a super smooth fading. It's very linear, very, very linear. So what we can do is we can actually change the key frame velocity. So the way the camera punches in and punches out is much more humanize. You know, it has a bit of flow to the motion as opposed to being dead robotic on a perfect straight life. The way we do that is, let's just zoom in onto our key frames over here, Select them. Zoom in. What we'll do is we'll right? Click on the key frame. You want to adjust to pick the right click, and you can see over here we have these options to adjust the key frame style. Now this looks slightly different on a windows PC, I believe on a Windows PC you have sort of a subcategory to go into in order to access these parameters. But once you've access them, those are exactly the same. So right now you can see that set to linear. Now we're going to leave these as linear. But what we want to change is the ease in and ease out style to be offering ease out. You can see the key frame has changed. So what this basically means is when we choose ease in and easy out, it just basically means how fast will ease in and how fast will ease. I just the velocity off the key frame, basically now easy out give you a very smooth sort of fade when you animate with that and an easy in give you a quite quicker sort of more abrupt style frame velocity. So depending on what type of thing you won't just play around with them sometimes combining the two works really well and I'll talk about in just a moment. So right now we're going to run the easy in on the actual fading off the clip. And then here we will also have this as a easy outs. And I'll explain why in just a moment. So now that we've set our ease in and ease out is our key frame style, I'm gonna explain why I don't the two of them. So if we go to our scale option here can see we have this drop down menu, and this basically gives us a finer detail on what we're actually doing with the key frame velocity. So what we can do here is we can zoom in and we can actually adjust this parameter just like we did when we were creating a video transition so I can take the little mouse here, and I can change the philosophy because you were adjusting the velocity. So what you may have noticed is the easy in going to the easy out gave was this sort of curve to sort of be like shrimp which just makes it very cinematic dependent what effect you want? So if we expand itself, you can see just gives us that sort of velocity speed going between the two frames. So it's just depending on what you actually want to do with your video. So if we just adjust the actual speed of these key frames if we want just with the little thing, it it's very year. It's very finicky. I very rarely do this to be honest, because I find it quite frustrating inside of the menu to actually just. But you can see we've got a little bit of an interesting curve going on. Now let's see the difference so you can see that gives is a very, very smooth zoom in and zoom out. You zoomed out ever so slightly and then had a very natural zoom in, almost like someone was controlling the lens, as opposed that more linear style dead reporting, zooming that we previously had. So it does definitely help finding these key frames, depending on what you actually want to do. But he does take a lot of time, and it can be quite frustrating playing around with them inside of this menu. 12. Titles and Lower Thirds - Essential Graphics: So we're now going to explore the titles and lower thirds options inside of Adobe Premiere Pro So right the beginning off this course in the basic overview lesson. We already took a look at the titles, and that was when I was showing you the essential graphics workspace. So we're going to be diving into the essential graphics once again, and I'm going to show you some of the finer details what you can actually do inside of this workspace. Now, if you're unaware of what the terminology is of a lower third will. Basically, this is usually the animation that you see on a majority of videos that crops up in the bottom left or bottom right corner that basically usually say's the person's name. So, for example, if it's a person that's being interviewed, it would come up with their name, and then it'll be like Ben Rowlands YouTube, for example. Or it would be like their instagram or social media at Tag would crop up in the bomb left your bottom right corner so you can find them on social media. So there's a variety of different ways that people usually use these types of animations and it's an essential thing. You definitely to know when you create video instead of Adobe Premier Pro. So we're going to head into our central graphics, clicking this button over here, and we are going to dive in to what we can do now. The awesome thing about Adobe Premiere Pro is it does provide quite a lot of half decent animations out of the box. And I actually used some of these for quite a while. When I started off doing my YouTube channel mix that I just had no idea where to start with the essential graphics panel because no one had really sort of explained it to me. So right here we have an example off a lower third in the bottom left corner. So I'm just going to drag and drop this into our timeline, and you can see here we have a nice little animation that crops up in the bottom left corner, so this could simply just say, Ben rolling. So double click on the text, make sure we have it selected in Double Click, and now we can type in Ben Rowlands, for example, which is my name. Then Rolling's and now we have a little lower third that basically say's who this guy is that on the screen, that's a super basic way to go about actually using the lower thirds using the template inside of Adobe Premiere Pro. Now, a lot of the templates are actually pretty handy. To be fair, Andi, I do recommend exploring these force being up your work because there's so many different types you can actually use in different situations. Now, if you don't have enough templates and you want some more templates, then you can actually go into the adobe stocks library. Now, to begin with, you may think, Oh, it don't be stocks that will cost a lot of money. And yes, that's true. You do have to buy a majority of them, but also inside of adobe stocks. Just by clicking this tub here, it takes you straight over to the store. Super great integration from Adobe in the recent updates in the last few months. Now, basically, you see here we have the option for actually free. It will be stopped templates. So you've got free may also have premiums. They're the ones you officer you have to pay for. So with the free. You'd see this. Quite a lot of cool stuff that's cropped up already. We've got the site sort of cool overlay animation that you know you could use to add in some sort of text or talking about a product. Something like that not looks awesome. That would save you so much time actually, setting that up yourself, you can scroll through the page here office. You've got another style of lower third over here, and we can just click on it in a move our mouse to preview it, see how it animates. See, that one's pretty cool. You can just go about literally downloading it and then using it in your project. I do recommend just making sure you sort of read the info about it. Check the licensing things like that. Make sure you could use it on a commercial project or something that you're gonna sell because sometimes the Liza Simone adobe can change depending on who created it. So just make sure you're happy with that, But it just shows there are some free things in adobe that you can just drag and drop into your projects and start using straight away you see these ones are really cool. No, Obviously, templates are a fantastic solution for just drag and drop workflow in doing things really quickly. But you do also need to at certain points in your career or whatever you need to create your own, depending on what time of video creating some and judges may be displaying some type of information in a particular way. The template just can't articulate correctly for you, and you have disorder presented yourself in that unique style that you've sort of imagined up in your head, and the way you do that is actually a lot simpler than you would first expect. So we'll just really out this template here so we just delete that out. We don't require it, but we're still in the essential graphics panel. So what we'll do now is we will just simply go down this new lay option, and then we'll click on it. You can see we have different things. We can insert, weaken, insert text. We can insert a rectangle or an ellipsis wherever you want. Now I'm just gonna insert a dead basic rectangle you can see now I have a new essential graphics that applied it to my timeline. So if we just zoom in a little bit, we can just this clips length make it short and make it longer whatever you require for your animation. But now I'm going to show you how to create a dead basic animation inside of Adobe Premiere Pro. So we're just gonna expand out this rectangle and we'll make it a little bit skinnier. So we could maybe papa name in it, for example, something like that. And then we'll drag this just to the bottom left of our project. So right now, the default color is great. I think a majority on my Windows PC the default color is usually great as well. So probably your computer also has the default color is gray, so we can actually change this out. So the way we can actually change the feel it just by having the shapes selected, clicking on the Phil over here. And then we can just pick a color. No one really cool thing about Adobe is the pen drop tool over here. So let's make our lower third blue now. We could just change the hue over here and then select a blue. But what we could do is we could actually match the blue off my blind behind me here by using the pen drop tools will select it, hover over the blue we want you can see we can just drag around till we get the different shades on. Let's go for this sort of deep blue in the shadows over here and now we could change the brightness by moving the thing, but let's see how that looks. You can see look doesn't look too bad and we'll roll with that for now. Now we can add some additional things to this rectangle. We can obviously add a bit of shadow so we can add this in, and it'll just add a little bit of a shadow effect to our rectangle. We can change all of these parameters, so it's more apparent that there's a shadow you can see here that we can fade that out a little bit so we can make a little bit of a shadow effect. So we'll leave shadow on for now, just for demonstration purposes. But, you know, it might not necessarily wants it. Finally, we also have the stroke, and this space, Just an outline. So right now there's a little white box outline on the actual thing. We could make this bigger. Well, we could make it smaller and same again. We can change the color now. We're not going to run a stroke today, will just remove that and we'll also remove the shadow. Actually, so we just got a dead basic rectangle. So what I'm going to do with this rectangle is we're gonna take our knowledge from the last lesson about key frame animation. We are going to animate this rectangle, basically sliding in to our projects, going to be super simple, and it's going look awesome. It's gonna look so good. So what we're going to do is we're going to select our rectangle. I recommend also renaming it just right Click rename. Let's type in a box. We'll call it Box Blue Box Fox Blue. So we just know because if you're doing a very fancy animation, you're gonna have loads and loads of layers and it's going at big confusing If everything is just called rock sample 12 and three. So now we've got our blue box. Let's add some text so I'm just going to like the text tool over here. You could do that based selecting tea, and we'll type in my name Ben Rowlands, for example, And then we just expand this out. So we've got our name inside of the blue box. So now we are going to animate this, so it looks really cool. The way we're going to do this is dead simple. This is the most simple animation you could do now, obviously, inside of Adobe Premiere Pro. I mean, go to our effects panel on. We can then add our key frames. Now, the cool thing about the essential graphics panel is we can animate each individual layers . You can see I selected Ben Rowlands and it selects it here in the effects control panel. And a few select our blue box. It also used a little drop down thing. We can change the animation of each individual layer of our graphic, which is awesome. Especially want to do some really advanced animations. But obviously we don't want to do something to advanced in today's video, so I'm actually gonna do the most simplest on basic animation you could do, and that is just by using the master scale off this clip here. So if I just moved the position of the master graphic, you can see it means the entire graphic at the exact same time. That's because we're basically just moving the entire graphic as a whole, as opposed to each individual layer. And this just really speeds up how fast you can animate something. So I'm just going to move ahead a few key frames here, and we'll just add a position key frame. And then we'll go back to the beginning and we'll move on. The access to the left will move over to the left so it's out of frame and then l click Space bar and you can see it fades in hell. Calls out. Let's try that out again. So now we have a fully custom made animation. Could be with your brand colors, the texture use on your branding as well, and it's personalizes that lead to what you required. It was the most basic and simple animation you could correct, and then you could go in one step further, like we explored last time, and you start messing about with a key frame velocity. The easy easy. Easy out whatever you want to do with your animation, then you can see it faded just like that. Super fast and way easier than you would first think when you were diving into this menu. 13. Colour Grading with Adjustment Layers: So now I want to talk about color correction. We're coming to the end off learning the skills you require for actually editing the video . And now we need to start talking about how we can make the video look really, really pretty. Now, When I first started off in Adobe Premiere Pro, I used to go about doing my color correction and color editing on a clip by clip basis. And this is very, very time consuming and I'm going to demonstrate in this video a variety of ways. You can actually go about a playing color grades to your videos, superfast or more detail depend on what workflow you prefer. So if we just go back to the editing tab over here and we zoom out. So obviously we have two clips. We have our boss, RC five or five overhead camera. Onda, we have our talking head camera over here. So what we're going to do is we are going to make sure both cameras match one another. So we wanted just basically make sure that each clip just sort of looks pretty similar. Now I shot both of these cameras obviously on canon cameras and also I made sure both off the settings inside of the cameras were pretty much identical. You know, the color white balance all inside things were set up pretty much identical between the two cameras. Obviously, the senses is slightly different, so it does mean they perceived colors in a very, very subtle way between one another. But they are very close because obviously that the same brand off camera so the first step off color grading is actually color correcting. So this is basically making sore. Your clips both look pretty similar, So we just got you take a small fragment of the clips just so my computer can actually process them at while filming this tutorial. So we just go over to the color tap. You can see here we have our looming metric color wheels, so we have the basic correction, which is a great place to start for actually just exposing your clip. So inside of the basic correction as it say's, you have basic corrections. You got your things like exposure, which allows you to turn up the brightness of the clip or turned down the brightness of the clip. You can then adjust the contrast off the cliff, reduce the contrast of the clip and then also you have the shadows, whites highlights and the black levels that we can also just within the clip, pretty awesome tools for just quickly adjusting the clip. If you know exactly what's wrong with it and doing it really fast, you can also change the color temperature. So, for example, if this camera wasn't set up too much, the other camera that I was recording on, I basically you know, I could make it look slightly bluer if that means it matches the other camera a little better than previously, or we could make it warmer, for example, to make sure that they match. Then we also have just the tin. You can make it look greener, or you can make it look Pinker once again. Just fantastic. Slight adjustments you can make for matching cameras with one another. Now there is a brilliant way inside of Adobe Premiere Pro to actually much cameras by using the computer, and that's in this wheel tab over here. So the color wheels a match. So what you can do is inside of this window, you could go into comparison view and basically you can select a specific frame of the video so you can select a specific frame off the video. The basically apply match, and what's going to happen is it's going to analyze the clip that you want to match, too. And then basically, it's going to change this clip so it looks as close as possible to this clip. You can see it did make a slight adjustment. Just there you can see this. Is it unmatched? This is it MASH and it just have a lot more characteristics of what this clip is doing. Your it's exposed very similar, and it looks very, very close. Now. This is a fantastic way to go about matching up your cameras because basically, you let the AI of Adobe Premiere Pro do all of the mathematical work to figure out what colors in each clip, and you get brilliant results if the clip you are analyzing is exposed correctly and it's set up correctly. So this is a great way to go about doing this if you have optimal footage to begin with. But if no, then just do it manually inside of this menu here by adjusting the mid tones in the shadows and using your eyes. So now that we've actually color corrected the clips, I now actually want to color great the clips. So back in the day, when I first started off with Adobe Premiere Pro, I would go about the color grading process on a clip by clip basis, which was just totally the wrong way to do it. Now, if your color correcting, then you should do this on a clip by clip basis. So what we just did there was, We color corrected these clips, so we bet basically made sure each clip was exposed and doing the same colors as the other clip that we wanted to sync it up, too. So this space, it means we corrected our overhead camera to match our talking head camera, so they both look very similar. So now we've done that on a clip by clip basis. You could go through your entire project If you've got a variety of different camera angles and make sure they're all color corrected and look similar. We can now go about grading this footage with a color grade to make them look super, super pretty and the way we do this, and the way we do this fast is with an adjustment layer. So if you were to do this on a clip by clip basis, obviously we color corrected our overhead camera to sort of match our talking head camera. And what we could do is to then call a great this. We could add another looming metric color effect, and then we could start making further adjustments to make this clip look in a certain style. And I make the clip very stylistic to something that we wanted to create. If you want any more cinematic look, for example, we could then start diving in and actually grading the clip. But the problem is, if we do this on a clip by clip basis one, it means our computer is I got loads of data is trying to process per clip the effects color parameters, which means our computer starts to run slow. But it also means we have to do a load of copy and pasting. So, for example, we've graded this clip. Now we've color grated it on with color, corrected it, so if I don't want to paste the attributes of these clip to this clip over here, which we've done nothing to. You are basically me and I would have to go to this clip, right click copy head on over to this clip here and then go paste so we would go right click paste attributes and then we would go right. Yet we want the limit. Your color to be applied. Click OK, and then we reduce for every single clip inside of our project. And this could become dead time consuming, especially if you're got a lot of coaching a woman. It you're talking. One minute you're overhead. Next minute you're talking again. Then you back to the overhead camera. You'll be there for, like, a good half an hour copying and pasting the attributes to each clip, and you'll probably end up missing something or accidentally pasting it twice, and it just it just goes wrong and it just is a nightmare. So if we just don't do that, undo this as well. Reset the clip. We will now apply an adjustment layer, so I just go to the edit in top. I could do this in the color tab, but I prefer the layout, So if we just go to our project and we just simply add just by clicking and you write them down here and adjustment layer click. OK, make sure it matches your sequence settings. Click OK, it's right now. It doesn't look like much is just a little like black panel. But when we drag and drop this onto our project, we can now overlay this over our image. And right now it's done nothing. You know, we can switch it off. It looks exactly the same, but what we want to do is we now want to make all of our adjustments, like coloring thieve in yet anything you want to do in your grading process to our adjustment layer. And basically it will apply it to every single clip that he's underneath the adjustment layer. This speeds up your process unbelievably used, basically color grade wants than every single clip. Underneath the adjustment layer. He's color grated exactly the same. So we'll head into our color great panel and we can stop making our adjustments. So I'm just going to do some basic correction. No, let's add a little bit contrast, maybe point to contrast. Um and then we will go to the creative tablets, start at Liberty Color and just play around with it until it looks great. You know, there's a lot of color science as well to it. This isn't a color grain tutorial. I'm just showing you the process. But what I like to do is I just usually like to have a play around until I get the look that I desire. Now there is a faster way to go about the color grading process if you don't basically want to do it manually. And that's by using a thing called a lot. Now, inside of the creative top, you can see here we have this look top here, and this basically allows us to import a lut, which is basically a precept to basically a color preset that we can apply to our footage, and it'll make it look a particular way. This can really speed up your process once again. So inside of Adobe Premiere Pro, you can drop down and you could just scroll through and start testing out each luck and go out. One looks OK. Yes, that one looks great. And then, like go again. Let's see all this one looks, You know that one looks great. That one looks better. You can't be going quite time consuming, you know, going through and previewing the more Whereas if we just take a look here, he could see we have a little preview window so we can just scroll through, scroll through until we get one that looks slightly like something we actually want. So we'll just keep scrolling. Don't really want them to be black white, So we'll go back to the left and see what we have. Let's go for this one. This one here looks a little bit off the top just for demonstration purposes. So right now you can see this is very, very intense. This is This is kind of blowing out the whites on our clip. It's very, very intense. So I recommend with the majority of let's when you're using them, you don't really need them to be 100%. So we're going to tone this back ever so slightly. So this is zero that maybe something like 20% I usually color great. My clips, how I like and then a a play alert just to push the clip a little bit further, and then I tone it back ever so slightly, so it's super subtle. So now this is our clip without in this hour clip with she just see, just given that slight boost inside it to sort of highlights and just the way it looks overall now, from this point here, I suggest making your adjustments once you have the basis of kind of what you like, so you can remove the things you don't like that the let's done. And then you can also apply the things that you want and push further on the left. So, for example, you know you could maybe change the coloring of the highlights a little bit, so there may be a bit less sort of blue. And then you could make the clip maybe a little bit warmer, so it's not too pink stance. Look in taking shape. Now, my favorite tool inside this creative tabs, actually, the vibrance so vibrance is basically like saturation. But unlike saturation, when we turn up saturation, it applies it to the entire clip so you can see my face goes super read. My hair becomes a bit orange because the entire clip is being applied with saturation, so we'll double click and reset that. But if we use vibrance, apply saturation, but to the lower parts off the clip. So basically it turns up the saturation in the less saturated parts of the clip to sort of boost the overall clip. But in the areas that actually boosted hope, that makes sense. So if we boost this vibrance, you can see just sort of boost that sort of background at town. If we just read do that, this will go a bit flatter looking. You can see the clip just goes a bit flat, and we boost the vibrance. You see, that's extreme, but you can see how it sort of brought the entire clip up in a more controlled way. So if we just telling that back a little bit, you can just see how it's adjusting certain areas off the actual clip that need to be boosted. Its the great way of using basically saturation in a more controlled environment. So now we've done a super quick, rough and ready color grade to our clip. But I just hope this highlights how fast you can actually start making your clips like cinematic not much science to what I've done here. I'm just basically played around with it until it looks good using some things I've picked up using Adobe Premiere Pro quite a lot. So if we switch the color grade off, you can see the clip looks a lot flatter. Looks away, flatter. Then we switch it on the clips just got a bit of boosting this to, you know, it's very, very popping with the colors, So if we play this clip through to give you an idea of how it looks in action, you can see it looks very, very nice. Now we've headed over to our overhead camera. This is the camera that's not color corrected. This is the clip that's not color corrected. You can see by the effects here it's orange, but we'll let it play through until it gets to the graded clip, which is right now. And that's the color corrected clips so you can see the difference there between the two clips. Now you may want to adjust this further, maybe reduce a bit of the greens, for example, because it is quite green right now, but this just gives you an idea of what you can do with color grating inside of Adobe Premiere Pro and also using adjustment layers because the adjustment layers speed up your entire process. Because we just basically color graded our entire sequence with one action, as opposed to doing a clip by clip and then copying and pasting all of those changes to each clip, which would take a very long time. 14. Thank You! : so I just like to say, a huge thank you for taking my Adobe Premiere Pro 2020 basics. Of course, I hope it has helped you get start inside its software and also start creating better videos. He looked quickly. I remember when I started learning Adobe Premiere Pro and I was watching videos online, and I just felt like I was consuming a lot of irrelevant information that wasn't actually going to help me create a better video. So I hope that this course has done its job and it's going to help you achieve those results faster. If it has be sure to leave a review are highly appreciates. It also helps me out a lot, and I just like to say Thank you so much and we'll hopefully see you next time.