1. IntroductionWelcome| 00:00 | (Music playing.)
| | 00:03 | Hi! I'm Jeff Sengstack.
| | 00:05 | Welcome to Premiere
Elements 8 Essential Training.
| | 00:07 | In this course I show you how to use
Premiere Elements 8 to edit videos and
| | 00:11 | share your finished projects with
family, friends, and business associates.
| | 00:15 | Whether you are making a video about
your kid's soccer game, your family
| | 00:18 | vacation, or your business, Premiere
Elements 8 has all the tools you will need
| | 00:21 | to create a polished project.
| | 00:23 | Here are some of the tools and
topics I cover in this course.
| | 00:26 | Getting video from your
camcorder onto your PC's hard drive.
| | 00:29 | Putting clips in slow motion,
reverse motion, or creating freeze frames.
| | 00:33 | Applying and customizing video clip
transitions, like dissolves, wipes, and page curls.
| | 00:38 | Adding and animating visual effects, like
lightning, a lens flare, or an old film look.
| | 00:44 | New to Premiere Elements 8 is the
Object Tracker Effect that you can use to
| | 00:47 | place an effect on
something moving through a scene.
| | 00:50 | Finally, I go over all the different
ways you can share your project, from
| | 00:53 | creating a DVD, complete with menus and
animated buttons, to posting your videos online.
| | 00:58 | I think you will find that producing
videos with Premiere Elements 8 can be
| | 01:02 | creative, exciting, and rewarding.
| | 01:04 | So let's get started with
Premiere Elements 8 Essential Training.
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| Understanding the workflow| 00:00 | Your goal when using Premiere Elements
is to turn raw footage into a good story,
| | 00:04 | one that will hold viewers' interest, has a
beginning, middle, and end, rhythm and pacing.
| | 00:09 | To create that story, you typically go
through several steps, a workflow that
| | 00:13 | goes something like this.
| | 00:15 | First, you shoot your raw footage,
then you transfer that footage to your
| | 00:18 | computer, where it's stored
as a collection of video clips.
| | 00:21 | In Premiere Elements, you look through
those clips to get a sense for how you
| | 00:24 | will piece things together.
| | 00:25 | Then you start editing your video.
| | 00:27 | There are several ways
to approach video editing.
| | 00:30 | Most frequently you will probably want to
first arrange your clips into a rough cut.
| | 00:34 | Then you could rearrange
and trim some of those clips.
| | 00:36 | You can place transitions between scenes,
put visual effects on some clips, plus
| | 00:41 | add graphics and text.
| | 00:42 | You might also want to
include music or narration.
| | 00:45 | Finally, when you are all done,
you share your finished product.
| | 00:48 | I explain all those steps in
Premiere Elements 8 Essential Training.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library, or
| | 00:04 | if you are watching this tutorial on a disk,
you have access to the exercise files used
| | 00:08 | throughout this title.
| | 00:10 | If you are a Monthly or an Annual
subscriber to lynda.com, you don't have access
| | 00:14 | to the exercise files, but you can
follow along using your own media assets.
| | 00:18 | In either case, you can put your
files in any folder and in any hard drive
| | 00:21 | location you choose.
| | 00:22 | I have put my files here inside this
folder on the Desktop for ease of access.
| | 00:27 | If you have more than one hard drive,
your best bet is to put video assets on a
| | 00:31 | fast hard drive that does not have
system software running off of it, or in case
| | 00:35 | you need some help remembering where
you put your assets, you might want to
| | 00:39 | store your files in the My
Documents folder or the My Videos folder.
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| Relinking missing media| 00:00 | Whether you are using files provided
for this tutorial or your own files,
| | 00:04 | occasionally when you open up a
Premiere Elements project, Premiere Elements
| | 00:08 | won't be able to track down
files associated with that project.
| | 00:12 | That typically happens when you move
files to a new folder, move the folder to a
| | 00:16 | new location, or change the file names.
| | 00:19 | Let me just show you how that works.
| | 00:20 | If I open up File > Open Project,
and I say let's open up this particular project,
| | 00:25 | I'm going to get a little message here.
| | 00:28 | Let me explain briefly what a project is.
| | 00:30 | This is file that has links to your
assets, such as your video and audio clips,
| | 00:34 | and I'll talk about
projects in another tutorial.
| | 00:36 | But when one of those links doesn't
connect with a file, Premiere Elements
| | 00:39 | displays this kind of a dialog box.
| | 00:42 | Here it says, Where is the
file static-water-rocks.avi?
| | 00:45 | Well, this is happening because I
purposely renamed the folder here for this
| | 00:49 | particular exercise.
| | 00:51 | I'm going to go track that thing down
on the Desktop, where I put the assets.
| | 00:54 | Go to the Exercise Files, go down
to the assets here, and I change
| | 00:58 | static-water-rocks, there we go,
and let's find it. Here it is.
| | 01:02 | Now, when I double-click on this,
I could either select it and then click Select,
| | 01:05 | or I can double-click on it, and
what's going to happen is that Premiere
| | 01:09 | Elements will find this file now, but
it's also going to find every other file
| | 01:12 | associated with the project in this folder.
| | 01:15 | Now it says Where is the file golf-tee.avi?
| | 01:18 | Well, it didn't find golf because I
changed the folder name for this one,
| | 01:21 | to really mess it up.
| | 01:22 | But I'm going to skip all the golf ones,
just for now to show you what happens
| | 01:25 | in that particular instance.
| | 01:26 | I open up the project and you notice
that there are the all foliage clips down here,
| | 01:31 | but when I go to the golf clip,
I get this thing that says offline.
| | 01:35 | That's because I chose to not bring that one in.
| | 01:38 | In that particular case now, to go
get that one, all I have to do is
| | 01:42 | double-click on the little thumbnail, and
now it says, Where is the file golf-tee.avi?
| | 01:46 | I know I put that on the Desktop, in
the Exercise Files, and down here in the assets,
| | 01:51 | in the wrongly named folder, but
I'm going to change the name later, and
| | 01:55 | then where is golf-tee? Here it is.
| | 01:57 | I double-click on this.
| | 01:58 | It will find that single file.
| | 02:00 | It won't find all the rest of them.
| | 02:02 | It's kind of inconvenient if you go this
way and expect them to get all open at once.
| | 02:06 | But in general this is not an uncommon
occurrence in Premiere Elements, but as
| | 02:10 | you can see, it's easily solved.
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| Using the Organizer| 00:00 | New to Premiere Elements 8 is
something called the Organizer.
| | 00:03 | It's been around for a few iterations
of Photoshop Elements and it's been used
| | 00:06 | heavily by folks with hundreds of
photographs on their hard drives.
| | 00:09 | But this is the first time it's been
a standalone program operating with
| | 00:12 | Premiere Elements 8.
| | 00:13 | And you can access it by clicking this
Organize button in the Welcome Screen
| | 00:17 | or clicking on the Organize button within
Premiere Elements 8. So let's go there now.
| | 00:22 | This is the Organizer and right now
it's just a blank slate waiting for you
| | 00:26 | to tell it something.
| | 00:28 | The Organizer basically is a catalog
and you need to inform the catalog about
| | 00:31 | things that you want it to track.
| | 00:33 | It doesn't do it automatically.
| | 00:35 | So where we're going to tell it to track
something is by going File > Get Photos
| | 00:39 | and Videos > From our Files and Folders.
| | 00:41 | And we're going to track down a
folder that we want to use for it to track.
| | 00:45 | So I'm going to take this folder of items here.
| | 00:47 | I'm going just to select a few of them to
avoid having it get clogged up with data.
| | 00:52 | So we'll select these ten
clips and say Get Media.
| | 00:55 | That will add these ten clips
to the catalog of the Organizer.
| | 01:02 | And now that they are in the
catalog, you can do a couple of things.
| | 01:04 | You can rate them if you want to.
| | 01:05 | You can say this is just a great clip
and I also think that it works well with
| | 01:09 | this other clip over here.
| | 01:11 | I just want to make sure
those are both highly rated.
| | 01:13 | This bag is not very highly rated.
| | 01:14 | So you can rate those by just
clicking on the star rating.
| | 01:17 | You can also put clips inside albums.
| | 01:19 | Lots of times you might have video
clips in multiple folders on a couple of
| | 01:23 | hard drives and they might actually be about
the same thing, but they're in different places.
| | 01:28 | And so one way to organize
that is to create an album.
| | 01:31 | You are not actually going
to move clips to an album.
| | 01:34 | You are just going to create an album
that with links back to those clips.
| | 01:37 | So the way you create an album is by
going here, clicking New Album and
| | 01:41 | we'll say something like Tee shots.
| | 01:43 | Let's go write there Tee shots, and
once we decide which Tee shots we want
| | 01:48 | to include, we just go over and click on this
one, Ctrl-click on that, and that, and that.
| | 01:53 | We're going to put those four
guys inside our Tee shots album.
| | 01:57 | And once you've decided which clips you want
to put inside your album, just click Done.
| | 02:01 | Couple of reasons why you want to have
this little organization is that you can
| | 02:04 | track down your highly-rated files or
you can track down files based on the file names,
| | 02:09 | because at some point you might
have hundreds of video files or image
| | 02:12 | files that you want to use in a video
scattered around on your hard drive.
| | 02:16 | So let's first of all take a look at the
searching based on ratings. We can go here.
| | 02:20 | We want to have let's say three
stars and higher. There you go.
| | 02:23 | It's easy enough, or just one star and
higher, or we want three stars and lower.
| | 02:29 | So only the low rated clips.
| | 02:31 | Easy to search in that particular fashion.
| | 02:33 | We also want to search on, let's say we
want only three stars. No, none of those.
| | 02:38 | You can also search under the word Find
and you can search based upon dates or
| | 02:43 | captions, which we are not
including here, but by file names.
| | 02:45 | So let's say we go on filename.
We're going to go on golf. Click on OK.
| | 02:49 | It finds all the things with
the word golf in the filename.
| | 02:52 | I am just trying to demonstrate how you
use this, but at this particular point,
| | 02:56 | I'd like you to delete all these clips
from the catalog because all throughout
| | 03:00 | our lessons, we are going to try to keep
the Media View inside Premiere Elements
| | 03:05 | free and clear of a bunch of clutter
and any clip that's inside the Organizer
| | 03:10 | catalog will show up inside the
Media View inside Premiere Elements.
| | 03:14 | And we've been trying to keep that clean.
| | 03:15 | So I'd like you to continue that
process or at least start that process here by
| | 03:19 | selecting all these guys.
| | 03:20 | I'm doing a marquee select.
| | 03:21 | You can do other methods to select them all.
| | 03:23 | I'm going to press Delete and you get
this little message. 'Should we also delete
| | 03:27 | these from the hard drive?' Definitely not.
| | 03:29 | So do not check that and just click OK.
| | 03:31 | Finally, if you want to learn a lot
more about how the Organizer works,
| | 03:35 | I suggest you go to the lynda.com tutorial on the new
version of Photoshop Elements, Photoshop Elements 8.
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2. Overview of Premiere ElementsUnderstanding Premiere Elements 8 features| 00:00 | What I would like you to do now is to
sit back and relax while I demonstrate how
| | 00:04 | things work in Premiere Elements 8,
and present an overview of some of its
| | 00:08 | features but I go into this kind of
stuff in much more detail in other videos.
| | 00:12 | Let's say you'll get plenty of
opportunities for hands-on work then, but for now,
| | 00:15 | I suggest you just sit
back, relax, and watch the show.
| | 00:18 | We typically begin video editing by
using Premiere Elements to transfer video
| | 00:23 | from your camcorder, webcam, or digital camera
to your PC where it's stored on a hard drive.
| | 00:28 | Then you import other assets into your project.
| | 00:30 | Assets that you might already have on your hard
drive, such as video, audio, and image files.
| | 00:35 | After you transfer your videos and bring
in those assets, you can find them over
| | 00:38 | here in the Project View.
| | 00:40 | Each thumbnail here in this instance
represents a video or audio clip, plus a
| | 00:43 | couple of titles that I made in
Premiere Elements for this demo.
| | 00:46 | There are several ways to start editing a video.
| | 00:48 | The easiest way is simply to drag video
and audio clips down to the Sceneline.
| | 00:52 | Well, this is the Timeline.
| | 00:53 | Let me shift over to the Sceneline,
which looks kind of like a storyboard.
| | 00:56 | You can just drag a clip down here.
| | 01:00 | That shows up here in the monitor and
you can play with these VCR controls and
| | 01:04 | you have your first clip and your first video.
| | 01:06 | Now the Sceneline is kind of an
entry-level approach to editing.
| | 01:10 | Eventually you want to step up to
this thing over here or the Timeline.
| | 01:12 | When you add a clip to this Timeline,
you'll see that the rectangles represent
| | 01:17 | the relative lengths of the clips,
and notice that this next clip is longer
| | 01:21 | than the first one, whereas in the Sceneline,
they look like they are exactly the same length.
| | 01:25 | One of the advantages of the
Timeline, one of many advantages.
| | 01:28 | You can also let's say add audio
to the Timeline or the Sceneline.
| | 01:31 | We drag an audio clip down here. It's music.
| | 01:33 | Now in an essence we
have our little music video.
| | 01:36 | (Music Playing).
| | 01:41 | If you probably want to trim some
clips to tighten up your story a bit.
| | 01:44 | All you need to do to do that is simply
drag the beginning or end of the clip using
| | 01:48 | this little Trim tool, which
is called the Ripple Edit tool.
| | 01:51 | You can make these clips shorter.
| | 01:52 | If I make them too short, I can
say maybe I should make them longer.
| | 01:55 | Let me add one more clip down here just
so you can see how this whole thing works.
| | 02:00 | You can rearrange clips, so
you have one, two, three clips.
| | 02:02 | I want to take this first one let's say,
| | 02:04 | and move it over here to the back.
| | 02:05 | I can just lift it up, put it in like that.
| | 02:09 | It's easy to rearrange clips on the Timeline.
| | 02:11 | After you've laid down your clips you might
want to add some transitions between them.
| | 02:15 | Let's go over here to the Edit >
Transitions, and Premiere Elements has about
| | 02:20 | a hundred transitions that ships with it.
| | 02:23 | All kinds of ways to get
from one clip to another.
| | 02:26 | Let's try the Cross Dissolve here real quickly.
| | 02:28 | Click on here, just drag it
down between these two clips.
| | 02:32 | You can watch the clip
between them here like that.
| | 02:34 | (Music Playing).
| | 02:37 | I am going to remove the audio, so you don't
have to interfere too much with our transitions.
| | 02:42 | We can apply different
transitions if we care to.
| | 02:43 | Let's just pick one that's
little more obvious, like this Page Roll.
| | 02:50 | Lots and lots of different kinds of transitions.
| | 02:53 | In addition to putting transitions
between clips you can put effects on clips.
| | 02:57 | Here's the Effects section.
| | 02:59 | Again, about a hundred effects come
with Premiere Elements and you get these little
| | 03:03 | thumbnail views of how the effects will
actually change the way your clips look.
| | 03:07 | If I just drag this effect here,
that will change the color, change the contrast.
| | 03:12 | It's easy to apply effects that way.
| | 03:15 | Let's just try another effect that
will be pretty dramatically different,
| | 03:18 | something called Replicate.
| | 03:20 | I can't find Replicate right away,
so I'm just going to search for it.
| | 03:23 | Actually you've to find like
this, Replicate, there it is.
| | 03:25 | Drag it over and it splits the clip up into
four different sections, so you can see that.
| | 03:31 | After you've done all this work with
transitions and effects and trimming your
| | 03:34 | clips and rearranging
things, you can add titles.
| | 03:37 | I added a couple of titles
already for this particular demo.
| | 03:40 | We'll go over there to the Project
panel again and here is the title.
| | 03:43 | Just drag this title down under the Timeline.
| | 03:49 | It's easy to make titles like this
or you can make lower 3rds like this.
| | 03:54 | And this is a template that
comes with Premiere Elements.
| | 03:56 | You can use these templates and then
put in the text that you want to put in.
| | 04:00 | Once you've completed a project, you'll
want to share with people and Premiere
| | 04:03 | Elements gives you many
opportunities to do that.
| | 04:05 | You can create a DVD or you can
create a file, a file that can appear on your
| | 04:09 | computer, on a mobile phone for
example, or let's say on YouTube even.
| | 04:13 | And finally you can then send it right
back to the tape that you recorded it from.
| | 04:16 | So I think you'd agree that the
Premiere Elements gives you all the tools
| | 04:20 | it takes to make some really
wonderful looking videos.
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| Touring the workspace| 00:00 | The Premiere Elements 8 workspace is
divided up in a certain way to help
| | 00:03 | you make better videos.
| | 00:05 | It really has a structure
and an organization to it.
| | 00:07 | It's divided into three panels:
| | 00:09 | the Monitor panel, the Tasks
panel, and the My Project panel.
| | 00:13 | You can see the titles for those
panels if you go to Window > Show Docking Headers,
| | 00:18 | and there they are.
Monitor, Tasks, and My Project.
| | 00:21 | Opening up those little extra bars at
the top of the panels gives you the option
| | 00:25 | to click little fly-out menus, but in
fact, the fly-out menus are accessible
| | 00:29 | using a right-click approach.
| | 00:30 | For example, if I right-click here,
it opens up the same basic menus.
| | 00:33 | So there is really no reason for you to
use up your real estate with those guys.
| | 00:37 | So I would rather just hide the docking headers.
| | 00:39 | In the Monitor panel, this is where
you have the view of your project, and
| | 00:42 | it uses typical VCR controls, like Play.
| | 00:45 | (Music playing.)
| | 00:48 | You can fast forward, or go back one
frame at a time, forward one frame at a time.
| | 00:56 | Typical VCR controls.
| | 00:57 | There are a few other items here
that we'll talk about in another video.
| | 01:00 | The Tasks panel is
divided up into four workspaces:
| | 01:03 | Organize, Edit, Disk Menus, and Share.
| | 01:06 | The Organize has five subtasks,
if you want to look at it that way.
| | 01:10 | Five buttons that allow you access to
other characteristic of Premiere Elements.
| | 01:14 | The Get Media part is the
one that you use frequently.
| | 01:17 | This is where you get your video from
your camcorder or from your Flash drive,
| | 01:21 | or from your hard drive.
| | 01:23 | Then the Media is kind of a mini Organizer.
| | 01:26 | I really don't expect
you to use this very often.
| | 01:29 | It's there, but it doesn't
really serve much of a purpose.
| | 01:31 | The Organizer is really the
larger version of the Media View.
| | 01:34 | So I have to skip over media.
| | 01:36 | InstantMovie is kind of a little
gimmick that I'll talk about in another video.
| | 01:40 | Organizer is a whole separate
program, and I'll do a video that shows
| | 01:44 | the Organizer to you.
| | 01:45 | That's a new feature in Premiere
Elements 8, but in some ways it actually
| | 01:48 | slows down your workflow.
| | 01:49 | Then finally, the Project is really
the other important characteristic of the
| | 01:53 | Organize workspace.
| | 01:55 | If I click on that, that shows you the
clips that are in your current project,
| | 01:59 | and this is really the menu that
you will access most frequently.
| | 02:01 | If you go to another Tasks view here and
come back to Organize, it automatically
| | 02:06 | goes to the Media button.
| | 02:07 | That's kind of unfortunate. I would rather
have it go back to wherever you were before,
| | 02:10 | but you will typically go back to
Project or Get Media. Those are the two guys
| | 02:14 | that you will work with most
there in the Organize Tasks view.
| | 02:17 | Edit has the effects that you will work with.
| | 02:19 | You apply effects onto clips.
| | 02:22 | The effects are both video
effects and audio effects.
| | 02:24 | The video effects change the appearance
of a clip, and then you can also have a
| | 02:27 | set of audio effects,
where it changes the sound.
| | 02:30 | Transitions go between clips, and there
are tons of transitions inside Premiere
| | 02:34 | Elements that allow you to
transition from one clip to the next.
| | 02:37 | A lot of fun to work with.
| | 02:39 | You can add text to your projects, and
you don't use the Titles view to do that,
| | 02:43 | but the Titles view gives you these
templates that allow you to have let's say
| | 02:47 | rolling credits, or images that are text
and a lower third, like this, with some
| | 02:50 | graphics associated with them.
| | 02:52 | Themes are things that you can apply
to an entire video when you are done,
| | 02:55 | to give it kind of a Hollywood fun look.
| | 02:58 | That may be a little bit over the top, but
I'll explain how you use that in anther video.
| | 03:02 | Then Clip Arts has a bunch of clip art
that you can add to your project, either
| | 03:06 | as a separate image or
apply them to video clips.
| | 03:10 | Disc Menus allow you to create DVD
menus, which is really a very cool feature
| | 03:15 | inside Premiere Elements.
| | 03:16 | It's not just a video editor.
| | 03:17 | It's a DVD authoring tool.
| | 03:19 | There are all kinds of template
that allow you to create Main Menus and
| | 03:22 | Scene Selections Menus.
| | 03:23 | Then finally, the Share View lets
you take your project and share it.
| | 03:28 | That's really the object of the game, right?
| | 03:29 | You want to make your project,
and then let other people see it.
| | 03:32 | So there are various ways to share it.
| | 03:34 | I'll explain the different
ways to do it in other videos.
| | 03:37 | Finally, down here on the My
Project pane, there are two views:
| | 03:41 | the Timeline and the Sceneline.
| | 03:43 | The Sceneline is probably where you will
start doing your video editing, but
| | 03:46 | you use it a couple of times, then you
will probably say I kind of maxed out the
| | 03:50 | Sceneline characteristics, and I want
to step up to the Timeline, which is
| | 03:53 | really the professional
level of video editing tool.
| | 03:55 | So you will probably end up working
only in the Timeline sooner or later.
| | 03:59 | The Timeline and the Sceneline both have
certain other characteristic that allow
| | 04:01 | you to do certain kinds of
edits, which I'll explain later.
| | 04:05 | So this is the workspace and it really
is a well-organized tool that allows you
| | 04:09 | to make better videos and I'll explain all the
various aspects of the workspace in other videos.
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3. Starting a Project and Getting MediaStarting a new project| 00:00 | When you start a new project, you need
to create a new project file, and there
| | 00:03 | are a few things you need
to go through to do that.
| | 00:05 | It's not very difficult.
| | 00:06 | But there is one overriding feature
that you need to be careful about, and
| | 00:09 | that is when you start a new project, your
project settings should match your source video.
| | 00:14 | That is, is it NTSC or PAL?
| | 00:16 | NTSC is the video standard
for North America and Japan.
| | 00:20 | PAL is just about everywhere else.
| | 00:22 | Then you need to select
what kind of camcorder you use.
| | 00:24 | Is it a cassette drive camcorder,
hard drive, or a Flash media drive?
| | 00:29 | What kind of video are you making?
| | 00:30 | Standard definition, widescreen, HD?
| | 00:33 | Once you have settled on that, then you
pick a file folder, where you are going
| | 00:36 | to store your project file and a few
other files that go along with it, and then
| | 00:39 | give your project a name.
| | 00:41 | Let me show you how you do all that.
| | 00:42 | You start by opening Premiere
Elements, and you get the splash screen.
| | 00:48 | The splash screen has three buttons:
| | 00:49 | Organize, New Project, and Open Project.
| | 00:52 | Our concern here is New Project.
| | 00:54 | We'll do Open Project later when you
open up some projects that we have created
| | 00:57 | for you, if you have the
Premium content from lynda.com.
| | 01:00 | The Organize button is a new thing for
Premiere Elements 8, and I'm not really
| | 01:04 | all that hot about Organizer, this new
thing they have made for Premiere Elements
| | 01:07 | and Photoshop Elements.
| | 01:08 | But I'll talk about that later.
| | 01:10 | Our concern right now is New Project.
| | 01:12 | But before you click this button, let
me just show you one little thing up in
| | 01:14 | the upper right hand corner here.
| | 01:15 | If you click this little menu,
it says the next time you open up Premiere
| | 01:19 | Elements, what you want to have happen?
| | 01:20 | Do you just want to show the Welcome Screen,
which is what we did here, or do you want to
| | 01:24 | Launch Premiere Elements Editor behind
the Welcome Screen, which kind of speeds
| | 01:28 | things up while you are
deciding which button to click?
| | 01:31 | The other button here is to launch the
Organizer, which I recommend you don't do.
| | 01:34 | So in the future I would suggest that
you have this button clicked on the next
| | 01:38 | time you open up Premiere Elements.
| | 01:40 | We'll leave it unclicked right now.
| | 01:42 | We go to New Project and that fires up
Premiere Elements, and then puts up a
| | 01:47 | little screen that says
tell me about your project.
| | 01:49 | So here is the New Project dialog box.
| | 01:53 | The first thing you want to
do is check your settings.
| | 01:56 | Now, if you have worked on a project
before, you probably will use those
| | 01:59 | settings, because you will probably
use the same camcorder you used before.
| | 02:02 | But let's just check this out.
| | 02:03 | Click the Change Settings button.
| | 02:05 | That opens up this Setup dialog box.
| | 02:08 | You notice that you have NTSC and PAL.
| | 02:10 | We are working on NTSC here.
| | 02:12 | In NTSC, you have got four selections:
| | 02:15 | Advanced Video Codec High Definition;
DV Digital Video; Hard Disk, Flash Memory
| | 02:21 | Camcorders; and HDV.
| | 02:23 | HDV is High Definition but compressed on tape.
| | 02:26 | DV is Digital Video on cassettes.
| | 02:28 | These other two guys use hard
drives generally, or flash drives.
| | 02:32 | Some camcorders also use DVDs.
| | 02:34 | We will go with the sort of standard
approach this time, but you could choose
| | 02:37 | whatever one works for you. e'll try DV.
| | 02:39 | Now, under DV you have two choices:
| | 02:41 | Standard Definition, which is a 4x3 aspect
ratio screen, or Wide Screen, which is 16x9.
| | 02:47 | If you click on either one,
you see the characteristics here.
| | 02:49 | You need to pick one of these guys.
| | 02:51 | I'm going to go with Standard Definition 48kHz.
| | 02:54 | That kHz stands for kilohertz.
| | 02:56 | That's the quality of the audio.
| | 02:58 | It's 48,000 samples of audio per second,
and that's the standard for recording audio.
| | 03:03 | Once you have decided on the standard that's
going to fit your source video, you click OK.
| | 03:07 | Now, there is a little concern
if you have two different sources.
| | 03:11 | Let's say you have a Wide Screen
source for part of your project, then a
| | 03:14 | Standard Definition Screen source for
part of your project. You can mix and match,
| | 03:18 | but it's best to not mix and
match or you might have some unpredictable
| | 03:21 | results, but nevertheless you can do it,
and when you do that, you might need to
| | 03:24 | make some adjustments in how the
video looks on the screen in terms of
| | 03:28 | letterboxing it or putting
little bars along the side of it.
| | 03:30 | Once you do that, you probably want to find
a place to store your files inside a folder.
| | 03:35 | We have already got one setup here for us,
but you can find your own file folder
| | 03:38 | or make a new one, and then name your project.
| | 03:41 | We'll name this project New
project, and then click OK.
| | 03:46 | That opens up Premiere Elements,
and then you go work from here.
| | 03:48 | So that's the basic way you start a new project.
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| Getting video from a DV source| 00:00 | The next step after starting a new project is
getting your video assets into that project.
| | 00:05 | In the old days, that was pretty straightforward.
| | 00:07 | Took a videocassette out of the
camcorder put it into the video editing
| | 00:10 | machine and got to work.
| | 00:11 | Well, these days things are different.
| | 00:13 | There are basically three ways to
get video assets into your project.
| | 00:17 | The first is called capturing or
transferring, and you do that from a DV or HDV
| | 00:22 | camcorder that uses a videocassette.
| | 00:24 | The second way is to download assets
from camcorders that use hard drives or
| | 00:29 | flash media or recordable DVDs.
| | 00:32 | And the final way is to import files
directly from your hard drive into your project.
| | 00:37 | I want to talk about the latter to
later in another tutorial, but I want to
| | 00:41 | focus on the capture or transferring method now.
| | 00:44 | You typically capture or transfer
from a DV or HDV camcorder and you use
| | 00:48 | FireWire, a FireWire cable to do that.
| | 00:51 | You plug the cable into your camcorder,
the other end into your PC, you hook up
| | 00:55 | your camcorder in to AC power.
You don't want to lose any juice during
| | 00:58 | the middle of a transfer.
| | 01:00 | Then you switch over to the VCR, the
playback mode, as opposed to the camera
| | 01:04 | or the record mode.
| | 01:05 | Once you get things all fired up you
can begin to capture or transfer video via
| | 01:09 | Premiere Elements into your
project, so let's do that.
| | 01:13 | For this tutorial I set the Project
Settings to DV NTSC Standard Definition,
| | 01:18 | because those match the
camcorder we are working with.
| | 01:20 | By the way you can see your Project Settings
by choosing Edit > Project Settings > General.
| | 01:26 | And here are the Project Settings, DV NTSC.
| | 01:28 | Notice that they are grayed out.
| | 01:30 | You can't change the Project
Settings once you start a new project.
| | 01:33 | So to get started with our capturing go
to the Organize tasks panel, and click
| | 01:38 | on Get Media, and then click on DV Camcorder.
| | 01:42 | That opens the Capture window.
| | 01:44 | One of the cool things about video
capture using a digital video or HDV
| | 01:47 | camcorders that you can use
what's called device control.
| | 01:50 | FireWire cables have device
control that allows you to remotely control a
| | 01:54 | DV or HDV camcorder.
| | 01:56 | So we're going to use these VCR
like controls, and then control
| | 02:02 | my camcorder remotely.
| | 02:03 | In this way you can queue up the
tape to whichever clip you want to start
| | 02:07 | recording and then record from there.
| | 02:09 | So let's get that process rolling.
| | 02:11 | The first thing you do is you name the clip.
| | 02:14 | In this I want just call it golf.
| | 02:15 | And if I just type golf, every clip
that is recorded up to this point will be
| | 02:19 | called golf01, golf02, golf03 because
Premiere Elements will find breaks in the
| | 02:25 | footage and name new clips based on the brakes.
| | 02:28 | I'll explain that in a second.
| | 02:28 | Now we want to save that to some place,
so you select the file folder where you
| | 02:32 | want to put that, then you need to then
work on these final features down here.
| | 02:36 | I want to capture both video and audio.
| | 02:38 | I don't want in this case to capture
the Timeline. Usually you want to be able
| | 02:42 | to edit the clips in the order that
it will best work for your project.
| | 02:45 | Infrequently will the clips actually
match the order that you shot them in.
| | 02:49 | If that's the case then leave this checked.
| | 02:51 | I'm going to uncheck it
in this particular though.
| | 02:53 | I like this little thing
called Split Scenes down here.
| | 02:56 | This will automatically create
new clips for each scene change.
| | 03:00 | You can choose between by
the Timecode or by Content.
| | 03:03 | Content is kind of iffy.
| | 03:06 | Premiere Elements sometimes doesn't
really know when the content has changed,
| | 03:09 | but the Timecode is a certain thing,
because every time you click pause on
| | 03:12 | your camcorder that changes the
timecode and so every time Premiere Elements
| | 03:16 | sees that little Pause Record button being
pressed, it will create a new clip at that point.
| | 03:20 | Finally there is this option down here,
called Auto-Analyzer and Auto-Analyzer
| | 03:24 | will analyze each clip, looking for
motion, faces, blur, and will indicate those
| | 03:29 | things in tags that are
attached to little clips.
| | 03:31 | But the Auto-Analyzer is very slow and
can really eat up computer resources.
| | 03:35 | I think you can probably do a better
job looking at your clips in figuring out
| | 03:39 | if there is motion in it, or
faces in it, or if it's blurry.
| | 03:41 | So I tend to just turn that off to
have things go faster and I'll be able to
| | 03:45 | check those things out later.
| | 03:47 | So once I've decided okay, this is
where I want to start capturing, all I have
| | 03:50 | to do is click Capture and my
camcorder will start playing and
| | 03:55 | Premiere Elements will
start making new clips.
| | 04:04 | There is the next clip and
notice that it goes to golf02.
| | 04:09 | Each time there is a new clip,
it will be the next clip. golf03.
| | 04:11 | So now I've recorded three clips.
| | 04:14 | I'm going to click Pause.
| | 04:14 | Let's say I'm done now.
| | 04:16 | I have recorded the three
clips that I wanted to record.
| | 04:18 | I can close this and those three clips
will now show up in the Project View,
| | 04:23 | golf01, golf02, golf03.
| | 04:26 | Premiere Elements stores
your clips as AVI files.
| | 04:29 | That's Audio Video Interleave.
| | 04:31 | That's a standard Windows video file
format and it's the full digital video
| | 04:35 | resolution that was on your camcorder's tape.
| | 04:38 | So nothing is lost during transfer.
| | 04:40 | Let me just show you how
one of these clips look.
| | 04:42 | We just got it moments ago. I can preview it.
| | 04:48 | (Whack! Golf ball being hit.)
| | 04:50 | And there you go.
| | 04:51 | That's how you capture video from a
DV or HDV videocassette camcorder and
| | 04:55 | now that you've captured these clips,
you are ready to start editing your video project.
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| Getting media from other sources| 00:00 | Using Premiere Elements you can
download video clips from a variety of
| | 00:04 | hardware devices directly into your
project, or import video files from your hard drive
| | 00:09 | into your project.
| | 00:10 | In this tutorial I explain both methods.
| | 00:12 | First up, camcorders that use hard drives
or flash media to store their video files.
| | 00:17 | They are becoming
commonplace and inexpensive these days.
| | 00:20 | This flip camcorder is riding the
crest of that wave of popularity.
| | 00:24 | It stores high-definition video in a
compressed format that you can edit
| | 00:28 | in Premiere Elements.
| | 00:29 | Now to get video files from camcorders
like this into Premiere Elements,
| | 00:33 | you simply connect via this USB plug
into your computer, fire up Premiere
| | 00:37 | Elements, go to the Media Downloader,
and then select the files that you want
| | 00:41 | to use in your project.
| | 00:42 | Let me show you how to do that.
| | 00:44 | Many types of devices other than DV
and HDV camcorders record and store video
| | 00:49 | and still image files.
| | 00:50 | Using Premiere Elements you can import
files from a variety of hardware devices
| | 00:54 | or import music, video, image and
graphics files directly from your hard drive.
| | 00:58 | You do that inside the Organize
workspace and specifically in the Get Media View.
| | 01:03 | Now you notice there are
four things here in the middle.
| | 01:06 | DVD Camcorder, PC DVD Drive, and
AVCHD or other kind of hard disk or memory
| | 01:12 | camcorder, still camera, and mobile phone.
| | 01:15 | Each of these things will
open up the exact same interface.
| | 01:18 | Let's just click on that.
| | 01:19 | You get this Media Downloader.
| | 01:21 | First thing you need to do is select the device.
| | 01:23 | Normally that would be some kind of
like camcorder or digital still camera.
| | 01:27 | In this case we have for
convenience's sake a flash drive.
| | 01:30 | That immediately examines the flash
drive and determines the files that are on there
| | 01:34 | and says there are 284 files,
do you want to get all of them?
| | 01:37 | And the answer almost always is nope.
| | 01:39 | So you open up the Advanced dialog box.
| | 01:41 | That shows all the various
files as thumbnails. Scroll down.
| | 01:44 | Where we start seeing once that
we want to use. So here is a few.
| | 01:47 | We can uncheck them all and start
selecting the ones we want to use.
| | 01:51 | So let's select this golf,
that golf and that golf.
| | 01:55 | Once you've selected the files that you
want to upload from this digital camcorder or
| | 01:59 | this flash drive, you just click Get Media,
and that loads those particular files
| | 02:03 | into your hard drive, and
displays them inside Premiere Elements.
| | 02:07 | If I go to the Project View,
there are those three files.
| | 02:13 | If you want to import files directly
from your hard drive, you just double-click
| | 02:16 | inside the Project View here.
| | 02:17 | That opens up the Add Media dialog box.
| | 02:21 | You can also access that from a couple
of other places from the Media View.
| | 02:25 | Same thing. Opens the Add Media.
| | 02:26 | If you go back to the Get Media and
click on PC Files and Folders, lo and behold,
| | 02:30 | it's the same dialog box.
| | 02:31 | Let me show you a couple of little
tricks when you take files off of
| | 02:34 | let's say your hard drive.
| | 02:36 | I'm going to our Asset folder here and
just look at the fall-foliage for example.
| | 02:42 | If you want to select more than one
file you can Ctrl-click on individual files
| | 02:47 | like click, Ctrl-click, Ctrl-click,
I have selected three different files.
| | 02:50 | When I click Open,
those three files will open up.
| | 02:53 | If I want to open up, let's say all of
them, I can click on the first one and
| | 02:56 | Shift-click on the last one.
| | 02:58 | That will open up all the files.
| | 02:59 | If I want to select files using
what's called the Marquee Select, I just
| | 03:03 | take my mouse and click-and-drag a
marquee around all the files that I want
| | 03:06 | to add into the project.
| | 03:08 | Thumbs is the one I don't need so
I'm going to Ctrl-click on that to
| | 03:10 | de-select that one.
| | 03:11 | Now when I click Open, it doesn't in fact
actually move these whole files into the project.
| | 03:16 | It just adds links to them inside the
Project View. These aren't the files.
| | 03:21 | These are just links to those files
and then I can take these clips and
| | 03:24 | add them to my Timeline.
| | 03:25 | Finally the one of the thing that
you can use to get media is a webcam.
| | 03:29 | You have a webcam up here in the booth.
| | 03:32 | When you click on the webcam it opens
up the Capture Window again, and here we
| | 03:35 | are in the booth with our webcam turned on.
| | 03:37 | I can just click the Capture button
down here and you can start recording this video,
| | 03:42 | and it will be
included in your project as a clip.
| | 03:44 | So that's basically how you get media
assets other than tape into your project.
| | 03:49 | Now that you've imported all these files
you are ready to go out and edit a video.
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| Managing media in the Project workspace| 00:00 | A typical video project might have
dozens of video and audio clips and image
| | 00:04 | and graphics files.
| | 00:06 | So you need some way to keep track of
all those things to manage those assets.
| | 00:10 | Well, Premiere Elements
has two organizational tools.
| | 00:13 | The Organizer and the Project View.
| | 00:16 | The Organizer has been part of
Photoshop Elements for years, and it's now been
| | 00:19 | updated to include features geared to
video and ships with Premiere Elements 8.
| | 00:23 | It really is more a file management
program than it is something that
| | 00:27 | you work with inside Premiere
Elements 8, as you are building a video.
| | 00:30 | I'll talk about that in a separate video.
| | 00:32 | On the other hand the Project View is
the direct connection to the media assets
| | 00:36 | you're working on in your project.
| | 00:38 | By default Premiere Elements opens up in
the Media View, which is kind of a mini
| | 00:42 | Organizer that I think can be
confusing because it displays recently viewed
| | 00:46 | imported files that you might not
be using in your current projects.
| | 00:50 | So don't be thrown off by it. Instead
import and access project assets over here
| | 00:54 | in the Project View.
| | 00:55 | Now this is how your project might
look if you've just imported a few clips.
| | 00:59 | What I want to do is add
several more files to this project.
| | 01:02 | And there are several ways to
add files from your hard drive.
| | 01:05 | You can go File > Get Media
from > PC Files and Folders.
| | 01:10 | You can click on Get Media,
click on PC Files and Folders.
| | 01:14 | But my favorite way to do it is to go
the Project View, which is where you are
| | 01:17 | going to work anyways, and double-click
in an empty space here, and that opens
| | 01:21 | up the Add Media dialog box.
| | 01:24 | Once you get here, you can select
files and I've discussed how you can select
| | 01:27 | files in several ways, but I'll just
click on the first one here, Shift-click on
| | 01:30 | the last one and Ctrl-click on Thumbs,
because I don't want to import that.
| | 01:34 | Then I'll click Open.
| | 01:35 | It'll add all those files here in the
Media View, which is the default view.
| | 01:40 | It switches to that, but I'll go back
to Project and here are all the assets
| | 01:42 | we just added in that fashion.
| | 01:46 | Now the thing is there are a lot of files here.
| | 01:48 | It's probably a good idea to somehow
organize them and let's just take a
| | 01:52 | look at how that works.
| | 01:53 | You'll notice that all the thumbnails
have their file names next to them and
| | 01:57 | you can alphabetize them by clicking on name.
| | 01:59 | There are also little extra things over
here that tell you something about those files.
| | 02:04 | If you use the scrollbar and
scroll by you can see the frame rate,
| | 02:07 | the duration, and whether it's
been used in your project.
| | 02:11 | I kind of like seeing the duration first,
not the media type or whether it's been used.
| | 02:16 | So I'm going to just drag the
Media Duration over like this.
| | 02:18 | You can drag it over a little ways.
| | 02:20 | If I can't see everything
I can drag this panel over.
| | 02:23 | I wanted to slide it back a little ways.
| | 02:25 | And have Media Duration be first.
| | 02:29 | And then if I want to determine if it's been
used, I can have that one be the next thing.
| | 02:33 | That is one little kind for quirky thing.
| | 02:35 | If it's a piece of video that
has no audio associated with it,
| | 02:39 | Premiere Elements calls it a video.
| | 02:41 | If it's a piece of video that has audio
associated with it, something typically
| | 02:44 | shot with a camcorder it's called a
movie. Just so you know that they in fact
| | 02:48 | are different terms for
more or less the same thing.
| | 02:51 | And anything that's like an audio file
has this little icon associated with it.
| | 02:55 | Now I want to organize this into folders.
| | 02:58 | I want to have all the fall-foliage in one
folder and all the golf in another folder.
| | 03:01 | So I click on this New Folder icon down here.
| | 03:04 | I type in let's say Golf, and I can
select all the golf clips by clicking on
| | 03:10 | this one and Shift-clicking on the third one.
| | 03:13 | Now I'll drag them down to that new folder.
| | 03:16 | I grab the thumbnail to drag them, and
then you'll see that the Golf turns black
| | 03:20 | to indicate that we are now going
to drop those files into that folder.
| | 03:23 | Now it will help organize things,
because it's kind of messy when you've got all
| | 03:26 | these files. Maybe you are going to
use the fall-foliage in one part of your
| | 03:30 | project and the Golf in the other part.
| | 03:31 | Let me add another folder for that fall-foliage.
| | 03:34 | So I'll just call it Fall.
| | 03:35 | I'll click on this first fall-foliage
item and then Shift-click on the top one
| | 03:40 | and then I'm going to Ctrl-click on the
audio, because I want that to be separate.
| | 03:43 | That deselects the audio.
| | 03:45 | Now I'm going to drag all those guys into the
Fall folder and notice that it's highlighted.
| | 03:49 | So now I have organized my Project View
into just two folders and one audio file.
| | 03:55 | All I have to do is click the
triangles to see your clips.
| | 03:59 | So if your project has lots of assets,
taking a few minutes to organize them into
| | 04:03 | folders will make it
easier to edit your video.
| | 04:05 | In any event, the Project View is the
repository for all your project's assets.
| | 04:10 | Not only can you use it to
organize and track down assets,
| | 04:13 | this is where you need to go to add
assets to your video as you edit it.
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|
|
4. Adding, Arranging, and Deleting ClipsLearning about the Sceneline and the Timeline| 00:00 | Premiere Elements lets you choose
between two approaches to editing a video.
| | 00:04 | Both are here in the Project panel,
the Sceneline and the Timeline.
| | 00:09 | The Sceneline is the
entry point for new editors.
| | 00:12 | It's more intuitive. If you are new to
video editing it's an easy way to get started.
| | 00:16 | It works kind of like a storyboard.
| | 00:18 | You've probably seen a storyboard.
| | 00:19 | Film directors use them to map out a project.
| | 00:22 | Maybe scene sketches on what
usually is a large bulletin board, then
| | 00:25 | rearrange them, remove some, and add some.
| | 00:28 | I'll demonstrate that process here
then go into more detail in the video,
| | 00:31 | Adding, Deleting, and
Rearranging Clips on the Sceneline.
| | 00:34 | Let's just go over to the Project
View and let's take a look at some of
| | 00:37 | the fall-foliage clips.
| | 00:39 | I'm just going to drag one down here
and that's the basic process to add
| | 00:43 | clips to the Sceneline.
| | 00:45 | Pretty simple to do that.
| | 00:46 | Once they are down there, I can say, "This
one should go first." Drag it over like that.
| | 00:50 | Well, this one should go last, something
like that, or I want to put one in the middle.
| | 00:55 | Fairly simple way to add clips in the Sceneline.
| | 00:58 | I'll show you some golf clips as well.
| | 00:59 | Just add a couple golf clips just to see
that process of adding one after the other.
| | 01:04 | That's how that works.
| | 01:07 | That's the basic Sceneline approach.
| | 01:08 | You can add clips, delete clips like
this, rearrange them, and I can add
| | 01:13 | audio down here as well.
| | 01:14 | Let's go to Music. Add
let's say fall-foliage-music.
| | 01:18 | So I've added an audio track.
| | 01:20 | (Music Playing).
| | 01:25 | Like that.
| | 01:26 | The Timeline is not as
intuitive as the Sceneline.
| | 01:28 | Let me show it to you.
| | 01:29 | Timeline has multiple layers.
| | 01:31 | I'm going to drag this up so you can see that.
| | 01:34 | There is that audio clip we just laid down.
| | 01:36 | There are the fall-foliage clips we
laid down and here are the golf clips.
| | 01:39 | What you didn't see in the
Sceneline is that the golf clips have audio
| | 01:43 | associated with them whereas
the fall-foliage clips don't.
| | 01:45 | I'll go back briefly and you
can see that it just shows clips.
| | 01:48 | It doesn't actually show any kind
of audio associated with those clips.
| | 01:52 | That's one immediate difference
between the Timeline and the Sceneline.
| | 01:54 | Notice also that the clips are
represented as rectangles, and the rectangles
| | 01:58 | represent the relative lengths of the clips.
| | 02:01 | One other advantage of the Timeline
versus the Sceneline is that you can layer
| | 02:04 | clips one above the other.
| | 02:05 | That's called compositing, and I
talk about compositing in other videos.
| | 02:09 | It's a fairly high-level way to edit
videos and I think you'll see that that's a
| | 02:13 | real advantage to working in the Timeline.
| | 02:15 | So my advice to first time video
editors is edit a couple of videos in the
| | 02:18 | Sceneline then move up to the Timeline.
| | Collapse this transcript |
| Adding rearranging and deleting clips in the Sceneline| 00:00 | The Sceneline lets you quickly and
easily create a basic story structure.
| | 00:03 | It works kind of like a bulletin board.
| | 00:06 | And in fact you take clips from the
Project View and pin them up on the
| | 00:09 | Sceneline, then you can rearrange them,
insert clips, between clips or remove clips.
| | 00:14 | Let me show you how that works.
| | 00:14 | Here the Sceneline is open. Could have been
the Timeline, but we switched to the Sceneline.
| | 00:19 | Open up the Project View and I've got
three folders here with files in them already.
| | 00:23 | Let's go to the Golf video clips and
take golf-drive1 for example. Drag that
| | 00:28 | down to that little placeholder,
where it says Drag next clip here.
| | 00:31 | Now we've added our first
clip to this particular project.
| | 00:34 | Let's play it inside the Monitor panel.
| | 00:36 | (Video playing. Birds chirping.)
| | 00:40 | (Whack! Golf ball being hit.)
(Male Speaker: That's going to hook.)
| | 00:42 | Notice it has this little rectangle
here that shows you the particular clip,
| | 00:46 | gives the name of it, and then you
can scrub through it by dragging this
| | 00:49 | Current Time Indicator.
| | 00:50 | Let's add another clip to it.
| | 00:52 | So I'll go to the bag clip here, drag it down.
| | 00:54 | I have added another clip.
| | 00:57 | We've added another rectangle up here.
| | 00:59 | If I click back and forth and now that
rectangle will settle down in the middle,
| | 01:02 | and change to the same relative length
as the first one. Even though the clips
| | 01:08 | are different lengths, when they
display up here in the Monitor panel,
| | 01:12 | they display as the same length up here.
Then I can scrub through that, or play that.
| | 01:16 | Let's go add one more clip,
creek here, drag that one down.
| | 01:23 | I've got a three clip video.
If I click 1, click back here,
| | 01:27 | that will settle that next video clip
down again in at the same apparent length,
| | 01:33 | but in fact it's a different length in
this one and different than that one,
| | 01:35 | but always this little
rectangle is the same length.
| | 01:37 | And notice that the Current Time
Indicator by default is always at the beginning
| | 01:41 | of the clip that you've just added.
| | 01:43 | You click Play and it will
play that particular clip.
| | 01:46 | So now I've added three clips.
| | 01:47 | I want to insert a clip in
the middle of these three guys.
| | 01:50 | Let me go get this golf-cart video.
| | 01:53 | Drag it right down. I'm going to
put it between the drive and the bag.
| | 01:58 | I put them in between by simply
dragging it on top of the one that I want to
| | 02:02 | put it in front of.
| | 02:04 | So I'll put it in front of the bag clip.
| | 02:05 | Notice how that works.
| | 02:07 | Let's put another one here,
drag the fairway one down here.
| | 02:12 | Put it between the bag, and the creek shot.
| | 02:15 | So now I have a five-clip video.
| | 02:18 | Click on any one of those guys.
| | 02:19 | And it will put the Current Time
Indicator at the beginning of that clip and
| | 02:23 | arrange that clip in that
little rectangle inside the monitor.
| | 02:26 | I want to delete a clip and that's very simple.
| | 02:28 | I have to select the clip and then
press the Delete key and then what will
| | 02:32 | happen is the other clips
will slide over to fill that gap.
| | 02:35 | So you never get any black gaps in
your video. These guys slide over to
| | 02:39 | accommodate any deleted clip.
| | 02:41 | I can rearrange them very easily.
| | 02:43 | Here you've got the drive, the cart,
the fairway. I'm going to take this creek
| | 02:46 | and put it before the fairway,
| | 02:47 | simply by dragging over.
| | 02:48 | Notice there is a little blue vertical
bar to say okay, we are going to put it
| | 02:52 | here in front of the fairway.
| | 02:54 | So that's easy to
rearrange clips in the Sceneline.
| | 02:56 | I want to add some audio to it.
| | 02:58 | So let me go grab some audio here. I've
got some music that I made using a thing
| | 03:02 | called SmartSound, which is a
feature inside Premiere Elements that I talk
| | 03:05 | about in another tutorial.
| | 03:06 | Drag that guy down here to the audio track.
| | 03:10 | There are two audio tracks.
| | 03:11 | One marked with a speaker,
one marked with musical notes.
| | 03:14 | Technically speaking they are both equal,
but Premiere Elements folks wants you
| | 03:18 | to think that okay, this one in the
bottom is for music and this one up here is
| | 03:21 | for narration, but
either one works the same way.
| | 03:24 | So I'll put it here where the narration is.
| | 03:25 | Now I've added this audio clip and
you can see looking inside the Sceneline
| | 03:29 | that it's longer than the entire project.
| | 03:32 | If you look up here in the Monitor panel
you see that it's longer than those four clips.
| | 03:36 | I'll just click Play.
| | 03:37 | (Music playing.)
| | 03:40 | (Whack! Golf ball being hit.)
| | 03:41 | So you can see how the audio mixes
together, the music and the natural
| | 03:45 | sound from the clips.
| | 03:46 | Just that we've been working here
inside the Sceneline, but if you go to the
| | 03:49 | Timeline you can see that
there are clips, there is audio.
| | 03:53 | So in fact you can move back and forth
from one to the other, if you need to.
| | 03:57 | I discussed adding, arranging, and
deleting clips in the Timeline in another video,
| | 04:01 | but for now working in the Sceneline might be
an approach that suits your editing experience.
| | Collapse this transcript |
| Adding and deleting clips in the Timeline| 00:00 | Sooner or later you're going to
graduate from Sceneline editing and move up to
| | 00:03 | editing your videos on the Timeline.
| | 00:06 | The Timeline has much more to offer.
| | 00:07 | It gives you a clearer feel for how your
project is coming together and has more
| | 00:11 | editing options and
you'll find on the Sceneline.
| | 00:14 | I explained a few of those
characteristics in this video, and as you work your
| | 00:17 | way through the rest of the tutorial videos
you'll see many more reasons to use the Timeline.
| | 00:21 | Let me give you a little tour of the
Timeline just down here, switching from the
| | 00:25 | Sceneline back to the Timeline.
| | 00:27 | Timeline has this Time Ruler along the
top and that gives you the length of
| | 00:30 | your project as you build it.
At 16 seconds and 0 frames.
| | 00:34 | It's frame, seconds, minutes, and hours.
| | 00:37 | You can zoom in on the Time Ruler,
and then see the clips more clearly that way,
| | 00:42 | depending on the length of your
project, or you can zoom out if it's a
| | 00:44 | really long project.
| | 00:46 | The Timeline has many tracks.
It starts with the default number of three
| | 00:50 | video and audio tracks plus a couple
of extra audio tracks. I can drag it up
| | 00:53 | so you can see that.
| | 00:55 | There is the soundtrack and narration
tracks that you saw on the Sceneline.
| | 00:58 | I'll click that for a moment, those two
guys down there. And here they are.
| | 01:02 | You can put any kind of audio that you want.
| | 01:04 | It doesn't have to be a narration or soundtrack.
| | 01:06 | It can be sound effects even.
| | 01:07 | Then you see Video 1 Audio 1, Video 2, Audio 2.
| | 01:11 | If you scroll up you see Video 3 and Audio 3.
| | 01:14 | This is where you put your clips
that you get from your camcorder, which
| | 01:17 | typically have audio associated with them,
although you don't have to have audio
| | 01:20 | associated with them.
| | 01:21 | You can have as many of these
tracks as your computer can handle.
| | 01:25 | Typically you would not work with more
than let's say five or six, unless you
| | 01:29 | are a very advanced editor.
| | 01:30 | You may be asking yourself, why would I
have all these different layers when I
| | 01:33 | just put one clip up here, and
clip after it, clip after it.
| | 01:37 | But you can layer clips in Premiere Elements.
| | 01:40 | Such that you can see parts of
clips on various layers sort of
| | 01:43 | sandwiched together.
| | 01:44 | It's a high-level way to do video editing.
| | 01:46 | I talk about that in other videos.
| | 01:48 | It's easy to add clips.
| | 01:50 | Let me show you how to do that.
| | 01:50 | I'll drag this guy back down to make it
little more manageable in terms of real estate.
| | 01:54 | I'll go over to my Project View and
we'll click on some fall-foliage clips here.
| | 02:00 | Drag this one down to the Timeline.
| | 02:02 | And notice as I bring it there it's
going to snap to the beginning. See that?
| | 02:06 | The black line appears and it snaps.
| | 02:09 | I'm sure that that there is no black
video between the beginning of the project
| | 02:14 | and that first clip.
| | 02:15 | And now I've added a clip to the
Timeline, I can scrub through it and I can
| | 02:19 | play it here in the Monitor panel.
| | 02:21 | There is no audio with this clip, and
you could tell there is no audio because
| | 02:24 | it's not showing up any audio down here.
| | 02:26 | If I go to the Sceneline notice
that the Monitor panel looks different.
| | 02:30 | It has the clip showing up here, but on the
Timeline that clip does not show up there.
| | 02:33 | If we add another clip,
it's very easy to do that.
| | 02:36 | Just drag it down and drag it near this one.
| | 02:38 | I can actually put anywhere I want.
| | 02:40 | But that will leave a black gap between the two.
| | 02:42 | I'll just drag it over,
and it'll snap into place.
| | 02:45 | I can see it a kind of
sort of jump as it gets close.
| | 02:48 | It's called snapping.
| | 02:49 | If I now play this, you'll see that
it's a clean edit from the aerial to this
| | 02:54 | river view here, in just a moment.
| | 02:57 | And this reveals a river
coming up in a second. Here we go.
| | 03:00 | Let me add some clips that
have audio associated with them,
| | 03:03 | so you can see how they look different.
I'll just take this drive shot again.
| | 03:06 | You've seen it before,
| | 03:07 | if you watched the Sceneline version.
I'm going to snap it up there next to it.
| | 03:09 | And notice that the audio part shows up
now down in this audio track and that
| | 03:14 | even shows a little waveform down here
where you can see that little sharp line
| | 03:17 | there where he hits the ball. Watch.
| | 03:20 | (Whack! Golf ball being hit.)
(Male Speaker: That's going to hook.)
| | 03:22 | It's easy, again, to add clips
down here one after the other.
| | 03:26 | Let's say I want to let's say delete a clip.
I decided these two guys are really doing a
| | 03:31 | story about golfing, not about fall foliage.
| | 03:34 | I'm going to click on this one and
press the Delete key. Now notice what happens.
| | 03:37 | It slides over to fill the gap. Click this one.
| | 03:42 | Slides over and fills the gap.
| | 03:43 | That's what the Delete key does.
| | 03:45 | If I take this clip and say I want it to
go between these two, I drag it over and
| | 03:50 | put it here in front of that one, right there.
| | 03:53 | Let's see what happens.
| | 03:54 | You didn't notice it but it jumped in
front there and pushed this guy to the right.
| | 03:58 | Let me add two more clips so it's a
little more obvious what's going on.
| | 04:01 | I'm going to Ctrl-click on the second
clip here and drag two down at once.
| | 04:05 | Now I'm going to take this clip here
and drag it in front of the second clip.
| | 04:12 | And notice what happens.
| | 04:14 | There is a gap where that clip was
dragged from, but when I put it here
| | 04:18 | it shoved everything to the right.
| | 04:19 | Now that little gap can be replaced by
simply right-clicking on it and saying
| | 04:24 | Delete and Close Gap, or I can undo
that by pressing Ctrl+Z, and just click
| | 04:29 | here and then press the Backspace key.
| | 04:32 | Both ways will close that gap that's
created when you drag something from
| | 04:36 | inside a project and drag it someplace else.
| | 04:41 | In the Sceneline that didn't happen.
When you drag something around the Sceneline,
| | 04:44 | it automatically filled the gap.
| | 04:47 | Now this business of leaving a gap is
actually by design. Premiere Elements was
| | 04:51 | designed to assume that when you move a
clip you do not intend to automatically
| | 04:55 | fill the gap it leaves behind.
| | 04:57 | If you insert or rearrange clips on one track,
it can actually create gaps on another track.
| | 05:01 | Let me show you how that works.
| | 05:02 | I'm going to put some audio down below here.
| | 05:04 | I'm going to drag this up a little ways,
so you can see it. I'll put an audio
| | 05:08 | clip down here, and just take the golf-
music here, so I'm pulling up golf music.
| | 05:14 | Now I'm going to take this clip. I'm going to
let's say drag it over here. Look what it did.
| | 05:22 | It cut the audio where the new clip was placed.
| | 05:26 | This clip shoves everything to the
right including the audio down below and
| | 05:29 | that is really not what you want to have happen.
| | 05:31 | You want the music to go
smoothly through all the clips.
| | 05:35 | That little anomaly there can be resolved
using what's called a keyboard modifier.
| | 05:40 | If you leave a gap when you lift a
clip, or create a gap on other tracks,
| | 05:44 | use a keyboard modifier to
keep that from happening.
| | 05:47 | And I'll explain how to work with two
keyboard modifiers in another video.
| | 05:51 | So with the exception of rearranging clips
in the Timeline, adding, inserting, and
| | 05:55 | deleting clips in the Timeline
works much like the Sceneline.
| | Collapse this transcript |
| Arranging clips on the Timeline using modifier keys| 00:00 | The Premiere Elements Timeline works
much like timelines you find in expensive
| | 00:04 | professional video
editors, such as Premiere Pro.
| | 00:07 | It gives you more options than the Sceneline.
| | 00:09 | One place that comes into play is when you
rearrange or insert clips on the Timeline.
| | 00:14 | The Timeline has some default
behaviors, some standard behaviors in these
| | 00:18 | instances that might go
countered in what you want to do.
| | 00:21 | To bypass those default
behaviors you use keyboard modifiers.
| | 00:25 | Keys you hold down as you
manipulate a clip with the mouse.
| | 00:29 | There are only two keys that
come into play here, Ctrl and Alt.
| | 00:32 | Let me add a few clips and show you what I mean.
| | 00:34 | I'm just going to grab some clips here
in a particular order, not necessarily
| | 00:38 | for any important reason, but just to
show you that if you Ctrl-click on one clip
| | 00:42 | and then another, and then
another, and another, and another,
| | 00:46 | it will place those clips in that order
on the Timeline when you drag it down here.
| | 00:50 | It won't be from top to bottom.
| | 00:52 | It'll be in the order you selected them.
| | 00:53 | Now I'll click away, so they
are unselected. Five clips here.
| | 00:57 | Let's look at the default behavior
when you drag a clip from a collection of
| | 01:01 | clips in the Timeline. I'll take
this clip and I'll drag it to the end.
| | 01:05 | The default behavior is that it leaves a gap.
| | 01:07 | And I showed you before that you can
right-click and say Delete and Close Gap,
| | 01:11 | but I'm not going to do that.
| | 01:12 | I'm going to go Ctrl+Z to undo that edit.
| | 01:13 | This time I'm going to hold down a
keyboard modifier to avoid having that gap appear.
| | 01:19 | Once I hover my cursor over that
particular clip, you don't see any change to
| | 01:24 | the cursor, but hold down the Ctrl key,
| | 01:27 | you get a little arrow pointing left
for the couple of little gray bars on each
| | 01:31 | side of the arrow. With the Ctrl
key down that is saying, look it,
| | 01:34 | if I now click-and-drag
this guy out, like that,
| | 01:38 | I can let go the Ctrl key now,
| | 01:40 | it will fill the gap left by that clip.
| | 01:43 | So I'll go to the end and it
filled the gap left by that clip.
| | 01:47 | I can undo that and show that
to you again. I'm hovering here.
| | 01:49 | Hold down the Ctrl key.
| | 01:51 | That little blue arrow appears saying
that if you now drag this out and then
| | 01:55 | you can let go the Ctrl
key after you drag it out,
| | 01:57 | it will fill the gap when you let
go and insert this someplace else.
| | 02:03 | That's called a keyboard modifier and
that's actually a doing a ripple delete,
| | 02:08 | is the technical term for
what just happened there.
| | 02:10 | And also when you drag this guy out
and move it to the end without the
| | 02:13 | keyboard modifier, that's a lift, and
when you drag it out with the keyboard modifier,
| | 02:18 | that's an extract.
| | 02:19 | Just so you know the
difference, Lift and Extract.
| | 02:22 | So what about adding clips?
| | 02:23 | I go up here and just take this clip and
drag it down inside here, and it shoves
| | 02:28 | them all over, as it should.
| | 02:30 | That's the default behavior, but if I
want to let say cover up a clip in the Timeline,
| | 02:35 | rather than shove them over,
I can take this guy, drag it down, and
| | 02:38 | if I bring it over here, you'll notice
that the default behavior is that the arrow
| | 02:42 | points to the right, and the clips
slide over to accommodate this new clip.
| | 02:46 | But if I press the Ctrl key as I'm
adding it, it now points down, saying that
| | 02:51 | nope, we are going to cover up.
| | 02:53 | We are going to record over
whatever is in the Timeline at that point.
| | 02:56 | So here's the Ctrl key off the
default behavior, meaning it will slide
| | 03:00 | the clips to the right.
| | 03:01 | The down means it's going to
cover it up, doing an overlay edit.
| | 03:05 | Notice nothing is still over to the right.
In fact, I cut that clip right there,
| | 03:08 | and left part of it behind.
| | 03:10 | It just covered up whatever part of
it would have equaled the length of the
| | 03:14 | clip that I just added. Let me undo that.
| | 03:17 | Same thing applies when you are dragging
clips around inside this collection of clips.
| | 03:21 | If I take this clip, hover my cursor
over it, and press down Ctrl, I'm going
| | 03:25 | to now fill the gap.
| | 03:26 | I'm going to make an extract edit here.
| | 03:28 | I'm going to drag that up. I'm going to hold down
the Ctrl key. When I place it back in the Timeline,
| | 03:33 | notice that there is a
little blue arrow pointing down.
| | 03:35 | If I let go the Ctrl key, the
default is this slide clips to the right.
| | 03:38 | That's an insert, but if I hold
it down, that will be an overlay.
| | 03:42 | So the keyboard modifier when you
are moving clips around in the Timeline
| | 03:46 | for Overlay is the Ctrl key.
| | 03:48 | And I overlaid that, filled the gap, and in
actuality, shortened the entire length of the project.
| | 03:54 | I'll press Ctrl+Z to undo that.
| | 03:56 | So let me show that again. Here it is.
| | 03:58 | I press down the Ctrl key.
| | 03:59 | This is going to be an extract.
| | 04:00 | So I'm going to fill that gap.
I'm holding down the Ctrl key still.
| | 04:04 | I'm going to put it here and
that Ctrl key being down
| | 04:07 | means this is going to be an overlay, and
shorten that project in the same process.
| | 04:11 | Now what happens if you have another track
here of let's say audio or some more clips on top?
| | 04:18 | The behavior is typically when you do
an insert, it splits every track and
| | 04:22 | shoves them all through the right, but
you probably don't want to do that if you
| | 04:25 | have music in particular down there.
| | 04:26 | So I want to take this music and
put it down in this track below here.
| | 04:30 | Let's see what the default behavior is.
| | 04:32 | I'm going to take this guy, move it out
of the way, I'm doing just a lift here,
| | 04:38 | and I'll do an insert here.
| | 04:39 | Notice there is a black line
going through the audio clip.
| | 04:42 | It's going to cut the audio clip right
there and slide it to the right and
| | 04:48 | that is definitely not something you
want to have happen, when you are dragging
| | 04:51 | clips around on the Timeline.
| | 04:52 | If we were doing this in the Sceneline
it would not cut that clip, but in the
| | 04:56 | Timeline it does, and that is by design.
| | 04:58 | It's not like something went
wrong when they designed this product.
| | 05:00 | This is expected behavior.
| | 05:01 | You need to overcome that
behavior with the keyboard modifier.
| | 05:04 | I'm going to go Ctrl+Z.
Now I'm going to drag that out.
| | 05:07 | I'm going to hold down that keyboard
modifier Ctrl, such that it will fill the gap.
| | 05:12 | I'm going to go over here, I'm going
to do an insert as I did before, which
| | 05:17 | if I don't do anything
now, it'll modify that.
| | 05:19 | It will cut the audio track.
| | 05:21 | But I'm going to hold down the Alt key
now and watch what happens to the cursor.
| | 05:24 | It has a little swish when I hold down
the Alt key, meaning that when I let go now,
| | 05:29 | it will do an insert edit, but it will
not affect any clips on any other tracks.
| | 05:35 | It did not cut the clip down here,
the audio clip. I'll show you that again.
| | 05:40 | Hover over here, press Ctrl, so
that we do an extract, drag it out.
| | 05:44 | I am going to go right here and
I'm going to do an insert edit.
| | 05:47 | I'm not holding down the keyboard modifier now.
| | 05:49 | It will cut and slide everybody over,
but I'm going to hold down the modifier
| | 05:53 | to make sure I don't affect any other tracks
by holding down the Alt key, and there you go.
| | 05:57 | It will not affect the audio track down here.
| | 06:00 | The same is true if I want to add
a clip from up in a Project View.
| | 06:03 | I'll just take this clip.
| | 06:05 | If I would have dragged it down here
just like that, you would do an insert edit.
| | 06:08 | Now this is sliding everybody over,
and it would cut the audio as well.
| | 06:14 | Not something you want to have happen.
| | 06:15 | So do Ctrl+Z on that and now I'm
going to do it with a keyboard modifier.
| | 06:19 | I'm going to drag it down here.
| | 06:20 | We'll have it do an insert
edit, which is what we want.
| | 06:23 | I'll hold down the Alt key and it will
not split the audio track. Notice there
| | 06:27 | is a little zebra striping below that little
blue arrow that's telling you-- here is the Alt.
| | 06:32 | It's telling you, you are not going to
affect another track when you put this here.
| | 06:36 | So it does the insert edit on that
track only, those audio video combination track,
| | 06:40 | but does not affect the
audio down here, or the music.
| | 06:44 | These keyboard modifiers might seem
convoluted and confusing at first,
| | 06:48 | especially when you are holding down
Ctrl and Alt and dragging with the mouse.
| | 06:52 | But these modifiers give you more control
over your edits than you have in the Sceneline.
| | Collapse this transcript |
|
|
5. Editing ClipsUsing the Monitor panel to trim video in the Sceneline| 00:00 | Trimming clips you have
already added to the Sceneline is
| | 00:02 | fairly straightforward.
| | 00:03 | You don't do it directly on the Sceneline.
| | 00:06 | Rather you do it in the Monitor panel.
| | 00:07 | Let me show you how.
| | 00:08 | I want to build a little video here,
and I could have done this for you in
| | 00:11 | advance, but I'd rather you get
some practice of building videos in the
| | 00:14 | Sceneline as we move
through the rest of these project.
| | 00:17 | So let me just take five
clips and put it on Sceneline.
| | 00:19 | I'm going to take aerial
reveal, click on that one.
| | 00:21 | Then I'm going to Ctrl-click on four
more. I'm going to go pull river, aerial
| | 00:26 | river, static red leaves, and trucking.
| | 00:30 | So I just selected those using Ctrl-
clicks in each one and they will appear on
| | 00:34 | the Sceneline when I drag
them down in that order.
| | 00:36 | It's pretty cool thing you
can do inside the Project panel.
| | 00:39 | Now I want to start trimming these clips.
| | 00:41 | Let's just take a look at this first one here.
| | 00:46 | It reveals this river as
it comes over the ridge.
| | 00:48 | I'm thinking I can probably
reveal that river a little bit earlier.
| | 00:51 | So I'm going to click on that and
notice that here is the in point, the out point,
| | 00:55 | and here is the current time
indicator, the scrubber, and in five seconds
| | 00:59 | or so is when you start seeing the river.
| | 01:00 | So I'm going to back up to let's say
three seconds, I think two seconds of
| | 01:06 | video before the river's
reveal is a good amount of time.
| | 01:08 | So now I'm going to drag the in point
right here to where I've left the current
| | 01:12 | time indicator, and that will trim the
clip by three seconds at the beginning.
| | 01:18 | So now when I go to the beginning,
it plays for two seconds and reveals the river.
| | 01:22 | Let us trim the clip by
removing some of the head frames.
| | 01:26 | Let's take a look at the second clip.
| | 01:28 | I click on it and notice how the clip
shifts over inside the monitor panel, and
| | 01:32 | then the width of the clip almost fits
in the monitor panel from here to here,
| | 01:36 | and the current time indicator
goes to the beginning of the clip.
| | 01:38 | That's a default action.
| | 01:39 | Every time you clicked on a clip,
no matter how long the clip is, it will
| | 01:42 | always center up like that and then the
current time indicator will go to the beginning.
| | 01:45 | This is a short clip here.
| | 01:46 | It'll start small, but expands, and the
current time indicator goes to the beginning.
| | 01:51 | So let's go to the second
clip and take a look at it.
| | 01:53 | It is a pull, which in video term means
you zoom back y,ou pull back. Here we go.
| | 01:58 | It's going to sit for a while, and
then it's going to start pulling back.
| | 02:01 | And typically my thinking is that when
you have a pull like this, all you need
| | 02:04 | to do is let it sort of settle down for
a moment, and then just before the pull starts
| | 02:08 | is where you can make the edit points.
| | 02:09 | So there is the pull starting at about
12 seconds and 20 frames into the picture.
| | 02:14 | I'm going to back up maybe 20 frames or so.
| | 02:16 | Now I'm going to drag the in point to
current time indicator and notice the
| | 02:22 | left and right image.
| | 02:23 | The left image is the out point of the
first clip and the right image is the in
| | 02:26 | point that we're newly
creating in the right clip.
| | 02:28 | You don't see much happening, because that
is the only place that the video actually moves.
| | 02:32 | So I'm going to back up here to the
current time indicator, which is just a
| | 02:35 | placement, just gives me a rough idea
where I want to make the edit, and let go.
| | 02:38 | That trims off from here
to there, that distance.
| | 02:41 | So it's now been trimmed off.
| | 02:42 | If I play through that, you'll see
that it will sit down for a second and
| | 02:44 | then start pulling back.
| | 02:47 | And the same thinking kind of goes
when you finish a pull like this.
| | 02:50 | You want to go to the point where the
pull finishes and once it settles down,
| | 02:55 | right about there, let's say I
give it another 20 frames or so.
| | 02:58 | So we'll go to 20 seconds. This will be a
pretty good place to trim from the in point here.
| | 03:02 | So I'm going to trim off
all these tail frames here.
| | 03:04 | By clicking this out point and
dragging it to the current time indicator.
| | 03:07 | If I go little farther you'll see that
the zoom will go on the left hand side there,
| | 03:11 | and it will end and settle down, and so
that we'll let the trim be right there.
| | 03:15 | Sometimes you want to edit to music.
| | 03:17 | Let me add a little bit of musical clip here.
| | 03:19 | Put it in the Sceneline,
right below the first clip.
| | 03:21 | That little marker, blue marker that was
there indicated that it starts right here.
| | 03:25 | I'll just play that for a second.
| | 03:27 | (Music Playing).
| | 03:38 | So I'm thinking that I want to have
the images match the beat of the music to some degree.
| | 03:43 | So I'm going to find a place in the music
where there is some logical change to it.
| | 03:46 | (Music playing staticly).
| | 03:48 | (Music playing.)
| | 03:53 | Something maybe right about there.
| | 03:54 | I want to have the reveal
here finish at that point.
| | 03:58 | So I must take the out point to where I
think the music seems to fit the image,
| | 04:03 | just move the out point over.
| | 04:05 | So it kind of moves on sort of the
beat, although the beat is not that
| | 04:07 | obvious in this piece.
| | 04:08 | (Music Playing).
| | 04:13 | So to me the music kind
of had a transition there.
| | 04:15 | So I let the image match that transition.
| | 04:18 | Sometimes you want to edit a clip
because there is the stuff in that you just
| | 04:21 | don't to have showing up in your finish project.
| | 04:23 | Sometimes when you start rolling,
| | 04:25 | your camera might be bouncing around or
something or might be a little bit out of focus.
| | 04:28 | In this particular case I want to
remove some something from an image.
| | 04:31 | So let me go down to this particular
clip where we zoom in and notice that on
| | 04:35 | the left hand side this is the telephone pole.
| | 04:37 | And I really don't want to
have the telephone pole show up.
| | 04:39 | So I'll just go over there and
click on that and let's see where the
| | 04:44 | telephone pole comes in.
| | 04:45 | So we get to the beginning,
the music is a little loud.
| | 04:51 | Let me remove the music, so it's
not intruding in this editing process.
| | 04:55 | Go back here, and there is that telephone pole.
| | 04:58 | That looks kind of intrusive.
| | 04:59 | So once we get it out of
the picture, I'm happy camper.
| | 05:01 | So I'm going to then trim to that point.
| | 05:04 | Now I'm setting the point that I want
to trim to by dragging in the current
| | 05:08 | time indicator there, and then trimming
to it, but you don't have to do it that way.
| | 05:11 | I just do that as
kind of my little guidepost.
| | 05:13 | I'm going to press Ctrl+Z
to undo that. And here again,
| | 05:16 | there is the telephone pole.
| | 05:17 | I can just take the in point like this
on the clip. Hang on one second, there we go.
| | 05:22 | I can just take that in point and drag it,
and then it will show me on the
| | 05:26 | right-hand side there, where
the new edit point is going to be.
| | 05:29 | I like to do the current time
indicator thing in advance, because it's full screen
| | 05:33 | and it's gives me a guidepost
that I may have a need for, but nevertheless,
| | 05:35 | this will do it too, and that
will cut off those head frames.
| | 05:37 | Let's see how that works now.
| | 05:40 | So you see how that works.
| | 05:41 | It cut out the telephone pole.
| | 05:43 | So to trim clips in the Sceneline,
you work in the Monitor panel.
| | 05:46 | You simply select the clip and then
adjust the in point and/or the outpoint accordingly.
| | 05:51 | The clip trimming process in the
Timeline is similar, but as you might expect
| | 05:54 | you have more control there, but
there is some added complexity and
| | 05:57 | I'll explain that in another video.
| | Collapse this transcript |
| Trimming video in the Timeline| 00:00 | Trimming clips in the Timeline is more
precise and direct than editing clips in
| | 00:04 | the Sceneline via the Monitor panel.
| | 00:06 | I'm going to set up a rough cut
edit here using our golfing video.
| | 00:09 | Again, I could have set this up for you
in advance, but I think you really ought
| | 00:12 | to get some experience
putting these clips on the Timeline.
| | 00:15 | So I'm going to select a
few clips in order here.
| | 00:17 | So I'm going to go drive2 and then
I'm going to Ctrl-click now on drive1,
| | 00:22 | Ctrl-click on bag, and cart, and creek.
| | 00:26 | So those clips will appear in order
down here in the Timeline when I drag them
| | 00:29 | to the Video 1 track.
| | 00:31 | There they are, golf2, golf1.
| | 00:35 | So what I want to do now is
start trimming these clips.
| | 00:37 | So I'm going to click away to deselect them.
| | 00:38 | All five of them are selected.
| | 00:40 | That's why they are purple now. I'm
going to click away and they will turn gray.
| | 00:42 | I want to trim this first clip.
| | 00:44 | So I'm going to go to the beginning by
rolling the scrubber here, the Current
| | 00:47 | Time Indicator to the beginning.
| | 00:48 | I'm going to scrub to a point
where I want the clip to start going.
| | 00:51 | Now, I can scrub and it's kind of
imprecise, but I can use the arrow keys to go
| | 00:56 | one frame at a time, or if I hold down
the Shift key and press the arrow key,
| | 01:00 | I go five frames at a time. 23, 28. If
you look up here in the time up here in the
| | 01:07 | Monitor panel, you will see that every
time I click the arrow with the Shift key down,
| | 01:10 | it goes five frames.
| | 01:11 | If I want to trim to the point where he
is just kind of settling down here, so
| | 01:14 | I'm going to press the Spacebar,
that's where he is settling down.
| | 01:18 | So I'm going to have the trim be
right to that point. Now look at this.
| | 01:21 | Here is the current time
indicator right there at that point.
| | 01:24 | I'm going to spread out the Timeline a
little bit by pressing the plus key to
| | 01:27 | zoom in on the Timeline, so you
get a better look at that clip.
| | 01:30 | The Current Time Indicator stays in
position at the time it was before, but
| | 01:34 | the clip is spread out a bit to give you a
better clue as to how you are editing here.
| | 01:37 | Now, with the Current Time Indicator
there, I'm going to hover my cursor over
| | 01:40 | the beginning of the clip and notice
it turns into this red bracket with a
| | 01:44 | black double arrow through it.
| | 01:45 | That's called the Ripple Edit tool.
| | 01:47 | If I drag this clip now, if I click
down here and drag, I'm going to drag the
| | 01:51 | header frames in, the in-point in,
to that CTI, to the Current Time Indicator.
| | 01:55 | It's going to snap to the CTI, bam!
| | 01:57 | It's going to make a very precise edit.
| | 02:00 | Over in the Sceneline,
it would not be precise.
| | 02:02 | It was just kind of approximate,
give or take a few frames here.
| | 02:04 | It's right frame specific.
| | 02:06 | I let go, and all the clips shifted over.
| | 02:09 | You really couldn't see that maybe,
but they all shifted over such that
| | 02:13 | that edit point is where we
trimmed to. Now we let him play.
| | 02:16 | He settles down, and he hits the ball. Okay.
| | 02:19 | The next shot, if you look at the
sequence, is a tight shot of that same thing.
| | 02:23 | I shot this thing over
two holes, two tee shots.
| | 02:26 | Here I'm going to move the Current
Time Indicator to where he just begins to
| | 02:31 | pull it away from the ball, right
there. See him kind of leaning back?
| | 02:34 | I trim to that point here.
| | 02:36 | So I hover my cursor at the beginning,
it turns into that right bracket, I click,
| | 02:40 | and then I drag to the Current Time Indicator.
| | 02:41 | It snapped to the Indicator. Boom!
| | 02:43 | I have now edited to that point where
he is just beginning to start the swing.
| | 02:48 | I'm going to press the Page Up key to move
the Current Time Indicator to the previous edit.
| | 02:53 | Boom! And that's the Edit point.
| | 02:55 | Now, I'm going to go back, I'm going
to edit this thing to just to the point
| | 02:59 | where he pulls the club back.
| | 03:01 | So here we are going to take the arrow
key and you can see here, he is just
| | 03:05 | beginning to pull back right there.
| | 03:06 | So I'm going to edit the out-point now,
so that he is just pulling back here,
| | 03:11 | just at the end of this clip, and
the next clip will be where he is just
| | 03:13 | starting to pull back.
| | 03:14 | You see that it goes from a wide to a
tight, and you can see how we trimmed
| | 03:18 | those two clips, such that we
make a matching edit. So watch this.
| | 03:22 | I'll back up a little bit
and we'll watch this swing here.
| | 03:26 | (Whack! Golf ball being hit.)
| | 03:27 | There you go. So that was a matching edit,
editing right on the action there.
| | 03:31 | See how he pulls back right there?
| | 03:36 | (Whack! Golf ball being hit.)
| | 03:37 | Okay. So it's basically the way
that you trim clips in the Timeline.
| | 03:40 | You move the Current Time
Indicator to where you want the trim to be.
| | 03:43 | You don't have to, but it makes
it more precise to do it that way.
| | 03:46 | You can make it more precise using the
arrow keys to go back and forward one
| | 03:49 | frame at a time, or you can press
down the Shift key to go back and forth
| | 03:52 | five frames at a time.
| | 03:54 | Let's say I want to trim to the music.
| | 03:55 | I'm going to move these guys and put
some foliage on there, so I just marquee
| | 04:00 | selected them by dragging across and
pressing the Delete key. They are all gone now.
| | 04:03 | Let's go put some foliage on there.
| | 04:05 | I'm just going to take this one, and
this one, and this one, those three in that order,
| | 04:10 | drag them down to
the Timeline here in Video 1.
| | 04:13 | They have no audio associated with them.
| | 04:14 | I'm going to get some
audio, some music for them.
| | 04:16 | Get the fall foliage music
| | 04:18 | that I get using the sound
that comes along with the product.
| | 04:21 | It's called SmartSound, right
there. That's how I access SmartSound.
| | 04:25 | Go back to the beginning.
| | 04:27 | (Music playing.)
| | 04:31 | Then I'm going to drag it
along here to these geese.
| | 04:33 | At the beginning of the geese clip,
| | 04:34 | it kind of bounces a little bit.
| | 04:36 | (Music playing.)
| | 04:38 | Right there, where they
kind of tilt up like that.
| | 04:39 | I want to start after they
have kind of tilted up like that.
| | 04:42 | So I'm going to hover my cursor over the
beginning of this clip. See where it is there?
| | 04:46 | I'm going to go to the Current
Time Indicator and drag over.
| | 04:49 | So now the clip will start with them
already up in the air. They are a little higher.
| | 04:53 | (Music playing.)
| | 04:56 | Another little thing I want you to notice.
| | 04:57 | If I hover over the beginning and it
turns into this little bracket, left or
| | 05:00 | right, if you hover a little bit
higher on that yellow line, it turns into a
| | 05:04 | different kind of a cursor.
I'll hover over here so you can see it.
| | 05:06 | This little yellow line is the Opacity control.
| | 05:09 | We talk about Opacity in other videos,
but that's just to let you know that
| | 05:12 | something weird is not happening.
| | 05:13 | It's supposed to do that when
you hover over the yellow line.
| | 05:15 | So sometimes when you get to the end,
make sure it's not the little double up
| | 05:18 | and down arrow that you get; it's this
big fat Ripple Edit tool that you get.
| | 05:21 | I am going to show you now. I'm going to
trim to the music, so let's just see how
| | 05:24 | this thing goes here.
| | 05:25 | I'm going to get to the
point where the music changes.
| | 05:27 | (Music Playing).
| | 05:29 | To me that 'shooo' is a good place to have
an edit, like you are going to something new.
| | 05:34 | So that is the edit point.
| | 05:35 | If you look down on the music clip, I'm
going to drag the Timeline up a little bit,
| | 05:39 | if you look down here in the
music, you actually can sort of see the
| | 05:41 | transition in the music.
| | 05:42 | I'm going to expand the view of the clip
by right clicking here. Track Size > Large.
| | 05:48 | If you look at this, you can see that
the music kind of changes right there.
| | 05:52 | You see the little height change there.
| | 05:53 | That's sort of an indication
of where the music is changing.
| | 05:55 | So to me that's a good place to make an edit.
| | 05:57 | I'll shrink the track back down again.
| | 05:58 | I just want to make the edit here in the music.
| | 06:01 | I'm going to drag this clip back and
the one in the right will fill the gap.
| | 06:05 | Let's see if that makes any sense now.
| | 06:07 | (Music Playing).
| | 06:11 | So we trimmed to the action, we made a
matching cut, and we trimmed to music.
| | 06:16 | Sometimes though, you want to trim a
clip before you add it to the Timeline,
| | 06:19 | and I'm going to show you how to do that in
the Trimming Clips in the Preview Window video.
| | Collapse this transcript |
| Trimming clips in the Preview window| 00:00 | The workflow described in the previous
tutorials has had you first drag clips
| | 00:03 | from the Project View, to the Sceneline,
or the Timeline, and then you trim them.
| | 00:08 | After you've edited a few videos,
I suggest you supplement that workflow by
| | 00:12 | trimming some clips before you add
them to the Sceneline or the Timeline.
| | 00:16 | You do that in what's called the Preview window.
| | 00:18 | It works very much like the Monitor
panel that you used when you trimmed
| | 00:21 | clips in the Sceneline.
| | 00:23 | So, I'm going to build the Golf
video using the Preview window.
| | 00:26 | So I'm going to go over here to
Project. There are my Golf clips.
| | 00:29 | I want to build the video similarly to
the way I built it before, but with a
| | 00:33 | little change this time.
| | 00:34 | So I'm going to start with
the golf-drive2, the wide shot.
| | 00:37 | Now to access the Preview window,
I can just double-click this.
| | 00:40 | That opens up the Preview window, or I can right
-click on it, and choose Open in Clip Monitor.
| | 00:47 | They say Clip Monitor here, but
they really mean Preview window.
| | 00:50 | I can drag this thing down a little bit
and expand the view, if you want to see
| | 00:53 | it little bit better like that.
| | 00:54 | It looks very much like the Monitor panel.
| | 00:56 | I am going to go here to the point where he
just begins to pullback, right about there.
| | 01:02 | That's going to be my out point.
| | 01:03 | I'm going to drag the out point to that spot.
| | 01:08 | I want the in point be at just
where he sort of settles down again.
| | 01:10 | There you go, just settles down there.
| | 01:13 | That will be in point.
| | 01:14 | So now that I have made that, I can just
click anywhere here and drag it down to
| | 01:20 | the Timeline in Video1.
| | 01:21 | See the little hand there, and drag
it down to Timeline1, there it is.
| | 01:24 | Now it appears inside the Monitor
panel and it's down there, that clip
| | 01:28 | on Timeline Video1.
| | 01:29 | I'm going to close this now.
| | 01:30 | By the way, if I open that back up again,
the Trim points will still be there.
| | 01:34 | Let me go to the next clip, the drive1 clip.
| | 01:36 | I'm going to double-click on that.
| | 01:38 | Now, I want to set the in point to the
point where he is just pulling the club back.
| | 01:41 | Let me just take my in
point and I'll drag it over.
| | 01:43 | Instead of dragging the current time indicator.
| | 01:45 | We'll see right about there is where he starts.
| | 01:48 | This time though I'm going to have him finish
earlier, because I want to add a third clip.
| | 01:52 | We are going to have a three
clip matching sequence here.
| | 01:55 | So let me just play this for a second.
| | 01:56 | (Video playing. Birds chirping.)
| | 01:59 | (Whack! Golf ball being hit.)
(Male Speaker: That's going to hook.)
| | 02:01 | He says "that's going to hook" and
that's where I want actually have the video
| | 02:03 | stop there, as we see.
| | 02:06 | Right there. I want to get it before he steps.
| | 02:08 | So now, I have got this very specific
spot where I'm going to cut the video later.
| | 02:13 | So, I'm going to trim to that spot
where he says, "that's going to hook", and
| | 02:16 | there is the new trimmed clip.
| | 02:17 | I'm going to drag that down to the Timeline.
| | 02:19 | We have this two-clip sequence now.
| | 02:22 | I'll close this so you can see it.
| | 02:23 | I'll expand the view of the
Timeline by dragging this scrubber up here.
| | 02:27 | I could have pressed the Plus key a few times.
| | 02:30 | Actually it's the Equal key, but if
you think of it as Plus and Minus,
| | 02:33 | Minus shrinks it and Plus expands it.
| | 02:35 | Let me go back to the
beginning. We'll play this now.
| | 02:38 | (Video playing. Birds chirping.)
| | 02:41 | (Whack! Golf ball being hit.)
(Male Speaker: That's going to hook.)
| | 02:43 | Now, what I want to do is I want to
put a clip at the end here, where we
| | 02:46 | finished that whole sequence off.
| | 02:47 | Let's look at drive3.
| | 02:48 | I want to get it where he is just finishing
the swing. He'll say "that's going to hooK"
| | 02:57 | and we'll pick it up right there.
| | 03:01 | I'll let it finish with the third clip.
| | 03:03 | So now I'm not going to
change the end point yet.
| | 03:04 | Let's drag this down here, and
we have a three-clip sequence now.
| | 03:07 | We press the Backslash key.
| | 03:09 | That expands it to just fit
the Timeline. I'll close this.
| | 03:12 | Let's see how that three
clip sequence looks now.
| | 03:14 | (Video playing. Birds chirping.)
| | 03:17 | (Whack! Golf ball being hit.)
(Male Speaker: That's going to hook.)
| | 03:19 | (Male Speaker: Come on in!)
| | 03:22 | (Male Speaker: That's what I'm talking about!)
| | 03:24 | So we put three clips together there,
by trimming them individually in the
| | 03:28 | Preview window first before
we added them to the Timeline.
| | 03:31 | Let me show you one more thing in
terms of trimming with music and what can
| | 03:34 | happen where there are clips on
other tracks when you do this.
| | 03:36 | I'm going to marquee select and delete them all.
| | 03:39 | Put the fall-foliage music down here in
the Timeline at the beginning of audio1.
| | 03:44 | We'll take a look at a
couple of fall foliage clips here.
| | 03:47 | Close that bin, open up this bin, take
this one and this one, I'm Ctrl-clicking on them,
| | 03:54 | dragging them down to the Timeline.
| | 03:55 | You get two clip sequences
| | 03:56 | and whoa, it's way too expanded.
| | 03:57 | So I'll just press the
Backslash key and view the whole thing.
| | 04:00 | Now what I want to do is I want to put the
pull-river shot here in between these two clips.
| | 04:05 | That's another way to do it.
| | 04:06 | You have to build one clip at a time.
| | 04:07 | You can insert clips as well.
| | 04:09 | So I'm going to double-click on pull-river.
| | 04:10 | You might remember, this is the clip
that has the pull, the zoom out, and
| | 04:14 | I want it to start right
before the zoom out begins.
| | 04:17 | So I'm going to drag the in point to that point.
| | 04:20 | It starts right there.
| | 04:22 | So now you can see that it's down
here at 3;39;03, which is actually the original
| | 04:26 | time on the clip when this thing was made.
| | 04:28 | So I'll go back up to, let's
say, to 3;39. Let's say 3;40.
| | 04:33 | I'll go back to 3;39 even or so.
| | 04:36 | That will be a good starting point.
| | 04:37 | The ending point will be right
after the zoom finishes, after the pull
| | 04:41 | finishes, there it finishes.
| | 04:42 | So, we've now that clip is nine
seconds long, we'll make it about 9:15, 9:18,
| | 04:45 | 9:20, so it's 20 frames into
it after it finishes a pull.
| | 04:50 | And there we have it.
| | 04:51 | Now, if I drag this down to the Timeline,
it's going to be an Insert Edit, which
| | 04:55 | is the default thing when you drag a
clip from the Project View and also now,
| | 04:59 | when you drag it from the Preview window.
| | 05:00 | So I'm going to drag it down and you
notice it has that little right blue arrow
| | 05:04 | pointing to the right, saying this is
going to be an Insert and you know when
| | 05:07 | you drag something down and make an insert,
| | 05:09 | that clips on other tracks are going to split.
| | 05:11 | I'll show you that, and you get a gap,
and you don't want gap in the music.
| | 05:14 | So, you need to use the keyboard
modifier to avoid having that happen.
| | 05:18 | So I'm going to drag this guy down and
hover it there. The Insert is going to work.
| | 05:22 | I'm going press down the Alt keyboard modifier.
| | 05:25 | You get that zebra striping thing, which
means we are going to shove the clip on
| | 05:29 | Video1 to the right, but we are not
going to shove the clip on Audio1 to the right
| | 05:32 | and there we have it.
| | 05:33 | We have made the insert
without cutting the audio.
| | 05:35 | So I used the keyboard modifier Alt
to avoid having that break happen.
| | 05:39 | But something happens differently on
the Sceneline, which is another reason why
| | 05:42 | you want to use the Timeline.
| | 05:43 | So I'm going to undo that, Ctrl+Z,
and then go to the Sceneline.
| | 05:47 | You're going to see we have got these two clips.
| | 05:48 | You can't see the audio because it's in
Audio1, which is actually this track here.
| | 05:54 | That Audio icon represents Audio1.
| | 05:56 | So, the audio is there.
| | 05:57 | You just can't tell it's there.
| | 05:58 | I'm going to drag this guy down, ahead
of this clip, basically on top of it.
| | 06:02 | That's where you drag it on top.
| | 06:03 | It's going to be an Insert now, and if I
just let it go, it will be an Insert Edit.
| | 06:07 | We'll go back to the Timeline to see
what happens. It made that horrible gap.
| | 06:11 | Ctrl+Z to undo that.
| | 06:12 | Go back to the Sceneline,
drag it down with Alt now.
| | 06:16 | So you think the Alt would be a nice
shortcut to avoid having that happen.
| | 06:21 | Let go and let's take a look.
| | 06:22 | So, even with Alt down, it still cuts the audio.
| | 06:26 | So on the Sceneline, using the
trimming process and adding a clip using an
| | 06:30 | Insert Edit, will still cut other tracks.
| | 06:34 | So another advantage, you really do want
to do this kind of work on the Timeline.
| | 06:38 | So you can use the Preview Monitor to
trim clips before adding them to the
| | 06:41 | Timeline or the Sceneline, but you have more
control over edits if you work in the Timeline.
| | Collapse this transcript |
| Splitting clips and changing clip speed duration and direction| 00:00 | In addition to trimming clips, there are a
few other fun things you can do on the Timeline.
| | 00:04 | You can stretch clips, thereby
changing a clip's speed or duration.
| | 00:08 | You can make them run backwards,
create freeze frames or split clips.
| | 00:12 | First up, let's talk about stretching a clip.
| | 00:14 | Here is the scenario.
| | 00:15 | You've got two clips and you used every
single frame that those clips allow you to use.
| | 00:20 | If you look at the end of these clips,
you'll see little triangles there in the corner
| | 00:24 | that say that's every
frame in this original clip.
| | 00:27 | There aren't any more frames. And you
go to the next clip, click on that one.
| | 00:30 | You can see the little triangle in the
upper left-hand corner there, meaning
| | 00:32 | there are no head frames in this
one, no tail frames in this one.
| | 00:35 | But somehow or other, you've got to fill
this gap because your narrator went too long.
| | 00:40 | Then you need to be able to fill that spot,
and you've got nothing to fill it with.
| | 00:43 | This is a little
desperate moment in video editing.
| | 00:46 | What you can do is you can
stretch this clip a little bit.
| | 00:49 | By stretching it you make
it run a little bit slower.
| | 00:51 | And nobody will notice that
it's going a little bit slower.
| | 00:54 | So let's see how long that gap is.
| | 00:56 | I'm going to Page Down to
this particular trim point.
| | 00:59 | And I can see in the Timeline that it's
8 seconds and 28 frames to that point.
| | 01:04 | Go to the next one, and it's 9;28, so
it's exactly one second that we need to fill.
| | 01:08 | I'm going to go over here to the
Time Stretch tool, that little clock
| | 01:12 | that's been stretched.
| | 01:14 | Click on that and that turns the
cursor into this little sort of squiggly
| | 01:18 | arrow with a bracket.
| | 01:20 | It's not the Ripple tool.
| | 01:21 | If I click this guy and hover over it,
you can see the Ripple tool with the
| | 01:24 | square bracket and the straight double
arrows, and the big fat double arrow.
| | 01:27 | Click on the Time Stretch tool and
you'll see that it's a little squiggly arrow,
| | 01:31 | meaning we're going to stretch this guy.
| | 01:32 | Now if I stretch this guy and pull it
here one second, I'm going to fill the gap.
| | 01:36 | I'm going to make that clip one second longer.
| | 01:38 | I didn't add some
magical frames past this point.
| | 01:41 | I just duplicated a few frames
to stretch it out a little bit.
| | 01:44 | And what will happen is that it will
be just a little bit of slow motion, but
| | 01:48 | viewers won't notice that
you've made a clip that's already
| | 01:50 | let's say 15 seconds long, just one
second longer probably. Let's take a look.
| | 01:55 | (Whack! Golf ball being hit.)
| | 01:56 | There we go. But if you listen carefully to
the audio, I heard a comment from the guy in the
| | 02:02 | background there. His voice
kind of dropped a little bit.
| | 02:05 | That's one of the problems when
you stretch it. The audio drops.
| | 02:08 | It's sort of like a Doppler effect.
| | 02:10 | There is a better way to do it. I mean,
if you wanted to stretch something and
| | 02:13 | it's not going to be obvious, and you
won't see the slow-mo and you won't see
| | 02:17 | that there are several fuzzy kind of
frames that you've been adding here.
| | 02:20 | When you make the duplication, it
kind of makes it just a little bit fuzzy.
| | 02:23 | There is a better way to do it.
| | 02:24 | So I'm going to go Ctrl+Z to undo that.
| | 02:26 | There are two Time Stretch tools.
| | 02:28 | There is one that's called the Tool,
and one that's called the Command.
| | 02:31 | So I want to go up here to the clip,
and lo and behold there is Time Stretch,
| | 02:36 | but it's entirely different. It's a dialog box.
| | 02:39 | And here you can maintain the audio pitch.
| | 02:42 | It's a very important thing.
| | 02:43 | So I want to go back down here
for a second, cancel out of here.
| | 02:46 | Go back. I want to stretch a
one-second portion of this clip.
| | 02:50 | So we'll just cut off a portion of
the clip, one second, and stretch that,
| | 02:53 | duplicate that, and see what that's like.
| | 02:55 | So I want to go back here to this little spot.
| | 02:57 | Page Down to 8;28, go back a second to 7;28.
| | 03:07 | Go forward one little notch here.
| | 03:08 | I'm going to duplicate that clip basically.
| | 03:10 | I'm going to hit the Split tool here.
| | 03:12 | So I split a clip. I'm going to select
this clip. I'm going to go Clip > Time Stretch.
| | 03:19 | I want it to be basically half
speed, which will double the length.
| | 03:23 | So if I go half speed, that's 50%.
I maintain the audio pitch and I click OK.
| | 03:30 | It's going to take a 1-second clip and
turn into 2-second clip and fill that gap.
| | 03:35 | But the trouble is it does it as
an insert. It shoved everything over.
| | 03:38 | So I'm going to right-click here and say
Delete, and now let's see what happens.
| | 03:42 | It will slow down his back swing basically.
| | 03:44 | (Video playing. Birds chirping.)
| | 03:49 | So we just took a portion of the clip
and duplicated it or stretched it out to
| | 03:54 | fill that gap rather than
stretching the entire clip.
| | 03:56 | There are sort of two different
ways to make that thing happen.
| | 03:59 | The trouble is it does a little bit of
an audio jump there.
| | 04:02 | (Whack! Golf ball being hit.)
| | 04:04 | You can hear that.
| | 04:05 | We can sort of fix that later when we
talk about doing audio edits. We can put
| | 04:08 | a little Audio Cross
Dissolve there to make that go away.
| | 04:11 | Two different ways. You can stretch the
entire clip or cut off a portion of it
| | 04:14 | and use the Time Stretch command,
where we can control the audio levels and
| | 04:19 | maintain the audio pitch, and avoid
having that little drop in pitch that
| | 04:23 | would happen normally.
| | 04:24 | Now I want to show you some other fun
thing you can do in terms of making some
| | 04:28 | slow-mo and reverse motion.
| | 04:30 | I'm going to use that with
entirely different clip here.
| | 04:32 | Go to golf-drive5, a clip
you haven't seen to this point.
| | 04:36 | Drop it down here and
let's take a look at that clip.
| | 04:38 | Have him wind up, hit
the ball and off it goes.
| | 04:43 | It'd be kind of cool if I
could put this in slow motion.
| | 04:46 | Right here I want the slow motion to begin.
| | 04:48 | So I'm going to split the clip there.
| | 04:50 | There is my Split Clip tool, click
wherever the Current Time Indicator is,
| | 04:54 | and that splits the clip.
| | 04:54 | So I'm going to and I'll
make this clip be slow motion.
| | 04:58 | So I'm going to right-click on it
this time, and select Time Stretch right
| | 05:04 | there, or I could select the clip and
go up here and go Clip > Time Stretch.
| | 05:09 | I want it to be half speed.
| | 05:11 | I want to go on 50%.
| | 05:12 | Basically increments of 25 or 10 work
better than numbers like 33 or whatever.
| | 05:17 | They tend to be smoother.
| | 05:18 | So I'm going to maintain audio
pitch and slow this guy down.
| | 05:20 | So it's going to go like this.
| | 05:28 | (Whack! Golf ball being hit.)
| | 05:29 | And we even got that smack.
| | 05:30 | But now I want to slow him down some more.
| | 05:32 | So as he gets to the top of the swing
and starts down, I'm going to slow
| | 05:35 | that down even more.
| | 05:36 | So I'm going to split it again and
we're going to make this guy, let's say 25%.
| | 05:45 | You'll notice it has the current
time, which is 50. Go down to 25.
| | 05:49 | Maintain audio pitch.
| | 05:50 | So let's see what happens this time when
we go from the top swing to the down swing.
| | 05:56 | (Whack-ackkk! Golf ball being hit.)
| | 05:59 | It does make a funny audio sound, but
I could fix that if I were teaching you
| | 06:03 | how to do audio trimming right now.
| | 06:04 | I could take the original audio and
put it on a track above here to make the
| | 06:07 | audio true instead of that sort of
double smack, but it does sound kind of fun
| | 06:11 | and that's how you can trim one clip to
slow down 50% and then slow it down even
| | 06:17 | more for the action.
| | 06:20 | At this point, I could cut it again
and actually do everything in reverse.
| | 06:25 | Rather than go through all of those things,
| | 06:26 | I'll just do one here. We're
going to have it go like this.
| | 06:28 | To the point where
he hits the ball out there.
| | 06:30 | I am going to cut it there.
| | 06:31 | So I'm now going to select
this part that I just trimmed off.
| | 06:35 | Press the V key, which is the
shortcut for the Selection tool, or I can just
| | 06:38 | press the Selection tool.
| | 06:40 | Click on this and press Delete.
| | 06:41 | I'm going to take this clip.
| | 06:43 | I'm going to click on it.
| | 06:44 | It's the one when the ball
goes off in the distance.
| | 06:47 | I'm going to right-click
on this clip and say Copy.
| | 06:50 | I can do that or I can select
the clip and go Edit > Copy.
| | 06:55 | Now I'm going to move the Current Time
Indicator to where I want to place this copied clip.
| | 07:00 | So I press the Page Down key and
now I'm going to press Edit > Paste.
| | 07:05 | The shortcut is Ctrl+V.
I've taken that exact clip.
| | 07:09 | Watch here, the ball goes off in the
distance, and there is the same shot there.
| | 07:16 | I want to take this clip, I'm going to
right-click on it and go Time Stretch,
| | 07:21 | Reverse Speed, and let's see what happens now.
| | 07:30 | (Swoosh! Whack!)
| | 07:32 | And you can imagine you can
actually take the ball back to the tee and
| | 07:36 | reverse the entire process.
| | 07:37 | Let's do one more thing.
| | 07:39 | As we come back here, I want the ball
to come back and freeze right there.
| | 07:45 | So I'm going to click on this
thing called the Freeze Frame tool.
| | 07:48 | So let's insert a movie, there we go,
and I'm going to show you how that works.
| | 07:53 | It's a five-second clip,
but you can trim it later.
| | 07:57 | There we go.
| | 08:00 | (Swoosh! Whack!)
| | 08:01 | Bam! There is the Freeze Frame.
| | 08:02 | These features are the Time Stretch tool,
which you can find in the Timeline,
| | 08:06 | Time Stretch command, which is inside
the menu or the Clip Context menu,
| | 08:11 | Freeze Frame tool, the Split Clip tool.
These all open doors to all sorts of
| | 08:15 | creative possibilities.
| | Collapse this transcript |
|
|
6. Applying and Adjusting Video TransitionsUnderstanding transitions| 00:00 | This tutorial is about transitions,
effects that take you from one clip to another.
| | 00:05 | There are a variety of
reasons to use transitions.
| | 00:07 | For example, you might want to send a
message to your viewers that we are going
| | 00:10 | from one time or place to another, and
use a transition to send that message.
| | 00:14 | You might want to set a mood. For
instance, we've been using these fall colors
| | 00:18 | video clips and it's kind of abrupt
just to cut from one to the next, so you
| | 00:21 | put a gradual dissolve and
that's much nicer for your viewers.
| | 00:25 | Sometimes you have two clips that are
so similar that your viewers might get
| | 00:28 | confused when you go from one to the next.
| | 00:30 | So you say look it. Put a wipe
transition and a really obvious transition, then
| | 00:33 | the viewers know, oh,
this is a new subject matter.
| | 00:36 | Finally, there is a mantra in the
video editing world that goes like this.
| | 00:39 | If you can't solve it, dissolve it.
| | 00:41 | What that means is if you have two
clips that when put together are jarring or
| | 00:45 | confusing, solve that problem with a
dissolve or some other kind of transition.
| | 00:50 | Now Premiere Elements has
more than 120 video transitions.
| | 00:53 | Some are subtle, some are wild.
| | 00:55 | It's tempting to use them a lot.
I would ask you to use some restraint though.
| | 01:00 | Find places where you really need a
transition and then find the right
| | 01:03 | transition for that moment.
| | 01:04 | Let me show you a few examples.
| | 01:07 | I set up this project with six sets of clips
between which I'm going to put some transition.
| | 01:11 | So to do that I go to Edit > Transitions.
| | 01:14 | As I hover over a transition it plays
for a moment. The first one is this clip
| | 01:20 | here from the red water to the red leaves.
| | 01:24 | It's abrupt just to cut from one to the next.
| | 01:25 | I'm going to use a standard
Cross Dissolve to go there.
| | 01:28 | Just drag the Cross Dissolve down
between the two clips. Now I'll play it.
| | 01:30 | Much more gradual, really works for
a clip like that to have that kind
| | 01:36 | of gradual transition.
| | 01:37 | Here is a trucking shot.
| | 01:39 | The trucking shot has
these trees going through it.
| | 01:41 | So they sort of lend themselves to
using what's called a wipe transition.
| | 01:45 | I can't find the wipe transitions
necessarily amongst these dozens and dozens
| | 01:49 | of transitions, so I'm going to write down
wipe here, w-i-p, and it takes me to all
| | 01:55 | the wipe transitions.
| | 01:56 | I use a standard wipe transition.
I'll drag that down here and now I'll go
| | 02:00 | from one to the next to see how that looks.
| | 02:02 | Just sort of matches the flow of that
shot, but what I can do is I can click on this,
| | 02:09 | edit the transition,
have it be a little bit longer.
| | 02:12 | So perhaps it will actually more or
less match that tree going by. Let's see.
| | 02:16 | It's hard to get it exact, but we're
going to slide it over a little bit and
| | 02:20 | we'll just see if we can get it
to more closely match the tree.
| | 02:23 | There we go, more or less get it right there.
| | 02:26 | But you can adjust
transitions as you can see here.
| | 02:28 | Let's try that one more time.
| | 02:29 | There we go. Now we've got pretty close
to the tree, that one by there, and
| | 02:33 | see that sort of more or
less fits the tree going by.
| | 02:36 | So you can transition.
| | 02:37 | You're going to have a wipe
that sort of matches the action.
| | 02:40 | Let's go to this next one.
| | 02:41 | It's rotating, then going to the next scene.
| | 02:45 | It's like there are some kind of
transitions that sort of rotate as well.
| | 02:48 | So I'm going to go to sphere, type
in sphere, s-p-h, takes us to Sphere.
| | 02:55 | Drag that down here.
| | 02:56 | It's a pretty wild transition.
| | 02:58 | Let's take a look at this one.
| | 02:59 | Sort of wraps this thing up in a
sphere and goes onto the next scene.
| | 03:04 | By the way, I can say I'm going to
have that transition go backwards.
| | 03:08 | Something you can do with some
transitions. I'm going to play it in reverse and
| | 03:11 | so instead of the trees wrapping up on
a ball, the next scene wraps up in a ball
| | 03:15 | and comes in, like that, so
you can make transitions go backwards.
| | 03:19 | Let me go down here to this golf shot
and we go from this tee shot to this next shot,
| | 03:27 | and trouble is with this tee shot,
we've got the ball by itself, then here
| | 03:30 | is a ball with a golf club behind it.
| | 03:32 | So to sort of make it less
obvious that was kind of an abrupt cut,
| | 03:36 | I want to put a transition between that.
| | 03:38 | To do that, I'm going to put
down something called the Zoom.
| | 03:41 | There are all kinds of zoom.
| | 03:43 | I'll try the Zoom Trails. I'm choosing this
one for a reason I'll show you in a second.
| | 03:48 | Can expand the view of the
Timeline, so you can see it there.
| | 03:50 | When you put a transition,
that leaves a little rectangle.
| | 03:53 | And now I'm going to play that.
| | 03:54 | See how that worked? It kind of zooms in on
that particular object goes to the next scene.
| | 04:01 | That's a Zoom or a Zoom Trail.
| | 04:03 | That way you didn't really notice
that by the way there is no club here and
| | 04:07 | there is a club there.
| | 04:09 | So we kind of distracted them for a moment.
| | 04:11 | That's okay to do that.
| | 04:12 | We move down the line here to this next clip.
| | 04:15 | Got this guy where he is hitting the tee shot.
| | 04:17 | (Whack! Golf ball being hit.)
| | 04:18 | I can actually have a transition
that sort of works like a swing.
| | 04:22 | Let's type in 'clock wipe.'
| | 04:26 | That will sort of match his golf swing.
| | 04:29 | We can make it match exactly, but we'll
just show you how that works here briefly.
| | 04:33 | (Whack! Golf ball being hit.)
| | 04:34 | Oops! It went the wrong way, which we can fix.
| | 04:36 | That's the default way.
| | 04:37 | Let's click this for a second. Instead
of going from clockwise, let's have it
| | 04:42 | go counter-clockwise.
| | 04:43 | Now we have to match to the swing.
| | 04:46 | (Whack! Golf ball being hit.)
| | 04:48 | There we go. Let's go to the last one here.
| | 04:50 | This is where we have two similar shots.
| | 04:53 | We've got this guy teeing off and
we've got this guy teeing off, both from
| | 04:58 | behind, both wide shots.
| | 04:59 | So you want to tell your viewers,
look it, it's definitely a different guy.
| | 05:03 | So sometimes you want to make
a really obvious transition.
| | 05:06 | So I'll put down 'page,' have a Page Roll.
I'll drag that between the two. This is a
| | 05:12 | GPU Transition, Graphic Processing Unit.
| | 05:16 | As you pull back, you notice that actually
has the back side of the clip. Isn't that something?
| | 05:22 | That takes a lot of processor power to do that.
| | 05:24 | That's why you need the Graphic Processing
Unit on your computer actually to do this edit.
| | 05:28 | Here we go. There we go.
| | 05:32 | So these are some examples of how
you can apply transitions to enhance
| | 05:35 | certain circumstances.
| | 05:36 | I suggest you play around with these guys and
you'll come up with ways to use them on your own.
| | Collapse this transcript |
| Applying transitions| 00:00 | In this tutorial, I'll explain how to
apply transitions between clips in the
| | 00:04 | Sceneline and clips in the Timeline.
| | 00:06 | Transitions go between clips;
they move from one scene to the next.
| | 00:11 | To get the transitions, you go to the
Edit workspace and click on Transitions.
| | 00:16 | Here are all the transitions.
| | 00:18 | You can scroll through them and
see them all, more than 100 of them.
| | 00:23 | You can hover over them, and as you
hover, they animate to give you an
| | 00:26 | indication of how they're going to work.
| | 00:27 | Notice this Cube Spin goes from left to right.
| | 00:30 | But there are options inside
transitions that you can change to make it go from
| | 00:34 | right to left, for example.
| | 00:36 | Let's apply a transition
here in the Sceneline first.
| | 00:39 | So I need to change to the Sceneline.
| | 00:40 | You notice that the Sceneline has
little double arrow placeholders.
| | 00:45 | These guys are where you place transitions.
| | 00:48 | So I want to do the standard transition,
the Cross Dissolve, and drag it between
| | 00:52 | these two clips and that drops
right in that little placeholder.
| | 00:54 | And notice a couple things. First of all,
the icon used for the Cross Dissolve
| | 00:58 | shows up here in the placeholder, and
the Current Time Indicator goes to just
| | 01:03 | about the end of this clip, but
before the beginning of the next.
| | 01:07 | That actually is the
beginning of the transition point.
| | 01:10 | It automatically jumps to the beginning
of the transition point, which is 15 frames,
| | 01:14 | a half a second, before
the end of this clip. I'll play it.
| | 01:16 | It makes the transition, and then it
completes the transition 15 frames
| | 01:21 | into the next clip.
| | 01:22 | That's because transitions by
default are one-second long.
| | 01:26 | You can go to Edit > Preferences > General.
| | 01:30 | There you will see that the Video
Transition default is 30 frames.
| | 01:34 | That's equal to 1 second.
| | 01:35 | You can always change that if you want to.
| | 01:37 | But the thing is you can change the
length of the transition inside a thing
| | 01:41 | called Edit Transition.
| | 01:42 | I talk about editing
transitions in another video.
| | 01:45 | Let me show you how you
can replace the transition.
| | 01:46 | So here we have this one. I'll click on it.
| | 01:48 | And I'm going to change it to
something, let's say, more obvious.
| | 01:53 | Something like this Page Curl. That will
be a really obvious change. Drag it down.
| | 01:58 | If I drag a new transition on top of an old one,
| | 02:00 | it just replaces it.
| | 02:01 | Notice the icon changes, and we'll click Play.
| | 02:05 | Notice that the CTI goes there
before the transition begins.
| | 02:08 | Click Play and there's a new transition.
| | 02:10 | Click on it again. I'll
click Play. There we go.
| | 02:16 | There is a transition,
a very obvious transition.
| | 02:17 | I'll scroll through it so you get a
sense of how that works, because it really
| | 02:20 | is amazing, this GPU, Graphics
Processing Unit transition that duplicates the
| | 02:25 | equivalent of the back of the clip.
| | 02:26 | If you want to see the back side of a
clip, there you go. It rolls it over.
| | 02:29 | That takes a lot of processing power, so it
uses your Graphics Processing Unit to do that.
| | 02:34 | You can add transitions to the
beginning or end of a project to, say, fade it
| | 02:38 | up from black or fade it down to black.
| | 02:40 | So let me go back to the beginning here.
| | 02:42 | I'm going to take Cross Dissolve or Dip
to Black. Even it's dipping to black,
| | 02:47 | it will come up from black as well.
| | 02:48 | So I'll drag it there, there is the
beginning of the entire project, the Current
| | 02:52 | Time Indicator goes to the
beginning, and I'll click Play.
| | 02:54 | It will fade up from black, basically.
| | 02:57 | If I use the Dissolve, the Cross
Dissolve would be the exact same thing.
| | 03:00 | It will just fade up from black,
because black is the default background
| | 03:04 | when there are no clips.
| | 03:05 | So it fades up from black and if I want
to go to the end of this particular project,
| | 03:09 | which is a golf clip, I'll go
to the end anyways, drag way down here to
| | 03:13 | the ends, scroll over to the last clip.
| | 03:15 | Let's put this one here.
| | 03:16 | I'll go Dip to Black or Cross Dissolve, either
one, right there at the end, and I play that.
| | 03:21 | Notice that the Current Time Indicator
goes to just before the end of the project.
| | 03:23 | It will fade away, like that.
| | 03:27 | So that's how you add transitions,
replace transitions on the Sceneline.
| | 03:31 | To do it on the Timeline is a little different.
| | 03:33 | I'll switch over to there.
| | 03:35 | I'll move over to this particular spot here.
| | 03:38 | When you drag transitions to the Timeline,
| | 03:40 | you'll notice there is no placeholder here.
| | 03:42 | You just drag them at the
edit point between two clips.
| | 03:45 | Let me drag let's say this Cross
Dissolve, again, between those two clips.
| | 03:48 | You notice that a little rectangle there,
it illuminates it, and you'll notice a little cursor.
| | 03:52 | It has a blue line with a
diagonal line going through a rectangle.
| | 03:56 | That shows you that's the transition and
it's going to be centered on the edit point.
| | 04:00 | I'll let go, and we'll play that.
| | 04:03 | Notice that the Current Time Indicator
does not jump to the beginning of the
| | 04:07 | transition as it did before.
| | 04:09 | I'm going to replace that transition now
with something else, Swing In for example.
| | 04:12 | Notice the Current Time Indicator
does not move, which is the way it should
| | 04:15 | behave in the Timeline.
| | 04:17 | You should be the person that
moves it, not adding a transition.
| | 04:19 | So I'll just put this here and the
Current Time Indicator stays where it was
| | 04:22 | before and I'll play
through that. There you go.
| | 04:26 | So it's easy to replace
transitions that are on the Timeline.
| | 04:30 | The rectangle works a lot like a video clip.
| | 04:33 | If I zoom in on it, I'm going to
press the Plus key a couple of times.
| | 04:36 | There is the clip. When I click on it,
I can actually drag the ends of it, make
| | 04:40 | the transition longer.
| | 04:41 | I'm not making the clip longer.
I'm making the transition longer.
| | 04:44 | I've just made a longer transition.
| | 04:47 | You can tell how long it is, just
relatively speaking, by the length of that rectangle.
| | 04:51 | It's a longer transition, like that.
That's how that worked.
| | 04:55 | If I click on this to make the
transition active, I can click Edit Transition,
| | 04:59 | and it shows certain characteristics.
| | 05:01 | I'm going to discuss these
characteristics in another video.
| | 05:04 | If you change the length here, you'll
notice that the length there is now two
| | 05:07 | seconds long instead of the default one second.
| | 05:10 | Like a clip you can click on
a transition and press Delete.
| | 05:13 | That will make the transition go away.
| | 05:15 | Let me show you one more little
characteristic of transitions on the Timeline.
| | 05:19 | I'm going to press the Backslash key
and go over to these two golf clips.
| | 05:22 | These golf clips are complete clips
that use every single head and tail frame.
| | 05:26 | If I zoom in a bit, you'll see that.
| | 05:27 | See these little triangles in the corner?
| | 05:29 | That means there are no
extra head or tail frames there.
| | 05:32 | So what happens if you put a transition
where you want to in effect overlap head
| | 05:36 | and tail frame, so that you can
transition from one to the next?
| | 05:38 | Let me just grab a really
obvious transition like a wipe here.
| | 05:41 | Scroll down to wipes. There is Wipe.
| | 05:44 | I'll do a standard wipe here.
| | 05:46 | I'll drag it between two clips.
| | 05:48 | It actually creates freeze frames.
| | 05:50 | So if you don't have enough head and
tail frames, Premiere Elements does this
| | 05:54 | very cool thing of creating freeze
frames to accommodate that for you.
| | 05:57 | So the clip on left of the screen is
actually the clip on the right here.
| | 06:02 | If you notice, the clip on the left, as it
comes in the screen, the guy is not moving.
| | 06:06 | It's a freeze frame.
| | 06:06 | But right at the edit point,
he'll start moving and actually, so
| | 06:12 | Premiere Elements created freeze frames here,
this guy, to overlap with the clip to the left.
| | 06:16 | And then the clip to the
right created freeze frames
| | 06:19 | that overlap to the left.
| | 06:20 | You can see that more clearly if I
do a little Edit Transition here
| | 06:23 | and I have it go from top to
bottom. Let's watch this.
| | 06:26 | So the guy in the bottom is moving,
the guy at the top is not, but at the edit point
| | 06:31 | the guy at the bottom stops
moving, and the guy at the top does.
| | 06:34 | So it's a very slick thing that
Premiere Elements does that most hobbyist
| | 06:38 | editing programs would not do.
| | 06:39 | They would not duplicate the frames.
| | 06:41 | They would simply shorten your project
by the length of the transition, which is
| | 06:44 | really not a good thing.
| | 06:45 | So be grateful that Premiere Elements
handles transitions so elegantly like that.
| | 06:49 | Simply adding a transition and using
its default settings might be enough to
| | 06:52 | suit your needs, but if you want to,
you can customize transitions as you've
| | 06:56 | seen me do here a couple of times.
| | 06:58 | I'll explain that in the
Adjusting Transitions video.
| | Collapse this transcript |
| Adjusting transitions| 00:00 | Transitions in Premiere Elements have
certain default parameters like a one
| | 00:04 | second duration, but you can
customize every single transition.
| | 00:08 | Now that doesn't mean you have to
learn how to customize more than 100
| | 00:11 | different transitions.
| | 00:12 | Rather you need to learn about
only 10 different parameters.
| | 00:15 | Each transition has some subset of
that collection of 10. Here is a rundown.
| | 00:20 | Duration.
| | 00:20 | How long is the transition?
| | 00:22 | Alignment. How does the transition line up
with the edit point between the two clips?
| | 00:27 | Start and end points.
| | 00:28 | You can actually start a transition
partially into the transition or end it early.
| | 00:32 | Direction. Does the transition move from
right to left, top to bottom, diagonally?
| | 00:37 | Does it have a Border?
| | 00:38 | If it does, it has a Width, a Color and
you might use Anti-aliasing. I explain
| | 00:42 | that later in the video.
| | 00:43 | Can you play it forward or in reverse,
like opening or closing curtains?
| | 00:47 | Does it have a custom option?
| | 00:49 | I'll show you an example in a few moments.
| | 00:50 | Finally, a few transitions have what's
called a center point, a location in the
| | 00:54 | clip where the transition begins or ends.
| | 00:57 | I introduced these parameters to you gradually.
| | 00:59 | I want to start with something Halo-No Rim.
| | 01:01 | I go Edit, Transitions. I'm going to
choose Halo, H-A-L ,and there is Halo-No Rim.
| | 01:08 | I'm selecting this transition,
dragging it between these two clips.
| | 01:11 | That transition has only three parameters.
| | 01:14 | It's one of the few transitions that
has only three, a Duration, an Alignment
| | 01:19 | and Start/End Points.
| | 01:20 | It also has this thing
called Show Actual Sources.
| | 01:22 | All transitions have this option.
| | 01:24 | It's not really a parameter.
| | 01:25 | It's just a convenience for you.
| | 01:27 | I suggest you always turned it on.
| | 01:29 | And once you turned it on for one
transition, that's on for all transitions.
| | 01:32 | This way you can see how the transition
looks here in the Transition Parameter window.
| | 01:36 | Let's talk about Duration first.
| | 01:37 | When you hover your cursor over
Duration, you see it turns into a little
| | 01:40 | pointing finger and if you look
really carefully, it's hard to see on the
| | 01:43 | monitor, but there's little black arrows
pointing out from either side of the index finger.
| | 01:46 | What that means is you can scrub this number.
| | 01:48 | Whenever you see that cursor, in a
program that's made by Adobe at least,
| | 01:52 | you know that you can click and
drag to the right, to get to increase it.
| | 01:55 | Drag to the left, you decrease it.
| | 01:56 | So we'll increase the length of this
transition to about three seconds or so.
| | 02:00 | You notice there are two things. The
transition expands down here, the relative
| | 02:04 | width of the rectangle expanded, and
also you saw it shift here in the windows.
| | 02:08 | Let's just play through that
transition so you can see this halo transition.
| | 02:12 | It's really quite beautiful.
| | 02:16 | If you want to use it on water, for
example, to create video transition from
| | 02:19 | once scene to the next in water.
| | 02:20 | Let me click on that again to open up the
Edit Transitions dialog area, or the window.
| | 02:25 | If I click on the transition to
activate it, to make it active, then this
| | 02:29 | button becomes active, and I can click on
that to open up the Transition Parameters window.
| | 02:34 | I can access it as well by clicking away
and just double-clicking on this little
| | 02:38 | thumbnail, another way to access it.
| | 02:40 | And I want to change the Alignment.
| | 02:42 | If I click this down arrow I can have
it start at the cut, which means that the
| | 02:46 | transition starts mainly in the second
clip. See how it begins right there at
| | 02:51 | the edit point? Or I
can have it end at the cut.
| | 02:55 | In this way the transition basically
completes just before you go to the next clip.
| | 03:00 | And you can adjust this manually by
dragging this thing back and forth, but
| | 03:03 | those are the default
locations, Center, Start or End.
| | 03:06 | So I'll put it Center, which
is the normal spot to do it.
| | 03:08 | Let me go on to another transition.
| | 03:10 | We'll call this the Sphere transition.
| | 03:12 | I want to use that one, because this is
a rotating image, and using say a sphere
| | 03:17 | to come out of a rotating image
is kind of the logical choice.
| | 03:20 | Let me click on Transitions.
| | 03:21 | I want to track down Sphere, there it is.
| | 03:26 | Drag it down between those two clips.
| | 03:28 | Click on it to make this little button
active and click here to open it up.
| | 03:31 | You'll notice that
Sphere has one more parameter.
| | 03:34 | You have got to drag down
to see it. It says Reverse.
| | 03:36 | Let me show it to you in the
forward direction, the default direction.
| | 03:39 | It goes from the rotating clip to the next clip.
| | 03:41 | But I want to play it in reverse.
| | 03:43 | So we click on the Reverse
button here, back it up a bit.
| | 03:47 | And this time instead of going from the
trees here rotating and turning that into
| | 03:51 | a sphere going to the next scene, it's
going to take the next scene and create a
| | 03:54 | sphere out of that and bring that in.
| | 03:56 | Let's take a look at that.
| | 03:59 | What's cool about this is if you saw--
that flashed by maybe too quickly.
| | 04:02 | I'll just click on this guy and I'll
expand the length of the transition so you
| | 04:06 | really get a good feel for
how that works. There we go.
| | 04:09 | It just kind of rolls in.
| | 04:10 | This is a GPU transition.
| | 04:12 | It uses the Graphics Processing Unit, requires
a lot of processing power. Pretty great, huh?
| | 04:17 | I'll just un-reverse that. That's right.
| | 04:21 | There we go. We are out of the scene
and it rolls away to the next scene.
| | 04:25 | All right, let's try a transition
between these next two clips.
| | 04:28 | This is a trucking clip
where it goes from left to right.
| | 04:31 | So I want to transition
that can go from left to right.
| | 04:34 | So I'm going to add a Page Roll to that.
| | 04:35 | I wonder if you saw the demo.
| | 04:36 | You have seen this one before.
| | 04:37 | I'll put the Page Roll up there,
P-A-G-E. That's Page Roll.
| | 04:41 | Drag that down and this has an option
that allows you to have the transition go
| | 04:45 | in different directions.
| | 04:46 | I'll click on that and notice
it has four points around here.
| | 04:49 | I can have the transition go
from East to West, Right to Left.
| | 04:52 | You see the Page Roll coming
on the right hand side here now.
| | 04:54 | And it goes from Top to Bottom, or Bottom
to Top, we'll do North to South right now.
| | 04:59 | Comes from the top and rolls
down to reveal the next scene.
| | 05:01 | But in this particular case I'll take
the default direction, because that's
| | 05:04 | the direction, that's the movement of the
image, from left to right from West to East.
| | 05:09 | Sometimes you see this little option,
when you can have a transition that
| | 05:11 | has direction to it.
| | 05:12 | That has some kind of
movement through the scene.
| | 05:15 | Let's move to another spot here.
| | 05:16 | I have got this clip, which
has kind of a funnel shape to it.
| | 05:19 | So I'm going to use a
Funnel transition on there.
| | 05:21 | I'm using the Funnel transition for
another reason, because it has a border.
| | 05:23 | Many transitions that
have edges to them have borders.
| | 05:27 | So let me show you that
transition. I get down here.
| | 05:30 | You see how this works.
| | 05:31 | It turns into an angular shape and pulls it
off the screen. So let me double-click on it
| | 05:36 | to open up the transition.
| | 05:37 | Let me click on this again to show
sources, and let's see how that looks.
| | 05:41 | It has Border Width,
Border Color and Anti-aliasing.
| | 05:44 | Now those three things are all related
to the borders, so it would be better if
| | 05:48 | anti-aliasing had been up here with the
other two, but nevertheless those three
| | 05:51 | work together with Color and Anti-aliasing.
| | 05:54 | The default width is zero.
| | 05:55 | Let me back up a little bit so
you can see it when I add a width.
| | 05:58 | I'll just expand the width by dragging
on it again to something like 10.
| | 06:02 | I'm going to see border
appear around that funnel.
| | 06:05 | And the default color is black.
| | 06:07 | You can select the color by clicking on
this color swatch, picking a color from
| | 06:11 | this kaleidoscope of colors,
this spectrum of colors.
| | 06:14 | I'll click one here and then inside here you
can pick the Luminosity, like a medium blue.
| | 06:21 | But you can see that's kind of
extreme relative to the red color.
| | 06:23 | So a better way to pick colors in
general is to click this Eyedropper tool and
| | 06:27 | select the color from the picture, and
that puts a color that's more natural.
| | 06:31 | It fits the transition better that way.
| | 06:32 | And now I want to do one more thing.
| | 06:34 | If you notice this little jagged edge
here, on your monitor it may not be so
| | 06:37 | obvious, but it's some stair steps
that are caused by the square pixels on
| | 06:41 | computer monitors and
rectangular pixels that are on TV sets.
| | 06:44 | That's called aliasing when it stair
steps like that, but you can smooth it out
| | 06:47 | by turning on Anti-aliasing.
| | 06:49 | So I'll turn on Anti-aliasing,
and set it to Medium level.
| | 06:52 | It kind of makes a soft transition
between the two, and it's not so abrupt.
| | 06:56 | We'll try that and see how
that works. There you go.
| | 06:59 | Some transitions have little custom boxes.
| | 07:01 | Not many of them do, but let's go find one.
| | 07:03 | I know a few have them.
| | 07:05 | Let's just track down one here called Slash.
| | 07:07 | There is Slash Slide, drag
that down between these two.
| | 07:12 | Slash Slide has all these little
diagonal slashes that come through.
| | 07:17 | If you double click on it, or click
Edit Transition, if you slide down to the bottom,
| | 07:21 | there is a little box called Custom.
| | 07:22 | Not many transition have that box, but
when they do, you click on that and it has
| | 07:26 | a unique settings box for
that particular transition.
| | 07:29 | In this case it is the number of slices.
| | 07:31 | So I'll change that to let's say 16,
half the number of slices so it will get fatter.
| | 07:36 | See how that works?
| | 07:37 | Some of the transitions have more than that.
| | 07:41 | Let me just drag down something called Swirl.
| | 07:43 | I go to Transitions, type Swirl, SW,
and Swirl, drag it down, and I click on it,
| | 07:49 | I'll notice that it has three
different options inside that setting,
| | 07:54 | in terms of the number of boxes, 4x3.
| | 07:56 | So I'll change it to let's say 6x8 and
the Rate is just kind of the size of the
| | 08:02 | box basically, like that and there you go.
| | 08:05 | I'll transition from one to the next
like that and that's using that custom box.
| | 08:10 | Each custom box has a
different set of parameters.
| | 08:12 | Finally, there's one other parameter
that you can find inside some transitions
| | 08:16 | called the Center Point.
| | 08:17 | Let me go track down a
Center Point for this next one.
| | 08:19 | I want to center up something on
those geese. So let's see here.
| | 08:22 | I come here and type in Spin.
| | 08:28 | And Spin, where is that? There it is.
| | 08:30 | Spin has a Center Point on it and you
can tell that it is the Center Point when
| | 08:34 | you look right here in the Preview window.
| | 08:36 | It has a little circle there
and you can use the circle.
| | 08:38 | You can drag it over to have it start
on some object in the image and have the
| | 08:43 | transition come out of that object.
| | 08:45 | So let's see how that works.
| | 08:47 | I'm going to expand the transition a bit,
to make it a little bit longer so you
| | 08:49 | can sort of see this better.
Right there. See how that works?
| | 08:52 | I'll just drag through it and see
if the swirl happens on the bird.
| | 08:56 | Where are the birds? There you go.
| | 08:59 | So you adjust the location of the start point.
| | 09:01 | A couple of transitions
have start and end points.
| | 09:04 | But the most have only start points, so
these little center points that are on
| | 09:07 | start side of the screen.
| | 09:09 | So we have run through these 10 different
parameters, and while there are only 10,
| | 09:12 | I think you can see that the transition
customization possibilities are endless.
| | Collapse this transcript |
|
|
7. Applying and Editing Video Effects Understanding video effects| 00:00 | Video effects add polish to your project.
| | 00:02 | You apply them directly to video clips.
| | 00:04 | Premiere Elements has
more than 90 video effects.
| | 00:07 | You can use them to alter tonality like the
color, contrast and brightness of a clip.
| | 00:12 | You can distort video clips
by twisting or blurring them.
| | 00:15 | You can add an artistic appearance
using brushstrokes or embossing them.
| | 00:19 | And you can put clips in motion,
fly them on or off the screen, rotate
| | 00:22 | them, change their size.
| | 00:24 | All of the effects have default
properties, but you can edit those properties,
| | 00:28 | and you can have those
properties change over time.
| | 00:30 | That latter characteristic, the
ability to animate effects is a
| | 00:33 | wonderful creative tool.
| | 00:36 | Unlike transitions that have a maximum
of 10 parameters from a set of only 10
| | 00:40 | parameters, effects can have many
parameters from a huge set of parameters.
| | 00:44 | So it's impractical for me to teach you
every single effect in every single parameter.
| | 00:48 | What I want to do is give you a taste
for what you can do with video effects.
| | 00:52 | So in this tutorial I'm going to
demonstrate a few effects, in other tutorials
| | 00:55 | I'll have you actually go through the
process of changing and editing effects.
| | 00:59 | Let's take a look at how effects work.
| | 01:01 | Go to Edit > Effects and there they are.
And whatever clip is currently selected
| | 01:05 | you see a preview of that effect here.
| | 01:07 | You can scroll through the
effects and see how various things work.
| | 01:10 | Just by taking a look at them you get a
sense for what the effect will do, and
| | 01:13 | some effects actually animate
like Wave Warp here for example.
| | 01:16 | You can see how that effect will work.
| | 01:18 | Actually it works as an animated effect,
| | 01:20 | as opposed to a static effect.
| | 01:22 | Each clip has effects already
applied to it from the get-go.
| | 01:25 | If I click on a clip and click on
Edit Effects, you see this one has three
| | 01:28 | effects already: Motion,
Image Control and Opacity.
| | 01:31 | Those are called Fixed effects, and
they're all set at Neutral basically.
| | 01:35 | They are there for you to use, but they are
not doing anything until you change them.
| | 01:38 | And then Audio Clips, if I click on
this one, you will see that it has those
| | 01:41 | three video fixed effects, because it's
a video and audio clip, but then also on
| | 01:45 | the bottom it has Volume and Balance
because this clip has an audio portion to
| | 01:48 | it as well as the video portion.
| | 01:50 | Let's go back to this guy.
| | 01:51 | Now to apply an effect, I typically just drag
the effect to the Monitor panel or to the clip.
| | 01:56 | So let's go back to Effects. I'll just
take this Auto Color and drag it to the
| | 02:01 | Monitor panel, and boom, you can
see how the color changed there.
| | 02:04 | Take the Auto Contrast and drag it there.
There it is again. These two effects were
| | 02:08 | applied directly to that clip, and
that's a simple way how to apply an effect, but
| | 02:12 | these guys are parameters.
| | 02:13 | If I open it up, you see that there
are all these parameters associated
| | 02:16 | with those two effects.
| | 02:18 | Let me just back-up up two notches
here, I'll undo those two effects, boom,
| | 02:21 | boom, and I'll apply something like
Brightness and Contrast, which is a simpler effect.
| | 02:26 | Come to that one, and see that it's only two.
| | 02:29 | We can adjust the parameters here very
easily in terms of whatever it is your eye says
| | 02:36 | is right for that
particular clip. Let me undo that.
| | 02:39 | I'll actually keep it there and we'll just
put one more effect on this. Go to Effects.
| | 02:43 | I want to blur this clip.
| | 02:45 | So I'll put a Fast Blur on the clip,
and I'll drag it not to the Monitor panel
| | 02:49 | this time, but just down here to
the clip itself. There you go.
| | 02:52 | We have this blur.
| | 02:53 | Now sometimes you do want clips to be
blurred, because you might put something
| | 02:56 | on top of them and have a blurred
background, but most times you want
| | 02:59 | to have it be blurred for just a moment or
two, and have it changed to something sharp.
| | 03:02 | So you can have effects animate.
| | 03:04 | You can change the parameters over time.
| | 03:07 | So here is the Blurriness, and we are
going to start the clip blurred, but
| | 03:11 | I'm going to change it.
| | 03:11 | Let's make it even more blurred at the
beginning like that and then couple of
| | 03:16 | seconds into the clip I'll
change it so it is not blurred at all.
| | 03:19 | So we'll how that works.
| | 03:20 | It starts blurred, and gradually changes.
| | 03:24 | That's one of the great things
about effects in Premiere Elements.
| | 03:27 | You can change them over time.
| | 03:28 | You can animate them.
| | 03:30 | Some effects look like they are animated
just because the scene itself is animated.
| | 03:34 | So let's go to this trucking shot, go
to Effects, and apply something that may
| | 03:37 | look like it's animated, that's just
changing with every frame of the video.
| | 03:41 | Go down here and select, let's say, Colorize.
Drag that to the clip, and I'll just play it.
| | 03:48 | And the effect actually goes along and
keeps on changing with every frame to
| | 03:53 | colorize it, based on the color
in the frame. Pretty amazing.
| | 03:56 | Let's undo that.
| | 03:57 | I'll change to Metallic, which is a
little more dramatic. Look at that.
| | 04:03 | Every single frame is basically a
separate image that effect is being applied
| | 04:07 | to, one frame at a time, 30 frames per second.
| | 04:10 | Some effects actually sort
of enhance action in the clip.
| | 04:13 | Let's look at this golf swing.
| | 04:14 | I'm going to add an effect to this clip that
sort of makes the golf swing a little blurry.
| | 04:18 | So I'm going to select that, go to
Effects, and look up something called
| | 04:22 | Ghosting, I forget exactly where that is.
| | 04:24 | So I just type up here GH, and
there, see where is Ghosting? There it is.
| | 04:30 | Drag it over to the clip.
| | 04:32 | It adds this kind of a
ghosting effect. There you go.
| | 04:39 | So that animation is actually
working with the action in the clip.
| | 04:43 | This next clip already
has an effect applied to it.
| | 04:45 | This is a motion effect with keyframes.
| | 04:47 | I'll explain keyframes in a second, but
basically let's watch this clip in action here.
| | 04:51 | It's just a still photo, and
we can zoom in on the photo.
| | 04:54 | Sort of the Ken Burns approach, if
you watched those documentaries on PBS.
| | 04:58 | Actually now people refer to
those as the Ken Burns effect.
| | 05:01 | Let me just zoom down.
| | 05:02 | Let me show you that effect over here in
Edit Effects, and you can see that in the
| | 05:07 | motion you have these little keyframes added.
| | 05:10 | This is the beginning of the motion there,
and that's the end of the motion there.
| | 05:13 | Let's see how that works. Beginning and end.
| | 05:18 | Here we are.
| | 05:20 | This next picture actually has a
beginning and end as well, except it's a
| | 05:23 | different kind of motion.
| | 05:24 | This is a pan and then a zoom out.
| | 05:28 | So as you can see, this one has more
keyframes because here is the beginning of
| | 05:32 | the pan, end of the pan.
| | 05:35 | It's going to hold for a while,
and now it's going to pull out.
| | 05:37 | So let's just play that.
| | 05:41 | So this is how you can add some
interest to your still photos.
| | 05:44 | You can talk about the people on the
left, talk about the people on the right
| | 05:47 | and say they are brothers and
sisters or something like that.
| | 05:50 | This next clip is an example
of how you can animate graphics.
| | 05:54 | So let me take a look at this.
| | 05:55 | This is actually two layers, and I talk
about layering, or compositing, in other
| | 05:58 | videos, but as you notice there
is a clip above the golf clip.
| | 06:02 | The golf clip is down here, and this clip
is a graphic that I created in Photoshop.
| | 06:06 | Let's just go over and I'll show
you that little particular clip.
| | 06:09 | I go back to Project panel
and double click on this.
| | 06:12 | It's just a still image and it looks
black in the background, but it's actually
| | 06:15 | transparent back there.
| | 06:16 | So here we are, we have got this guy
above here, and I have applied an effect to
| | 06:20 | this clip, not to the one
below, but to this clip above it.
| | 06:23 | Let me go back to Edit, click on Edit
Effects, and you can see that I changed
| | 06:28 | the motion of this one, changed the
position, the keyframes, Scale and Rotation.
| | 06:33 | So you can see how this guy
spins on the screen, there we go.
| | 06:39 | This next one if you have seen weather
casters on the news, they are standing
| | 06:44 | not in front of a graphic, but they
are standing in front of a green wall.
| | 06:47 | Right here, this woman was shot in front of a
green wall and it's covering the clip below there.
| | 06:50 | You see there's like this image here, and then
the clip below her in the Timeline, this
| | 06:53 | golfing clip, and you can't see the
golfing clip, because this whole clip has
| | 06:57 | a green background to it.
| | 06:58 | But you can make the
green background transparent.
| | 07:01 | So you click on that, I'm going to
add a green screen effect to that.
| | 07:05 | So we look up Green.
| | 07:07 | GR and there is Green Screen Key.
| | 07:10 | If I drag that to this particular clip,
boom, makes the green disappear, makes
| | 07:14 | it become transparent, which is how
they do it on television news program.
| | 07:17 | And then finally this next one, I need to
really expand the heck out of the Timeline here.
| | 07:22 | You can see what's going on with this next one.
| | 07:23 | I have layered five clips, and it
really is sort of too much here.
| | 07:27 | I'm going to right click here and
say 'don't show the audio tracks.'
| | 07:31 | I'm going to uncheck that, so we can
shrink this down and make it more manageable.
| | 07:35 | Let's see if we can get all five on there.
| | 07:39 | There you go, good enough.
| | 07:40 | I have got a base clip down here
and then four clips above that.
| | 07:43 | Let's just see what we have done there.
| | 07:45 | I have applied motion to all four
clips and here is how that's going to look.
| | 07:50 | One clip, another clip,
another one and another one.
| | 07:55 | Each of these clips above
here are all layered together.
| | 07:57 | That shows how you can layer clips,
and as again I mentioned earlier, we are
| | 08:00 | going to talk about layering in other
videos, but this clip has motion applied,
| | 08:03 | and I'll show you that.
| | 08:04 | Motion with those particular keyframes,
the next one will have keyframes as
| | 08:08 | well, but they are little bit later, and
this one a little bit later, and this one
| | 08:13 | a little bit layer.
| | 08:14 | So if you watch how that works, I fly
them in one at a time using the motion
| | 08:18 | parameters. And also if you scroll
down here in each one of those clips, you
| | 08:21 | will see that they have two other
effects applied: Bevel Edges and Drop Shadow.
| | 08:26 | So these guys have this Beveled
Edge and a Drop Shadow on all four clips.
| | 08:30 | So I think you can see that video
effects have lots of possibilities.
| | 08:33 | It's a huge creative tool in Premiere Elements.
| | 08:36 | I'll talk about all the various things you can
do with video effects in several other videos.
| | Collapse this transcript |
| Using the Motion and Image Control fixed effects| 00:00 | Premiere Elements has two types
of effects: standard and fixed.
| | 00:04 | We are going to work with two of
the fixed effects in this tutorial.
| | 00:06 | Let me show you what I mean.
| | 00:07 | I am going to click on this clip
here and I'm going to go to Edit.
| | 00:11 | We are already in the Effects
views, so I'll go to Edit Effects.
| | 00:14 | This particular clip has five
effects applied to it already.
| | 00:18 | These are the fixed effects.
| | 00:19 | Three video effects and two audio effects.
| | 00:22 | The video effects are Motion, Image
Control, and Opacity, and the audio
| | 00:25 | are Volume and Balance.
| | 00:26 | We are going to work with Motion
and Image Control in this tutorial.
| | 00:30 | Opacity is used when you layer clips
and Volume and Balance are both audio
| | 00:34 | effects, and you will deal
with them in later videos.
| | 00:36 | I want to start first though not with
the golf video clip, but I want to start
| | 00:39 | with this clip here of the fall foliage,
because this one has only the video
| | 00:44 | effects applied to it.
| | 00:45 | I want to look specifically at Image Control.
| | 00:48 | Image Control has three parameters:
Brightness, Contrast, and Hue Saturation.
| | 00:53 | We can adjust all of those if we want to.
| | 00:55 | Right now they are all set to the
default setting, which is basically neutral.
| | 00:58 | They are not affecting this clip at all
and they are just sitting there waiting
| | 01:01 | for you to use them, if you want to.
| | 01:03 | So, typically under normal
circumstances you probably want to maybe increase
| | 01:07 | the brightness a little bit or, let's
see, this makes it a little bit darker, but
| | 01:11 | increase the contrast.
| | 01:12 | That makes the color a little bit richer.
| | 01:14 | Then if you move the saturation
over, that makes them richer still.
| | 01:18 | You can kind of overdo it
like that, or take it down a bit.
| | 01:21 | In any event, you can adjust these guys to
affect the color and the contrast and
| | 01:25 | the brightness, if you choose to.
| | 01:27 | Then you might go, 'hmm, my little
work there just did not pay off.
| | 01:30 | and I would rather start from scratch.'
| | 01:32 | So you select that effect by clicking
on it and make it active, then you can
| | 01:36 | say let's reset that.
| | 01:38 | It sets everything back to neutral.
| | 01:40 | If you try that again, let's say
knock the brightness down, increase the
| | 01:43 | contrast, fix the saturation. And you
are satisfied with it, but you might use a
| | 01:47 | different effect on this later
that will effect the Image Control.
| | 01:50 | Let's say just turn off the eyeball.
| | 01:52 | They are all - everything is set the
way you wanted it to be set and you can
| | 01:55 | come back here and click that guy back on.
| | 01:57 | But if you click it off, this will not
affect the way the clip looks and you may
| | 02:00 | want to apply a different
effect and override this.
| | 02:03 | So we just turned it off for now. On/Off.
| | 02:05 | We can talk about Motion, but I'd
rather talk about Motion in this other clip.
| | 02:08 | So I'm going to go to this golf clip.
| | 02:10 | Motion has several parameters.
| | 02:12 | Let me open it up for this clip.
| | 02:14 | And there's position, which it's positioned in the screen.
| | 02:17 | Right now, it's centered in the screen.
| | 02:19 | That's center. 362x240 is center, because 360
is half of the 720, 240 is the half of 480.
| | 02:24 | The standard size for a
digital video clip is 720x480.
| | 02:28 | There is also scale, how large is it?
| | 02:30 | You can zoom in on it or pull back.
| | 02:33 | You can also rotate the clip.
| | 02:34 | So let's just take a look at
scale for the time being.
| | 02:37 | If I pull back, it looks like this is a kind of
thing that can be a picture-in-a-picture effect.
| | 02:42 | You have seen that before and we
talked about that in the demo for Effects.
| | 02:46 | You can have this thing, be a
picture in a picture with something behind it.
| | 02:48 | If I click on Motion, it will
put a bounding box around it.
| | 02:51 | I can drag that around the screen.
| | 02:54 | I could have several other
clips here, layered if I wanted to.
| | 02:56 | But we are going to zoom in on this particular one.
| | 02:58 | So I'm going to scale it in, like that,
because I want to just to focus on those
| | 03:02 | two golfers in the left.
| | 03:03 | So that's what we can do, we can
actually just have just the two golfers in
| | 03:06 | view, and play that.
| | 03:09 | But you will notice it gets kind of
fuzzy, because you are taking a clip
| | 03:12 | that 720x480 and zooming in on it.
| | 03:15 | So that Premiere Elements has to, in
fact, duplicate some of the pixels, and it
| | 03:18 | does get a little fuzzy when you zoom in.
| | 03:20 | That's one of the issues when
you zoom in on a video clip.
| | 03:23 | Now we just zoomed in using
something called Uniform Scale.
| | 03:26 | As we zoomed in we constrain the proportions.
| | 03:28 | If I click off Uniform Scale, I can
adjust each length and width separately.
| | 03:34 | If I totally mess it up, I can click
that again and it will revert back to the
| | 03:39 | proper aspect ratio.
| | 03:40 | I can also rotate this.
| | 03:41 | Let me reset my work there.
| | 03:44 | I'm looking at this clip and
it's kind of tilted a little bit.
| | 03:47 | So I can sort of straighten it out a little
bit, if I want to, by using Rotation.
| | 03:51 | So here is our rotation.
| | 03:53 | Let's just try that a little bit.
| | 03:54 | Here is a little number I can just drag
through there and do I wanted to rotate
| | 03:57 | it like so? Well, actually it's kinda right there.
| | 03:58 | I think I like that.
| | 04:00 | That looks like it's a little
better lined up there than it was before.
| | 04:04 | You will notice that it leaves
gaps around here when you rotate.
| | 04:07 | And you need to actually increase the scale
to fill in the gaps when you do the rotation.
| | 04:11 | But I want to see if this is
totally right by expanding it a lot and
| | 04:15 | dragging this thing right up to the
bottom here and see if that lines goes
| | 04:18 | straight across the bottom.
| | 04:19 | It pretty much does.
| | 04:20 | I think my rotation is pretty accurate.
| | 04:22 | I'll just adjust it slightly like that.
| | 04:25 | Once I'm happy with the
rotation, I'll pull this thing back.
| | 04:27 | Just to make sure there
aren't any gaps. Just like that.
| | 04:32 | Once I'm happy with that, I can click
within the word Motion and now you can see
| | 04:35 | that it's straightened out.
| | 04:36 | It's zoomed in only slightly, so it
doesn't look fuzzy and we've fixed that problem.
| | 04:41 | So that's how you work with these two
fixed video effects, Motion and Image Control.
| | Collapse this transcript |
| Applying and modifying video effects| 00:00 | In this tutorial I want to
talk about standard video effects.
| | 00:03 | These are different than fixed effects.
| | 00:05 | Fixed effects are applied to all clips
that are just set at neutral, so you don't
| | 00:09 | see them in action until you
actually change the parameters.
| | 00:12 | But standard effects you apply to clips,
one effect at a time, one clip at a time.
| | 00:17 | Let me take a look at some of the effects.
| | 00:19 | To see the effects, you go to Edit >
Effects, and then here are the effects.
| | 00:23 | And whatever clip is currently
selected will show up in these little
| | 00:27 | thumbnails to give you a sense
for how the effect will work.
| | 00:29 | You can scroll through those guys and see them.
| | 00:31 | You get a feeling for how they are
going to work and, as I've shown before, if you
| | 00:35 | hover over them, they
actually animate a little bit.
| | 00:37 | So let me go back to the beginning here.
| | 00:39 | I want to show you how you apply effects.
| | 00:41 | There are three basic ways to do that.
| | 00:43 | Let me just go pick an effect where the
effect will be very obvious like Invert,
| | 00:47 | which creates a color negative basically.
| | 00:50 | One way to apply it is to
drag it right to the monitor.
| | 00:52 | So whatever is visible in the monitor,
we'll have that effect applied. Here you go.
| | 00:56 | This clip had that effect apply.
| | 00:58 | I'm going to undo that with Ctrl+Z.
Another way to apply it is to drag it right
| | 01:02 | to a clip in the Timeline.
| | 01:03 | I'm going to drag it to a clip you
can't see down here to the golf clip.
| | 01:06 | It's actually going to apply to that
clip, but you don't see it showing up here
| | 01:09 | because the clip is not visible.
| | 01:11 | So then you can drag it over.
| | 01:12 | Now you can see it.
| | 01:13 | Ctrl+Z on that one.
| | 01:15 | We'll go back to our river clip and
we'll drag it there. Now you can see it.
| | 01:19 | Finally you can add an effect in the
Sceneline by dragging it down to the
| | 01:23 | thumbnail in the Sceneline.
| | 01:25 | Go back to the Timeline here.
| | 01:26 | Once you've added an effect, that's
not really the end of the process because
| | 01:30 | you can adjust the parameters of the effect.
| | 01:32 | So I'm going to add a different effect
to this particular clip that I know has a
| | 01:35 | parameter that I want to change.
| | 01:36 | I'm going go to Fast Blur and drag that.
| | 01:40 | Let's take a look at the Parameters.
| | 01:42 | Now how do you get to the Parameters?
| | 01:43 | You need to select the clip that you are
working with, make sure it's active.
| | 01:47 | And then, with the Effects open, you click
on this little button Edit Effects, and
| | 01:52 | that shows the parameter.
| | 01:53 | So those are the fixed effects, which were
not changing, and then here is the new one
| | 01:56 | you just added, Fast Blur.
| | 01:58 | And it has two parameters.
| | 01:59 | It has this little slider that
says, 'how blurry is this thing.'
| | 02:02 | We're can adjust the
parameter. Make it more/less blurry.
| | 02:05 | It has this little dropdown menu here.
And decide whether the blur is going to
| | 02:09 | go left or right, like that, kind
of streak through it, or up and down.
| | 02:12 | So that's kind of typical for an effect.
| | 02:16 | It typically has a few
parameters that you can adjust.
| | 02:19 | Let's try something different.
| | 02:20 | Let's go over to this golf clip.
| | 02:22 | I'm going to click on it and
I want to add an effect to it.
| | 02:25 | I'm going to Effects. This time I
want to add something called Find Edges.
| | 02:29 | I'm going to click here to locate Find Edges.
| | 02:31 | I'm going to find Find Edges by typing 'f-i-n',
and then it shows up. Here's Find Edges.
| | 02:36 | Drag it down to the golfer.
| | 02:38 | Find Edges works pretty well with something
that has distinct edges like this golf shot.
| | 02:42 | It will animate throughout the
entire process. There we go.
| | 02:46 | I have seen that guy a couple of
times, now but notice how that looks.
| | 02:48 | It actually follows every frame and
adjusts itself as the frames move along.
| | 02:54 | Let's try another effect here, I'm going
to use this particular clip for that one.
| | 02:58 | I want to apply a different effect,
| | 03:00 | so if I want to find this different effect
I'll need the sort of back up here and do
| | 03:03 | my alphabetization. I search different layer.
| | 03:05 | I'm going to search for something metallic,
'm-e-t'. There it is. Metallic. Drag it down here.
| | 03:10 | Let's look at the parameters, this one.
| | 03:12 | I'm going to click on this.
| | 03:14 | Open this guy up, drop this dropdown arrow.
| | 03:17 | It has three parameters, one of which is Color.
| | 03:20 | That's kind of the main way this effect works.
| | 03:22 | So I'm going to click on the Color Swatch here.
| | 03:24 | I'll open up the Color Picker.
| | 03:25 | I'm going to change the color, so you
can see that works inside this effect.
| | 03:28 | Now I'll pick a different color, blue,
kind of a light blue and see what happens.
| | 03:31 | We can see that changes
the way this effect works.
| | 03:34 | And by the way I talk about animating
effects in other videos where you can
| | 03:38 | change the parameters over time, but
believe it or not you can change the color
| | 03:41 | over time as well. And so just the heck
of it, I want to show you how that works.
| | 03:44 | I'll turn on this little Animator.
| | 03:46 | I've got blue selected there, and I'm
going to go into the clip a couple of seconds.
| | 03:50 | I'm going to change the color to
something distinctly different, like red.
| | 03:54 | And let's just see that
you can animate even color.
| | 03:57 | It's really dramatic. How about that?
| | 04:00 | I have applied one effect to this clip, but I
can apply more than one effect to a single clip.
| | 04:05 | I want to go add a couple more here,
so I'll go to Effects and I'm going to
| | 04:08 | erase this little guy, so I could find
next one that I want to find and that's
| | 04:12 | going to be Warp. So I'm just going to go roll down,
see if I can locate it this way. Ah, Wave Warp.
| | 04:15 | That works.
| | 04:17 | Let me try Ripple instead.
| | 04:19 | That's kind of a little more interesting.
| | 04:20 | So I'm going to drag
Ripple over here to the clip.
| | 04:23 | If I just play this guy, it'll look like that.
And notice all the white stuff around the edge.
| | 04:29 | I'm going to apply one more clip to it.
| | 04:31 | I'm going to use one of the fixed effects now.
| | 04:33 | So I'm going to select the clip, click
on Edit Effects, go to the fixed effect,
| | 04:37 | click on Motion, I'm going to
scale it up, so that fills the screen.
| | 04:40 | So I won't have those
little white areas anymore.
| | 04:42 | So now we've applied two effects,
two standard effects, and adjusted the
| | 04:46 | Motion fixed effect.
| | 04:47 | Now let's see how that works. How about that?
| | 04:52 | Let's move on down the line
here to this static clip here.
| | 04:56 | You've noticed there are a couple of
parameters with each effect and you can
| | 05:00 | adjust a couple of parameters.
| | 05:01 | Well, some effects have an
amazing amount of parameters.
| | 05:04 | Let me go back to Effects again,
I'm going to find Lightning now.
| | 05:08 | Lightning is way down here. Has
its own little category. There it is.
| | 05:13 | If I hover over it you get a
chance to see that in action.
| | 05:16 | So I'll drag that down to this clip.
| | 05:19 | And now I'm going to open up
the parameters in this guy.
| | 05:21 | That guy is selected. Click on Edit Effects. Click
this down arrow and check out the parameters.
| | 05:28 | Lightning probably has more
parameters than any effect.
| | 05:31 | Obviously you can change the color of
the lightning, the size of the lightning
| | 05:34 | strokes, the number of lightning
strokes, how fast it goes, and the location.
| | 05:38 | So I want to click on that one
so you can see how that works.
| | 05:40 | If you click on the effect to make
it active, the little gray here
| | 05:43 | is not active. We've got to
click on it and now it's active.
| | 05:46 | You can see these little targets.
| | 05:48 | One target is the
beginning point for the lightning.
| | 05:51 | I can put up there let's say. And one
target is the end point for the lightning.
| | 05:55 | Now lightning is kind of random, so
there really is no absolute end point.
| | 05:58 | But that'll give you the
general sense for the direction.
| | 06:00 | And since lightening is animated,
| | 06:01 | let's just kind of watch this in the scene here.
| | 06:03 | And all these parameters
you can adjust over time.
| | 06:06 | You can animate them. It's insane.
| | 06:08 | Let's go on to more thing.
| | 06:10 | I want to show you that there
are more than just video effects.
| | 06:13 | So I'm going to go back to Effects here.
| | 06:15 | If I click this down arrow we have got
Video Effects, Audio Effects, which we'll
| | 06:18 | cover another tutorial, and Presets.
| | 06:21 | Now most of the presets are geared
towards layering clips or are geared
| | 06:25 | towards animation, like the Fast Blur
Out means that the clip will go from
| | 06:31 | sharp to blur as you go out of the clip,
or Fast Blur In will go from blurry
| | 06:36 | to sharp as it goes in.
| | 06:37 | So those are animated effects, and
I'll talk about those in a different video,
| | 06:40 | but let's look at the things that you
can just drag down here that have presets.
| | 06:44 | These are all tints.
| | 06:45 | Now I drag it over there, it will tint
that and it uses presets that you may
| | 06:49 | not be able to immediately figure out if you
were to use Tint as just a straight effect.
| | 06:54 | So I'm going to go, click on
this, click on Edit Effects.
| | 06:57 | You'll see that Tint has been applied
and it has these parameters: Map Black To
| | 07:01 | Red, Map White To Blue. And you may not
immediately figure out that's the way to
| | 07:05 | apply this kind of Tint to an image.
| | 07:07 | And you can always go back and say
"Is that really what I wanted to do? That Red
| | 07:10 | Tint, or do I want to do this Green Tint?" or
something, so I can drag this one over instead.
| | 07:15 | What happens is it now applies two effects.
| | 07:18 | I'm just going to turn this one off
by just clicking on the eyeball.
| | 07:21 | Now you can see the other effect.
| | 07:23 | and see how it works.
| | 07:24 | Or you can turn it off and
say, "That experiment didn't work."
| | 07:26 | And if you decide that you really don't want
an effect applied at all, you just click on it,
| | 07:30 | and click on the Garbage Can.
That gets rid of it.
| | 07:32 | So I just scratched the surface, in
terms of all the video effects and
| | 07:35 | combinations of effects you can apply,
and all the parameters you can adjust.
| | 07:39 | Once you get a feel for all that
Premiere Elements has to offer, you'll probably
| | 07:43 | want to animate effects,
| | 07:44 | to have the parameters change over time.
| | 07:46 | And I explain that in several other videos.
| | Collapse this transcript |
| Using the Effects Mask tool| 00:00 | Premiere Elements 8 has a new feature
called the Effects Mask and what it does
| | 00:05 | in effect, if you don't mind the pun, is
to put a rectangular area on a clip into
| | 00:10 | which you can apply one or more effects.
| | 00:12 | So that effect will only touch that
particular portion of the clip that you've
| | 00:16 | defined with that rectangle.
| | 00:17 | Let me show you how it works.
| | 00:19 | If you just right-click on a clip and
you can select Effects Mask > Apply or the
| | 00:24 | other way to get there is to select the
clip and go Clip > Effects Mask > Apply.
| | 00:30 | What that does is it puts this
little rectangle on the screen with these
| | 00:34 | handles, the handles allow you change
the start and end points of the rectangle.
| | 00:38 | You can only have a rectangle.
| | 00:39 | It can't be something that matches
the object that you want to highlight.
| | 00:43 | So it kind of limits it a
little bit, but that's what we'll do. We'll just
| | 00:46 | define that we want to somehow put an
effect on that branch sticking out over the water.
| | 00:52 | Now what I've done in effect is to
actually add another clip. Look at that.
| | 00:59 | When you add the Effects Mask, that puts
another clip above the one that you are
| | 01:03 | working on in the Timeline.
| | 01:05 | So we now have two clips, one above
the other, exactly the same clips.
| | 01:08 | They are grouped together.
| | 01:09 | If you right-click, you see that
you have the option now to Ungroup.
| | 01:12 | And if you click on this guy and then
go to the Edit Effects mode, you'll see
| | 01:17 | that you have a mask applied to that
upper clip, and you can see it right there.
| | 01:21 | And it's not really a mask.
| | 01:24 | Technically this is a crop.
| | 01:25 | And if you use the Crop Effect on a
clip above and on a clip like this, this is
| | 01:29 | exactly what will happen.
| | 01:30 | But this is kind of an automated way to crop
a clip and have one appear above the other.
| | 01:34 | So let's see what you can do once
you do this mask, this Effects Mask.
| | 01:39 | I'll go to Effects and I'm going to drag
an effect to here that's going to be an
| | 01:44 | obviously different effect.
| | 01:45 | So I'll invert it sort of like a negative,
a color negative, and drag it to the
| | 01:50 | Monitor panel and we'll see what happens.
| | 01:51 | It affects only that area defined by
the Effects Mask, by the cropped area.
| | 01:56 | And if I play that, you
can see how that will work.
| | 02:00 | Clip will pull back and it moves, but
it doesn't follow the action of the clip,
| | 02:07 | which is something we can fix.
| | 02:09 | So let's go back to the point where
the action begins, right where that pull begins.
| | 02:13 | And you've now worked with keyframes.
| | 02:15 | Let me show you how that works.
| | 02:16 | Let me select that Edit Effects.
| | 02:18 | Turn on keyframes for the
mask, the location of the mask.
| | 02:23 | Now we move to the place that it's
going to go to, right to where it ends the
| | 02:28 | move, right about there.
| | 02:31 | Now we wanted to find a new set of keyframes
by dragging these guys around a little bit.
| | 02:38 | There we go.
| | 02:42 | Now we've made a new set of
parameters for the keyframes.
| | 02:46 | So if we go back to the beginning,
we should see that that mask,
| | 02:50 | that cropped area, will
follow the action as we pull back.
| | 02:56 | So that's Effects Mask at
work with some keyframes.
| | 03:01 | Let me show you one more example here,
just to give you a sense for how you can
| | 03:05 | use keyframes for something with a
little more complex motion and also how you
| | 03:09 | can actually edit that second layer
to have it behave a little more nicely.
| | 03:13 | So here we've got this golf cart
coming into the picture and going off the
| | 03:17 | distance and the camera doesn't move
that smoothly and the golf cart itself is
| | 03:20 | not necessarily following a straight line.
| | 03:22 | So following this thing exactly will be
tough and I don't expect to be able to
| | 03:25 | follow it exactly now.
| | 03:26 | But I'll show you how it works.
| | 03:27 | I'm going to turn on my Effects here
and just go to Effects Mask > Apply.
| | 03:32 | That puts that little rectangle on it again.
| | 03:34 | I'm going to drag it over to here and match
basically the size and shape of this golf cart.
| | 03:39 | There we go.
| | 03:40 | And again, as it happened before, this
is going to add a second version of that
| | 03:44 | clip, but without the audio.
| | 03:45 | You don't want to have two sets of
audio stepping all over each other.
| | 03:48 | Just the video portion
is what's been duplicated.
| | 03:50 | So I want to make sure you saw that
audio down there and no audio up here.
| | 03:54 | And now I want to animate this in some way
and also apply some kind of effect to it.
| | 03:59 | So let's do the effect first.
| | 04:00 | In Effects we'll apply something
obvious to it like, let's say, Metallic.
| | 04:08 | There we go, can't miss that guy.
| | 04:10 | Let me go back to this spot right there.
| | 04:14 | That's where we'll have the effect appear.
| | 04:16 | So we can actually decide when we want
the Effects Mask to appear, and that's
| | 04:20 | where we are going to have it appear.
| | 04:21 | So that's where I'm going
to start doing my keyframes.
| | 04:23 | So I'm going to click on this guy,
go to Edit Effects, and turn on my
| | 04:27 | keyframes in the mask.
| | 04:29 | That's where I'm going to start the
animation, because I know I'm going to actually
| | 04:32 | fade this thing up.
| | 04:33 | I'll show you that in a second.
| | 04:34 | I am going here a little bit farther
and I'm going to now, having gone in this
| | 04:39 | far, I'm going to change the shape of
the mask, or the size of the mask that is,
| | 04:43 | and the location of the mask a little bit.
| | 04:45 | By doing that I'm going to be adding keyframes.
| | 04:47 | I'll show you how that works.
| | 04:49 | Here the keyframe have just been added.
| | 04:51 | A little bit farther.
| | 04:55 | We need to move the mask over now to
match the new location of the moving
| | 05:00 | golf-cart and also the fact that the camera
is kind of not smoothly following the golf-cart.
| | 05:03 | We'll go a little bit farther, one more
time, one more set of keyframes. Here we go.
| | 05:08 | There we go.
| | 05:14 | So that won't be perfect, mind
you, but that will be reasonable.
| | 05:18 | So let's just see how that looks.
| | 05:18 | If I go right at the beginning, you will see that
it's way off at the beginning. But that's okay.
| | 05:22 | We are going to fix that.
| | 05:24 | Now it's following it more or less,
which for our purposes here is good enough.
| | 05:28 | You could do a more refined version
later, but you can see it starts falling
| | 05:32 | off toward the end.
| | 05:33 | So here's what I'm going to do.
| | 05:35 | Right there is where I want
it to disappear basically.
| | 05:38 | So up here in the second clip I want
to be able to actually drag that clip in
| | 05:42 | and apply a dissolve to it to fade it out.
| | 05:45 | If I drag it in, it's going to drag
the one below it in as well, because they
| | 05:49 | are grouped together.
| | 05:50 | So I'm going to right-click
here and say Ungroup.
| | 05:53 | Click away to actually
make that actually take place.
| | 05:56 | Now if I click on this one, you'll notice
the one below it doesn't get highlighted.
| | 05:59 | Now I can trim this guy down.
| | 06:01 | I'm going to trim it down like that.
| | 06:04 | I'm going to trim the beginning as well.
| | 06:05 | So let's go back to the beginning.
| | 06:06 | I don't want the effect to show up
until they get to right there.
| | 06:09 | That's where all the effect will show up.
| | 06:10 | Now if I just drag the beginning here,
it's going to shove this clip over to the
| | 06:14 | left, because this is a Ripple edit.
| | 06:15 | So I'm going to hold down the
Ctrl key, a keyboard modifier.
| | 06:19 | It's not a ripple edit.
| | 06:19 | So that way it won't slide over.
| | 06:21 | Now it stays in place.
| | 06:23 | Now you've got this guy coming on
where you want it to come on which is right
| | 06:27 | there and now it follows it and it
gets to the end and it just drops off.
| | 06:33 | Well, it's little abrupt to do that, right?
| | 06:34 | So here we've got this clip up on
this second track, we can actually add
| | 06:37 | a transition to it. Let's go there.
| | 06:38 | We'll go to Cross Dissolve, Cross Dissolve
at the end, Cross Dissolve at the beginning.
| | 06:45 | And I'm thinking maybe we need to
update the effect a little bit, make it a
| | 06:48 | little more dramatic.
| | 06:49 | So I'm going to add Find
Edges to it. There you go.
| | 06:54 | So we're having two effects at once.
| | 06:56 | Let's see how that thing looks.
| | 07:01 | So it faded on and now it's going to
fade off, and that basically is how you
| | 07:06 | work with the Effects Mask.
| | Collapse this transcript |
| Working with motion tracking| 00:00 | Premiere Elements 8 has a new feature
called Motion Tracking and what it does is
| | 00:04 | it follows objects in your clip, then
you could attach things to those objects,
| | 00:08 | things like a title, or clip
art, or even another video clip.
| | 00:11 | Let me show you how that works using
three clips here. Two of them will work
| | 00:15 | with Motion Tracking and one won't.
And I want to show you how you can choose
| | 00:19 | between one and the other.
| | 00:20 | So let's follow the
motion in this particular clip.
| | 00:23 | Let's say this golf cart.
| | 00:24 | I want to follow the golf cart.
| | 00:25 | To do that I click on this little icon
here in the Timeline, Motion Tracking
| | 00:29 | mode. Click that and it asks you this
question, do you want to "run Auto-Analyzer
| | 00:34 | to track moving objects?"
| | 00:35 | And what will happen if you do that
| | 00:37 | is that Premiere Elements will try to
find everything moving in the screen and
| | 00:40 | try to track all those things, and
I don't really want it to do that.
| | 00:44 | I wanted to track only one thing, and I
wanted to track something very specific
| | 00:47 | and so, this is a general rule I think.
| | 00:49 | You don't want to use Auto-Analyzer
to track moving objects. Besides, it
| | 00:52 | also takes a long time.
| | 00:54 | So I'm going to click this Do not show
again button and then I'm going to click
| | 00:57 | No. I don't want you to run Auto-Analyzer
and now it puts up this yellow border,
| | 01:01 | the Motion Tracking mode
screen, and then this box.
| | 01:04 | And this box defines the area
that it's going to try the track.
| | 01:08 | So I'm going to drag it over here to
the cart and expand the box to have
| | 01:12 | the cart fill the box.
| | 01:14 | Now that that's done we are going to
ask Premiere Elements to track this moving
| | 01:17 | object by clicking this button
up here, the Track Object button.
| | 01:21 | Now it's analyzing every frame of this
clip, trying to follow that thing through
| | 01:25 | the video, even if it goes off
in the distance and gets smaller.
| | 01:29 | So we put a little box around it automatically.
| | 01:31 | Let's try to follow that. See what happens.
| | 01:33 | It goes that far.
| | 01:34 | It is getting smaller to fit the size
of the object, then eventually it's going
| | 01:37 | to lose touch, right there.
| | 01:39 | But that's pretty good.
| | 01:40 | It followed it that far.
| | 01:42 | So now the thing is you want to
attach something to that moving object.
| | 01:46 | So I'm going to go over to the Project panel.
| | 01:48 | I have got some Titles here.
| | 01:50 | I'm going to attach a title to it, but
before I attach a title to it, I want to
| | 01:52 | put a background on
which I can place that title.
| | 01:55 | So I go back to the Edit mode, go to Clip
Art. This is all the clip art that's here.
| | 02:01 | I want to search for
specifically Thought and Speech Bubbles.
| | 02:04 | So I'll click on that and there are some
Thought Bubbles and the Speech Bubbles.
| | 02:08 | I'll take this little Speech Bubble here.
| | 02:11 | I'm going to drag it into that little
yellow box, and there it turns blue,
| | 02:16 | saying that we are about to attach
something to it and let go, and there is
| | 02:19 | that Thought Bubble.
| | 02:20 | So I can drag the Thought Bubble, anywhere I
want and it will remain attached to the box.
| | 02:24 | It will follow the box exactly, and I
can also change the size of the
| | 02:28 | bubble and the basic aspect ratio,
but that would follow along here, right
| | 02:31 | above that guy's head, I think will do.
| | 02:32 | Fine, so it will
follow that object directly.
| | 02:36 | I want to also attach something else to it.
| | 02:39 | So I'm going to go back to the Organize task view,
and go to Project and take my little
| | 02:45 | title that I created for this, which
says 'When's Lunch', drag that over here, put
| | 02:49 | that onto blue object as well.
| | 02:50 | I want to change the text?
| | 02:52 | No, we'll take the When's Lunch text, and
there it is down there. You can barely see it.
| | 02:57 | But I'm going to drag it into a new
position here, relative to that Thought
| | 03:02 | bubble, and expand its view to make it
much larger, so it will show up inside
| | 03:08 | that Thought Bubble, and now we can
have both objects follow the same path.
| | 03:15 | So let's see how that works.
| | 03:17 | I'm going to close the object Motion
Tracking mode by clicking this little
| | 03:21 | button here, and now we're going to
play it and see how this little baby works.
| | 03:24 | I'll start with these guys
off screen first. Now we'll play it.
| | 03:29 | Now is that not fun?
| | 03:32 | Pretty well followed it, allthough you see it kind
of drifts away, but it pretty well follows it.
| | 03:35 | Now what's going on here?
| | 03:36 | Let me show you what's going on.
| | 03:38 | I'll expand the view of the Timeline.
| | 03:39 | What's happening is that that Speech
Bubble appears on a separate layer, and the
| | 03:44 | title appears on a layer above
that kind of like a sandwich here.
| | 03:47 | And each one of these guys has
motion keyframes attached to it.
| | 03:52 | This object had these motions keyframes
embedded in it, and then we attach these
| | 03:56 | things to it. They took
on those motion keyframes.
| | 03:59 | If I click on one and go to
Edit > Effects > Edit Effects, look at Motion,
| | 04:07 | that line there is actually a whole slew of keyframes.
| | 04:11 | If I zoom in on, you'll begin to
start seeing that there are separate
| | 04:14 | keyframes, hundreds of keyframes to
finding the motion of the object relative
| | 04:19 | to this cart here below it.
| | 04:21 | And you can adjust these keyframes if
you want to, very tedious to do so and you
| | 04:25 | can also adjust the size of this object.
| | 04:27 | If you want the object to get smaller,
you can change the Scale Height with your
| | 04:30 | own sets of keyframes.
| | 04:31 | So I think that's a lot of fun.
| | 04:33 | You can just think of the various
possibilities you can do for this thing, and
| | 04:36 | if you think it's like, "oh!
| | 04:37 | It's now drifting away," and it is not
really following the object that well
| | 04:40 | anymore, with these clips you can
always just cut them down, they happen to
| | 04:45 | disappear at that point.
| | 04:48 | Let's just see how that
works. It just goes away.
| | 04:51 | If you want it to fade away instead
of just popping off, you can of course
| | 04:54 | always put a little transition there,
and the same thing when they come on screen, so
| | 04:58 | let's just see how that works.
| | 05:02 | As he goes off of the distance, it fades away.
| | 05:04 | Let's just do another example.
| | 05:06 | I'm going to scroll this thing down so
I can full the screen up a little bit
| | 05:09 | better, and take a look at these geese.
| | 05:11 | that we've seen in other videos.
| | 05:14 | The geese will be basically impossible
for Premiere Elements to follow because
| | 05:18 | they sort of blend in with the
background. They are not distinctive enough
| | 05:21 | really to show up, but we'll try it anyways.
| | 05:23 | We will go object tracking on this one.
| | 05:25 | It puts a little box around it, we'll
define the area to track by dragging the
| | 05:29 | handles of the box in like that, try to
be a really tight, to be very specific,
| | 05:33 | so it will be able to follow,
but my guess is it won't.
| | 05:36 | Now we'll say track that object.
| | 05:38 | See how long it goes, nothing.
| | 05:40 | If I go forward, the little yellow box will
disappear. Really, you can't track that object.
| | 05:44 | So I'll just click away from that
and just kind of give up on the geese.
| | 05:47 | So some things can be tracked, some
things can't. So let's move on to this next
| | 05:50 | clip, this little golf clip.
| | 05:52 | I'll select it to make it active and now
what I want to do is try to follow that
| | 05:56 | ball, but if I follow it right off the
clubface it will be moving too quickly.
| | 05:59 | It will accelerate there too fast and
Premiere Elements won't be able to follow it.
| | 06:02 | But right there, where it gets under the
sun, little more obvious, and starts
| | 06:05 | decelerating, Premiere
Element should be able to follow it.
| | 06:07 | So I'm going to click on the Motion
Tracking tool here to find the area to
| | 06:13 | track that little ball, and I'll see how
Premiere Elements does, by clicking on Track Object.
| | 06:20 | Move along. Wow, looks like it's like doing a pretty good
job, if it's going that far. Let's take a look.
| | 06:27 | Follows it all the way to the hole, excellent.
| | 06:32 | So go back to the beginning here,
right where it starts, right there.
| | 06:36 | I'm going to add one of this
little Thought Bubbles to it.
| | 06:39 | Let me go back to the Organize, and
task into the Project view, that Speech
| | 06:44 | Bubble that Thought Bubble we used
before is going to be there now, because
| | 06:47 | we've added it to the Project.
| | 06:49 | So I'm going to drag that over
to the little box. It turns blue.
| | 06:51 | Let it go, there it is.
| | 06:53 | Drag it up, right over the top there. And I
add a title to it, which says 'In the Hole?'
| | 06:59 | I'll drag it down here, to the blue thing.
| | 07:02 | Do we want to use that text? Yes, we do.
| | 07:04 | I'll drag it a little bit out of the way
because it's hard to put these guys
| | 07:07 | together and try to select them, so I get
it large enough over here first and
| | 07:12 | then I'll drag it in place.
| | 07:15 | I made it too large.
| | 07:17 | Make it a little bit smaller.
Get it in place. There we go.
| | 07:22 | I want to add a third one.
| | 07:23 | I'm going to put down Yes!!!
| | 07:24 | What we'll do is we'll edit
them into a particular order.
| | 07:28 | So I'm going to drag this one as
well to the blue guy, and that's a
| | 07:30 | little harder to grab.
| | 07:31 | Let's see if we can do it.
| | 07:32 | I'll say yes. This is going to be under everything,
| | 07:35 | so I'm not sure if I can get it.
| | 07:36 | Let's see if we can get it.
| | 07:37 | I'm going to get this guy out
of the way. Click on you now.
| | 07:41 | Make it large.
| | 07:43 | Yes, and click on the other guy again there.
| | 07:50 | Now they are all in position.
| | 07:52 | But they are not exactly going to appear
the way I want them to appear, but if I
| | 07:55 | take a look again at this little track
up above, you'll see that we have added
| | 08:00 | three items, Yes!!!, In the Hole, and
the Speech Bubble itself, and I'm going to
| | 08:06 | adjust where they appear.
| | 08:08 | I'll click off this little Tracking mode,
I'll get back to this guy, Yes!!!, I
| | 08:12 | want to appear as it falls
into the hole right about there.
| | 08:17 | That's where I want Yes!!!
| | 08:18 | to appear, so I'm going to trim that in,
and I'm going to trim the 'in the hole' part
| | 08:25 | out, so drag that in, and
let's see how this thing works.
| | 08:31 | In the Hole, In the Hole, In the Hole, Yes!!!
| | 08:34 | That's how we are going to do it,
and have this guy trimmed in as well.
| | 08:38 | So that shows you how you can add
these things and I could put Dissolves out
| | 08:41 | here to make it be a little smoother, but
you can see how you can apply multiple
| | 08:45 | objects to objects that are moving
through the screen and have them appear when
| | 08:50 | you want them to appear.
| | 08:51 | Let's just have that go for a moment,
just so you get that little effect at the end.
| | 08:55 | So the Motion Tracking tool is a lot
of fun and you can have multiple things
| | 08:59 | attached to objects moving through your screen.
| | Collapse this transcript |
|
|
8. Animating Effects and ClipsUnderstanding animation | 00:00 | In this tutorial, I want to demonstrate
how to animate effects over time using
| | 00:03 | something called keyframes.
| | 00:05 | You can just sit back, relax and enjoy the show.
| | 00:08 | If you do want to follow along, feel
free, but I'll explain all these steps in
| | 00:12 | detail in other tutorials.
| | 00:14 | First of all, I want to just give
you a sense of how adding keyframes works.
| | 00:17 | So I start with this particular clip,
this trucking clip, which you've seen
| | 00:20 | in other tutorials.
| | 00:21 | I'm going to add an effect to it,
which you've seen how to do.
| | 00:23 | Just go here to Effects.
| | 00:25 | I'm going to add, let's say,
something called Air Brush. So I go a-i-r.
| | 00:29 | There is air brush.
| | 00:30 | Drag it down to the clip.
| | 00:31 | I can drag it to the Monitor panel, or in fact,
I could also click Apply here. But there it is.
| | 00:35 | It's been applied to this clip.
| | 00:37 | I think I've applied it twice, so
let's just get rid of one of those
| | 00:39 | applications by clicking on it,
and clicking Delete. There we go.
| | 00:42 | There is Air Brush, and if I just drag
through here, nothing changes, I mean
| | 00:45 | the scene changes but the intensity of the
brush does not change. The parameter doesn't change.
| | 00:49 | Let me open up this dropdown arrow, and
there is the one parameter it's called Spray.
| | 00:55 | It's the relative intensity of the Air Brush.
| | 00:57 | I'd rather have it come on gradually,
rather than just have it appear there in
| | 01:01 | the clip, and the way I
do that is with keyframes.
| | 01:04 | Click this little Toggle animation button,
and that turns on keyframing. And now
| | 01:08 | I can say okay, for the beginning, I
want nothing to happen, and I go on a
| | 01:12 | little bit and I want it to change.
| | 01:14 | So I just go up here, and
say let's go full intensity.
| | 01:18 | And what I've done is I've applied
what are called two keyframes, and you can
| | 01:21 | see the keyframes by opening up the
Show Keyframe view, and it's much like a
| | 01:25 | Timeline and there is keyframe 1 that
happened when I clicked the first stopwatch.
| | 01:28 | There is keyframe 2, which
happened when I changed the parameter.
| | 01:32 | Now, I'm going to hold
the parameter for a while.
| | 01:34 | It's right there, and as we get to
the end of the clip, I wanted to start
| | 01:37 | gradually getting less intense.
| | 01:39 | So I need to say, "Here, at this
point, stop being full level."
| | 01:43 | So I click the keyframe little icon
there. Now I have added a keyframe.
| | 01:46 | So from here is where the change begins,
here is where the first change ends,
| | 01:51 | but the next change holds, goes to
that spot where it's continues to hold.
| | 01:56 | Now at the end if I press Page Down,
arrow key one back to go to the last frame,
| | 02:01 | I'm going to say here, let's drop
the intensity back down to zero.
| | 02:04 | So I've animated this particular
effect like this. It's more intense.
| | 02:08 | It holds for a couple of seconds,
and then it goes away, just like that.
| | 02:14 | And that is the basic process for
animating an effect using keyframes.
| | 02:18 | Let me go to the next one here, where
you can - I'm going to demonstrate that
| | 02:20 | you can apply more than one
effect and have the keyframes operate
| | 02:24 | independently of each other.
| | 02:26 | So here is the title that I
made for this particular demo.
| | 02:29 | Let me first add
something called Circular ripple.
| | 02:31 | Let me go find that.
| | 02:32 | Effects, I get back up here, find
ripple, r-i-p, there is Ripple (Circular),
| | 02:38 | drag it down, and now that is the effect.
| | 02:41 | If I drag through it, nothing happens;
| | 02:43 | it just kind of sits there.
| | 02:45 | If I have to drag Ripple (Circular) to
the trucking clip, it would appear to
| | 02:49 | animate, because the background is
moving, but in fact, if you look at the
| | 02:52 | circle, the circle is not changing.
| | 02:54 | It's just that the
images are changing behind it.
| | 02:57 | So if I drag it to Title, it just sits there
| | 02:59 | because Title is a still
frame, it's not moving at all.
| | 03:01 | I want the Ripple (Circular) to animate.
| | 03:04 | So I'm going to click on here, go
to Edit Effects, and look at all the
| | 03:07 | parameters for Ripple (Circular), all
kinds of things that you can change over time.
| | 03:12 | I just want to change a couple just
to give you a sense of how this works.
| | 03:14 | I'll turn on the Toggle animations
stopwatch after I first get my CTI to the
| | 03:19 | beginning of the clip by pressing the
Page Up button to run the stopwatch.
| | 03:23 | There are all those little keyframes
that come on sort of set to neutral at this
| | 03:26 | point, set to the default level.
| | 03:28 | But I want no ripple at the beginning.
| | 03:30 | So I'm going to take the
Ripple and turn it down to nothing.
| | 03:33 | Ripple Animation to nothing, and then
we'll go through the entire clip to very end, so
| | 03:38 | I'll go page down to the very end,
back one frame, there is the very end.
| | 03:41 | And I say let's ripple the heck out of it.
| | 03:43 | So we'll go from the beginning
to the end, show how it works.
| | 03:47 | Gradually ripples more
and more and more and more.
| | 03:49 | It's not that the ripple is animating.
| | 03:51 | It's just that we are
changing the ripple over time.
| | 03:53 | Let me go back to the beginning.
| | 03:54 | Now I want to change the intensity of the light.
| | 03:57 | Let's go across so here.
| | 03:58 | You can see that this thing is called Gloss.
| | 04:01 | So now I have the Gloss.
| | 04:03 | Go to this particular spot.
| | 04:05 | That level there at the middle.
| | 04:07 | Now I'll go back to the beginning, and
have the Gloss be this level at the beginning.
| | 04:10 | I have Gloss be a different level at the end.
| | 04:13 | So Page Down, go back one notch, and
have Gloss, go back here like that.
| | 04:17 | So Gloss has keyframes in
the beginning, middle and end.
| | 04:20 | The intensity of the ripple animation just
has two, one at the beginning and at the end.
| | 04:24 | So they are acting independently of each other.
| | 04:25 | Let's just see how that works.
| | 04:30 | Then finally, Light Distribution,
like how the light kind of reflects on it
| | 04:32 | from different angles.
| | 04:33 | So I'll start with this angle here.
| | 04:35 | Now I'll go to the end,
and have a different angle.
| | 04:40 | This behaved differently.
| | 04:43 | So there we have three different parameters
that are keyframed independently of each
| | 04:45 | other within this one effect. Pretty cool!
| | 04:50 | Let me add one more effect to this.
| | 04:53 | So I'm going to close this little dropdown
arrow so we get some space to work in here.
| | 04:57 | Now I want to add what's called Alpha Glow.
| | 04:59 | Now some items that you might have
in your project have transparency.
| | 05:04 | All titles are transparent
wherever the title doesn't exit.
| | 05:07 | So Alpha Glow takes the
advantage of that transparency.
| | 05:10 | Let me just find it.
| | 05:11 | Bevel Alpha, here is Alpha Glow, drop it down.
| | 05:13 | So here is what happens if I just
this drop Alpha Glow on there.
| | 05:17 | It puts a glow in what's called the
alpha channels, the transparent channel here.
| | 05:21 | Let me just go to the Edit Effects
there, and there is the Alpha Glow and it
| | 05:23 | says the Glow and the Brightness.
| | 05:25 | Well, I want the beginning
to not have a glow at all.
| | 05:27 | So I'll just drag it down like that.
[00:05:2.68]
Take the Brightness right about here.
| | 05:31 | Now I want the beginning not to glow white.
| | 05:33 | I want it to glow something similar
to the orange on the original text. So I'll select that.
| | 05:37 | So now we start with no glow at all.
| | 05:40 | In the middle of it, right around or here or so,
I want the glow to really pop on the screen.
| | 05:44 | So I'm going to have really come
up large, bring up the Brightness
| | 05:47 | something like that.
| | 05:49 | But I also want to change
the color. So we go to red, let's say.
| | 05:52 | Here we go.
| | 05:53 | Now toward the end, I want the
Intensity to drop, and the Brightness to drop.
| | 05:58 | I want it to change to some other color.
| | 06:00 | I'll change the color
let's say to purple this time.
| | 06:02 | So we've kind of gone
through the spectrum a little bit.
| | 06:05 | So let's see how those guys animate.
| | 06:06 | We've got two different effects,
each one with at least three parameters
| | 06:10 | animated inside the effect.
| | 06:12 | so we have got basically six sets of
keyframes at work here independently. Like that.
| | 06:21 | Finally, this last one is something where I
animated an object, which took a lot of time.
| | 06:26 | So I'm not going to just do it right now,
but I'll show you the keyframes, how that works.
| | 06:29 | Now, you animated something called lens
flare, there is this little glow there.
| | 06:33 | It's called a lens flare effect.
| | 06:35 | And I had the lens flare center
follow the track of the ball with all those
| | 06:39 | keyframes, noting the center of the
flare, by just going through and moving the
| | 06:43 | cursor a little bit, and adjusting the
center by clicking out here, and there
| | 06:46 | is the center showing up, and you can
just drag the center to any particular
| | 06:49 | spot in the screen.
| | 06:50 | I also changed the flare intensity.
| | 06:52 | So let's just see how that works.
| | 06:54 | So these are all the kinds of things
that you can do with keyframe animation in
| | 07:05 | Premiere Elements and I go into
much more detail in the coming videos.
| | Collapse this transcript |
| Animating video effects| 00:00 | In this tutorial I'm going to
explain in some detail how you can animate effects,
| | 00:04 | that is, add keyframes to effects
so those effects change over time as
| | 00:08 | the video clip plays.
| | 00:10 | It's a fairly straightforward
process and once you learn how to do it,
| | 00:13 | I think you're going to apply it over and
over because it can add so much to your videos.
| | 00:18 | We are going to work with four clips
here. Two of them are connected together
| | 00:21 | here and I'll explain why in a moment
and then we have this graphic over here
| | 00:24 | and our friendly golf cart shot over here.
| | 00:26 | So let's start over at this end with this
aerial shot that we have seen a couple times.
| | 00:30 | I want to put an effect on here and
have that effect change over time.
| | 00:34 | So the process goes, you need to
select the clip, make sure it's active,
| | 00:38 | because you don't want to apply the
effect to the wrong clip and you won't be
| | 00:40 | able to see the effect.
| | 00:41 | So I click on the effect, go to Edit, Effects.
| | 00:45 | I want to track down a particular
effect, so I'm going to undo that
| | 00:48 | alphabetization and look for pastel.
| | 00:51 | P-A-S-T, there it is. Pastel Sketch.
| | 00:54 | Drag it down to the clip, or I can
drag it to the monitor or in fact, I can
| | 00:58 | also click Apply which is something I haven't
discussed before, but that's a two step process.
| | 01:02 | I would rather just drag it. And there it is.
| | 01:04 | It's been applied and if I just play it,
it kind of looks like it's animated,
| | 01:08 | but really nothing is happening,
the parameters are not changing.
| | 01:11 | It's just that the clip is moving.
| | 01:13 | So let's have that change over time
and to do that we need to select clip,
| | 01:17 | and as long as the Effects is open, the
Effects View here, or I can click on Edit Effects.
| | 01:22 | That opens up the effects for the
specific clip and when you open it up, this
| | 01:26 | little Timeline might or might not be visible.
| | 01:29 | To make it visible, you just click on
this little stopwatch that has the little
| | 01:32 | arrow next to it and that opens up this
Keyframe view, because this is where you
| | 01:35 | are going to work on the keyframe and
it's good to have it open when you get
| | 01:38 | started, so you can see as you add keyframes.
| | 01:41 | Now what I want to do here is I want to
start with the Pastel parameters turned
| | 01:45 | off, so let me turn it downward.
| | 01:46 | I want to have the Blend be a plus,
meaning it's 100% whatever is behind there,
| | 01:51 | we get to see it, we don't
see the pastel being applied.
| | 01:54 | So the effect is set to 0
and we see 100% of the clip.
| | 01:57 | We'll leave the Density where it is.
| | 01:59 | If I just leave it like that,
nothing is going to change.
| | 02:01 | It's just going to be the clip.
| | 02:02 | If I want to, say, look at about this
far into the clip a second or so, let's
| | 02:07 | have that effect begin to appear.
| | 02:11 | So I'm going to say this is where I want
something to start and that's what keyframes do.
| | 02:15 | Keyframes mark the beginning and the end of
a change, so I want the change to start here.
| | 02:20 | So I click this little stopwatch,
the Toggle Animation icon that turns on
| | 02:25 | keyframes at that location.
| | 02:27 | Nothing happens, we retain the
parameters that were at that point, but we've now
| | 02:31 | set this little spot here, these two diamonds.
| | 02:34 | This is where something is going to change.
| | 02:36 | Now to navigate back to that little set
of diamonds, I can click on these little
| | 02:40 | triangles here to go to the next
keyframe and it pops to little diamonds.
| | 02:43 | That's where we want it to start changing.
| | 02:46 | We are not going to change the parameters there.
| | 02:47 | We just want to start there.
| | 02:49 | Now let's say a little bit farther
in, like here we want the effect to
| | 02:53 | be running full-bore.
| | 02:54 | So I'm going to take this little
parameter and slide it over maybe about there,
| | 02:58 | or maybe it's too far, I went too much.
| | 02:59 | How about right there?
| | 03:00 | So now we have changed it.
| | 03:03 | So we had start here and an end there.
| | 03:06 | So it's going to change over time.
| | 03:08 | Let's just see how that works.
| | 03:09 | So I'm going to navigate back to that
first keyframe, navigate back to the beginning.
| | 03:13 | I can't do that by clicking this button.
| | 03:14 | I have got to drag it to the beginning
or compress page up and that will play.
| | 03:18 | Hold steady, now it gradually changes.
| | 03:20 | And that's how keyframes work, they
mark the beginning of a change and the
| | 03:24 | end of the change, and now we want to
hold that change for a while to let's
| | 03:28 | say right about here.
| | 03:29 | So we want to tell it, look at
-- let's hold it to that point.
| | 03:32 | So we need to add a keyframe
there where nothing has changed.
| | 03:35 | The parameter's still 58.56 and 47.75,
so I'm going to keep it there by clicking
| | 03:40 | on this keyframe icon that
says Add/Remove Keyframes.
| | 03:42 | I just click this and it adds another
keyframe, where nothing has changed, we've
| | 03:46 | held it now from there to there and now
we want to go the end, Page Down to the
| | 03:51 | beginning of the next clip, go back
one frame to the end of the previous clip
| | 03:55 | and say let's have the blend go back to 0.
| | 03:57 | So that swaps the whole animation.
| | 03:59 | I'll go Page Up to the
very beginning of the clip.
| | 04:01 | Let's play, here we go. It changes.
| | 04:04 | It holds, gets to the next keyframe and
gradually goes back to the beginning and
| | 04:08 | that is how keyframes work basically.
| | 04:10 | You mark the beginning and the end of a
particular change or you can say let's
| | 04:14 | hold it from here to here.
| | 04:16 | Let's just do one more thing,
this Density thing here.
| | 04:19 | In the middle, I want the Density
to be a little bit more intense.
| | 04:22 | So I'm going to move the current time
indicator to the middle of the clip where
| | 04:26 | there are no keyframes now.
| | 04:27 | Let's say let's ratchet up the Density
there, make it kind of softer looking.
| | 04:30 | So right there, the Density will
increase, the Blend won't change but
| | 04:33 | the Density increases.
| | 04:35 | Let's go to this next keyframe.
| | 04:36 | I like it way on top of that
keyframe, which is approximately there.
| | 04:39 | But if I click this little Go to Next Keyframe
button, it goes specifically to that keyframe.
| | 04:43 | Let's bring the Density
back down again, about there.
| | 04:46 | So now we'll have two things happening kind
of independently of each other. Click on Done.
| | 04:50 | Now the Density is going to increase, now
it's going to decrease, now they all decrease.
| | 04:54 | So that's kind of how that whole thing works.
| | 04:57 | You can apply keyframes to make
something change over time and you mark
| | 05:00 | the start and the end.
| | 05:01 | That was the hold position between these
two guys here where nothing changes basically.
| | 05:05 | I'm going to turn off this
particular effect to do something different.
| | 05:09 | So let me just off the effect by
clicking the Toggle eyeball there, click that
| | 05:14 | and I want to have this effect, have a
different effect where we sort of follow
| | 05:17 | motion a little bit.
| | 05:18 | I want to have it zoom in on something,
so I'm going to go to a different effect.
| | 05:21 | Click Effect, go to Search and let's say
zoom and we have got Zoom Blur, bring on here.
| | 05:28 | If you look at Zoom Blur, looks pretty cool.
| | 05:31 | But I don't want it to be
the zoom for the entire clip.
| | 05:34 | I want it to suddenly zoom at the end
and as a way to kind of have a transition
| | 05:39 | from this clip to the next clip.
| | 05:40 | So, let's go to Edit
Effects, to Zoom Blur there.
| | 05:43 | Notice that our Pastel Sketch has its
sort of generic keyframes marked there,
| | 05:47 | they are actually very specific to the
particular parameters, but when you close
| | 05:52 | it like that, it just sort of
shows these generic ones here.
| | 05:55 | That you can't change unless you open it up.
| | 05:56 | Nevertheless Pastel Sketch is turned off now.
| | 05:58 | And we have Zoom Blur,
and I want the Blend again.
| | 06:02 | This looks different.
| | 06:03 | The other one said 100%.
| | 06:03 | But I think this is reverse, 0 here
means it's not showing the effect.
| | 06:08 | I want the Blend to be there when we start.
| | 06:10 | So, I'm going to click the keyframe there.
| | 06:12 | We have now set all the
keyframes kind of neutral here.
| | 06:15 | Set the Blend down here to nothing,
add the Zoom to that, it's just making
| | 06:19 | everything -- because Blend is 0.
| | 06:19 | And when you go to the end of the clip,
and we go page down back one frame.
| | 06:24 | That's the last frame of the clip.
| | 06:26 | Now I want to have a really big zoom here.
| | 06:27 | So we'll zoom in like that and have a full-zoom.
| | 06:31 | The thing is I want to be able to
center the zoom on that red tree.
| | 06:35 | So I'm going to turn off the
Blend for a second so I can see it.
| | 06:38 | Click on this little word here and it
will turn on the Center Align, there it is.
| | 06:42 | I am going to drag it down to this tree.
| | 06:44 | We're right there at the end.
| | 06:47 | And I go back, I notch here to the
previous keyframe, I want the zoom to
| | 06:51 | start on that tree.
| | 06:54 | So I'm going backwards a little bit
here but that shows you how you have to do
| | 06:57 | it in a particular sequence, you just
need to set the parameters based on where
| | 07:01 | the current time indicator is.
| | 07:03 | So now what I have done is I'd
have the center of the zoom will move.
| | 07:06 | You can see that little
circle going up and down.
| | 07:08 | It will follow that line.
| | 07:09 | So when I get to the last keyframe, I
want the intensity to be high, right there.
| | 07:14 | So let's just see how that animates.
| | 07:16 | I'll just kind of move along here where
it's not running and when I click Play
| | 07:19 | these little dotted lines
will go away, like that.
| | 07:23 | Well that's one way to
kind of get out of that clip.
| | 07:25 | Now I want to get into the next clip.
| | 07:27 | I want to have the same intensity of
the zoom, coming into the next clip but I
| | 07:30 | want it focused on the geese.
| | 07:32 | So let me go page up to
the beginning of the clip.
| | 07:34 | Click on this one and we'll apply the
same Zoom Blur there, which will be active
| | 07:40 | in the Effects view.
| | 07:41 | So just drag it down here to this frame,
the Zoom Blur, click Edit Effects, open
| | 07:45 | it up, and I have the Zoom intense, select that.
| | 07:48 | Now I'm going to knock this thing down,
so I can see what the center point is.
| | 07:52 | So I click on the word Zoom Blur to
turn on that little target till I get down
| | 07:55 | to the birds, like that and
I'm going to set keyframes.
| | 08:00 | So now we set the keyframe amount but
we'll adjust the Blend in a moment, in a
| | 08:05 | little bit, so you can follow the bird.
| | 08:07 | So I'm going to change the center
here again to move with the birds a
| | 08:10 | little bit, like that.
| | 08:11 | So, now the center goes from here to there.
| | 08:16 | It pretty much follows the birds.
| | 08:18 | All the birds are kind of erratic.
| | 08:19 | Not their fault it's the helicopter's fault.
| | 08:22 | Let me change the Blend now, so at
the beginning, go back to the beginning,
| | 08:25 | click this little previous keyframe.
| | 08:27 | Set the Blend to 100% and then the
last keyframe, navigate to that one.
| | 08:32 | Set the Blend to 0 basically.
| | 08:34 | So let's see how this whole.
| | 08:35 | Let's see this particular
one, see how that one works.
| | 08:37 | I'm going to select that.
| | 08:40 | So we go back inside the aerial
here and we'll show that whole process.
| | 08:44 | We basically have created a transition
here using the Zoom Blur effect. Here, there.
| | 08:50 | In case that was a little abrupt, we
can just actually add a transition now,
| | 08:54 | just for heck of it.
| | 08:55 | I go Transitions, Cross Dissolve and
put a transition there on that line.
| | 08:59 | Click on the transition to make it
kind of brief, edit the transition kind of
| | 09:04 | knock it down to less than like maybe
half a second, instead of a whole second.
| | 09:08 | Let's see how that looks now, right there.
| | 09:13 | So you created a transition using the
Zoom Blur effect on two separate clips.
| | 09:17 | Let's move on now to the
ball-on-tee-centered.tiff.
| | 09:18 | Now I have used this particular logo
before it was up here in at the left hand
| | 09:23 | corner, I created a different version
of it, so it'd be centered in the screen
| | 09:27 | because I want to add something called
the Alpha Glow to it and if you have it
| | 09:30 | up here in the corner,
the glow will get cut off.
| | 09:32 | No matter where I move the clip, it
will still be cut off from the corner,
| | 09:35 | because the clip itself, the image has
actually this thing up in the corner.
| | 09:38 | So I don't like to clip it off, I want to get
a full range here and that's why we did this.
| | 09:42 | So let me back up here
and I want to go Alpha Glow.
| | 09:45 | Alpha Glow, the reason I'm choosing
Alpha Glow is that all graphics like this,
| | 09:51 | if they have a transparency in the
background, that's called an alpha channel
| | 09:54 | and you can put a glow in the
transparent alpha channel, so that's why we call
| | 09:59 | it the Alpha Glow and I
want to have that glow expand.
| | 10:02 | So I'm going to click on the clip, go to
Edit Effects and here is the Alpha Glow.
| | 10:07 | I want to go to the beginning
and I want the glow to come on.
| | 10:11 | So I'm going to tell it let's
set keyframes to the beginning.
| | 10:14 | Right now that's glowing like mad.
| | 10:16 | I don't want the glow.
| | 10:16 | So I'm going to knock down that
parameter so it's not glowing.
| | 10:20 | Knock down the brightness.
| | 10:21 | You can't see the brightness
because the glow is turned off.
| | 10:22 | I'm knocking it all down.
| | 10:24 | And I want the start color
to be white. That's fine.
| | 10:26 | Now, I'm going to move in little ways.
| | 10:28 | It's a five second clip so we'll
move in a little bit, a second or so.
| | 10:31 | Now, I want the glow to come on full-bore.
| | 10:35 | You don't see that because the
brightness is not centered. There we go.
| | 10:38 | Increase the Brightness.
| | 10:39 | I want to change the Color now.
| | 10:40 | I want to change the Color to let's say
light blue, light blue, click here and
| | 10:44 | that's light blue down here.
| | 10:46 | Kind of matches that
color of the text, like that.
| | 10:49 | So you can actually have
color change over time as well.
| | 10:52 | So it will kind of gradually change to
blue from white, although you won't see
| | 10:55 | much of the white as it changes it.
| | 10:56 | Now we'll go to a little bit farther in the
clip and I want to just change the color now.
| | 11:01 | So let's just change the color to
something else besides light blue.
| | 11:05 | Let's darken it by just
dragging this thing down.
| | 11:07 | Dark blue, there we go.
| | 11:08 | Kind of a purple, we'll go on here a
little bit farther and we change it to a
| | 11:13 | different color, deeper purple and I think we
are going to make it a little bit darker here.
| | 11:20 | So let me drag like that and there we go.
| | 11:23 | And eventually go to the end by going
page down, back one frame and we'll have
| | 11:28 | it get really dark this time,
maybe something up there.
| | 11:31 | In the meantime we have
got the Glow to deal with.
| | 11:34 | So I'm thinking, maybe right about
here is where we should set the glow.
| | 11:38 | I'm just going to click this
little Add/Remove Keyframe here.
| | 11:40 | It will have whatever the brightness
level, whatever the glow level is over here.
| | 11:44 | So I can click that and keep it the same.
| | 11:46 | I'm going to go to the end now.
| | 11:48 | Page down, go back one frame, the page
down button and then the arrow key to
| | 11:52 | the left one frame.
| | 11:53 | Let's knock that glow down now.
| | 11:55 | Let's knock the brightness down
although because the color has darkened, it
| | 11:57 | pretty much happened already.
| | 11:59 | Let's see how it works.
| | 12:02 | And it gradually drops,
changes color and it fades away.
| | 12:04 | All right and if we said maybe it
shouldn't drop so fast at the end.
| | 12:09 | What you can do is you can move the
keyframes by just marquee selecting it.
| | 12:14 | I'm going to click-and-drag here to marquee
select them and see how they change color.
| | 12:18 | I can slide the whole bunch of them
over and it will cause the change to start
| | 12:22 | here instead of over there.
| | 12:23 | So let's just kind of see
if that makes a difference.
| | 12:26 | So gradually changes and pretty much touch away.
| | 12:30 | You can sort of change the timing of
things by moving those keyframes around.
| | 12:34 | But now I want to do one
more thing to this clip.
| | 12:36 | So I'm going to close the Alpha Glow
look but I'm going to keep it turned on, we
| | 12:39 | are not going to turn off that
little Toggle Animation switch.
| | 12:42 | I am going to add another
effect here, the Spherize effect.
| | 12:43 | So let me go back to Effects,
add Spherize, S-P-H. There it is.
| | 12:49 | Drag it on there.
| | 12:52 | Spherize kind of bulges things.
| | 12:53 | Let me just show you how it works. Here it is.
| | 12:55 | That's the Radius.
| | 12:57 | It could get bigger, smaller.
| | 12:59 | And on top of that it has a Center.
| | 13:01 | So obviously center means you can click on the
effect name and that will turn on little target.
| | 13:06 | So basically I want the Center to be at
beginning of the clip I want it centered.
| | 13:09 | So I'm going to go to the beginning of
the clip, I'm going to take that target,
| | 13:12 | and that's center of the ball there.
| | 13:14 | See how that works.
| | 13:16 | So we'll start at the center of the ball there.
| | 13:18 | And the Radius I want to start at 0
but unless you want to have it up to
| | 13:21 | something like whole about there.
| | 13:23 | If we go too far you can lose this kind
of the impact, but we'll keep it right
| | 13:26 | around there, where it's actually is
making a difference from -- what is that?
| | 13:28 | 200 or so, or maybe -- there
you go, something like that.
| | 13:32 | So I want to get to that point.
| | 13:33 | So I'm going to start
here with that at 0 as well.
| | 13:35 | So I'm going to turn my keyframes.
| | 13:35 | So I click the keyframe
Toggle Animation Keyframe icon.
| | 13:40 | Puts on keyframes here with basically
nothing going on, Radius is in the center
| | 13:44 | and for us anyways, the center of our little
clip, and the effect essentially is turned down.
| | 13:48 | So Center is here and the Radius is zero.
| | 13:50 | Let's move in a little ways and start
expanding the Radius to where we want to
| | 13:56 | go about 180 or something in that area, or 200.
| | 13:58 | I'll say 180, a little bit
less than that. There we go.
| | 14:01 | And I want to move the center now to
some other place besides the center.
| | 14:05 | I want to start making the ball kind of
twist around a little bit. So I'll go there.
| | 14:08 | I move a little bit farther and
I like the Radius is just fine.
| | 14:13 | I'm going to move the center of
the ball a little bit like that guy.
| | 14:15 | Go to the next spot and
do this a few more times.
| | 14:19 | I guess I'll need to explain every
single move I do but you can see that I'm
| | 14:22 | moving the current time indicator and
I'm moving the location of the center so
| | 14:27 | that you kind of have the ball bulge
around and rotate around a little bit
| | 14:31 | throughout the entire glow
animation as the glow comes and changes.
| | 14:35 | And we go to about here and
bring it back to center like that.
| | 14:40 | And then I'm going to go to the end,
page down, arrow time one time left, and
| | 14:45 | we'll knock the size of the Radius
down to 0 and get it back to normal.
| | 14:50 | So now we have put two different
effects operating independently with their own
| | 14:55 | set self keyframes and we'll
see how they behave together.
| | 15:00 | Is that not totally wild?
| | 15:02 | So look at the things you are going to
do with just applying a few keyframes to
| | 15:06 | just something as simple as a graphic like that.
| | 15:08 | Okay finally, I want to do
another kind of motion effect here.
| | 15:12 | This thing has two motion neutrals.
| | 15:15 | I want to apply lightening to my friends here.
| | 15:17 | I think they will get a kick out of it,
I don't think they will mind that I'm
| | 15:19 | going to shock them with a lightening.
| | 15:21 | So I want the lightening
to strike right about there.
| | 15:24 | Come out of the sky and there are
those poor guys in the golf cart on this
| | 15:27 | beautiful clear day.
| | 15:28 | It's a total shock that
lightening will come out of the sky today.
| | 15:31 | And the thing about lightening is that you
can't sort of gradually turn it on or turn it off.
| | 15:35 | It just happens.
| | 15:36 | And so since I want it to start
right there, I'm going to split the clip.
| | 15:40 | Wherever the current time indicator is
located, you click the Split Clip tool.
| | 15:43 | It will split it there.
| | 15:45 | And now I can apply
lightening to this part of the clip.
| | 15:48 | So it will go from nothing to lightening.
| | 15:50 | So I take this clip and let me go over
to Effects, type the word lightening or
| | 15:55 | something like lightening.
| | 15:57 | There it is Lightening, drag it down to the
clip, we have now applied it and there it is.
| | 16:01 | That's messy out there.
| | 16:02 | We don't want it to just kind of be
floating around in the middle of nowhere.
| | 16:05 | We want it actually to
seemingly come out of the sky.
| | 16:07 | So I'm going to go to the beginning of the
clip by pressing Page Up, go to Edit Effects.
| | 16:12 | Knock down the lightening.
| | 16:13 | Notice we have two other fixed effects
here, Volume and Balance because this
| | 16:16 | clip has audio associated with it.
| | 16:17 | So the standard effect that we have
added here comes in between the fixed video
| | 16:21 | effects and the fixed audio
effects. Open this guy up.
| | 16:24 | If you look at all the parameters
here for Lightening, you can spend days
| | 16:28 | messing with this thing but we are not
going to spend days messing with this.
| | 16:30 | We are just going to worry about a
couple of things, and that specifically is
| | 16:34 | the starting point and I think we'll
just leave that starting point, maybe
| | 16:38 | Amplitude, but we'll start with.
| | 16:39 | The starting point and the ending point.
| | 16:41 | Well, you can't see the starting point
and ending point, unless you click on
| | 16:44 | the word Lightening.
| | 16:47 | And if you have got something like
start point, end point, center and things
| | 16:48 | like that, if you click on Lightening,
you will click on the effect name, then
| | 16:51 | the little targets will show up.
| | 16:52 | So here is the start point.
| | 16:53 | You can tell start point if you just
kind of drag, oh that start point is wrong,
| | 16:57 | this is the end point, there we go.
| | 16:58 | So let's get the start point right there.
| | 17:00 | Drag the start point up to the top,
here we want it start up here right.
| | 17:04 | Let's bring the end point down
here by dragging it there we go.
| | 17:09 | Put that up on top too and have it
kind of sort of gradually build here.
| | 17:15 | So that's the beginning, we have turned
on keyframes we have now set keyframes
| | 17:18 | for everything, will come onto the keyframe.
| | 17:21 | But we basically were
worried about this thing mainly.
| | 17:23 | I am going to go little bit
into the clip as they move down.
| | 17:27 | I'm going to take that end point, I
think the end point is left one now.
| | 17:30 | I think I kind of begin to
drag it down toward our friends.
| | 17:36 | Even though the lightening goes past
them, this is truly of the end point and
| | 17:38 | lightening has to be around them,
when it plays like that, a little longer
| | 17:41 | farther and will really zap them down,
taking all the way down to, and then as I
| | 17:48 | move off from the distance a little bit,
we'll change the location of that end
| | 17:53 | point again, to make sure
it follows their golf cart.
| | 17:56 | To make sure that they get
completely hit by lightening. Okay.
| | 18:00 | Now let's just play that guy
and see how that works out.
| | 18:04 | They are driving down, innocently
driving on the golf course and then
| | 18:08 | oh! no, my friends!
Sorry about that, you guys.
| | 18:11 | So what I want to show you is that
if you want to apply an effect sort of
| | 18:14 | instantly, you can split the clip.
| | 18:17 | So the basic process is that you
will apply one or more effects to a clip
| | 18:22 | and then you turn on the effects
Keyframe Toggle Animation switch, adjust
| | 18:25 | those parameters to add more keyframes,
thereby animating or changing your clip over time.
| | Collapse this transcript |
| Using the Motion effect with keyframes| 00:00 | Now it's time to put
some still images in motion.
| | 00:03 | What we are going to do is apply the
Motion Effect and keyframes to make
| | 00:06 | still images zoom or pan.
| | 00:08 | You have probably seen this kind of
effect in use in PBS documentaries, so much
| | 00:12 | so now that it's called the Ken Burns
Effect, because of his documentaries.
| | 00:16 | We are going to work on three images here.
| | 00:18 | This one of my daughter here in front
of this Gaudi statue and daughter and my
| | 00:21 | wife, and some family
members here from an old photo.
| | 00:24 | But generally when you work with
still images that you are going to zoom or
| | 00:27 | pan on, you want the still images to
have higher resolution than the frame you
| | 00:31 | are working in here.
| | 00:32 | Now, this is a digital video standard
definition frame, which is 720 x 480 pixels.
| | 00:38 | So you want images that are greater
than that if you are going to zoom in on
| | 00:41 | them, so it can remain sharp as you zoom on.
| | 00:44 | So let's just check this.
| | 00:45 | The way you check the resolution of an
image is by going to the Project View and
| | 00:49 | right-clicking on one of the
images, and looking at Properties.
| | 00:52 | There it says the Image Size here is
about 2600x2000, much greater than 720x480.
| | 00:59 | So this is a fine image to zoom in on.
| | 01:01 | But as we zoom in on it here in this
particular monitor, in Premiere Elements,
| | 01:04 | it's not going to look that sharp.
| | 01:06 | That's just one of the flaws of
dealing with the monitor like this in a video
| | 01:09 | editing program, but in fact the
image will be sharp when we zoom in on it.
| | 01:13 | This last image is not as high a
resolution as the first two, so have that in
| | 01:17 | mind when you work with it.
| | 01:18 | So let's work with image number two here.
| | 01:19 | Let me just go to the beginning, and
I'm going to go to Edit > Edit Effects,
| | 01:24 | and open up Motion.
| | 01:25 | That's the way you get there.
| | 01:28 | If I click on the word Motion, that's
going to put a bounding box around here.
| | 01:32 | That's the Motion Effect.
| | 01:33 | It's ready to be used now.
| | 01:35 | We can change the size by dragging
it in, or we can click anywhere inside
| | 01:38 | here and move it around.
| | 01:40 | So the first thing I want to do is I
want to actually start at this point.
| | 01:43 | So I want to put keyframes here,
so that we start full frame.
| | 01:46 | I like to open up the usual keyframes
area that serves as a little Timeline for
| | 01:50 | keyframe, so I can see when I add keyframes.
| | 01:52 | So for Motion I want to
say let's add keyframes here.
| | 01:55 | Sort of in neutral, nothing is changed,
this is the normal view, and then as we
| | 01:59 | go in a little bit, I want to hold it
for a second or two, and every single
| | 02:03 | still clip like this that's added to a
Timeline is by default five seconds long.
| | 02:06 | We could change it, but let's
just work with default here.
| | 02:08 | So about a second in is
when I want to start the zoom.
| | 02:12 | So I need to say let's hold
this position from here to here.
| | 02:17 | To hold it, I just need to
click on this little icon here, the
| | 02:19 | Add/Remove Keyframe icon.
| | 02:20 | So we are going to hold the position,
and we are going to hold the scale,
| | 02:22 | nothing is going to change there.
| | 02:24 | Now we want to start the change.
| | 02:26 | So we went from here to here and held it,
and in fact, I could have just skipped
| | 02:30 | these keyframes if I wanted to, and just
had these two to be at the start point,
| | 02:33 | but I wanted to show you how that works.
| | 02:35 | So now we are going to start the zoom.
| | 02:37 | So I'm going to move in a little bit
farther and sort of set the location and
| | 02:41 | time where I want the zoom to be completed.
| | 02:43 | But there are no keyframes there,
because I haven't changed anything.
| | 02:46 | I need to change something for
keyframes to now show up in this new position.
| | 02:50 | So I'm going to zoom in by just taking
the Scale, and even though the scale is
| | 02:53 | going to throw things off and it's
not going to be centered anymore.
| | 02:56 | It's only after I finally finish
adjusting things that we really have
| | 03:00 | established the parameters for the keyframes.
| | 03:02 | Now I have zoomed in.
| | 03:03 | It might be a little tight perhaps.
| | 03:05 | Just want to get that woman out of the
background, and kind of settle things down there.
| | 03:08 | There we go.
| | 03:09 | So now we have zoomed in, and
that will be the new parameters.
| | 03:13 | We have zoomed in and we have
changed the position, and we have changed
| | 03:15 | the scale, and we did it with Uniform Scale
set, so it happened with the right proportions.
| | 03:20 | Let's just see how that works.
| | 03:22 | It will settle down for the first
second or so, then it will start moving.
| | 03:25 | Let's just check that out. Very good.
| | 03:27 | I thought that was kind of a
fast zoom, maybe kind of abrupt.
| | 03:31 | So I'm going to -- let's take these
two keyframes that it zoomed to and move
| | 03:36 | them a little bit farther in time into
the clip, so that zoom is a little bit
| | 03:40 | slower, so let's see how
that works. There we go.
| | 03:41 | I am thinking, hmm, maybe we could
have her not so much on this right side of
| | 03:50 | the screen, but maybe a
little bit more toward the center.
| | 03:53 | So I'm going to go to that keyframe by
clicking on this Go To Next Keyframe to
| | 03:56 | be exactly on the keyframe, so that
if I change something now, it will be
| | 04:00 | changing that keyframe.
| | 04:01 | If I wasn't on the keyframe and
changed it with Add a Keyframe, it's going to
| | 04:04 | change things a little bit here.
| | 04:05 | I'm going to make sure Motion is
selected, so I can move this thing around.
| | 04:08 | I want a little bit more in the center,
so I'm going to zoom in a little bit
| | 04:12 | more, just a little bit more like that, and
we can hardly tell there is a woman back there.
| | 04:18 | So now we have kind of got her a
little more centered, and so now I have
| | 04:20 | changed the parameter of that keyframe,
changed the location first and changed the parameter.
| | 04:24 | That's what you can do with the
keyframes in Motion like this.
| | 04:27 | I'm just going to go
through there. There we go.
| | 04:28 | That's much better.
| | 04:30 | So that's the basic way to zoom, and
this can hold in for the rest of the image.
| | 04:34 | Let's go to this next one.
| | 04:35 | This next one sort of starts
off with kind of a little problem.
| | 04:39 | You can see that this post here is kind
of at an angle, and so I think what we
| | 04:43 | want to do is establish the right
position for the entire clip to begin with and
| | 04:47 | then start doing the zoom.
| | 04:49 | So I'm going to go here.
| | 04:50 | I have already clicked on it.
| | 04:51 | Since we had the Edit Effects open
before, it stays open for the next image,
| | 04:55 | which when you click on, it
will be applied to that one.
| | 04:57 | So as long as we haven't closed Edit
Effects, we'll see whichever clip we are
| | 05:02 | currently working with.
| | 05:04 | So I'll just click on this one to
make it active. Open up Motion.
| | 05:06 | I have to click on Motion to get
that bounding box to show there.
| | 05:09 | The first thing I want to do is I
want to rotate this guy a little bit.
| | 05:11 | So I'm going to grab the old Rotate
thing here, and I just hover my cursor over
| | 05:16 | it, and it turns into the
pointing finger with double arrows.
| | 05:18 | I'm going to drag a little bit to the right.
| | 05:19 | Wrong way, we want to go that way.
| | 05:21 | I'm going to expand a little bit so I
can see the edge of the post relative to
| | 05:25 | the side of the frame here,
so I can really line it up.
| | 05:28 | It's a little too extreme.
| | 05:30 | Let me just kind of go maybe
down to -5 degrees. How about that?
| | 05:33 | -5.
| | 05:33 | I'm having a hard time getting that -5 exact.
| | 05:37 | So instead of kind of drag it, I'm going to
just type in -5 and we'll see how that looks.
| | 05:42 | There we go.
| | 05:43 | So that's one way to do it.
| | 05:45 | Now we have got everything lined up,
and probably zoomed a little too far,
| | 05:48 | because I want to get it just enough so
I can get rid of those gaps around the
| | 05:50 | edge here, because of the
rotation we did. So now we are set.
| | 05:54 | Let me go a little bit farther. There we go.
| | 05:58 | Just drag this guy just a little bit
to the left and then we'll be happy.
| | 06:01 | There we go, little bit, so just shy of the
gap, so we have some room to zoom, as they say.
| | 06:06 | Let's see.
| | 06:07 | Where is that going to be? Right there.
| | 06:10 | Okay, that's the beginning.
| | 06:11 | Now, it does look a little fuzzy, but in
fact the image is very sharp, it's just
| | 06:15 | the way it looks here in the monitor.
| | 06:16 | So that's our start point.
| | 06:18 | I'm going to drag this thing to the
beginning of the clip or press Page Up.
| | 06:22 | That's our start point.
| | 06:23 | Now I'm going to turn on the Toggle
Animation switch here and set all those keyframes.
| | 06:28 | So we are setting the Scale at 112.8, and
we have got the Position. It hasn't changed.
| | 06:32 | Its still centered, and we
have rotated it -5 degrees.
| | 06:35 | That's the starting point.
| | 06:36 | Now I want to let's say again, as
before, move in a little bit, and I want to
| | 06:40 | have the exact same keyframes again.
| | 06:42 | So I can say if I just click on
these guys, Position, Scale, Rotation.
| | 06:48 | I don't really have to do the Rotation,
because I'm not going to rotate anymore.
| | 06:52 | Now I want to zoom a little bit, so
I'm going to move a little farther in,
| | 06:54 | and then start my zoom.
| | 06:55 | So I have got Motion
selected, and I'll click on it.
| | 06:58 | Kind of adjust the location a
little bit, move a little bit.
| | 07:03 | That will be a little too tight. There we go.
| | 07:05 | Get the three horses and my wife
and my daughter, and there we are.
| | 07:09 | So we adjusted the picture to begin
with, and then did the little zoom.
| | 07:13 | So let's see how that
works, and there we have it.
| | 07:16 | I think that works fine.
| | 07:17 | You might be noticing that these
little zooms that we are doing here have the
| | 07:21 | sort of straight line appearance to them.
| | 07:23 | See that line there.
| | 07:24 | That's a very sort of unnatural kind of move.
| | 07:27 | I'll talk about that straight line
design a little bit later, but I just want to
| | 07:31 | point it out to you now that you can
see that the move takes place along a
| | 07:34 | straight line, and it's not really gradual.
| | 07:36 | It's not so natural.
| | 07:37 | But we are talking about just
how to apply these keyframes now.
| | 07:40 | In another tutorial I talk about how
to make it look a little more natural.
| | 07:43 | Let's look at this next one now.
| | 07:45 | This is the kind of thing where in the
demo I showed you how we started on these
| | 07:48 | two folks, pan across to these
two folks, and then pull back.
| | 07:51 | So we'll do that again.
| | 07:52 | I want to start zoomed in on those folks.
| | 07:55 | So I'm going to go Page Up, to the
beginning of the clip, select it.
| | 07:59 | That will turn on the Edit
Effects view for that particular clip.
| | 08:02 | Open up Motion, and right off the bat I'm
going to scale this thing in, like that.
| | 08:06 | Click on Motion so I can move it.
| | 08:09 | That's probably a little too tight.
| | 08:11 | Pull it back a little bit. There we go.
| | 08:14 | Pull on this a little bit so you don't
get totally out of focus. There we go.
| | 08:17 | That's a good start.
| | 08:19 | So we have the starting point.
| | 08:20 | So now I want to set a keyframe.
| | 08:23 | Now, before I just clicked on the
stop watch at the beginning of the clip,
| | 08:26 | but in fact, I can move it in a
little bit to the point where I want the
| | 08:28 | change to start occurring.
| | 08:30 | So let's move it a little bit, about a
second or so, and now I click the Toggle
| | 08:33 | Animation switch, and we turn on
Keyframes, and basically don't change anything.
| | 08:37 | It's just whatever we set will now be the
beginning point for this particular change.
| | 08:42 | Now I want to pan across.
| | 08:45 | So I'm going to go to the time
where I want that pan to finish.
| | 08:48 | That's how it works basically.
| | 08:50 | Now I'm going there, but no keyframes
will appear, because I need to actually
| | 08:53 | make something different.
| | 08:54 | I have to change something for
the keyframes to start showing up.
| | 08:57 | They will appear
automatically once I change things.
| | 08:58 | I am going to pan across
just by dragging this thing.
| | 09:01 | Once we get things kind of established,
kind of settled down there, then we just
| | 09:06 | automatically see that a
new keyframe has been added.
| | 09:08 | We just panned across and that keyframe appears.
| | 09:11 | Let me just show you how that works.
| | 09:12 | At the beginning, it will settle
down for a second, pan across, and it
| | 09:16 | will settle down again.
| | 09:17 | Now I thought that just went by a little fast.
| | 09:20 | So the keyframe here shows the
distance in time that something happen.
| | 09:25 | If you click on the parameter, it shows
how it changed in terms of the parameters.
| | 09:29 | If I want to have that distance in
time be a little bit longer, so I can just
| | 09:32 | grab the keyframe, but I won't change
any of the parameters, just change its
| | 09:35 | location and time, and I'm going to pull
it a little bit farther into the clip now.
| | 09:38 | So let's just see how that works now.
| | 09:39 | A little bit of a delay to it,
kind of a little bit slower.
| | 09:42 | That's more natural I think,
so we'll take that one.
| | 09:44 | Go back to that keyframe.
| | 09:46 | Now we want to go from this
point and hold it for a little bit.
| | 09:49 | We want the Scale and the
Position to be the same for a while.
| | 09:53 | So I'm going to go a little bit farther in,
and I'm going to say let's hold that position.
| | 09:57 | So I need to click on this Add a
Keyframe to, say, from here to there we
| | 10:01 | are going to hold it.
| | 10:01 | I need to say as far as the Scale is
concerned, from here all the way over to
| | 10:05 | there we are going to hold it, because
the Scale hasn't changed during this pan.
| | 10:09 | So now we have got this whole thing,
where it's going to start, it's going to
| | 10:11 | do the pan, and now we get to the point, and
now it's going to hold to the next keyframe.
| | 10:16 | Okay. That's fine.
| | 10:16 | I'm going to navigate back to the
previous keyframe by clicking here.
| | 10:19 | Now we want to go to a full
frame by the end of the clip.
| | 10:23 | So I'm going to Page Down to the end of
the clip, which actually takes me to the
| | 10:26 | first frame of the next clip,
which is black in this case.
| | 10:28 | Hit the Left Arrow key to go back one
frame and now we are at the end of the clip.
| | 10:32 | And here I want to be able to pull back.
| | 10:34 | So I'm going to reduce the Scale a
little bit, grab it, and try to center it up.
| | 10:39 | Change the Scale a little bit more.
| | 10:41 | I realize that we are not
recording any keyframes here.
| | 10:44 | It's when we are done that it
finally says, okay, that is the established
| | 10:48 | parameter for this final
keyframe. So there we are.
| | 10:50 | We have changed the Position, we have
changed the Scale, and so we set two
| | 10:54 | keyframes automatically by doing that.
| | 10:55 | So let's just take a look at
how that works. Play through it.
| | 10:58 | Settles down, pans, holds for a bit,
and then pulls back to the whole thing.
| | 11:03 | But oh my gosh, it went to the end and
just flopped off like that and that's not
| | 11:06 | really what we want to do, but
there is an easy way to fix that.
| | 11:08 | If I take the end of the clip and drag
it out a little bit farther, that won't
| | 11:13 | change the position of the keyframes.
| | 11:14 | The keyframes will always stay in the
clip at the exact time that you put them.
| | 11:18 | You are not stretching the
keyframes out by doing this.
| | 11:20 | So let's just see what
happens now when I get to the end.
| | 11:22 | It settles down and holds,
which is what we wanted it to do.
| | 11:25 | So basically, you can add keyframes to
the clip to apply this motion, the zoom
| | 11:29 | and this pan, but have you noticed how
they are all straight lines like that?
| | 11:32 | There really isn't such a
comfortable realistic feel to it.
| | 11:36 | It sort of starts and stops abruptly, but we can
fix that with something called Bezier Interpolation,
| | 11:41 | and I'll explain how to do that in a
little more realistic way in another video.
| | Collapse this transcript |
| Working with effects presets| 00:00 | Over time you'll probably find
yourself using the same effect animations or
| | 00:04 | parameters over and over again.
| | 00:06 | For instance, you might want to have a
Fast Blur in, or you start an image blurred,
| | 00:10 | and then maybe a
second later it becomes sharp.
| | 00:13 | Or you might want to tint an image
and selecting the right colors to tint
| | 00:16 | something sometimes is little
tedious than the hit-or-miss.
| | 00:19 | So once you find the one you like, you
might want to save that tint so you can
| | 00:23 | use it over and over again.
| | 00:24 | Well, you can do all that using what
are called presets, presets that come with
| | 00:27 | Premiere Elements or presets
that you customize yourself.
| | 00:30 | I'm going to show you a few examples here
and we'll start up with this river view.
| | 00:34 | We're going to put a tint on there.
| | 00:35 | So the normal way to do that would be to
go to Edit > Effects and select the tint.
| | 00:40 | So I'll go over here to Video Effects.
| | 00:42 | I'll select tint, now where is tint?
| | 00:43 | Well, the way to find tint
is to type tint, there it is.
| | 00:47 | I'll drag it over to the
clip, and see what happens.
| | 00:49 | So, that turns it gray.
| | 00:50 | Well, that's kind of the default view.
| | 00:51 | Click on the Edit Effects and we see that
we map black to black and white to gray.
| | 00:55 | That's why it comes up gray like that.
| | 00:57 | For me to find the right color to
select here is I've got to go through this
| | 01:00 | whole color thing and try to find a
color that works and it may or may not be
| | 01:04 | what I'm looking for.
| | 01:05 | So I'm going to just go back and
look for something to previsualize this.
| | 01:09 | I'm going to select it, hit the old garbage
can and let's try looking at some presets.
| | 01:14 | So I'm going to erase the word tint, so
we can find this thing under the presets.
| | 01:17 | Go here, Video Effects and
click this Down Arrow to Presets.
| | 01:21 | In Presets, we're going to find Tint.
| | 01:22 | There's a whole bunch of them.
| | 01:23 | Now we can see an advance, different
settings for the tint that might work for us.
| | 01:28 | If I try the blue one, green,
not working for me, this one, ah!
| | 01:35 | That's kind of interesting.
| | 01:35 | Hyper Tint Blue/Red. I like that.
| | 01:37 | So now, let's just see what
happened, when we applied that preset.
| | 01:41 | I'll go back to Edit Effects and there
is the Tint and the preset maps black to
| | 01:45 | blue and white to red.
| | 01:47 | So now, if I click on, let's say Red,
and maybe change the intensity of the red
| | 01:52 | to something, slightly different
perhaps, I might think, well, that works a
| | 01:56 | little better, the blue changes to a
lighter blue, to see if that's what I like.
| | 02:00 | Now I can sort of settle on one that
I like and if I like what I see, I can
| | 02:05 | right-click on this particular
name, and I can say Save Preset.
| | 02:11 | I can call this Jeff's tint.
| | 02:15 | Next time I want to use
this. We erase this now.
| | 02:19 | Delete that.
| | 02:21 | Forget this clip and I'm going to say this
time I want to apply that tint I used yesterday.
| | 02:25 | So, I click on the Effects, go to
Presets and go to My Presets and there is
| | 02:30 | Jeff's tint, I can drag it across
and that's the same one I used before.
| | 02:33 | So, you can create one, a look that
you like, that you can use over and over.
| | 02:37 | Let's go to this next clip.
| | 02:39 | I want to use something where
they call a transition going in.
| | 02:42 | It could be what they call it in or an out.
| | 02:44 | We'll look at all the various
presets that are available for that.
| | 02:46 | So we go back to Presets, if you
click this little drop-down menu, you see
| | 02:50 | these are the various kinds of presets that
come with Premiere Elements, Bevel Edges, Blurs.
| | 02:56 | These guys here are the pans and zooms,
both horizontal and vertical, are used
| | 03:00 | typically when you work with layers,
when you put an image over another layer,
| | 03:04 | as well as PiPs, Picture in a Picture.
| | 03:07 | I'll show you some
examples of those guys as well.
| | 03:09 | But the ones that can transition in are
the Blurs, Mosaics, Solarizes, and Twirls.
| | 03:16 | Let's just start with the Blur.
| | 03:17 | We'll apply Fast Blur into this clip.
| | 03:19 | You can see that works.
| | 03:21 | It starts very blurry and
settles down pretty fast.
| | 03:24 | If we want to make that a Fast Blur
out, we can just select that clip.
| | 03:28 | You see all the keyframes work.
| | 03:31 | By opening up the Keyframes view, we
see we've got the initial keyframe is
| | 03:34 | blurred, the next keyframe is
unblurred, can move along here to the end.
| | 03:39 | Let's keep that unblured look now.
| | 03:41 | Let's say for the last frame, we'll
back up one notch here to that last frame.
| | 03:45 | We'll make it really blurry and blur out.
| | 03:47 | So, now we've taken a preset and
customized it to do a Fast Blur in and then
| | 03:53 | do a Fast Blur out.
| | 03:55 | Let's back up one notch, and take
that effect away and add another preset.
| | 04:03 | Do a little Solarize In.
| | 04:06 | So I'm going to go back to the presets again.
| | 04:08 | From the Blurs, I'm going to select Solarizes.
| | 04:11 | I'll do a Solarize in, works similar to blur.
| | 04:15 | After you start Solarize, I'm going
to gradually lose that solarization.
| | 04:20 | Let's see how that works now.
| | 04:22 | We go to Edit Effects.
| | 04:24 | There it is, Solarize.
| | 04:25 | The first keyframe is completely
solarized 100 to the end to none.
| | 04:30 | Again, we can do a little out version.
| | 04:33 | Click on this one to have it unsolarized.
| | 04:35 | Go to the end, Page Down, back
one frame and make it solarized.
| | 04:40 | Now we've done, we've created our own
little customized effect, perhaps, or
| | 04:44 | customized transition in.
| | 04:45 | Hold it for a little while and then goes out.
| | 04:48 | So I kind of like that one.
| | 04:50 | I want to save that one.
| | 04:51 | So I'm going to right-click on you, Save
Preset and say Solarize or Jeff's Solarize.
| | 04:58 | How about that?
| | 04:58 | We're going to scale it.
| | 05:02 | Now, unlike the Tint, the
tint is just beginning to end.
| | 05:05 | It doesn't change over time,
but the solarizing does change.
| | 05:08 | It goes in, holds and it goes out.
| | 05:10 | If we anchor it to the In Point, then
it will be based on the length of this
| | 05:13 | particular clip, which is not
really a very affecting thing to do.
| | 05:15 | We want to scale it to
whatever clip we apply it to.
| | 05:18 | So we're going to take the
default value, Scale and click OK.
| | 05:21 | Now what I want to do is that I want to
apply that same solarizing in and out to
| | 05:24 | this clip, which is longer.
| | 05:26 | So we'll see if that
little scaling thing worked.
| | 05:28 | I'm going to select that clip, go to
Effects, go to My Presets and there
| | 05:33 | is Jeff's Solarize.
| | 05:34 | Drag it down to this clip and see if it works.
| | 05:38 | There, the next one, solarizes in.
| | 05:41 | This time we'll see if it solarizes
out at the very end, as it should, lo
| | 05:45 | and behold it does.
| | 05:48 | Let's just go back and take a
look at that. Look at that.
| | 05:51 | See that it puts those two keyframes
at the end because we chose Scale, when
| | 05:56 | we made that preset.
| | 05:57 | I want to apply one more
preset to this first one.
| | 06:00 | So we kind of double up the transition.
| | 06:03 | Go back to Effects, Presets.
| | 06:07 | I'm going to go down here and select Twirls.
| | 06:10 | It's a pretty wild way to do something.
| | 06:12 | So I'm going to take the Twirl In.
| | 06:13 | You'll see that works with the
solarizing, comes in, just that.
| | 06:19 | We take a look at the effect now inside
that particular clip. There is Twirl.
| | 06:24 | Twirl is three parameters, the
Angle, Radius, and the Center.
| | 06:27 | We're not going to mess with the Center,
but the Radius and Angle are interesting.
| | 06:30 | Let's go back to the beginning here.
| | 06:34 | The angle is four times, meaning the
twirl is four times and the Radius is 50.
| | 06:38 | Let's go to the next keyframe.
| | 06:40 | The Radius goes to 75 and the Angle goes to 0.
| | 06:42 | So, it sort of starts at 4 and rewinds to 0.
| | 06:47 | So, I want to kind of do
the opposite at the other end.
| | 06:49 | So I'm going to go over here and we'll
have it be set to its current setting of
| | 06:55 | not to twirl and this current setting on 75.
| | 06:58 | We'll go to the end, which is Page
Down, and lift it all back one frame.
| | 07:02 | Now, I want to set this thing to 50,
just to be equal to what it started with
| | 07:06 | and have this thing be -4x.
| | 07:09 | So it sort of keeps on going in the
same direction, -4x is unwound first, but
| | 07:14 | I'm just going to keep on unwound.
| | 07:15 | Let's see how that works.
| | 07:16 | We'll go to the beginning. Here we go.
| | 07:19 | It's going to wind in and now it's
going to keep on winding along out.
| | 07:25 | What I'd like to do now is take that
twirl, save that one, call it Jeff's Twirl.
| | 07:32 | It's going to be scaled again, and
now I'm going to apply that to this next
| | 07:39 | clip, by going to Effects, My Presets,
Jeff's Twirl, drag it to that clip and
| | 07:47 | now we've created this sort of
transition from the first clip to the next, using
| | 07:52 | our own customized presets.
| | 07:53 | Now it's going to twirl out to the
next one and keep on twirling in the right
| | 07:57 | direction, because we used
the Minus and then the Plus.
| | 08:00 | Now this guy will twirl and
solarize out at the end. Very good!
| | 08:05 | So, you can make your own presets and
customize existing presets for your own purposes.
| | 08:10 | Now, finally let's go to this last clip.
| | 08:12 | I've put this clip over what's
called a Color Matte and you can create
| | 08:16 | color mattes very easily.
| | 08:18 | On the Project view, there is
this little button called New Item.
| | 08:21 | If you click the New Item button,
there's something called a Color Matte.
| | 08:25 | If you click that, you can pick
any color and then it will apply that
| | 08:30 | basically one color clip still frame wherever
the Current Time Indicator is on the Timeline.
| | 08:35 | That's what this yellow matte down here.
| | 08:37 | So we're going to take this clip here,
which is on the second layer, and this is
| | 08:40 | laying, which is really a
topic that I'd cover later.
| | 08:43 | But I do like to introduce
little things in advance like this.
| | 08:45 | So, let's just take a look at this.
| | 08:46 | Look at the presets that
apply to things that are layered.
| | 08:49 | I'm going to go back to
Edit > Effects > Presets.
| | 08:53 | If I look at this, I see that I've got
Bevel, Drop Shadow, the Pans and Zooms,
| | 09:00 | the PiPs and the more Pans and Zooms.
| | 09:02 | Those things really are applied to
things that are layered over something.
| | 09:04 | Let's try the PiPs first, Picture in Picture.
| | 09:08 | You can see the various kinds of
Pictures in Pictures, lower left, you can see
| | 09:11 | lower right, and upper right and upper
left as you scroll through all of these
| | 09:14 | Picture in Picture possibilities.
| | 09:17 | There sure are a lot of them.
| | 09:18 | Let me just pick something simple like, 40%
lower right, drag that over here and bang!
| | 09:23 | It's not an animation.
| | 09:25 | It just places it there in the lower right.
| | 09:27 | It looks like it's animating,
because the clip is rotating.
| | 09:29 | But that is the whole clip
taking up what they call 40% area.
| | 09:32 | But it's not really an area.
| | 09:33 | It's actually length and width.
| | 09:35 | So the width and length may cut in
the 40%, in fact, this is less than 40%
| | 09:38 | of the whole image.
| | 09:40 | It's kind of a little bit of a
misnomer, but we'll take that.
| | 09:42 | And now, I'm going to go, look at that
effect itself, look at Motion, and you
| | 09:48 | see that it's been scaled to 40.
| | 09:50 | And then also, the
position has been changed here.
| | 09:51 | If I click on Motion, I can
just move that around, like that.
| | 09:55 | So let's just click away from
Motion for a second, and go back to the
| | 09:58 | Effects and the Presets.
| | 10:00 | Instead of PiP, let's look at Bevel Edges.
| | 10:03 | If I just drag that over, put this
little beveled edge on that thing.
| | 10:07 | Now if I did it full screen, it would
kind of look ineffective, but here on an
| | 10:11 | object over something that Bevel kind of works.
| | 10:13 | If I undo that, I can have thinner edge.
| | 10:16 | Actually you can use Bevel Edges in
effect, but this gives you a little preset,
| | 10:20 | that when you go to Edit Effects, you
can say okay, I can sort of adjust this if
| | 10:23 | I want to or intensity of the
light be or that kind of a thing.
| | 10:26 | I want to see it sort of get it set up for you.
| | 10:28 | Then you can go back and
fix it later if you want to.
| | 10:30 | Let's look at a different preset.
| | 10:32 | Another thing that's used when you're
hovering something over something is a Drop Shadow.
| | 10:36 | So let's go to the Drop Shadows.
| | 10:37 | Use the Drop Shadows that drop to lower left,
lower right, and let's just try a lower right.
| | 10:43 | Just drag that over and add the Drop Shadow.
| | 10:45 | If you go to Edit Effects, there is
Drop Shadow effect and all the parameters
| | 10:49 | that allow it to kind of drop down to
the lower right and you can adjust those
| | 10:52 | or change those or use
different Drop Shadows as you see fit.
| | 10:56 | Then just look at one more thing here.
| | 10:57 | Undo Drop Shadows and go to the Pans.
| | 11:02 | These guys actually will pan
the image through the frame.
| | 11:06 | If I drag this over there
and click Play, let's see.
| | 11:11 | That gives that an automatic pan
through the image, which we showed you how to
| | 11:15 | do if you watched the
Putting Clips in Motion video.
| | 11:20 | So those are the presets that you can
apply to do, let's say, a transition in or
| | 11:24 | out to tint something or to use
presets when you're putting images in layers,
| | 11:29 | Pictures in Pictures and things like that.
| | 11:31 | They're fairly easy to use and you can
customize them to help you on your future projects.
| | Collapse this transcript |
| Controlling changes between keyframes| 00:00 | If you watch the tutorial on applying
motion and keyframes to still images,
| | 00:04 | the so-called Ken Burns Effect, you probably
notice that the images move in a linear fashion.
| | 00:09 | They just started and stopped.
| | 00:11 | They moved along a straight line,
and it just didn't have that kind of
| | 00:14 | realistic feel that you want to have
anytime you have motion in your projects.
| | 00:17 | Well, you can fix that by using
commands called Ease In or Ease Out.
| | 00:22 | The higher level version of that
command is called a Bezier curve, and I don't
| | 00:25 | explain that in this tutorial.
| | 00:26 | That requires a little bit more
hands on work and a lot of fine-tuning of
| | 00:30 | curves and handles.
| | 00:31 | But we'll stick with just Ease In and
Ease Out and that's really enough to get
| | 00:34 | you that sense that it's a more realistic move.
| | 00:37 | So here we have two sets of clips.
| | 00:38 | You saw this one if you have watched
that tutorial before this one, and then
| | 00:41 | go down here to this one.
| | 00:43 | And we'll start with the first one.
| | 00:45 | This is the way it looked back at another
tutorial where it just starts and stops.
| | 00:48 | Sort of instant acceleration, instant
stop and a linear move between the two.
| | 00:52 | This is not horribly uncomfortable, but
this one will be a little more subtle.
| | 00:58 | It will accelerate a little bit,
not abruptly, and it will decelerate.
| | 01:01 | Let's take a look at that.
| | 01:05 | It sort of settles down at the end.
| | 01:06 | The difference is something
called Ease In and Ease Out.
| | 01:09 | Let's just take a look at what that
looks like when you've got keyframes on it.
| | 01:12 | This clip is now selected and go to Edit,
go to Effects where we already are and
| | 01:18 | click on Edit Effects.
| | 01:19 | Here are those keyframes.
| | 01:20 | Notice they are not little
diamonds. They have this hourglass look.
| | 01:24 | That's because they have been changed.
They have a new type of behavior.
| | 01:28 | This sort of Bezier curve
called Ease In and Ease Out.
| | 01:31 | If I right-click on one of these
guys, we'll see that the option for
| | 01:34 | Temporal Interpolation.
| | 01:36 | That means changing things over time,
as opposed to Spatial, which means
| | 01:40 | changing things in space.
| | 01:42 | We'll look at the Temporal side and that
offers you an Ease In/Ease Out options.
| | 01:46 | These particular guys have an Ease Out,
because you are easing out of that
| | 01:50 | keyframe, going to the next clip,
and if you look at these guys,
| | 01:53 | the interpolation here would be Ease In.
| | 01:55 | It's not marked, but it is Ease In.
| | 01:56 | If you click it, you will notice, and
go back here again, and take a look at that
| | 02:00 | and it still doesn't say Ease In,
but in fact that's what it is.
| | 02:04 | So let's just take a look
at how that works again.
| | 02:06 | Gradually comes out of that, and
gradually slows down to the next one.
| | 02:10 | Let's just see how that works, how you do that.
| | 02:12 | So we'll go back to that first clip
where they are not applied and open up the
| | 02:16 | Edit Effects in that one, open up Motion,
and here are those sets of keyframes.
| | 02:20 | This is the one that's being eased out of.
| | 02:23 | So if I right-click on that one, I can
select Temporal Interpolation > Ease Out,
| | 02:28 | and it changes the hourglass.
| | 02:30 | That means to ease out of the position.
| | 02:31 | But since we are changing the scale at the
same time, I want to ease out of that as well.
| | 02:35 | So I right-click on that and ease out of that.
| | 02:39 | Let's just see how that works,
this particular one there, Ease Out.
| | 02:43 | It doesn't really sort of abruptly leave.
| | 02:46 | We go to these guys and we
can put Ease In on both of them.
| | 02:48 | I can select both of them and make
it easier, just by dragging here and
| | 02:51 | selecting both of them, or I can click
on one and Ctrl-click on the other to
| | 02:55 | select both of them.
| | 02:57 | I can right-click on either one, go to
Temporal Interpolation and say Ease In.
| | 03:00 | Let's just see how that works.
| | 03:02 | We are easing out of the first two, and
easing in to the second two. Ease Out and Ease In.
| | 03:08 | So that's how that works
for that particular clip when
| | 03:09 | we are zooming in or zooming out.
You can Ease Out of the clip
| | 03:14 | you are leaving and Ease In to
the clip that you are going to.
| | 03:17 | Let's look at this next one.
| | 03:19 | You have seen this before if you
have watched the other tutorial.
| | 03:21 | We are going to pan across and then pull out.
| | 03:23 | So the pan starts abruptly, stops abruptly,
and pulls out abruptly, and stops abruptly.
| | 03:30 | Much rather have it be something like this,
would be subtly different, and
| | 03:34 | we'll sort of gradually go out, and gradually stop,
gradually pull back, and gradually stop.
| | 03:39 | That's much more realistic. And the
way we do that again, if you look at the
| | 03:43 | keyframes, you will see a
bunch of hourglasses there.
| | 03:45 | Those are all the Ease In and Ease Out things.
| | 03:47 | So let's go back to this particular one.
| | 03:49 | We'll look at those
keyframes there and we'll see this.
| | 03:52 | They look like diamonds.
| | 03:53 | So we want to Ease Out
of those first set of diamonds.
| | 03:56 | So I'll just marquee select
them to get both of them selected,
| | 03:59 | right-click, Temporal > Ease Out.
| | 04:02 | This particular one that comes up
next is the one that finishes the pan.
| | 04:06 | We don't change the scale.
| | 04:08 | We just change the position.
| | 04:10 | So I'm going to Ease In to this one.
| | 04:12 | So I'll right-click on
that one, Temporal > Ease In.
| | 04:15 | Now we are going to go straight across
to the next one, which is holding it.
| | 04:19 | So we are going to Ease Out
of this and Ease In to those.
| | 04:21 | So I'm going to Ctrl-click
this one and Ctrl-click that one.
| | 04:24 | Both are selected. I can right-click
now and go Temporal > Ease Out, because
| | 04:28 | we are now leaving these keyframes.
| | 04:29 | I will go to these next guys.
| | 04:30 | I'll marquee select them,
right-click, and say Ease In.
| | 04:35 | So now we have changed these
guys to be a little more realistic.
| | 04:38 | It won't be dramatically different,
but it will be more comfortable to your
| | 04:41 | viewers when they watch this,
because it will subtle down instead of
| | 04:43 | snapping into place. There we go.
| | 04:45 | So that's how you use Ease In and Ease Out.
Apply those to keyframes to make your
| | 04:51 | motion a little more realistic.
| | Collapse this transcript |
|
|
9. Creating, Adding, Editing, and Mixing Audio Recording narration| 00:00 | A typical workflow for people who are
relatively new to video editing is to
| | 00:04 | create their entire video.
| | 00:05 | You lay down all the clips, and do all
the edits and effects and transitions,
| | 00:09 | and then you narrate it.
| | 00:11 | Well, you don't necessarily have to write a
script and narrate directly from that script.
| | 00:15 | A cool little thing you can do in
Premiere Elements is that you can narrate as
| | 00:18 | you view the video, just sort of
talk about it as it goes along.
| | 00:21 | It's relatively easy to do.
| | 00:23 | You open up what's called the Narration tool.
| | 00:25 | You can access it here in the middle
there, or you can go to Window > Narration.
| | 00:32 | It opens up this little dialog box.
| | 00:34 | As I speak, this little VU meter on
the left-hand side will move, indicating
| | 00:38 | the level of my voice.
| | 00:39 | The first thing you want to do is
adjust the level of your voice to make sure
| | 00:43 | that you don't have yellow bars
showing up or red bars in this VU meter,
| | 00:47 | which means Volume Unit.
| | 00:49 | You don't want to go to the red and
you probably don't want to go in to
| | 00:52 | the yellow too much.
| | 00:53 | But once you get the audio setup,
then you can start recording your audio.
| | 00:57 | To do that, you click on
this little red record button.
| | 00:59 | It counts down 3, 2, 1, and
then you can start your narration.
| | 01:03 | "The Northeast at the dawn of autumn
becomes a palette of red, vermillion and gold."
| | 01:08 | When you are done, you click that
little button, close this, and your audio
| | 01:12 | shows up down here in the Narration
track, and also over here in the Project
| | 01:17 | view, and then you can listen to
your audio and see how it worked out.
| | 01:19 | (Recording: The Northeast at the dawn of autumn
becomes a palette of red, vermillion and gold.)
| | 01:24 | Now, you don't have to record the entire piece.
| | 01:27 | You can do little bits at a time just
as I did here and place them down here.
| | 01:31 | As you record one piece, it will show
up again down here on the Narration track
| | 01:34 | and over in the Project view.
| | 01:36 | You can do one after the other, and
if you want to maybe move them around a
| | 01:38 | little bit to fit the pictures a
little bit better, that's fine.
| | 01:41 | But basically this is a fairly
straightforward way to create a series of audio
| | 01:45 | clips that you can edit together
later and that's basically how you do a
| | 01:48 | narration inside Premiere Elements.
| | Collapse this transcript |
| Making music soundtracks with SmartSound| 00:00 | There is a feature inside Premiere
Elements that allows you to create
| | 00:03 | customized music, more or less from
scratch, and have it pretty closely match
| | 00:07 | the length of your piece.
| | 00:08 | That feature is called SmartSound and
we're going to use that in this piece here.
| | 00:12 | We've put together the fall foliage
clips in an order that I think makes some
| | 00:17 | sense and creates a little story here.
| | 00:19 | And the story goes, right to the end it's
going to be a 01:49:19, so we'll call it a 1:50.
| | 00:25 | We want to create a piece of music that
matches the mood of the piece plus is 1:50 in length.
| | 00:33 | You'd be hard-pressed to do that if you were
to try to, let's say, rip audio off of a CD.
| | 00:38 | First of all, you probably wouldn't
get it to be exactly 1:50, and you'd
| | 00:41 | probably have to fade it
out at the end or cut it off.
| | 00:44 | The other problem would be that
it's copyrighted and there are certain
| | 00:46 | copyright issues if you're going to play this
to somebody other than your family or friends.
| | 00:50 | So you might want to shy away from
that and you can also buy something called
| | 00:55 | royalty-free music, which sounds like
a contradiction, but you pay for the
| | 00:58 | music and then don't have to pay royalties
every time you use it, but that costs money.
| | 01:02 | Here in Premiere Elements, you can
create music for free using SmartSound.
| | 01:06 | So we'll show you how to do that.
| | 01:08 | The way you access SmartSound is either via
Audio Tools or this New Item icon up here.
| | 01:13 | So we're going to go the sort of
standard way, which is going to the Timeline
| | 01:16 | and clicking on Audio Tools
and clicking on SmartSound.
| | 01:20 | That opens up this little dialog box.
| | 01:21 | We have one option, which is
Click here to select music.
| | 01:25 | When you do that, you'll see 26 items,
26 musical selections that are loaded up
| | 01:31 | when you load up Premiere Elements.
| | 01:34 | The thing is you can select one of
these and preview it here and then when you
| | 01:38 | find one you like, then you customize
it to fit the length of your piece and
| | 01:42 | also customize the beginning and
ending of it and some of the interior
| | 01:46 | transitions to the music.
| | 01:48 | So first of all, I need to find
something that works and I could just
| | 01:51 | double-click on something
and decide whether that works.
| | 01:53 | (Music Playing).
| | 01:57 | Not really. I don't want to use that one.
| | 01:58 | It's a little too quiet
for what I'm looking for.
| | 02:00 | So I'm going to reduce the options
here by selecting from one of these
| | 02:05 | styles, as they call it.
| | 02:06 | That will limit the number of
pieces that are displayed here.
| | 02:09 | I don't want Blues. Classical might work,
but I have an idea of what I want already.
| | 02:13 | So I'm going to go to
Futuristic and I'm going to try Synergy.
| | 02:17 | (Music Playing).
| | 02:22 | So, I think Synergy will be the one
we're going to use for this particular piece.
| | 02:25 | So I'm going to click Select.
| | 02:28 | Now we have these little choices to make.
| | 02:29 | First of all, the Length.
| | 02:30 | So I'm going to just type in 1:50.
| | 02:33 | So we're telling it we want the piece to be 1:50.
| | 02:35 | Then this little drop-down list
here shows the different styles for
| | 02:39 | this particular piece.
| | 02:40 | They give names to these things.
| | 02:41 | How they come up with these
names is beyond me, but they have
| | 02:44 | different beginnings and endings
and the insides of them kind of have
| | 02:47 | different transitions.
| | 02:48 | So we'll just try Vestige first
and click this little Play button.
| | 02:51 | (Music Playing).
| | 02:56 | Kind of sounds like
the start I'd like to have.
| | 02:57 | Let's try a different one,
just to see what that's like.
| | 02:59 | How about Emergent?
| | 03:00 | (Music Playing).
| | 03:06 | That sounds a little more intense.
| | 03:07 | We can see though there is a difference.
| | 03:09 | It's the same music, but it's kind of
reordered and you can sort of create
| | 03:12 | something that's customized and
people won't necessarily immediately
| | 03:15 | recognize it as, Oh!
| | 03:16 | That's one of those Premiere Elements
things that I've heard somebody else use.
| | 03:19 | (Music Playing).
| | 03:21 | So we'll stick with the top one there,
Vestige, and it's going to last for 1:50.
| | 03:26 | And all I'll have to do now is say OK.
| | 03:28 | It says what do you want to name this thing?
| | 03:31 | We could take the default name.
| | 03:32 | We can call it something of our own.
| | 03:34 | So we'll call it Fall-colors, how about that?
| | 03:37 | It's going to be
created as a Wave file.
| | 03:40 | Let's click Save and it
immediately adds it to our Project view.
| | 03:46 | We can now drag that down to our
Timeline, right at the beginning, and lay it in
| | 03:52 | there and look at that.
| | 03:53 | It is essentially exactly
the same length of our piece.
| | 03:57 | Let's see what it sounds
like at the beginning here.
| | 03:59 | (Music Playing).
| | 04:10 | It's pretty great.
| | 04:11 | Let's go to the end and see how it
finishes, because one of the cool things
| | 04:15 | about SmartSound is that it actually has a
real finish. it just doesn't cut off or fade.
| | 04:19 | It has a conclusion.
| | 04:21 | (Music Playing).
| | 04:37 | So that is how you can create a
customized music track to fit the length of
| | 04:43 | your piece and give it some distinct flavor
that separates it from the rest of the crowd.
| | 04:48 | It's called SmartSound.
| | 04:49 | I think it works well for projects that
just need a little extra musical punch to them.
| | Collapse this transcript |
| Applying audio effects| 00:00 | Premiere Elements has a number of audio
effects that you can apply to clips much
| | 00:04 | the same way you apply video effects.
| | 00:07 | There aren't anywhere near as many audio
effects as there are video effects, but
| | 00:10 | there are still plenty of
them to have some fun with.
| | 00:12 | So let's try that on a few of these clips here.
| | 00:15 | This first clip I want to just start
off with something simple and that is,
| | 00:19 | raise the volume a little bit when we get
to that point where he strikes the ball.
| | 00:22 | So we click on the clip here to select
it to make it active, go to Edit, Edit
| | 00:27 | Effects and there are the two audio
fixed effects associated with this clip.
| | 00:32 | There are the three video fixed effects.
| | 00:34 | We are worrying about audio at the moment.
| | 00:36 | So let's open up the volume and notice
that both Volume and Balance have their
| | 00:40 | keyframes turned on by default.
| | 00:42 | That's the standard way to do it.
| | 00:44 | I didn't do this in advance.
| | 00:45 | That's how they always show up
when you open up Volume or Balance.
| | 00:48 | Now what I want to do is raise the
volume just before he strikes the ball and
| | 00:52 | then kind of drop a little bit after.
| | 00:54 | So what I need to do is say okay,
let's set the volume at someplace.
| | 00:58 | Here it's set at 0 DB which means
that's the original audio level of that clip.
| | 01:04 | It's not 0 meaning silent. It means
we've not change the clip volume at all.
| | 01:09 | I want to have it be a little bit
quieter before we get to the ball.
| | 01:12 | So I'm going to pull it back here a
little ways to the beginning and lower the
| | 01:15 | volume to maybe about 5 and if I play it
just to hear the background barely, but
| | 01:20 | right before we get to the striking
of the ball I want to raise the volume.
| | 01:23 | So I need to set another keyframe
right about here to say let's maintain the
| | 01:28 | volume level from there to there and
then just when he gets to the ball,
| | 01:32 | we move that keyframe back a little bit.
| | 01:34 | Just as he gets to the ball,
I want to really raise it up to kind of
| | 01:38 | emphasize the striking.
| | 01:40 | So I'm going to hit my Right
Arrow key just to see where he hits it
| | 01:42 | exactly, right there.
| | 01:44 | So I'm going to raise the volume
right there to something greater than 0.
| | 01:47 | Let's say to 4 or something.
| | 01:48 | Let's just see how that
sounds now.
| | 01:53 | (Whack! Golf ball being hit.)
| | 01:54 | There he goes.
| | 01:55 | You can hear him say "that's going to hook."
(Male Speaker/Golfer: That's going to hook.)
| | 01:57 | And then we can drop the volume at that point.
| | 01:59 | So I'm going to say let's set the
keyframe to keep the volume there and then as
| | 02:03 | he goes past that point we are going to
drop it back down to let's say 0 which
| | 02:06 | will be the normal level.
| | 02:07 | But we have changed the volume level using
this built-in fixed effect on the audio side.
| | 02:11 | Let's try that again.
| | 02:12 | (Whack! Golf ball being hit.)
(Golfer: That's going to hook.)
| | 02:16 | Let me bring it back down a little bit
just to make sure you could hear him say
| | 02:18 | "that's going to hook," because that's
not quite as loud as this thing he says
| | 02:21 | later on which will be
as he yells at the ball there.
| | 02:24 | So we have got the audio
pretty much even throughout.
| | 02:26 | Let's also mess a little bit with the Balance.
| | 02:28 | Balance is how the audio
goes from left to right.
| | 02:31 | So I'll close the Volume and look at Balance.
| | 02:34 | Again, keyframes are on by default.
| | 02:36 | We want to have the club face
kind of go through the frame.
| | 02:40 | So like right here we want it to be
centered, but back here we want it to be a
| | 02:44 | little bit left. Right about there we
want it to be left, just to kind of mess
| | 02:47 | with things a little bit.
| | 02:48 | So I'm going to take this little Balance
thing and slide it all the way left and
| | 02:51 | that will automatically put a keyframe
in there for the left and then we are
| | 02:54 | going to have it go through the
ball and have it go to the right.
| | 02:59 | If you have stereo, if you are listening
to this in stereo, the swing of the club
| | 03:04 | will go from left to right.
| | 03:08 | But in mono or if you are watching
just on your computer monitor, I'm not
| | 03:12 | exactly sure how it's going to come
out, but we have set that to go left to right,
| | 03:15 | which is just some
sort of fun thing you can do.
| | 03:18 | Let's move one down the line here to this
narration and that already has an effect.
| | 03:23 | Why don't we just remove that
effect right now or turn it off for now?
| | 03:27 | The narration sounds like this.
| | 03:29 | (Narrator: A beautiful day
for golf here in Sonoma County...)
| | 03:32 | But you can kind of deepen it perhaps.
| | 03:34 | So let me just add a Bass effect, not
that we need more bass, but just for the heck of it,
| | 03:38 | to show you how you
can add a bass or a treble.
| | 03:39 | So we'll go here to Bass.
| | 03:41 | Drag that down to the clip.
| | 03:42 | You can see how it
highlights when I drag it down there.
| | 03:44 | Go to Edit Effects. There is the Bass.
| | 03:46 | I'll close this Reverb.
I'm saving that for later.
| | 03:48 | Here is the Bass and the bass starts at
Neutral, so it doesn't change it when you add it.
| | 03:53 | (Narrator: ...day for golf here in Sonoma...)
| | 03:55 | Still the same level as before.
| | 03:56 | But let me raise it up to maybe like 4,
and see if that sounds any different.
| | 04:00 | (Narrator: ...here in Sonoma County, as four
good golfing buddies get ready to tee off at...)
| | 04:05 | Kind of bit more sonorous there.
| | 04:07 | Let me just turn that one off and try Treble.
| | 04:09 | How does that going to sound if
I put the treble on my voice?
| | 04:12 | Scroll down here and there is Treble.
| | 04:16 | I'll go back aways. Again, no
change until you actually switch it off
| | 04:22 | from the Neutral zone.
| | 04:23 | So we'll boost the treble on it a
little bit and see how that sounds.
| | 04:26 | (Narrator: ...as four good...)
| | 04:28 | Raise a little bit, more treble.
| | 04:30 | (Narrator: ....good golfing
buddies get ready to tee off...)
| | 04:32 | Takes away kind of the deeper part of it.
| | 04:33 | So let me just show you that you can have
treble or bass and you can also have Reverb.
| | 04:39 | I'll show you the custom built-in
effects, the so-called Presets, and then
| | 04:43 | I'll show you the way that you can make some
visual adjustments to this Reverb in a moment.
| | 04:47 | Here are all the various presets.
| | 04:49 | Let's just try out a couple here.
| | 04:50 | We'll do let's say a medium room
and we'll see what that sounds like.
| | 04:55 | (Narrator: ...day for golf
here in Sonoma County...)
| | 04:58 | Now we can go up let's say a church.
| | 05:00 | (Narrator: ....as four good golfing
buddies get ready to tee off at Oakmont.)
| | 05:06 | You can obviously have some fun with
Reverb, but look at this little visual
| | 05:09 | representation of the effect that
comes along with Premiere Elements.
| | 05:13 | I'm going to open this up a little bit wider,
so you get the whole feel of this little tool.
| | 05:17 | It is called the VST effect and VST
effects almost always have a graphic
| | 05:21 | representation of what they sound like.
| | 05:22 | This'll also sort of talk about the level
of the Reverb and how long it lasts by
| | 05:27 | how far you drag this thing out.
| | 05:29 | So let's see if that changes that at all.
| | 05:30 | (Narrator: ...Sonoma County,
as four good golfing...)
| | 05:33 | You can also control them here as to
how large you are going to make it or how
| | 05:37 | long the delay is going to be and you
can roll down here and you can see what
| | 05:40 | those parameters are and you can
actually keyframe each parameter.
| | 05:44 | It can be a little bit nutty, but
that's what you can do with Reverb.
| | 05:48 | Moving down the line here,
we are going to talk about fixing audio.
| | 05:52 | This particular audio was recorded
only in one channel, but it's a narration.
| | 05:56 | (Narrator: ...becomes a palette
of red, vermillion and gold.)
| | 05:59 | That was recorded only in one channel.
| | 06:00 | You can sort of see it down here in the
waveform here, but if you really want to
| | 06:03 | see it, let's go up to Window > Audio
Mixer and let's just look at Audio Channel 1 here
| | 06:10 | and see what the waveform looks
like there, the so called VU meter and
| | 06:14 | it's only the right channel that has
audio in it. We want to have the left
| | 06:19 | channel of audio too.
| | 06:20 | By the way this is a standard
representation of audio. The left channel is on
| | 06:23 | the top and the right channel is on the bottom.
| | 06:25 | So we want to have the right
channel audio fill the left channel.
| | 06:28 | So there is an effect that does that.
| | 06:30 | Let's go back here a little ways.
| | 06:31 | Look in the Effects for this particular one.
| | 06:34 | It's called Fill Left or Fill Right.
| | 06:37 | Now you would probably think that since
we want to fill the left, we are going
| | 06:40 | to use Fill Left to do that,
but in fact it's Fill Right.
| | 06:43 | Basically, it's filling the left
channel with the right channel.
| | 06:46 | So let me drag that down there and go
back to the Mixer now, because you can't
| | 06:50 | see the waveform show up here.
| | 06:51 | Let's go back to the Mixer and see if that worked.
| | 06:55 | We'll see we have two channels of volume now.
| | 06:56 | (Narrator: ...autumn
becomes a palette of red...)
| | 06:59 | So now the audio will come out of what
would essentially be the center of the
| | 07:02 | stereo rather than coming only from
the right channel, which will be a little
| | 07:05 | awkward to have that come out for narration.
| | 07:07 | Finally, I want to go back to our
friend the golfer here teeing off and I'm
| | 07:13 | going to add a little effect here,
because I'm going to put him in slow-mo and
| | 07:16 | I want to put Reverb on the slow-mo, but
if I slow him down and then put Reverb
| | 07:21 | on the slowed down audio, it would
sound really choppy, because when you slow
| | 07:25 | down audio, particularly something
where there is a very distant hit like a
| | 07:29 | golf club, it will just go bep, bep, bep like
that and it will be almost like a machine gun.
| | 07:33 | So we don't want to use that audio.
| | 07:35 | I wan to take the original audio from
here and put Reverb on that and have that
| | 07:40 | play over the slow motion.
| | 07:41 | Well, that takes a lot of time to make a
copy of the audio and then drop it down.
| | 07:45 | So I already did make a copy.
| | 07:46 | So let me go back to Organizer >
Project and I have got this little drive audio
| | 07:50 | and I'm going that down a
little bit and put it on the track.
| | 07:52 | But the first thing I want to do is make
this thing go in the slow-mo, and if you
| | 07:55 | remember how to do that, you are
supposed to split the clip and then
| | 07:57 | we'll use the time stretch.
| | 07:59 | So I'll just split the clip by moving
where we want to split it and I need to
| | 08:04 | spread this guy back, so I can
see Split Clip tool, there it is.
| | 08:07 | I go right past here, right before where he
says "that's going to hook," and I'll clip it off,
| | 08:13 | get rid of this part of the
clip, and pull these guys out of the way.
| | 08:18 | We are about to expand things here.
| | 08:20 | We'll right-click on this thing,
Time Stretch, we'll go to let's say 25%.
| | 08:25 | We'll maintain the audio pitch,
because we are going to use some of the audio
| | 08:30 | and then I'll say OK.
| | 08:31 | Now we have lengthened it.
| | 08:33 | Let's see what that sounds like.
| | 08:36 | (Whack! Golf ball being hit.)
| | 08:37 | See, it kind of goes "sha-ta" like that?
| | 08:40 | Well, instead of using that
audio I want to use some other audio.
| | 08:44 | So I'm going to take this guy
and knock it's audio down first.
| | 08:47 | So I go to Edit, Edit Effects, go to
Volume for him and we'll move the Balance
| | 08:53 | so you can see we are doing and move a
little bit, so you have a better chance
| | 08:56 | to see what we are working on here.
| | 08:57 | I want to take the audio that's there
and put a keyframe there and I want to
| | 09:03 | take it down a little ways.
| | 09:05 | I'm going to turn this
balancing off, so we keep it centered.
| | 09:07 | And I want to have that audio
dropped right about that point.
| | 09:11 | So I'm going to go ahead of it, here is
the normal level there, set the keyframe there,
| | 09:15 | go to this keyframe and drop it way down.
| | 09:17 | So what's going to happen
when we're going play this,
| | 09:20 | it's going to go something like this.
| | 09:22 | (Whack! Golf ball being hit.)
| | 09:24 | So you really don't hear it that well.
| | 09:25 | Now I'm going to go back up here to
Organize, grab that other little audio clip
| | 09:30 | that I made in advance and drag
it down on that track above it.
| | 09:33 | Sort of mix the audio above here.
| | 09:35 | I'm going to move it over so I can see
the audio line up right about there
| | 09:40 | and see how that sounds now.
| | 09:43 | (Whack! Golf ball being hit.)
| | 09:44 | Little bit late on the audio.
| | 09:46 | I can click on this thing and hold
down the Alt key and press Back Arrow key,
| | 09:49 | the Left Arrow, and I can actually
move the clip one frame at a time.
| | 09:52 | Now I'm going to add a little Reverb to that.
| | 09:56 | So I'll go back to Edit,
a little bit on the Reverb.
| | 10:01 | It's just for fun. Drag it down to here,
Edit Effects on that, here is Reverb
| | 10:07 | and I'm just going to give it the old
church thing here and we'll call it a day.
| | 10:11 | We could be messing with this forever.
| | 10:13 | Let's hear what it sounds like here.
| | 10:14 | (Whack! Golf ball being hit.)
| | 10:16 | Let it kind of fade off in the distance.
| | 10:19 | So I think you can see that you can have a
lot of fun with these various audio effects.
| | 10:23 | I do suggest that you experiment with
them to find out what works best for you.
| | Collapse this transcript |
| Mixing audio tracks manually and with Smart Mix| 00:00 | At some point in your video production
process, you'll probably end up with a
| | 00:04 | project looking something like this.
| | 00:06 | You'll have video clips up here
with audio associated with them,
| | 00:10 | narration, and some music.
| | 00:12 | The thing is you want to somehow get
those three audio tracks to play nicely
| | 00:16 | together and usually
right off the top, they won't.
| | 00:18 | It will be something like this.
| | 00:19 | (Male Speaker: A beautiful day for golf here in Sonoma County,
as four good golfing buddies get ready to tee off at Oakmount.)
| | 00:27 | You can hear the guy hitting the ball,
but the narration was being stepped on by
| | 00:30 | the music as they say in the
music biz or the recording biz.
| | 00:33 | Also right here, the golfer says
something like "that's going to hook."
| | 00:36 | And you can't even hear him.
| | 00:38 | (Music Playing).
| | 00:41 | Says something here as well.
| | 00:42 | (Music Playing).
| | 00:43 | You can sort of hear "settle down there."
| | 00:45 | So obviously the music is stepping or
covering up the audio of the natural sound
| | 00:51 | here on this clip of the
golfer talking and the narration.
| | 00:54 | You could understand the narration,
but the music is just too darn loud.
| | 00:57 | So there are basically four
approaches you can take to mixing your audio.
| | 01:01 | We'll start with the simplest one,
and that is to go to the Sceneline.
| | 01:05 | Now in the Sceneline you have an audio
marker here, an audio controller there,
| | 01:10 | or you can control the volume there,
and one here for the narration, and
| | 01:14 | one here for the music.
| | 01:15 | Of course, I could have had music and
narration on different tracks, so it didn't
| | 01:19 | make any difference, because they're
just two audio tracks, but nevertheless,
| | 01:21 | there are the controls.
| | 01:22 | Those controls control the entire track.
| | 01:25 | You set the audio level and
then you can't change it later.
| | 01:28 | So you can't adjust let's say mid-
track when the narration stops and you want
| | 01:32 | to bring the music up.
| | 01:33 | I'll just give you a sense of what that's like.
| | 01:35 | I'll just come back to the beginning here.
| | 01:39 | I'll lower the music so it's not so
dominant and I'll raise the narration so
| | 01:44 | it's a little bit louder and we'll
raise up the natural sound of the golfer,
| | 01:48 | so you can hear them.
| | 01:49 | Now, we'll move it into the point
where the narration begins and move the
| | 01:52 | Current Time Indicator to right about there.
| | 01:55 | (Music playing).
| | 01:56 | (Narrator: A beautiful day
for golf here in Sonoma County...)
| | 01:59 | Now, it didn't quite get it
right. That's the thing.
| | 02:01 | You have to try it and
then go back and try again.
| | 02:04 | Music was probably too low.
| | 02:05 | Let's try that again here.
| | 02:06 | (Music Playing).
| | 02:07 | (Narrator: ...as four good golfing...)
| | 02:08 | Again, that's a hit or miss kind of approach.
| | 02:11 | So the Sceneline is not
your best way to control audio.
| | 02:15 | It's the entire track and you really
have to kind of experiment to try to find a
| | 02:18 | level that you like and if you have
any kind of clips where you've got the
| | 02:21 | audio varying over time,
then that just won't work.
| | 02:23 | So let's go to the Timeline and
what you can do here is you can control
| | 02:27 | clips individually.
| | 02:28 | So for example, if I wanted to have the
narration be up while the music is down,
| | 02:34 | I would go to the narration clip, go to
Edit, Effects, Edit Effects, and here's
| | 02:41 | the volume control for the narration.
| | 02:43 | Sine narration has no video
associated with it, it only has these two
| | 02:46 | fixed effects, we could use keyframes and
keyframes for volume are turned on automatically.
| | 02:52 | That's the default view.
| | 02:53 | I can go to narration and I can raise
the narration here against the background
| | 02:59 | music, or I can go to the music, with
that clip, go to Edit Effects, Volume.
| | 03:04 | And I could lower the music.
| | 03:06 | So let's say at this point
we want the music to drop.
| | 03:09 | Like I said, I'm going to click this little
Volume control and knock it down a little bit.
| | 03:17 | Let's see how that works.
| | 03:18 | (Music Playing).
| | 03:21 | (Narrator: A beautiful day for
golf here in Sonoma County...)
| | 03:24 | So it's an individual way to do it,
one clip at a time, one keyframe at a time,
| | 03:29 | and it's not necessarily a bad way to do it,
| | 03:31 | but it does have kind of a lot of manual
control that you have to incorporate there.
| | 03:35 | So let me undo that. Ctrl+Z to undo that.
| | 03:38 | Let's try to look at the automated feature that
is new to Premiere Elements 8 called SmartMix.
| | 03:45 | I will open up Audio Tools >
SmartMix. I'll say Options.
| | 03:50 | Rather than just apply it
automatically, I'll go to Options.
| | 03:53 | Then it basically say okay,
tell us about your tracks.
| | 03:56 | There is Audio1, here are
the golfers. Is it background?
| | 04:00 | Well, it's not foreground, it's not
background, but we'll have to say background here,
| | 04:04 | because it's not the dominant audio.
| | 04:05 | So we'll say background.
| | 04:07 | The Narration, is that foreground?
| | 04:08 | Definitely foreground.
| | 04:10 | Is the Soundtrack foreground or background?
| | 04:11 | Well, sometimes it is and sometimes it isn't.
| | 04:13 | But for now, we'll say background.
| | 04:15 | So that's one of the things about SmartMix.
| | 04:16 | It too looks at entire tracks and
when it sees this narration clip, it will
| | 04:21 | drop the audio for the music, and then
bring it up after the narration is done.
| | 04:24 | It doesn't really look at everything
like it won't hear the natural sound in
| | 04:28 | this clip and lower the music at that point.
| | 04:30 | But we'll give that a try.
| | 04:31 | So we'll say Apply, see how that works.
| | 04:33 | It's analyzing the clips and it's going to come
up with its own little mixer in just a moment.
| | 04:38 | Now, look what it did.
| | 04:39 | It put little volume control markers
here on what's called the audio rubber band.
| | 04:45 | It lowered the audio for the golfers,
when the narration came up and it lowered
| | 04:49 | the audio for the music
when the narration came up.
| | 04:51 | I'll close this here now and
let's see what that sounds like.
| | 04:55 | (Music Playing).
| | 04:57 | (Narrator: A beautiful day for golf here in Sonoma County,
as four good golfing buddies get ready to tee off at Oakmount.)
| | 05:03 | (Whack! Golf ball being hit.)
| | 05:06 | It's pretty effective. I mean it responded
to the narration, but it's not responding to
| | 05:10 | the natural sound up here.
| | 05:12 | So I'm going to go one step further than this
and just Ctrl+Z to undo that work. There we go.
| | 05:19 | Let's try one more thing and this is
the pretty powerful tool that Premiere
| | 05:22 | Elements has, called the Audio Mixer.
| | 05:25 | When you want to find a panel that's
not visible, you go to Window and look for
| | 05:28 | the panel name here, and
there it is, Audio Mixer.
| | 05:30 | And Audio Mixer displays all the audio
tracks that you have, even ones that
| | 05:35 | you're not using at the moment.
| | 05:37 | We're using Audio1, Narration, and Soundtrack.
| | 05:39 | These three we're not using, but
they are currently in our project.
| | 05:43 | So it will show them, even
though there's no audio in there.
| | 05:45 | What we can do is we can control the
audio levels here as the audio plays and
| | 05:50 | as we raise or lower the audio, it's
going to record keyframes down here.
| | 05:54 | Many more keyframes than you saw in
the SmartMix, and try to adjust the audio
| | 05:58 | accordingly as we move these guys around.
| | 06:00 | The thing is that you have to sort of
anticipate what's going to happen and
| | 06:03 | you've got to be fast on the controls as
the audio goes from one track to the next.
| | 06:07 | Let's just give that a shot.
| | 06:08 | I'm going to drop the Soundtrack as
we get to that point when the Narration
| | 06:12 | begins and see if that's going to work.
| | 06:14 | (Music Playing).
| | 06:16 | (Narrator: A beautiful day for golf here in Sonoma County,
as four good golfing buddies get ready to tee off at Oakmount.)
| | 06:23 | (Whack! Golf ball being hit.)
| | 06:24 | (Music Playing).
| | 06:28 | (Golfer: Alright, settle down right there.)
| | 06:30 | (Music Playing).
| | 06:33 | All right, look what happened.
| | 06:35 | These are all keyframes, dozens
and dozens of keyframes that mark the
| | 06:39 | little drop in audio.
| | 06:40 | And I tried to get you to hear the
audio of the guy saying "that's going to hook,"
| | 06:45 | and I raised the audio
there, but I missed it.
| | 06:46 | It didn't quite get the moment when he
said "that's going to hook," but we kept
| | 06:49 | it up loudly when he said, "all
right," something along those lines.
| | 06:52 | So we're able to do all these
little changes using the Mixer.
| | 06:55 | I'm going to close this now, and you
have the option of fine-tuning this.
| | 07:00 | Let me show you how it works.
| | 07:01 | (Music Playing).
| | 07:02 | (Narrator: A beautiful day
for golf here in Sonoma County...)
| | 07:03 | You notice how the audio and the
music dropped a little bit late.
| | 07:07 | I'm not going to go through the whole
process of fixing these things, but if you
| | 07:10 | click on one of these tracks, go
to Edit, Effects, open that up.
| | 07:15 | Look at all the keyframes that
were added there, just for that music.
| | 07:19 | If I expand the view here a little bit,
you can see that this is the place where
| | 07:23 | the audio dropped right there.
| | 07:25 | If I want to drop it a little
bit sooner, I can go to the place.
| | 07:28 | I really want the audio for the
music drop right about there instead.
| | 07:31 | I can marquee-select all of those keyframes
and drag them all as one big unit over to here.
| | 07:38 | Now, when I play it, the audio will
drop at the appropriate places that are a
| | 07:42 | little bit late, because I didn't
quite get it just right in the Mixer.
| | 07:45 | (Music Playing).
| | 07:46 | (Narrator: A beautiful day for golf here..)
| | 07:48 | See how that worked? You can do that for all
the keyframes here and you can add more keyframes
| | 07:53 | yourself to really fine-tune the
audio for instance to try to get this part
| | 07:56 | where the golfer makes a comment a little bit
earlier than I caught it there in the Mixer.
| | 08:00 | So again, it takes a lot of anticipation,
but if you miss it, you can always go
| | 08:03 | back inside the keyframes, inside Edit
Effects and adjust the location of those
| | 08:08 | keyframes, and even add more keyframes later.
| | 08:10 | So depending on the complexity of your
project, you can use one or more of these
| | 08:15 | techniques to control or mix the audio.
| | Collapse this transcript |
|
|
10. Working with Titling ToolsCreating text and geometric shapes| 00:00 | You'll probably want to add text to your
projects. That might be an opening title
| | 00:03 | screen or closing credits or perhaps
as super as they call it in the TV news
| | 00:08 | business, the name somebody along the
lower third of the screen, or perhaps the
| | 00:11 | location super that you might put
along the top third of the screen.
| | 00:14 | Well, Premiere Elements has a Title
tool to let you do all of those things.
| | 00:18 | In this particular tutorial, I'm going to
talk about the basics of the Title tool use.
| | 00:22 | In the other tutorial, I'll kind of
lift the bar a little bit and talk about
| | 00:25 | some higher level stuff.
| | 00:26 | So, to add a title, you
can do it one of three ways.
| | 00:29 | You can go File > New > Title, or you can go
to the Project view, you go to New Item > Title.
| | 00:37 | The normal way probably is that you just
click this T down here in the Monitor panel.
| | 00:41 | It says Add default text, but it will
open the exact same thing that the other
| | 00:44 | two guys would have opened. Click that.
| | 00:45 | It opens up this little
window inside the Monitor panel.
| | 00:49 | It does a few things. Notice around the
outside here, there is something called
| | 00:52 | the Action Safe Zone.
| | 00:54 | That's this outer border, where the
things outside that border might not be
| | 00:58 | visible of a standard North-American
television set, the NTSC standard, and
| | 01:02 | the inner one here is called the Title
Safe Zone and basically, the good rule of
| | 01:06 | thumb is keep your text
inside the Title Safe Zone.
| | 01:09 | Finally, you get this Add Text box here,
which is just ready for you to add text.
| | 01:14 | All you have to do is type.
| | 01:15 | You don't have to click inside to say,
'Here is,' my carriage return, 'some text'
| | 01:22 | and it will expand to fit
your text as you add it.
| | 01:25 | Now this is the default font and
default color in Premiere Elements.
| | 01:29 | It's white in Adobe Caslon
Pro, as you can see over here.
| | 01:33 | So, the first thing you can do
is that you can change the font.
| | 01:35 | So, if you highlight the text, you need to
highlight whatever you're going to change.
| | 01:38 | You can click this down arrow and there
is all the fonts that are loaded on this
| | 01:43 | particular computer.
| | 01:44 | It will show whatever is loaded on
your computer, and you can scroll down and
| | 01:47 | grab something that you want to use.
| | 01:49 | And there's one little problem with this.
| | 01:50 | It doesn't show you examples of the font
as some programs might, and so you just
| | 01:53 | kind of have to know what it is you want to do.
| | 01:55 | So, I'm just going to scroll down here
way down to the bottom. Too bad I cannot
| | 01:59 | go by pages, but that's how it works here.
| | 02:01 | We'll select the standard Times New
Roman font and see how that changes it.
| | 02:04 | Now, once you've selected your font, you
can change the size by just dragging on
| | 02:09 | the font-size, the text-size, making
it larger, or you can just hold down the
| | 02:14 | Ctrl key and click inside the box,
then you can drag the ends, like that.
| | 02:20 | If you click this little Selection
tool up here, not the Selection tool down here,
| | 02:23 | but this one here,
you can then drag it around.
| | 02:26 | I can just show you how that works.
| | 02:28 | Click away, click on that little
Selection tool, click it again.
| | 02:32 | So, there are multiple
ways to make your font larger.
| | 02:35 | You can then change the leading.
| | 02:37 | It looks like it's spelled leading, but
it's pronounced leading, and that's the
| | 02:41 | space between the lines.
| | 02:42 | Here you can change the kerning,
which is the space between the letters.
| | 02:46 | This is how you can align
your text, Left, Center, Right.
| | 02:53 | If you want to change it to let's say Bold,
you can do that or Italics or Underline.
| | 03:00 | Notice how it doesn't entirely work
together the way you think it would.
| | 03:03 | Here it would be Underlined and Italic.
| | 03:05 | It doesn't quite work.
| | 03:06 | So, you've got to kind of finagle a little bit,
until you get it the way you want it to work.
| | 03:08 | Sometimes, with these guys even turned on,
they don't quite work the way you want them to.
| | 03:12 | If you want to add text later, after
you've already done this, you click away
| | 03:17 | and you're off looking at something else.
| | 03:19 | You want to come back here and add text.
| | 03:21 | You can see that you have added
your title inside the Project panel.
| | 03:24 | We have that over a Gradient, by the way,
which we made in the Title tool, which
| | 03:27 | I'll show you how to make in another tutorial.
| | 03:29 | You think you can edit it just by,
let's say, double-clicking on this.
| | 03:32 | But it just previews and it
doesn't actually let you edit it.
| | 03:35 | The only way you can edit a title is
to actually add it to a Timeline and
| | 03:39 | double-click on it down here.
| | 03:40 | That opens up that same editor we saw
before with the Safe Zones and then the
| | 03:45 | Text Type tool ready to go.
| | 03:47 | So, once you have that open there,
again,you can just click on it with this
| | 03:50 | little-- see that little bar there?
| | 03:51 | When you click there, that opens it up.
| | 03:53 | You can highlight it and if you want to
delete it or change it, that's how you edit it.
| | 03:56 | If you want to add more text, you
have to take that little bar to the end.
| | 03:59 | You might hit a Carriage Return here,
'and more,' something like that.
| | 04:03 | That's how you can add more text.
| | 04:05 | Over on the side here, there are
things called styles and I'm going to talk
| | 04:09 | about how you can edit styles in the
other tutorial, but let me just show you
| | 04:12 | what happens if you click on one of these guys.
| | 04:14 | It will change all the text,
whether you've highlighted it or not.
| | 04:17 | It applies the style basically
to whatever is inside the box.
| | 04:21 | So, we'll talk about editing styles later.
| | 04:23 | Finally, I want to talk about adding a shape.
| | 04:26 | So, I'm going to click away from this.
| | 04:27 | We're going to say we're done.
| | 04:29 | And we'll go add another title.
| | 04:30 | Click here. This is Add Text,
but I want to add a shape instead.
| | 04:34 | So, I'll click on the rectangle.
| | 04:35 | Now, I can drag a shape, like that.
| | 04:39 | If I click on the Style,
it actually will change the way the box looks.
| | 04:43 | Let me just go back and click away
from here and we'll move the Current
| | 04:47 | Time Indicator over.
| | 04:48 | If I want to add, let's say, a rounded
rectangle, I can grab that one instead
| | 04:52 | and drag the rounded rectangle.
| | 04:53 | Did I grab it? I'm not sure I grabbed it.
| | 04:55 | We'll try that again. There we go.
| | 04:58 | Again, I could change the styles
simply by clicking on these guys.
| | 05:01 | That's how that works.
| | 05:03 | If you want to save your title to use
in another project, you simply go to
| | 05:06 | File > Export > Title.
| | 05:08 | So, this is how you add text, add shapes,
and if you want to change the overall
| | 05:12 | look of your text or shapes,
you click on a different style.
| | 05:15 | I'll show you how to
customize styles in another video.
| | Collapse this transcript |
| Applying styles to text and shapes| 00:00 | If you want to jazz up your text a
little bit, you can customize a style or use
| | 00:05 | a template, and I show you
how to do both in this tutorial.
| | 00:07 | Let's just start off by adding some
text. Click on the Add default text,
| | 00:11 | the Title tool there.
| | 00:13 | That adds that text then opens up the
Add Text panel inside the Monitor panel.
| | 00:18 | And I can type in some text.
| | 00:20 | I don't need to click inside. I just type.
'Here is some text and some more text.'
| | 00:30 | There we go, and I can just click on
the Selection tool here and drag it up,
| | 00:36 | expand the size, stuff like that,
simply by dragging it around.
| | 00:41 | Now that's the default style there,
Adobe Caslon Pro, Regular, white.
| | 00:47 | Let's change the style a little bit
by just going to this little tool here
| | 00:52 | called Color Properties.
| | 00:53 | And for Color Properties you can see a
couple of things that you can do in here.
| | 00:58 | You can change the Fill, the color
inside there, and you can add a Drop Shadow.
| | 01:03 | But one thing you can't do inside here
is add a Stroke. Unless the text has a
| | 01:08 | Stroke to begin with you can't
change the Stroke or add a Stroke.
| | 01:12 | So I'll show you how to do that later
but let's just focus on the Fill color and
| | 01:16 | on the Drop Shadow first.
| | 01:18 | Now the Fill color is blanked out
here but don't let that throw you off.
| | 01:21 | This is your Fill color here. You just drag
this around and you can change the color.
| | 01:25 | If I click on here that means no fill,
white, or black, then once you do this
| | 01:31 | you can always adapt the color by
dragging that around or dragging this off
| | 01:35 | to one side like that.
| | 01:36 | Here is our new color for Fill.
| | 01:38 | Now the Fill doesn't have to be solid.
| | 01:40 | It can be a gradient if you'd like it to be.
| | 01:42 | So I can click here in this drop-down
menu and select let's say 4 Color Gradient.
| | 01:48 | Click on that and four color stops will
appear around the outside of this color swatch.
| | 01:54 | Each color stop represents a color that
you can use for the four color gradient.
| | 01:57 | So you click on one, make it active,
then you can pick a color up here.
| | 02:01 | Just drag around, move this guy inside there,
and there is one color for the upper
| | 02:05 | left-hand corner. If I want to
click down here and make that active,
| | 02:08 | I can then go up here again and change
this color to something else, let's say,
| | 02:13 | and that'll show up here inside
our Fill as a 4 Color Gradient.
| | 02:18 | The other two boxes are white at the
particular moment but I could change them
| | 02:20 | to any color I want.
| | 02:21 | So that's how you can change the Fill
on any type style that you select, even
| | 02:26 | the default opening one.
| | 02:28 | I can also add a Shadow now by clicking
this box and say let's add a Drop Shadow.
| | 02:32 | The Drop Shadow by default
here has a Distance of 4.
| | 02:35 | Probably it's different on your machine.
| | 02:36 | But at this moment it's 4. It means that
the Drop Shadow is a little bit down here
| | 02:40 | and pointing it away. You can
adjust where it points right down here.
| | 02:43 | Let's increase the Distance so you can
see it more clearly, and there it is.
| | 02:46 | If I make it not soft, that's
exactly the same density as the font.
| | 02:53 | If I make it soft it's looks more like
a real shadow. But you can have that go
| | 02:56 | anyway you want in terms of the
distance and in terms of how soft it is.
| | 02:59 | So that's basically the way that you
can adapt the text from the get-go.
| | 03:06 | Let me click Cancel here just because
I want to go and try something else.
| | 03:09 | By the way notice that the Drop Shadow is black.
| | 03:12 | There's a reason I'm telling you that.
If you want it to be white or blue or some
| | 03:15 | other color, you're out of luck
because you can't change the Drop Shadow from
| | 03:20 | within that little dialog box.
| | 03:21 | Let's go in here again. Click
inside here. It opens up the Styles.
| | 03:25 | I'm going to look down. You can see a
couple of these font styles have red Drop
| | 03:31 | Shadow or blue Drop Shadow.
| | 03:34 | So if we select one of them then you
can at least have the color Drop Shadow
| | 03:38 | that you hope to get, this red, blue, and
white in this particular collection of Styles.
| | 03:42 | So I'll just click on that and it
changes it to-- it looks like the red glow,
| | 03:47 | but if I click over here you
notice I can go to the Drop Shadow and
| | 03:50 | you see that it's set to Soft and if I give it
a distance, you see that really is a Drop Shadow.
| | 03:56 | So that's the way you kind of work around
the fact that the default Drop Shadow is black.
| | 04:00 | If you want to change it to another color
you need to select a style that has that color.
| | 04:04 | Let's go through a little bit more.
Basically your thinking is as you select the
| | 04:08 | style is I want the general appearance
of my text and then I can always adopt
| | 04:12 | the color and the stroke later.
| | 04:15 | But let me just select something
here that has a stroke. The stroke is a
| | 04:17 | border around the outside of the text.
I'll click that one. Looks like a stroke.
| | 04:21 | I'm not 100% sure.
| | 04:22 | Let's click on that and see if it has a stroke.
| | 04:24 | That little box being
active means it has a stroke.
| | 04:27 | So I click on that.
| | 04:28 | It says the stroke is called Stroke 0, and
the Weight, basically how thick it is, is 0.9.
| | 04:33 | If I increase the Stroke Weight
you can see that it is getting thicker
| | 04:36 | around the outside.
| | 04:37 | If I click on this I can change the
stroke color to something else besides that
| | 04:41 | color by just dragging through
here, making a different stroke color.
| | 04:45 | And the stroke could have the same
kind of qualities as the Fill. I can click
| | 04:48 | here and make it even a 4 Color
Gradient again and have the colors change from
| | 04:51 | one side to the other.
| | 04:52 | I'll change over here and make it
obviously different so you can see how that works.
| | 04:57 | So we now have a 4 Color
Gradient for the stroke.
| | 05:01 | So it's kind of the cool stuff you can do
just by working in the Color Properties box
| | 05:05 | and by selecting certain kinds of Styles.
| | 05:08 | In addition to working with
Styles you can work with templates.
| | 05:10 | We move the Current Time Indicator off that
particular title to a blank spot on the this gradient.
| | 05:14 | And go to Edit, Titles.
| | 05:19 | Under Titles you have got all kinds
of categories but all these things are
| | 05:22 | templates that you can use to
let's say have rolling credits.
| | 05:25 | I'll click here so you can see an
animation of the rolling credits. There we go.
| | 05:30 | And then you got these other
templates that you can use to have your video
| | 05:33 | running inside them and put a title
below here, for example. All kinds of
| | 05:36 | possibilities, lower thirds and
all kinds of little animations here.
| | 05:40 | But we'll just show you how
to add some rolling credits.
| | 05:43 | So I'll click on this and then say Apply.
| | 05:46 | That put the rolling credits there and
then you can work with them just as you
| | 05:49 | would with any other font, so you just
highlight it and say I really don't want to use
| | 05:54 | that particular style.
| | 05:55 | I can change it to some other style
like this guy for example, and the same
| | 05:58 | thing down for this guys. You can then
change them if you care to and also type
| | 06:02 | in whatever you want to type of course.
| | 06:04 | And how this works is if you play this
clip it will actually roll the credits.
| | 06:09 | So let's go down here. I'll click Done.
| | 06:12 | I'll play this clip.
| | 06:13 | It rolls up the screen.
| | 06:17 | And it rolls as fast as the width of the clip.
The narrower the width the faster it goes.
| | 06:24 | So it still does the whole thing from
bottom to top or if you make it a little
| | 06:31 | bit wider it will play slower.
| | 06:36 | So the width of the clip determines
the speed of the credits as they roll by.
| | 06:40 | I will show you how to manually
make credits in another tutorial.
| | 06:44 | Let's move on to another template here.
| | 06:46 | I'm going to add this color in
the background here of one of these
| | 06:49 | static-red-leaves videos that we have
used before and put the Current Time
| | 06:52 | Indicator at the beginning of that.
| | 06:53 | And I got another template here,
go to Edit, Titles, go to let's say Seasons.
| | 07:02 | Roll down. I'll show you how that can work
when I take this particular template.
| | 07:05 | There is this animation button there but it
doesn't really animate so I'll just select that.
| | 07:09 | Click Apply.
| | 07:10 | It ends up right here next to the
Current Time Indicator and you can edit it
| | 07:13 | just as you edited other text by double-
clicking on it and dragging your cursor through it.
| | 07:18 | I can't really see that I have
dragged through it because it's a white
| | 07:22 | background that we have.
| | 07:23 | So I can say 'Here Is A New Title.'
| | 07:30 | Takes a while to show up
and we fixed that one.
| | 07:33 | I want to do one more
thing before we are done.
| | 07:35 | Let me scroll back to the
beginning at our first title.
| | 07:38 | Remember the only that you can edit a title
is to double-click on it here in the Timeline.
| | 07:43 | So double-click on it to go back and edit it.
| | 07:46 | Now I want to adapt this just a little bit
more to suit my purposes. I want to change the
| | 07:52 | color to something besides just one color.
| | 07:55 | I'm going to say a Linear Gradient
just to give it a little bit of a personal
| | 07:58 | selection and we'll change
the other color here, blue.
| | 08:03 | And now I'm going to say you know,
I kind of like this and I want to save it as
| | 08:08 | my own personal style, so I'll
click OK here to save that change.
| | 08:11 | And go over to this button, say Save Style.
| | 08:14 | I can call this Jeff's font style. Click OK.
| | 08:20 | And now it's going to show
up down here as my font style.
| | 08:24 | So that's one way to customize text on
the fly, save your customized text as a
| | 08:30 | style, and use templates.
| | Collapse this transcript |
| Having fun with titles| 00:00 | Text does not have to be static.
| | 00:02 | You can make it roll or
crawl or animate like crazy.
| | 00:05 | We are going to do all three in this tutorial.
| | 00:07 | We are going to start with this
gradient background that I created using the
| | 00:10 | Rectangle tool and
applied a Gradient Fill to that.
| | 00:13 | Now, we are going to put some text over it.
| | 00:15 | I am going to click this Text tool,
open up the Text window, the Text View here
| | 00:19 | in the Monitor panel.
| | 00:21 | And now we are going to just add some text
and I want this text to roll up the screen.
| | 00:25 | So, I'm going to say 'here is text,
more and more and more and even more.'
| | 00:36 | I want to have that text roll up the screen.
| | 00:38 | So, I'm going to go down here
and click this little button, the
| | 00:40 | Roll/Crawl options.
| | 00:42 | See that down there in the corner? Click that.
| | 00:44 | I want it not to be a still. I want it
to be a Roll, and it rolls automatically up.
| | 00:49 | There is no option to roll down.
| | 00:51 | The Crawl Left, Crawl Right
will show up if you click on Crawl.
| | 00:54 | So, we'll stick with Roll for now.
| | 00:56 | We wanted to start off-screen,
which means when it starts you won't
| | 00:59 | see anything at all.
| | 01:00 | We want it to end off-screen.
| | 01:02 | You can give it a Preroll, Ease-In, Ease-Out
that kind of gradually rolls it in and
| | 01:05 | gradually rolls it out.
| | 01:06 | But we'll just stick with these two little
easy things to select there and click OK.
| | 01:11 | What happens is that puts this little
scrollbar here to give you a sense of
| | 01:15 | how it's going to work.
| | 01:16 | So, I'm going to say well,
I'm done now. Click Done.
| | 01:20 | Now, I have created this clip down here
and put the clip up here in the Project View.
| | 01:24 | Let's just see how that plays by clicking Play.
| | 01:29 | So it's off-screen, here is the text,
and it rolls off the top and that
| | 01:33 | basically is how you make rolling text.
| | 01:35 | Now, if you want to make it go slower,
all you do is drag it out farther, just like
| | 01:39 | you did when you made a template,
but here you are doing it on your own.
| | 01:42 | It takes a little longer before it comes on.
| | 01:45 | Then it comes on and goes more slowly.
| | 01:47 | You could do the same thing for
crawling text, having it going and crawling left or
| | 01:52 | right along the bottom of the screen.
| | 01:53 | But I think you have the
basic idea of how that works.
| | 01:56 | Let's move off to Text Animation.
| | 01:57 | So, I'm going to do something different.
| | 01:59 | I'll go over to this side and click on the
Type tool again and we'll add some text again.
| | 02:04 | Animate, animated text.
| | 02:09 | And we'll just drag that off
to this side here a little bit.
| | 02:12 | Let me just click on the
style there. I like that one.
| | 02:14 | It's kind of wild.
| | 02:15 | We'll just make it a little bit larger, so
it's even more obvious when we do the animation.
| | 02:22 | Bring it into the Title Safe Area.
| | 02:24 | Okay, now I'm done there.
| | 02:25 | I feel like I've got that, but
before I click Done, I want to animate it.
| | 02:29 | And there is this little box here.
| | 02:31 | Do you see that drop-
down menu? Click Animation.
| | 02:33 | It opens up this whole can of worms here.
| | 02:36 | You can have all kinds of fun with this.
| | 02:37 | We are going to look at all the various
opportunities you have with animation.
| | 02:41 | You can fade things, move them in and out,
pan and zoom and a bunch of other stuff.
| | 02:44 | So, I'm going to go for.
| | 02:46 | Well, let's say Move In and Out.
| | 02:48 | And you can say drop in by character.
| | 02:50 | You can animate and see
how this is going to work.
| | 02:51 | It will drop in by character.
| | 02:53 | It looks pretty cool. I like that.
| | 02:56 | Drop out by character.
| | 02:57 | Let's just click that one.
| | 02:58 | I think I'll just apply that by clicking the
Apply button, and now I'm done. So, I click Done.
| | 03:05 | And here is that title
down there and also up here.
| | 03:09 | I'm going to just play this and see
how that works. How about that?
| | 03:15 | Does it animate out?
| | 03:17 | Look at that animate in and animate out.
| | 03:19 | Let me just stretch this out a bit.
| | 03:21 | We'll see how it goes with longer.
| | 03:26 | It'll animate in a little later now, a little
bit slower and now it's going to animate out.
| | 03:37 | And there we go.
| | 03:38 | Now if you think that isn't
exactly what I wanted to do, you can just
| | 03:41 | double-click on it to open up the
Editor tool and move over so you can see it
| | 03:45 | better against the background and we
are going to drop down the animation.
| | 03:50 | If you want to change something, you can
say let's remove the current animation first.
| | 03:55 | Then you can go to some
other animation, if you like.
| | 03:59 | FadeInCompress, FadeInByLine.
| | 04:01 | Mine is not as interesting, because
you can only fade in just that line.
| | 04:05 | Let's try WipeInToCenter
to see how that one looks. Fine.
| | 04:10 | So let me take that one and apply
that one instead. Say we are done.
| | 04:14 | And now we have changed that
animation on that particular piece of text.
| | 04:19 | Pretty cool, and if it's going too
slowly for you, drag it in make it go faster.
| | 04:27 | So that's how you make text move.
| | 04:28 | You can have it roll or
crawl or just animate like crazy.
| | Collapse this transcript |
|
|
11. Superimposing and Layering ClipsUnderstanding compositing| 00:01 | This tutorial is about layering or compositing.
| | 00:03 | You can layer clips in the Timeline in
Premiere Elements such that they all can
| | 00:07 | work together like a little sandwich.
| | 00:09 | You can make layers partially
transparent or parts of a layer transparent, so
| | 00:12 | you can see through down below the
tracks below, because whatever clip is on the
| | 00:17 | top track would normally trump or cover
up whatever is below it, but if you can
| | 00:20 | make areas transparent,
you can see them all work together.
| | 00:23 | If you work with Photoshop, you
probably get the layering concept, but if you
| | 00:27 | don't get it, let me try to
explain it to you using these acetates.
| | 00:30 | For example, you might want to
put a clip on the bottom layer.
| | 00:32 | This might be the background clip on track 1.
| | 00:35 | Then above that in track 2
you can put maybe a logo.
| | 00:38 | And logos almost by default have some
kind of transparency built into their
| | 00:42 | image files, so that this area of the
logo would be transparent allowing you to
| | 00:46 | see what's below it on
track 1, this being on track 2.
| | 00:50 | Then you might want to put one more
clip above these two layers on track 3.
| | 00:54 | Now many times when you shoot video,
you can shoot actors or objects on solid
| | 00:59 | color backgrounds, and inside
Premiere Elements you can make those solid
| | 01:03 | colors transparent.
| | 01:04 | It's an amazing effect.
| | 01:05 | Usually, you use this kind of
color called Chroma Key Green.
| | 01:09 | Then you simply just make that
transparent and you can see the subject above the
| | 01:13 | other two clips, above the
logo and above the background.
| | 01:17 | Now that's compositing and I'm going to
show you how to do that in this tutorial.
| | 01:20 | Here we go.
| | 01:22 | We will work with four clips in this tutorial.
| | 01:24 | We have the background clip
| | 01:26 | here of the fairway, our reporter Kali,
a little logo here we'll apply over her
| | 01:31 | and finally the lower 3rd
title that we'll put on the top layer.
| | 01:35 | Let's start by putting down our golf shot here.
| | 01:37 | We'll drag it down to
Video 1, audio and video clip.
| | 01:42 | We want to put our various
layers above this background.
| | 01:45 | Let's start by adding this green
screen clip of Kali doing reporting.
| | 01:49 | There is no audio on it.
| | 01:51 | When you drag that has a solid color
background, be it a green screen or even
| | 01:55 | just a solid color blue or something like
that, you are going to get this little message.
| | 01:58 | It says Videomerge.
| | 01:59 | Premiere Elements has this great effect
called Videomerge that examines a clip,
| | 02:03 | looks for solid colors and removes them,
makes them some transparent, but we are
| | 02:07 | not going to use Videomerge this time.
We are going to use the Green Screen Key
| | 02:10 | that's specifically for this color green.
| | 02:12 | So we'll say not this time.
| | 02:14 | Let's just show you how to remove
that green, but before I do that I want
| | 02:18 | to kind of get rid of all these audio
tracks so that we can see all the various layers.
| | 02:21 | So I'll turn off Show Audio Tracks.
| | 02:24 | Let's go to apply our green screen.
| | 02:26 | We go to Edit, Effects and then go
to Green Screen, and I can do search
| | 02:29 | on green screen here.
| | 02:30 | G-r-e-e, here it is. Green Screen Key.
| | 02:33 | I'll drag it over to her and watch
what happens the moment I let go. Bam!
| | 02:37 | This effect looks for that
specific chroma key green.
| | 02:42 | Let me just go here and
I'll show you how that works.
| | 02:43 | It does have a thing
called a Threshold and a Cutoff.
| | 02:46 | That's how you can sort of
fine-tune the green screen key.
| | 02:49 | But for the most part it happens automatically.
| | 02:52 | What we are going to do is we
are going to move Kali over.
| | 02:54 | So let me just go back here
to Motion. Click on Motion.
| | 02:58 | Let me get her a little bit out of the way
here so we can put logo over her shoulder
| | 03:03 | and you notice there is no line here
along the edge of her clip, because that green
| | 03:06 | screen effect removed everything.
| | 03:08 | It's very cool looking effect.
| | 03:10 | Let's go down and add another layer here,
go back to Organize > Project and now
| | 03:14 | we'll add the logo on layer 3.
| | 03:19 | The logo has what looks like a
black background, if you scroll up here.
| | 03:23 | But in fact that background is
transparent and typically when artists make logos,
| | 03:27 | they make them such that
everything but the logo is transparent.
| | 03:31 | So we just lay this on top of the rest of
these clips and automatically it's transparent.
| | 03:36 | What's kind of nice though is to give a
little bit of a drop shadow for your
| | 03:39 | character just to give it a little bit of depth.
| | 03:42 | So I'll go over to Edit,
Effects, type in drop.
| | 03:47 | Here we go. There is Drop Shadow.
| | 03:49 | I'll just drag it over to the clip and
since the logo clip is the current active clip,
| | 03:54 | we'll apply that Drop Shadow to that one.
| | 03:56 | I'm not so hot about the way it's falling there.
| | 03:58 | I think it should fall yo the lower right.
| | 03:59 | So I'm going to use the preset.
| | 04:01 | It makes it so much easier, right?
| | 04:02 | Let's go to Presets, go to
Shadow, here we have Drop Shadow.
| | 04:07 | It looks like it's showing her, but in
fact the Drop Shadow is going into the logo.
| | 04:11 | So let's go Drop Shadow Lower Right.
| | 04:13 | There we go, drag it
over and see how that looks.
| | 04:14 | And that's more like the
direction I was expecting.
| | 04:17 | Using a preset simplifies my life.
| | 04:19 | So that's a good thing to use sometimes.
| | 04:20 | Let me roll up a little bit farther, go
back to Organize, Project, and get our
| | 04:25 | last clip we are going to
put on here, the lower 3rd.
| | 04:28 | I made this lower 3rd. You can adapt it.
| | 04:31 | It's just a template that I created.
| | 04:32 | Let me just put it over here.
| | 04:33 | So you change the words here if
you want, but this is just a title.
| | 04:37 | If you double-click on it,
it will open in the Title Editor.
| | 04:40 | You can change the words and move
these various backgrounds around.
| | 04:43 | So that is the basic process
for how you can layer clips.
| | 04:46 | We had four clips here, a
background and three clips above it.
| | 04:49 | We used the green screen key to
remove the green background and we had two
| | 04:53 | objects that had transparency in them.
| | 04:55 | So that's compositing in Premiere Elements.
| | Collapse this transcript |
| Creating picture-in-picture overlays| 00:00 | I want to show you how to make
the picture-in-picture effect.
| | 00:03 | I'm sure you have this a million times
when you see a little video running in a
| | 00:07 | little square or rectangle
over part of the entire frame.
| | 00:11 | And this time we are going to put five
videos running in little frames over the
| | 00:15 | entire video, just to show you how
that works on a multiple layer fashion.
| | 00:19 | So, we're going to start with a
background clip. I like the static red leaves.
| | 00:22 | Usually you want the
background to be kind of unobtrusive.
| | 00:25 | So, I'm going to drag back down to Video 1.
| | 00:27 | That will be our base layer, and it's
only a few seconds long. It's only what?
| | 00:31 | We'll see. Drag the Timeline over to
here and we'll see that it's 5 seconds long,
| | 00:35 | so I want to stretch that out a
little bit and so that will make it even
| | 00:38 | less obtrusive if I use the Time Stretch tool.
| | 00:42 | So I'm just going to grab that guy and
make it let's say ten seconds long or so.
| | 00:45 | And now it's going to be slow motion
as it plays, which is going to be nice.
| | 00:49 | It will be subtle in the background.
| | 00:51 | I want to put some clips above that and
to see that process, you kind of need to
| | 00:55 | roll up the Timeline a little bit here.
| | 00:57 | I have removed the audio tracks, so
simply just right-click over here and click
| | 01:01 | off Show Audio Tracks.
| | 01:03 | Anyway you don't see the audio tracks because
right now we're worried only about the video.
| | 01:06 | I'm going to start layering or
compositing video above that.
| | 01:09 | I'm going to put these
other five clips above this guy.
| | 01:11 | Every time I add a clip, you are
not going to see the one below it.
| | 01:15 | So let me start up by changing to the
Selection tool. I'm going to drag in let's
| | 01:18 | say the top clip, aerial-forward.
| | 01:21 | Track above, track 1, this is track 2.
| | 01:22 | Now you can see only that clip,
but we'll take care of that later.
| | 01:26 | Take the aerial-geese
clip, right above that one.
| | 01:29 | Now, we are going to see only that clip
because it's going to trump what's below it.
| | 01:33 | Aerial-reveal to the Video 4 track.
| | 01:37 | I'm going to scroll up here.
| | 01:39 | Okay, now we are out of tracks.
| | 01:41 | But that's not a problem.
| | 01:43 | We are going to grab this next guy and
drag it above this track and Premiere
| | 01:46 | Elements automatically makes a new track.
| | 01:48 | Let's just scroll up, take a look at that.
| | 01:51 | Now it automatically makes a new track.
| | 01:53 | It says oops, this one has got a lot
of the solid color background.
| | 01:55 | Do you want to use Videomerge?
| | 01:57 | We don't want to use Videomerge.
| | 01:57 | So, we are saying no there.
| | 01:59 | Let's go up and put right
there on top of Video 5.
| | 02:02 | It's now this trumping
with the ones below it.
| | 02:04 | Now we are going to add
one more above that one.
| | 02:07 | Let's go over here and notice that we
are going to add another track there.
| | 02:09 | So, we have automatically created
two extra tracks above the four that
| | 02:14 | opened automatically.
| | 02:15 | So, you have six tracks of video
over this one guy in the bottom.
| | 02:20 | And all the other clips are a little bit
longer than the one at the bottom. That's okay.
| | 02:23 | We are just going to make it
a sort of a shortish version.
| | 02:26 | I notice this guy is still over so we are
going to move him back to the beginning.
| | 02:29 | There we go.
| | 02:29 | We have six tracks.
| | 02:32 | And right now, all you see is the one on top.
| | 02:34 | I want to be able to see all six,
and so usually, when you do this
| | 02:38 | picture-to-picture effect with multiple clips,
you usually start from the top and work down.
| | 02:43 | So, I'm going to start with this top track,
| | 02:45 | aerial-rotate, and I'm going to
go Edit and I'm going to go to Presets.
| | 02:50 | Under Presets I want to do
picture-in-pictures, so I go pip.
| | 02:53 | And that starts showing all the
various picture-in-picture presets and
| | 02:57 | there are tons of them.
| | 02:58 | They are based upon Upper Left,
Upper Right, Lower Left, Lower Right.
| | 03:03 | There is no picture-in-picture for the
center, but we'll deal with that later.
| | 03:06 | So all these little options within
these options, you've got Lower Left now,
| | 03:10 | so we'll go-- so it's just Lower Left.
| | 03:12 | It just sits there and I'd rather have it
come in to the Lower Left in some fashion.
| | 03:16 | So you can scale it in, slide it in, whatever.
| | 03:18 | So, we'll scale it in to
the Lower Left, like that.
| | 03:21 | Let's drag it over to this clip.
| | 03:24 | When you see it, it just disappears because
it's going to scale and I'm going to play it.
| | 03:27 | So let's just play it
and see what happens.
| | 03:29 | That's called Scaling In.
| | 03:30 | Now, we've made that first clip scale in.
| | 03:33 | Let's go back to the next one.
| | 03:34 | Go down to Video 5. I'm going to click
on that to make it active. Otherwise we
| | 03:37 | won't be applying an effect to it.
| | 03:39 | We need to make it active.
| | 03:40 | So, now this clip is not active.
| | 03:42 | You want to do something not to the Lower
Left but maybe to the next thing down here,
| | 03:46 | whatever that might be. Lower Right.
| | 03:47 | I'll have that one scale in too but
maybe you want that to slide in, so
| | 03:52 | let's slide in from the top it says here.
| | 03:54 | Sliding in from the top to the
Lower Right. Let's drag that in.
| | 03:57 | And now it's just going to disappear, but
let's play and see what happens. There we go.
| | 04:04 | You see how that works?
| | 04:05 | The one on the top comes down. The next
one down, layer 5, comes down from the top.
| | 04:09 | So moving down farther to Video 4, which
is this fourth scene here. We'll back up to
| | 04:15 | the beginning again.
| | 04:17 | Now, we've got Lower Right, Lower Left.
| | 04:19 | Let's keep on going down here to Upper Left.
| | 04:22 | And we'll do Upper Left.
We'll say slide in right.
| | 04:26 | We'll have it come in from the right.
| | 04:28 | It will be a busy little project we are
making here but let's just see how that works.
| | 04:34 | See those three guys come in now.
| | 04:35 | We've just applied these picture-
in-picture effects, these presets.
| | 04:38 | Now let's go down to layer 3 and we're
going to go through the next preset down,
| | 04:44 | which is Upper Right.
| | 04:45 | We'll have that slide in from the bottom.
| | 04:49 | This is really going to be a very busy
little picture-in-picture collection here.
| | 04:52 | Let's see how that works.
| | 04:59 | And let's go one more. And now we need
the Video 2 and in Video 2 there is nothing
| | 05:04 | that brings something in to the center.
| | 05:07 | So, we are going to have to do
some manual labor on this one.
| | 05:09 | So I'm going to just click this guy.
| | 05:10 | Go to Effects > Edit Effects, go to Motion
and we're going to do a little bit of work here.
| | 05:16 | I am going to set the scale
for this one in the bottom to 0.
| | 05:22 | And then we are going to move in a
little bit, like that, and we'll set
| | 05:27 | this keyframe first.
| | 05:28 | Set the keyframe. Now we are going to
move it a little bit and we'll scale it
| | 05:32 | up to something toward the middle, like that.
| | 05:35 | So, now we've got five clips.
| | 05:37 | Let's see how that works.
| | 05:39 | I might have done this a little late.
| | 05:41 | Let me just back these
guys up a little bit here.
| | 05:45 | Backing up a little bit.
| | 05:49 | And we'll see how
these five guys play together.
| | 05:54 | Our little machine is having to
deal with six video clips at once.
| | 05:56 | So I'll just scrub through it,
| | 05:57 | so we don't have to push it too hard.
And you can see how those guys all come in.
| | 06:01 | It's called the Picture-In-
Picture effect, five things at once.
| | 06:04 | But now we are not done, right?
| | 06:06 | We want to do something else besides just
have them come in and look flat like that.
| | 06:09 | We want to give them some kind of depth,
and so I'm going to select all five clips.
| | 06:14 | Let's try Shift-click, there we go.
| | 06:15 | I'm selecting all five
clips that I'm going to do.
| | 06:20 | Let's go to a different preset here.
| | 06:21 | I'm going to go to Bevel Edges.
| | 06:24 | Let's back up. We'll roll up here to
Bevel Edges Thin. With all of those five
| | 06:31 | clips that are flying in selected,
I can drag Bevel Edges Thin to one of them
| | 06:35 | and it will apply to all five.
| | 06:38 | That's a cool little trick you can do in
Premiere Elements, so you can apply one
| | 06:42 | effect to multiple clips at once,
if you have all those clips selected.
| | 06:46 | Now, that I've done that, I'd like
to add a Drop Shadow to them as well.
| | 06:49 | So let's drag down here
to look at drop shadows.
| | 06:51 | Drop Shadow Lower Right and drag
that to those five clips as well.
| | 06:56 | Now they all have drop shadows
going down to the Lower Right.
| | 06:59 | So, that's the process for
doing picture-in-picture.
| | 07:02 | You basically create a background, layer
your clips above the background and then
| | 07:06 | work from the top down and it's
probably easiest if you use Presets.
| | Collapse this transcript |
| Making portions of clips transparent| 00:01 | I want to show you how to make clips
partially transparent or make parts
| | 00:04 | of clips transparent.
| | 00:06 | That way you can lay your clips together.
| | 00:08 | We'll start off by building a project here.
| | 00:10 | I want to build it for a reason, because
I want you to see what happens when you
| | 00:13 | put clips on the second layer sometimes.
| | 00:16 | So we'll start off with the Fall
foliage clips and I want to start off with the
| | 00:19 | red-leaves as a base clip, bottom
clip that will serve as a background.
| | 00:24 | And then we'll add the water too.
| | 00:25 | That will be another background.
| | 00:26 | Now what I want to do is I want to put
this aerial picture above them and I want
| | 00:31 | to be able to see through the blue.
| | 00:33 | But before I do that, I'm going to
drag that down the Video 1 just like a
| | 00:36 | regular normal clip.
| | 00:37 | You can see nothing happens.
| | 00:39 | It just drops down there, like
you'd expect it to drop down there.
| | 00:41 | But if I drop it down to Video 2,
Premiere Elements is going to go, hey, this
| | 00:47 | thing has got a lot of a solid color in there.
| | 00:49 | How about if you apply the Videomerge effect?
| | 00:52 | Because if you do, it will remove the blue for
you automatically, which can be a great thing.
| | 00:56 | But in this particular case,
we are going to skip this.
| | 00:58 | But I want to see it again the
next time I do a clip like this.
| | 01:01 | So I'm going to say go ahead and
show it again, but I'll say No for now.
| | 01:04 | What I want to do first is I want
to do the sort of brute-force way of
| | 01:08 | reducing opacity, of making something
a little more transparent, and that's
| | 01:11 | simply by clicking on this, going to
Edit, Edit Effects, and working with the
| | 01:16 | Opacity fixed video effect.
| | 01:18 | The Opacity effect just essentially drops
the opacity of a clip, makes it less opaque.
| | 01:24 | You could merge, sandwich two
clips together, with this method.
| | 01:28 | It's not very selective.
| | 01:29 | It does the entire clip,
makes the whole clip less opaque.
| | 01:31 | But you can see how these two clips
can fit together nicely, and to a certain
| | 01:35 | degree that can be a nice little effect to do.
| | 01:36 | One thing you can also do with this
is you can do what's called Fade In.
| | 01:40 | So if you click Fade In, it will put
keyframes on it such that when you go in,
| | 01:44 | it sort of dissolves in
like a dissolve transition.
| | 01:46 | And you don't have to accept that 100%
opaque setting there at the end of the Fade In.
| | 01:52 | You can reduce it like that.
| | 01:53 | And let's say fade it in to just
50%, so let's see how that works.
| | 01:57 | Zooms in and then holds at like 50%.
| | 02:00 | You can have it hold across.
| | 02:01 | If you do a Fade Out, it will fade out
from whatever level you have got here
| | 02:04 | back down to completely transparent.
| | 02:06 | So that's one way to kind of do the brute
-force way of making a clip transparent
| | 02:11 | or partially transparent.
| | 02:12 | We can just undo that by clicking on
the keyframe stopwatch. Turn them all off.
| | 02:18 | Then I'm going to reset that
particular setting and start from scratch.
| | 02:21 | What I want to do now is to show the
static-water-rocks red video below this guy.
| | 02:28 | I'm looking at this picture
and I'm seeing all sorts of blue.
| | 02:31 | There is all sorts of blue.
| | 02:33 | You can use a what's called a
keying effect to remove a solid color.
| | 02:37 | So we go to Effects and here under
Keying if I scroll a little bit you see a
| | 02:42 | whole group of keying effects that
typically remove color or things that are
| | 02:46 | bright or things that are dark.
| | 02:48 | You can also remove just parts of the
clip using what's called a matte but we'll
| | 02:51 | explain that a little bit later.
| | 02:53 | Usually, you use the Chroma Key to remove
color and then you can select the color.
| | 02:57 | But there is actually something
specifically for blue and it's specifically for
| | 03:01 | something called Chroma Key Blue.
| | 03:02 | But this blue here is darn
close to Chroma Key Blue.
| | 03:05 | So I'm going to drag that down
there and see what happens. Wow!
| | 03:07 | God, isn't it amazing?
| | 03:09 | Let me just show you the effects there
and let's close the Opacity one.
| | 03:14 | We'll look at the Blue Screen effect.
| | 03:15 | There are a couple of parameters.
| | 03:17 | One is called Threshold, one is called Cutoff.
| | 03:19 | If you adjust Threshold, you can sort
of increase the amount of blue that gets
| | 03:24 | removed to the point where you invert it.
| | 03:26 | So it's right there.
| | 03:26 | We actually removed quite a bit of blue.
| | 03:28 | Now we can see the clip
below, this static-water-red-rocks.
| | 03:30 | Let me just move that out of the way so
you can get a sense of what it's like.
| | 03:34 | We have removed all that.
| | 03:36 | Made that all transparent or partially
transparent using that Blue Screen Key.
| | 03:41 | Let me slide this guy back so
you can see it now. There it is.
| | 03:44 | Now the rocks are kind of centered in
the image but it doesn't really look good
| | 03:49 | here centered in this particular image.
| | 03:50 | So I'm going to grab the rocks, go
to Motion and slide those rocks into a
| | 03:55 | better position relative to the keyed out water
as they call it. We just keyed out the blue water.
| | 04:01 | Click away and now we have
sandwiched these two clips together.
| | 04:04 | Let me move on here to show you a
true key approach, the Green Screen Key.
| | 04:11 | I'm going to go back to the Organize,
Project, we have this green screen clip.
| | 04:16 | Let me drag Kelly to track 2 here
because I want to put her above something.
| | 04:20 | And when I do that, then we get that little
message again, Do you want to use Videomerge?
| | 04:24 | In this case I don't really need to
use Videomerge because this is a specific
| | 04:27 | color green, Chroma Key Green.
| | 04:28 | We are going to drop a
Chroma Key Green effect out here.
| | 04:31 | So I'm going to say No.
| | 04:33 | Take the Golf video, put this
fairway shot underneath her.
| | 04:38 | And now there she is appearing above
that fairway shot, but you can't see it.
| | 04:42 | Well, let's get rid of that green.
| | 04:43 | Let's make that green transparent.
| | 04:45 | I'll click on here, click Edit, I
want to put down the Green Screen Key.
| | 04:51 | Let's see where that is. Right there.
| | 04:52 | And even in the Preview it shows that
it will be transparent behind her,
| | 04:57 | this little thumbnail preview of the effect.
| | 04:59 | Drag it down to the clip or to the
monitor and see what happens, gone.
| | 05:04 | It knows exactly what color green to
remove and removes it automatically.
| | 05:08 | It is a Chroma Key Green color.
| | 05:10 | Let's take a look at the effects so you can
take a look at the parameters of this one.
| | 05:14 | Again, Threshold and Cutoff, just like
the Blue Screen Key. We can adjust it.
| | 05:17 | We can sort of fine-tune it a little bit.
| | 05:19 | Notice the microphone does pick up some
of the green from the screen behind her.
| | 05:23 | Actually it's called the Green Key
Spill and it's picking up in the microphone.
| | 05:26 | But we have got it pretty
well taken care of there.
| | 05:29 | That's a very standard way to
make part of a clip transparent.
| | 05:34 | Let's move on now to sort of
a trick I want to try here.
| | 05:38 | Back to Organize, Project, I'm going
to try to sandwich these two drive shots
| | 05:43 | that we have been using in
other tutorials together.
| | 05:45 | So I'm going to use this one as the
base, put that down at the bottom.
| | 05:50 | I want to try to get this tight
shot to appear inside it somehow.
| | 05:54 | And look it. This time it says again that
thing you just put down has lots of green in it.
| | 05:59 | Do you want us to remove the green
using this lovely effect called Videomerge?
| | 06:03 | And this time I'm finally going
to say sure, go ahead and do that.
| | 06:06 | Let's see what it looks like.
| | 06:07 | And gone, look at that.
| | 06:08 | It removes whatever it sees as the largest
block of color and puts these two guys together.
| | 06:14 | I'm going to fine tune it a bit, but I
want to line up the drives a little bit.
| | 06:17 | So let me just kind of go forward it
to where I see that little smack there.
| | 06:21 | I want to take the guy down to the bottom
and move him over so we can line up the drives.
| | 06:25 | It will take a little bit of maneuvering.
| | 06:27 | I'm going to click on him and hold down
the Alt key so I can slide the clip back
| | 06:31 | and forth, so now they
should be about the same spot.
| | 06:35 | Let's see if we have lined
them up okay first. Pretty good.
| | 06:41 | I'm going to go up here.
| | 06:41 | I'm going to click on Edit Effects for that one.
| | 06:45 | Edit, Edit Effects, hit this Videomerge
key and it gives you a couple of options.
| | 06:51 | You can change the Tolerance but it won't
do much here until I change this to Detailed.
| | 06:56 | That actually makes a
stronger attempt to remove the green.
| | 06:59 | It actually kind of refines
it a little bit which is nice.
| | 07:01 | But the Shadow is a little obtrusive
and so I'm going to manipulate this guy a
| | 07:05 | little bit by going to Motion and
making it a little bit larger and drag him
| | 07:10 | off the screen a little bit to get the
shadow a bit out of the screen, make it
| | 07:12 | a little bit larger. There we go.
| | 07:18 | Now we'll see how this goes if
we watch these two guys together.
| | 07:24 | (Whack! Golf ball being hit.)
(Male Speaker: That's going to...)
| | 07:25 | Cool. Oh, we want to hear his comment.
| | 07:28 | (Whack! Golf ball being hit.)
(Male Speaker: That's going to hook.)
| | 07:31 | It actually ended up being a great shot.
| | 07:33 | Let's go one more thing here. Don't
want to try to do something that you had
| | 07:37 | done automatically before but I think
you will see that this is a more effective
| | 07:41 | way to do it if you have the time to do it.
| | 07:43 | So I'm going to try to
sandwich this clip with itself.
| | 07:46 | Put it down here on this track.
| | 07:47 | I'm going to put another version of that
thing right above it, exactly the same spot.
| | 07:52 | I'm going to apply a key
to this particular clip.
| | 07:54 | Click on Edit. I'm going to put
what's called a Garbage Matte Key there.
| | 07:59 | There are three kinds of Garbage
Matte Keys: Eight, Four and Sixteen.
| | 08:03 | Where is it? There it is.
| | 08:05 | Sixteen has sixteen points, Eight
has eight, and Four has four obviously.
| | 08:08 | We'll do the Eight.
| | 08:09 | That's kind of a middle ground.
| | 08:10 | Drag it here, open up Edit Effects, and there
is the Eight Point Garbage Matte right there.
| | 08:17 | It has eight points around it.
| | 08:18 | I'll click on this guy so you
can see what I'm talking about.
| | 08:21 | Click on this to see the Matte.
| | 08:24 | There is this so called Garbage Matte
and what you should do with a Garbage
| | 08:27 | Matte is actually you are going to
cut out everything from the picture
| | 08:31 | that's outside the Matte.
| | 08:33 | So anything inside the Matte we are
going to be able to see; anything outside
| | 08:37 | the Matte we won't see.
| | 08:43 | And this last guy here,
it's a little difficult there.
| | 08:46 | There we go. We got it in.
| | 08:48 | If I couldn't reach it, I could have
used the numeric value here to get it done.
| | 08:51 | Now we have defined that area and if I play
that you are not going to see any difference.
| | 08:56 | It's just this little
thing moving along with it.
| | 08:58 | If I click away, you
won't even see the Matte at all.
| | 09:00 | It's just two clips put together
and all I see is this top clip.
| | 09:03 | But in fact, what I have done is I have
actually removed everything from that clip.
| | 09:08 | I'll slide it over so that you can see it now.
| | 09:09 | I just have this little
thing left, this little box left.
| | 09:11 | Put this guy back underneath it
so we get him connected again.
| | 09:14 | And now what I wanted to do is I
want apply an effect to that box.
| | 09:18 | So I'll go inside here, go to Edit Effects,
and I want to let's say put the Invert effect.
| | 09:23 | It's so obvious that you can
really see what's going out.
| | 09:26 | I will drag the Invert effect to this clip,
to here in the monitor, down here to this clip.
| | 09:30 | And there is the Invert effect applied
to the area that's been preserved by the
| | 09:36 | Eight Point Garbage Matte.
| | 09:37 | What you can do now is
you can apply keyframes.
| | 09:40 | So I got this guy selected, go to Edit
Effects, I'll just close this guy up but
| | 09:44 | we keep it active so you can see the points.
| | 09:46 | I'll go forward a little bit.
| | 09:48 | Obviously, the car, it's going to pull
farther away, but what I can do at this point
| | 09:52 | with keyframes turned on,
let me go back a little bit to get the
| | 09:54 | starting point right there.
| | 09:57 | Turn keyframes on for you,
go forward, right about there.
| | 10:02 | At this point, I can take the Garbage Matte.
| | 10:04 | I can bring it in one at a time.
| | 10:05 | It's kind of tedious, so I'm not going
to do it more than once here, but
| | 10:09 | I'll just give you
the sense of how it works.
| | 10:10 | Bring in the Garbage Matte.
| | 10:12 | You can make the Matte follow this
motion, which works better than the Motion
| | 10:18 | Tracking tool, because the Motion
Tracking tool is only a rectangle.
| | 10:21 | Here you have got eight points, and if
you really want to go nuts you could do
| | 10:23 | the Sixteen Point Garbage Matte.
| | 10:25 | So let's just see how that works.
| | 10:26 | I'll take the clip back.
| | 10:29 | Looks like it's being stuck
by a lot of pins and nails.
| | 10:31 | And there we go. Now it follows it along.
| | 10:34 | It actually shrinks as it goes off in
the distance, so you can use keyframes
| | 10:37 | to do all that stuff.
| | 10:37 | And in fact, if you really want to get
nuts, you can put a little Dissolve here
| | 10:41 | at the beginning and make
it fade in and fade out.
| | 10:43 | So here are about five ways to make
clips partially transparent or parts of
| | 10:47 | clips transparent, and this is something
you can use over and over when you want
| | 10:51 | to sandwich or layer or
composite clips together.
| | Collapse this transcript |
|
|
12. AutomationUnderstanding Auto Analyzer and Smart Tags| 00:00 | Premiere Elements has a
feature called Auto-Analyzer.
| | 00:03 | Auto-Analyzer examines clips
and Smart Tags those clips.
| | 00:07 | It looks for things like whether they
are out of focus, shaky, low contrast,
| | 00:11 | high contrast, too dark,
too light, things like that.
| | 00:14 | And once it's smart tagged them you can
use those smart tagged clips inside
| | 00:18 | something like Premiere Elements Instant
Movie to automatically help you make videos.
| | 00:22 | Let me show you how to do that.
| | 00:24 | You can do Auto-Analyzer inside
Premiere Elements in the Media View but the
| | 00:28 | butter place to do it is here in the Organizer.
| | 00:30 | And before you get started you need to tell
the Auto-Analyzer what you want it to look for.
| | 00:33 | So you go Edit >
Preferences > Auto-Analyzer Options.
| | 00:39 | And here are the filters that the Auto
-Analyzer will look for, whether there
| | 00:43 | is audio present, too bright, too
much contrast, or not enough contrast,
| | 00:47 | whether there is some motion in the
picture, whether it's shaky, blurry,
| | 00:51 | whether there is a face, whether an
object is in motion, and if so then it
| | 00:55 | will track that object.
| | 00:56 | Well, this is the one I would
uncheck, because you don't want to track
| | 01:00 | motion every single clip.
| | 01:02 | You want it to select the clip
that you want to track motion.
| | 01:04 | And so I turn that off. Besides it
takes a long time to analyze object motion.
| | 01:08 | This Recognize People Automatically
option really only works inside photographs,
| | 01:13 | so I would just uncheck that or check that.
| | 01:14 | That doesn't make any difference
because it really won't work here.
| | 01:17 | And finally, we've always had this
unchecked throughout the entire tutorial,
| | 01:21 | Analyze All Media in Catalog
Automatically. If that were on, then Premiere
| | 01:25 | Elements would be analyzing
every single clip in the background.
| | 01:27 | That really slows down the resources and I
would suggest always having that unchecked.
| | 01:31 | So now I'm going to click OK.
| | 01:34 | Once we set that, now we need to go
get some clips to have them analyzed.
| | 01:38 | We go File > Get Photos and
Videos > From Files and Folders.
| | 01:42 | Now I'm going to grab them from
this particular golfing folder.
| | 01:46 | Let's go here, take the first one, Shift
-click on the last one and then unclick
| | 01:51 | that particular one.
| | 01:52 | So we have 17 clips
selected here. Click Get Media.
| | 01:56 | It will load all 17 inside the Organizer.
| | 02:06 | Once all the clips are loaded up here
in the Organizer, you can select all of
| | 02:09 | them or some subset of them.
| | 02:11 | So I'm going to select all of them from
here to there by clicking on the first one
| | 02:15 | and Shift-clicking on the last one.
| | 02:16 | Now I'm going to right-click on any
one of them and say Run Auto-Analyzer.
| | 02:20 | That will analyze each clip one at a time.
| | 02:32 | Once the analysis is complete you get
this little OK box here and you click that.
| | 02:36 | You might notice that, wait it went
from 17 to 12. Now what's going on there?
| | 02:40 | What happens is the Organizer is
hiding five of the clips that the Analyzer
| | 02:44 | thought should be split somewhere.
| | 02:46 | And so the clips that were split were
tucked away and they have this little gray
| | 02:49 | border around them with this little arrow here.
| | 02:51 | If you click out you see all the
parts that the Analyzer thought should be
| | 02:55 | considered to be separate clips.
| | 02:57 | If I were to drag this thing to Premiere
Elements it would considered to be five
| | 03:01 | separate clips but it would line them
up in the Timeline, and if you click the
| | 03:04 | Play button you wouldn't be
able to tell that they were split.
| | 03:06 | Anyway though, there they are. There
are 17 clips, they have all been analyzed,
| | 03:09 | and all these little purple
tags associated with them.
| | 03:12 | If you hover over the tag, it gives
you an indication of what the Smart Tags are.
| | 03:15 | This says High Quality, Low
Volume, meaning the audio's volume is low.
| | 03:19 | It has a little bit of a blurry
look to it. That's low contrast.
| | 03:23 | And so later you can search on
those terms by clicking on this little
| | 03:26 | drop-down arrow here.
| | 03:27 | Here are the Smart Tag terms.
| | 03:30 | You can say where are the High
Quality clips? There they are.
| | 03:33 | Where are the Low Quality clips?
| | 03:35 | There they are. I'm not sure how they
know it's low quality but there you go.
| | 03:39 | And there is the Medium Quality clips,
at least according to the Analyzer.
| | 03:42 | How about clips that have
faces in them? Well, let me see.
| | 03:47 | That's not a face and that's not a face.
| | 03:50 | So you can see that the Auto-
Analyzer is not perfect in its analysis, but
| | 03:54 | nevertheless this is a way to track down
clips particularly if you have lots and
| | 03:58 | lots of clips, this is a good way to
track down the ones that you might want to
| | 04:02 | use or not use if they are let's
say shaky or something like that.
| | 04:05 | But now you want to create an album.
| | 04:07 | That's the next little next step in this
process, because later you are going to
| | 04:10 | turn these clips into an Instant Movie.
| | 04:13 | It's much easier if they are
all in one album to do that.
| | 04:15 | So I'm going to go over here and say
let's make a New Album and then we'll
| | 04:19 | call it 'Golf album.'
| | 04:23 | Now we need to add stuff to the Golf album.
| | 04:25 | So we'll grab this one and I'll Shift-
click this one and I can just drag it over.
| | 04:31 | That should be sufficient.
| | 04:32 | Or I could just say Plus, there they are.
| | 04:36 | And once we say Plus there, once we've got all
the guys loaded up in this album, we can say Done.
| | 04:41 | Now we have created this album such that
if we go to Premiere Elements so we can
| | 04:45 | retrieve that album and then if we
want to turn it into an Instant Movie or just
| | 04:49 | use the album as our source of
clips if we're going to edit a video.
| | 04:53 | So that's how we use Auto-Analyzer to Smart
Tag clips in the Organizer in Premiere Elements.
| | Collapse this transcript |
| Using InstantMovie and themes| 00:00 | Premiere Elements has a
feature called Instant Movie.
| | 00:03 | It allows you take a collection of
clips and automatically turn it into a video
| | 00:07 | with special effects like dissolves
and transitions and graphics and music.
| | 00:12 | It can be a little wild to have
some of the Hollywood feel and it may not
| | 00:15 | exactly fit what you would expect.
| | 00:16 | But it's something that's worth trying out.
| | 00:18 | You can take the themes that are used
in Instant Movies and also apply them
| | 00:21 | directly to an edited movie that
you have created in the Timeline.
| | 00:24 | So, I'll show you both
methodologies in this tutorial.
| | 00:27 | Let's start off with just using
a theme on this video down here.
| | 00:30 | This is my little golfing video
that we have been working with.
| | 00:32 | It's now been setup as kind
of our own little music video.
| | 00:35 | I can drag it a little bit and you can
see all the various shots we have here
| | 00:38 | with music playing in the background.
| | 00:39 | I am going to apply one of the themes
to this edited video and to do that I go
| | 00:43 | to Edit, and there is Themes, click on
the Themes, and these are the various
| | 00:48 | Themes that come with Premiere Elements.
| | 00:50 | You can see there are about ten of them or so.
| | 00:51 | If you want to go online, you can buy
more through the Plus Members thing, but
| | 00:55 | we'll just stick with what's showing up
here, what came with Premiere Elements,
| | 00:59 | and we'll look for
something that might fit golfing.
| | 01:02 | Well, lo and behold there is really
nothing that fits golfing here, so what
| | 01:06 | are we going to do?
| | 01:06 | Well, we'll just pick Grid for the
time being and let's preview that and see
| | 01:09 | kind of how that looks and sounds.
| | 01:11 | (Music Playing).
| | 01:17 | The audio may not be exactly what we
are looking for, but I like the little
| | 01:19 | frame and stuff like that.
| | 01:20 | So, we'll just apply that theme just for
Grids here as we do this little tutorial.
| | 01:24 | So, let's go Next.
| | 01:25 | Now it says, what are you going to do?
| | 01:28 | Well, we are going to have an Opening Title.
| | 01:29 | We'll call it something besides My Movie.
| | 01:31 | We'll call it 'A day at the links,'
something like that, and we'll accept the
| | 01:37 | rest of these defaults here for the
Closing Title and we'll accept the rest of
| | 01:41 | the defaults down here below too, where
we are going to have, oops, except for this.
| | 01:44 | Let's have our own golf music.
| | 01:46 | As you can see, it's already been selected.
| | 01:48 | And we want to use SmartMix? Yeah,
because it should hopefully reduce the volume
| | 01:53 | level of the music to compensate for
natural sounds in the clips but you never
| | 01:57 | know how it's going to turn out.
| | 01:58 | There is a certain bit of randomness here.
| | 02:00 | Let's click on Apply and see what happens.
| | 02:02 | It's going to say whoa, wait a minute.
| | 02:04 | Your video is only a minute or two, but
the audio that you chose to use for this
| | 02:08 | theme is a minute 29.
| | 02:10 | So we are going to duplicate
clips or you can add clips instead.
| | 02:13 | But we have no more clips to add
here and besides it's already in kind of
| | 02:16 | an order that I like.
| | 02:17 | So, I'm going to say no, I don't need
to add any more clips. Just duplicate a
| | 02:20 | couple if you want to.
| | 02:21 | Let's see what happens there and now it
says you have applied some effects,and
| | 02:25 | we are going to replace your effects.
I'll say no, don't replace the effects.
| | 02:27 | I like this one that have got. So say no.
| | 02:30 | And then it applies Grid, this Grid theme.
| | 02:33 | And when it does that it creates an
entire video and it says here, by the way,
| | 02:37 | this thing is full of effects and
compositions and rendering is recommended for
| | 02:41 | some of their playback.
| | 02:42 | Do you want to render?
Well, sure let's render this thing.
| | 02:44 | It's takes a while but let's do that anyways.
| | 02:51 | Well, let's just take a look at
what they came up with here, shall we?
| | 02:53 | (Music Playing).
| | 02:55 | (Whack! Golf ball being hit.)
(Male Speaker/Golfer: That's going to hook.)
| | 03:00 | (Music Playing).
| | 03:01 | (Golfer: Alright, settle down right there.)
| | 03:04 | (Whack! Golf ball being hit.)
| | 03:05 | (Music Playing).
| | 03:09 | So you can see sort generally what it
does, but occasionally it shows full frame,
| | 03:13 | occasionally it shows graphics
and it's sort of random but it took the
| | 03:19 | order that we created, but it added
a couple of clips because it had to
| | 03:21 | duplicate a few to get the full length.
| | 03:23 | But in the end it has all these little
special effects, but you might have
| | 03:26 | noticed at the beginning there,
we actually had some stuff going into bottom
| | 03:29 | that you'd probably have to fix later
when you'd really want to finally record
| | 03:33 | this guy out to show your friends.
| | 03:35 | But for the most part it took our
ordered video and just added some cool things
| | 03:39 | and depending on your taste, you may
just think that's just the greatest thing
| | 03:43 | that ever happened, but let's move on
to the next thing which is something
| | 03:47 | called Instant Movies.
| | 03:48 | We go to Organize > InstantMovie and
this one takes an entire collection of
| | 03:53 | unordered clips, just a
collection, and turns that into a video.
| | 03:57 | So, by selecting an album from the
album that we created in the Organizer,
| | 04:00 | so I'll click on that and
we'll click on the Golf album.
| | 04:03 | I'll select the first clip and
Shift-click on the last one to select
| | 04:06 | all of the clips there.
| | 04:08 | Once they are selected, it gives me
the option to go to Next. I'll go Next.
| | 04:12 | And you will now see
something that looks familiar.
| | 04:13 | We have seen the InstantMovie themes before.
| | 04:16 | Well, we need to show up here
something under InstantMovie, but they are
| | 04:19 | in fact the same themes we saw before.
| | 04:21 | So, instead of using the Grid as we
used before, we can use something else,
| | 04:25 | and let's just try Fun.
| | 04:28 | Let's test that one out.
| | 04:29 | (Music Playing).
| | 04:35 | Well, not exactly golf oriented music, but
we are just having some fun here anyways.
| | 04:40 | So, let's click on that one and go to Next.
| | 04:41 | It has the same options as before,
basically it's the same process only that
| | 04:47 | we are applying this to a
collection of clips, rather than to an edited
| | 04:51 | video on the Timeline.
| | 04:52 | So, I'll say 'Golfing clips' and
we'll just go on down the line.
| | 04:57 | It says Auto-Analyzer.
| | 04:58 | These clips are already analyzed.
| | 05:00 | When it sees that they are analyzed,
just skip over that and then we'll use the
| | 05:04 | theme music rather than our golf music
this time and we'll accept all the rest
| | 05:08 | of defaults and click Apply.
| | 05:10 | Now it gives us this message again.
| | 05:12 | Your clips total 2 min:39 sec,
but the music that's being used is 3 min:35 sec
| | 05:17 | and so it's the same process as before.
| | 05:19 | So, I'm going to tell it, "We have
no more clips to select. Go ahead and
| | 05:20 | duplicate some clips."
| | 05:22 | Now it's creating that video.
| | 05:25 | And it puts that video down here in the
Timeline after the one we just made and
| | 05:28 | we get the same message as before.
| | 05:30 | Do you want to render this thing?
| | 05:32 | And we say yeah, let's go ahead and
render this thing, because it does make it
| | 05:35 | play more smoothly later.
| | 05:39 | And the rendering is complete and let's
just take a look at the entire Timeline
| | 05:42 | there and there is our new video.
| | 05:44 | Scroll down a little bit and you can see
there is a green bar indicating that it
| | 05:47 | has been rendered properly.
| | 05:48 | So, now we'll just go and hit
play and see what it sounds like.
| | 05:51 | (Music playing. Indecipherable dialogue.)
| | 06:08 | That's probably a lot more fun than
you expected for a golfing video,
| | 06:10 | but I think you can see that you can use
the theme or the Instant Movie approach to
| | 06:14 | have a little fun with your video editing.
| | Collapse this transcript |
| Fixing with the Automatic Quality Enhancement feature| 00:00 | There are two more automation
features in Premiere Elements, Automatic
| | 00:04 | Quality Enhancement and Smart Trim, and I'm
going to show you both features in this video.
| | 00:08 | I'm going to start with the Automatic
Quality Enhancement feature and let me go
| | 00:12 | and get three clips that we created
specifically for that effect. I'll get a
| | 00:15 | bright clip, shaky clip and a dark clip.
| | 00:18 | What Automatic Quality Enhancement
does is it looks at clips that have been
| | 00:22 | analyzed by the Auto Analyzer and have
been determined to be too bright, or too dark
| | 00:27 | or too shaky and then it tries to fix them.
| | 00:30 | Any other problems that come up, it
does not try to fix those other problems,
| | 00:33 | but specifically looks for clips that
overall are too bright, overall are too dark,
| | 00:37 | overall are too shaky.
| | 00:38 | So we are going to do an Auto Analyzer
here first on these three clips inside
| | 00:42 | the media view of Premiere Elements and
then we'll drop them to the Timeline and
| | 00:46 | we'll see how the Automatic
Quality Enhancer responds to them.
| | 00:50 | All right, there is the little
announcement saying that the analysis is complete
| | 00:54 | and there are three clips and they have
got these little smart tag icons in the
| | 00:57 | bottom saying they have been tagged.
| | 00:59 | Just look at the shaky-clip.
| | 01:00 | Let's right click on that and Remove Tag
and it says Shaky amongst other things.
| | 01:05 | Over on this one, right click and say
it's too bright, which we expected, and
| | 01:10 | this one, we'll take a look at
this one and say it's too dark.
| | 01:13 | So I'm going to drag the too dark one
down to the Timeline and see what happens.
| | 01:17 | Drag down here and I get
an announcement called SmartFix.
| | 01:21 | This is the Automatic Quality
Enhancement saying basically, do you want us to
| | 01:25 | fix the problem in the clip?
| | 01:26 | Well, it doesn't say what the problems are.
| | 01:28 | It doesn't say what is going to fix,
but there are only really two options:
| | 01:32 | too dark/too light, that's one,
or too shaky is the other.
| | 01:35 | So we'll say yeah, go ahead and
fix that and see what happens.
| | 01:37 | That shows up on the Timeline and you
see it has a red bar over there, meaning
| | 01:41 | that something has been applied to it.
| | 01:43 | Let's take a look at it. Select it,
we go to Edit, Edit Effects and there
| | 01:48 | it's added this effect called
Shadow Highlight set to Automatic Amounts.
| | 01:53 | So it's attempted to fix this clip.
| | 01:55 | If I turn off the eyeball you will
see what it was like before and here is
| | 01:58 | how the fixed went.
| | 02:00 | So this is a good way to take clips
that are too dark and try to make them
| | 02:04 | appropriate for your project.
| | 02:05 | Let's go back and look at that bright
one and see what happens with that one.
| | 02:08 | Drag it down to the Timeline again.
| | 02:10 | It shows up there, but it will go away
for a second because the AQE, as it's called,
| | 02:14 | will pop in here. Shall we fix it?
| | 02:17 | Say Yes. Let me take
a look at it. Edit. Fix.
| | 02:20 | Shadow/Highlight is there with the Auto set.
| | 02:23 | If I turn that one off,
let me show you how that looks.
| | 02:25 | Here is how it looked before.
| | 02:27 | Here is how it is after.
| | 02:29 | So it looks like this is working pretty
well for that particular kind of clip,
| | 02:32 | too bright/too dark.
| | 02:33 | Let's move on to the next one.
| | 02:35 | This one we entitled shaky.
| | 02:36 | I'm going to drag that one down and see how
that looks and again, we get that message.
| | 02:41 | Shall we fix it?
| | 02:41 | It doesn't say I'm going to fix the
fact that it's shaky but that's the only
| | 02:45 | choice we have here in terms of the AQE.
| | 02:47 | Either it's going to be
shaky or too dark or too bright.
| | 02:49 | So we'll say Yes, and it
immediately puts that on the Timeline.
| | 02:53 | This time I'm going to take a look at
it and see what the issues are here.
| | 02:56 | Edit, Edit Effects.
| | 02:59 | This time it adds an effect called Stabilizer.
| | 03:02 | This is an interesting effect
but it's a very powerful effect.
| | 03:05 | What it does is it uses the Motion
control basically to zoom in a little bit to
| | 03:09 | expand the image outside the boundaries
of the frame and then it tries to find
| | 03:12 | something in the image to kind of
latch onto to keep that object from moving.
| | 03:17 | So as your camera might be shaking,
this is going to try to compensate by
| | 03:20 | going the other direction and the only way it
can do that is by expanding the view a little bit.
| | 03:24 | So if I turn off this thing, you will see
that it will pop back down to the original size.
| | 03:28 | But if I click this again, you
can see that it's zoomed in a bit.
| | 03:31 | What I want to do is I want to play this,
but if I just play it as it is now,
| | 03:34 | it will be kind of shaky because it's
going to look like sort of slow-mo, because
| | 03:38 | it needs to be rendered.
| | 03:39 | If I turn it off and play the
original one, let's see how that looks.
| | 03:42 | Camera is a little shaky there.
| | 03:46 | So we are going to try to
compensate for that by using the Stabilizer.
| | 03:50 | So I'll turn it back on,
but I want to render it.
| | 03:51 | I want to render just this
area, not the entire project.
| | 03:55 | So I'm going to grab this work area bar,
bring it over to just that clip and
| | 03:59 | I want to click on the Enter key
and that will render only that clip.
| | 04:06 | You can see that's 127 frames,
which is four seconds and a little change.
| | 04:10 | Now it plays it and it's
definitely not as shaky as it was before.
| | 04:16 | Show you the before and the after.
| | 04:17 | Here is after, but first, here is the before.
| | 04:19 | Okay, there is a camera
moving around a little bit.
| | 04:23 | Now, we'll go back to the beginning and
turn that effect back on and since it's
| | 04:27 | already rendered, we
don't need to render it again.
| | 04:29 | Now, you can see that the
camera movement is not so obvious.
| | 04:33 | It's not perfect, but it does a
pretty good job of stabilizing a little
| | 04:36 | shaky camera movement.
| | 04:37 | Now let's go back to the fourth
thing, something called Smart Trim.
| | 04:41 | I'm going to go get the clip that I
set up for that one called Smart Trim clip.
| | 04:44 | I'm going to analyze this
clip by doing Run Auto Analyzer.
| | 04:49 | This is going to find several problems with it.
| | 04:50 | There is a little notice that
it's completed and for some reason,
| | 04:54 | it's popped off the screen.
| | 04:56 | So let's go over to project and see if
it's showed up over there. There it is.
| | 04:59 | I don't know why I drop from the Media
View, but we'll drop this guy down to the
| | 05:02 | Timeline and see what
happens if we drop it down.
| | 05:04 | So it says do you want
to fix the quality problems?
| | 05:06 | This time I want to say no, because
I'm not going to focusing on the things
| | 05:11 | like stabilizing and whether it's too
dark or too light because this clip has
| | 05:14 | problem sort of internally.
| | 05:15 | So I'm going to say no.
| | 05:16 | Now you don't see anything going on with it.
| | 05:18 | So now I'm going to click on
this button and see what happens.
| | 05:21 | Well, it identifies two clips here
that are delete worthy, but we've already
| | 05:24 | tried to fix these guys using the AQE options.
| | 05:28 | So we are not going to delete those guys.
| | 05:29 | We can always opt out of that.
| | 05:31 | Let's take a look at this third one,
where it's identified a portion of the clip
| | 05:34 | that the things should be removed and
it says that it is a little blurred and
| | 05:37 | little shaky and low in contrast.
| | 05:38 | So I'm going to right click
here and see what the options are.
| | 05:41 | It says do you want to
trim it, you want to keep it?
| | 05:44 | Let's try to trim it and see what happens.
| | 05:45 | It basically cuts away that portion.
I'm going to play that and see what happened
| | 05:50 | when it cut that away.
| | 05:54 | It did a little kind of fade to black there.
| | 05:56 | It tries to sort of compensate for
whatever it's taken away by doing some kind
| | 06:00 | of a dissolve, or in this case, a fade to black.
| | 06:02 | So I'm not really inclined to try
to delete things like that using this
| | 06:07 | particular approach but it
might work for some of you.
| | 06:09 | You noticed how it just makes it fade to black
when in fact it's being noted as being shaky.
| | 06:14 | It's just following the action of the clip.
| | 06:16 | So I'm going to undo that and see how
it really should look I think and I don't
| | 06:20 | really want to remove this, but I do
want to let you know that these options are
| | 06:24 | available to you, if you do an Auto-
Analysis, drag it down to the Timeline and
| | 06:28 | then click on this button to
turn on the Smart Trim Mode.
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|
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13. DVD Authoring Understanding DVD authoring| 00:00 | One way that you can share a video
that you have created inside Premiere
| | 00:03 | Elements is to create a DVD.
| | 00:05 | A DVD with menus that look like this.
| | 00:08 | Creating DVD menus in Premiere
Elements is called authoring.
| | 00:11 | To understand how that works you
need to know about the kind of DVD menu
| | 00:14 | structure that you can
produce in Premiere Elements.
| | 00:17 | Basically you have a Main Menu and in
that Main Menu there will be a button that
| | 00:20 | takes you to your video.
| | 00:22 | If your project has more than one
video then you'll have multiple buttons or
| | 00:25 | links, one for each video.
| | 00:28 | Rounding out the Main Menu is
another link that takes your viewers to a
| | 00:31 | Scene Selection Menu.
| | 00:32 | That Scene Selection menu can have up
to four animated video buttons that take
| | 00:36 | you to individual scenes within the video.
| | 00:38 | If you want to offer more than four scenes,
Premiere Elements will automatically
| | 00:43 | create multiple Scene Selection
Menus that are linked together.
| | 00:46 | To create these menus in Premiere Elements
you need to put little markers on your Timeline.
| | 00:50 | Markers that note the beginning and
the end of each video, plus markers
| | 00:53 | that note the scenes.
| | 00:55 | Once you have set up all these markers
in the Timeline, you select a DVD menu
| | 00:58 | template and Premiere Elements
automatically creates your DVD menus.
| | 01:03 | I explain all the steps in detail in two tutorials,
Adding Markers and Applying and Editing DVD Templates.
| | Collapse this transcript |
| Adding DVD scene markers| 00:00 | You can create DVDs in Premiere
Elements with menus that look a lot like
| | 00:03 | Hollywood videos on DVDs.
| | 00:06 | It is a two step process.
| | 00:07 | First of all, you put little markers on
the Timeline that indicate scenes,
| | 00:11 | the beginning and ending of each video, and
then you take those markers in the second
| | 00:15 | step and then create the DVD menu.
| | 00:17 | So we'll do the first step, the
markers, in this tutorial and the actual menu
| | 00:20 | creation in another tutorial.
| | 00:22 | I have already put some
markers here on the Timeline.
| | 00:24 | You can see those green
little pentagons I guess they are.
| | 00:26 | So we are going to add a fourth one
here because each one of those guys
| | 00:29 | represents a scene and I want this
particular scene to start right here on the green.
| | 00:33 | I can either right-click here and say
Set Menu Marker or I can go over to this
| | 00:37 | little menu here and say
Menu Marker > Set Menu Marker.
| | 00:40 | That opens up this dialog box.
| | 00:42 | You have three choices, Scene Marker,
Main Menu Marker and Start Marker.
| | 00:46 | We are clicking on Scene Markers right
now so I'm making sure that Scene Marker
| | 00:49 | is selected here and you can put some
text here that will appear below the
| | 00:53 | button or with the button
inside the Scene Selection Menu.
| | 00:55 | So I'm going to put down Clutch Putt.
That will be a little text that appears
| | 01:00 | there and I'm going to use
some video inside the button.
| | 01:04 | So you can click the button to have
video appear inside your buttons on the
| | 01:07 | Scene Selection Menu and you can adjust the
beginning frame by rolling this guy forward.
| | 01:11 | You can't go back, but you can go forward.
| | 01:13 | So I think right about there is a
good place to start our button video.
| | 01:18 | So I'm going to click OK and that
adds a little green marker here.
| | 01:21 | We have four markers here and only
three here and the Scene Selection Menus in
| | 01:25 | Premiere Elements by default have up
to four buttons each and I want to have
| | 01:29 | four here for this video and
four for the Fall Foliage video.
| | 01:32 | So I'm going to go here and make
one more Scene Selection Marker.
| | 01:35 | Let's say right there. I'll right click
on this guy and go Scene > Set Menu Marker.
| | 01:39 | I'll call this one 'Trucking shot' and
it will be a scene marker as we said.
| | 01:45 | I'm going to make it a Motion Menu
Button and I think where we are is fine.
| | 01:48 | That will be a good video to click the button.
| | 01:50 | But I want to do it on the transition
so I'm going to go a little bit like that
| | 01:53 | and that will be cleaner inside the button.
| | 01:56 | Okay, now we set up four scenes per
video, which is a good amount because there
| | 02:01 | will be four scenes in one Scene
Selection Menu for the golf and four scenes in
| | 02:05 | the Scene Selection Menu for foliage.
| | 02:07 | Let me go back here to this particular clip.
| | 02:10 | I need to say where the end of this video is.
| | 02:13 | I don't need to tell Premiere
Elements where the beginning is because the
| | 02:15 | beginning is always at the beginning,
but at the end we need to say this video
| | 02:18 | will be over right there and when it is
over it will go back to the main menu.
| | 02:23 | You need to set a stop point to say
when it is done, go back to the main menu.
| | 02:27 | Don't continue and play the next video.
| | 02:29 | So I'm going to right click
there and go Set Menu Marker.
| | 02:31 | This time I want to set a Stop Marker.
| | 02:34 | There is no option now to type
in a name for the Stop Marker.
| | 02:38 | Stop marker is just a stop marker.
| | 02:39 | You don't name it and you can't name it.
| | 02:41 | I can't type it here.
| | 02:42 | It is not allowing me to do that.
| | 02:43 | So I click OK and I need to go to the
end of this other one and make sure that
| | 02:47 | there is a stop marker there as well,
to say that when you get to the end of
| | 02:50 | this guy, go back to the
main menu when you are done.
| | 02:52 | So right click there, Set Menu
Marker, I get a Stop, there we go.
| | 02:56 | And finally one more. I want to set
the beginning of this second video.
| | 03:03 | Now typically you only have one video
running inside a DVD, but it is easy to
| | 03:07 | add a second one like and so you need
to tell Premiere Elements that I have got
| | 03:11 | a second video by putting a beginning,
a start point, at your second video.
| | 03:15 | So I'll just go up to the start point
there, right-click and say Set Menu Marker
| | 03:20 | for the Main Menu Marker and
I'll call this one Fall Foliage.
| | 03:26 | So I set the Main
Menu Marker for this guy.
| | 03:30 | There is no Motion Menu Button for this
because it is not on the Scene Selection Menu
| | 03:33 | so we don't need to
click that. I'll click OK.
| | 03:35 | Now I have setup my two videos, my
Timeline, with all the markers that I need,
| | 03:41 | such that I can automatically
create menus for this particular DVD.
| | 03:45 | It will be a main menu, with the two
buttons one for this video and one for this
| | 03:50 | video, and then a third button that will
take us to a Scene Selection Menu that
| | 03:53 | will go for this set of four scenes
with another button at the bottom of that
| | 03:57 | menu that I can click on
to go to these four scenes.
| | 03:59 | So this is basically the way that you
set up your Timeline to get ready to make
| | 04:04 | a DVD in Premiere Elements.
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| Creating DVD menus using templates| 00:00 | The second part to creating a DVD menu
structure in Premiere Elements is to have
| | 00:04 | Premiere Elements use your markers on
the Timeline to automatically create those menus
| | 00:09 | and we are going to
do that in this tutorial.
| | 00:11 | Let me show you how that works.
| | 00:12 | We have our Timeline here
with all the markers on it.
| | 00:15 | So the next step is to go to Disc Menus,
and Disc Menu has all sorts of menu
| | 00:20 | templates that come with Premiere
Elements. Of course you can buy some more online,
| | 00:23 | but we'll look at the various
genres here and we can pick things that
| | 00:27 | are appropriate for what we are working on.
| | 00:29 | You kind of scroll through
and see what's out there.
| | 00:31 | I think the one that's going to work
best for us is the one I have already
| | 00:34 | selected this MAIN MOVIE TITLE here,
but if I had selected something different,
| | 00:37 | like I click it and then click Apply,
we'll just do that anyways just to kind of
| | 00:40 | go through that process.
| | 00:41 | Once you do that, it opens up this extra
menu here to have you go through the final steps.
| | 00:47 | Now let me just show you what it's done
in terms of how it connected these menu
| | 00:51 | templates to your Timeline.
| | 00:53 | Notice there are three menus here and
the first one is the Main Menu, now here
| | 00:58 | is a Scene Selection Menu and
here is another Scene Selection Menu.
| | 01:01 | This first on the Main Menu has a Play
Movie button, a Scene Selection button
| | 01:04 | and the Fall Foliage button.
| | 01:06 | What we are going to do here is we are
going to change the Play Movie button
| | 01:08 | to turn that into the Golf video and
move the Fall Foliage over here and then
| | 01:13 | move the Scene Selection to the right, because
Scene Selection works for both of these guys.
| | 01:16 | We want to have two Movie
buttons and one Scene Selection button.
| | 01:20 | And once you go to a Scene Selection
menu then you can go to the next one to see
| | 01:24 | the Fall Foliage Scene Selection menu.
| | 01:26 | Let me just preview this so you
can see what I'm talking about.
| | 01:29 | (Music playing.)
| | 01:41 | It's a little loud, but I think
you get the sense of how that works.
| | 01:46 | Let's go to the final editing process.
Here we want to, instead of having
| | 01:49 | the word Scene, Menu, Title and things like
that, we are going to change those things.
| | 01:53 | I'm not going to take you through every
single step, because that would be kind of tedious.
| | 01:55 | But let me go here to the first one.
| | 01:57 | Instead of Play Movie I
want to say golfing video.
| | 02:00 | So I'll double-click on that and here
is the place where we can change that.
| | 02:04 | I'm going to say 'A Day on the
Links.' Okay that's our first video.
| | 02:11 | You notice that it gets red,
because it's touching this other one.
| | 02:13 | You can't have two buttons overlapping or
you remote control won't work on those buttons.
| | 02:17 | So I'm going to take this guy and drag
it a little bit to the left. Take the
| | 02:19 | Scene Selection and move
it to the right anyways.
| | 02:22 | Now I'll take the Fall
Foliage one and move it over.
| | 02:25 | That one we don't need to change.
| | 02:26 | We get A Day on the Links, Fall Foliage.
| | 02:27 | Now Scene Selection we drag that
over a little bit and I think we are
| | 02:32 | pretty much set up there.
| | 02:33 | They aren't perfectly lined up, but you
can get the sense of how that works.
| | 02:37 | We get rid of this
little Main Movie title thing.
| | 02:40 | We'll call it Golf and
Fall, something like that.
| | 02:44 | I'm going to change that Main
Movie title to Golf and Fall.
| | 02:46 | Maybe it sounds like you are falling
down the golf course, but we'll just
| | 02:49 | accept that for now.
| | 02:50 | Double-click this to say 'Day on the
Links -- Scenes,' there you go and let's
| | 02:58 | go the next one, this one here, double-
click on this one and say 'Fall Foliage -- Scenes.'
| | 03:08 | There you go. So that's how easy
it is to change the menu titles.
| | 03:10 | Notice these titles under all of the
buttons, these are all video buttons and
| | 03:14 | those titles are equal to what you put
in the marker, but let's say I want to
| | 03:17 | change that one. I could go back down
here and say double-click on this guy and
| | 03:21 | instead of saying Trucking shot
I could say 'Moving down the road.'
| | 03:26 | Click OK and that will show up right
here. We can change it that easily.
| | 03:32 | So you have got the Scene Selection Menu.
| | 03:34 | You can change the text on
these guys if we want to.
| | 03:37 | Main Menu, we probably want to keep that.
| | 03:38 | If we click on that button when the
DVD is finished we'll take this back to
| | 03:41 | the Main Menu and then we got the Main Menu
where we have changed the title that easily.
| | 03:45 | Now if you want the change let's say
the font size or change the text from all
| | 03:49 | upper case to both upper and lower case,
it's easy enough to do that. Click that.
| | 03:53 | Now here is the font size. If we want
to change the font size, easy enough to
| | 03:58 | change the font size or the font
itself make it Italic or Underlined or Bold.
| | 04:01 | So that's the basic process to allow
Premiere Elements to take the markers that
| | 04:05 | you put on the Timeline to covert them
into these two menu types, the Main Menu
| | 04:09 | and the Scene Selection Menu, and then
finally down the road when you are ready,
| | 04:13 | you can burn your DVD.
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14. Sharing VideoSharing your videos from the Task panel| 00:00 | When you have finally wrapped up
your project it's time to share it.
| | 00:03 | You can share a single image from
your project, part of your project, or
| | 00:06 | the entire project.
| | 00:07 | Now you do all that work over here in
the Share workspace. Let's click that.
| | 00:11 | There are five basic
options to the Share workspace.
| | 00:14 | We'll start it from top and we'll
work our way down to the bottom.
| | 00:16 | Let's start with Disc.
| | 00:17 | This is where you burn a DVD or a Blu-ray disc.
| | 00:20 | It's fairly straightforward.
| | 00:21 | You choose between one of the two and
you are going to burn to a disc or
| | 00:24 | you can burn actually to a folder on your hard
drive, which you can later convert it to a disc.
| | 00:29 | Give your disc a name, probably your
project name, select your burner if you
| | 00:33 | have got more than one, and then set the
screen width, which is going to be PAL or NTSC.
| | 00:38 | So it should be by default
to whatever your project is.
| | 00:40 | In our case it's NTSC, and
Dolby is the kind of audio.
| | 00:43 | Then this little button down here
about Fitting Contents to available space.
| | 00:46 | If your project is really large,
probably more than two hours, you do want to
| | 00:50 | compress it a bit to fit on
to the size of a standard DVD.
| | 00:54 | In most cases that probably won't apply,
but you can leave that checked there,
| | 00:57 | and it'll work just fine.
| | 00:58 | And that's basically the process to set
up your DVD and then you click on Burn.
| | 01:02 | We are not going to do that right now because
we're just setting it up. Let's go Back.
| | 01:04 | Go Online.
| | 01:06 | Online has several presets for some online
sites, mainly YouTube. Podbean, which is audio.
| | 01:12 | If you click on that,
you'll see it's just audio MP3.
| | 01:15 | Photoshop.com is the sharing site where
you could store files, share your video
| | 01:19 | and image files, even do some editing.
| | 01:22 | And YouTube of course is a site that
takes video files of any size or shape and
| | 01:27 | converts them to Flash.
| | 01:28 | So if you have your file already converted
to Flash, then it won't be converted again.
| | 01:32 | That's a good thing to do.
| | 01:33 | So you can pick one of these things or
sort of the generic way to upload files,
| | 01:38 | My Website, it actually
specifically asks where your server is.
| | 01:41 | It'll help you load it up there.
| | 01:42 | Let's go back a notch.
| | 01:44 | The third one is Personal Computer.
| | 01:45 | This makes files that run off of your computer.
| | 01:48 | You see that I have got Flash, MPEG,
AVI, Windows Media, which is specifically
| | 01:53 | for Windows, QuickTime, which is oriented
towards Apple, but you can run on both platforms,
| | 01:56 | and Image,
a still image, and just Audio.
| | 01:59 | So let's go back up here a notch because
there are so many different categories.
| | 02:03 | Adobe Flash, which is usually used
for web pages as sort of a generic way to
| | 02:06 | create a file that will run on a web
page, and you can pick a bunch of presets
| | 02:10 | relative to the version of Flash that
you want it to be able to be compatible
| | 02:14 | with when it runs and the size of it.
If you want to run on relatively slow
| | 02:18 | connections, you would pick the smaller size.
| | 02:21 | MPEG is another compressed video format
typically used for DVD, but you can also
| | 02:26 | create MPEG to run on computers.
| | 02:28 | AVI is the uncompressed version of video,
which is how your videos are wrapped
| | 02:33 | up when you upload them when you
capture them from your camcorder, so you can
| | 02:36 | save them back to an uncompressed file that way.
| | 02:40 | Move on down the line here. Windows
Media is a compressed format that was
| | 02:42 | typically design to run inside Windows
Media Players, but there's other players
| | 02:46 | that can play Windows
Media but it is compressed.
| | 02:48 | QuickTime was oriented towards running
on QuickTime Player, but you can run it on
| | 02:52 | also Mac and Window PCs.
| | 02:54 | Image is adapted now for Premiere Elements 8.
There are several image formats that
| | 02:59 | you can choose from.
| | 03:00 | You could always do a Freeze Frame
down here, which saves it as a BMP file.
| | 03:03 | But here in Image,
you can select several things.
| | 03:06 | Let's look at the various options here.
| | 03:07 | AnimatedGIFs, it actually takes
your project and cuts them into little
| | 03:12 | individual images, which is a
lot of images if you do that.
| | 03:15 | So make sure you choose a
small portion of your file.
| | 03:18 | JPEG is a compressed file format, but it's
actually a fairly high quality file format.
| | 03:23 | It's good that they have this option
here and then are a couple of other image
| | 03:26 | files, Targa and TIFF.
| | 03:27 | Let's move on down the line. Audio.
| | 03:31 | Audio will create a couple
of different kinds of audio.
| | 03:34 | AAC, AIFF, which is typically a Mac
format, MP3, which is the standard for all
| | 03:39 | kinds of iPods and all
other kinds of audio devices.
| | 03:42 | Then finally Windows Waveform,
which is an uncompressed audio file.
| | 03:45 | So that's basically how you use this
particular option to export or to share
| | 03:50 | files using files that are
formatted towards computers.
| | 03:54 | Go back one notch. Two more options
here, the Mobile Phone and Players.
| | 03:57 | Here there are all kinds of presets
specifically for specific kinds of mobile
| | 04:01 | phones and other kinds of handheld devices.
| | 04:04 | So you can pick from that list or you
can take this generic one at the bottom
| | 04:07 | and sort of fine tune a little bit in terms
of how large the files are going to end
| | 04:11 | up being, but they are 3gp.
There is that style.
| | 04:14 | You might notice there are
Advanced button throughout all these.
| | 04:17 | This is really not geared towards this
course but if you open that up, you kind
| | 04:20 | of open up a whole can or worms as to
exactly how you want to fine-tune your files,
| | 04:24 | but we'll leave that for the
experts, shall we? Move on back here.
| | 04:28 | Finally Tape. You can take the project
that you have created and export it back out,
| | 04:33 | if you want to call it that way,
to your tape on your camcorder.
| | 04:37 | So if we click that and if your
camcorder is connected as ours is,
| | 04:40 | you'll get this dialog box.
| | 04:42 | It gives you a few options about, that
say pre-rolling your tape or whatever.
| | 04:46 | But if you just want to record it
straight back the tape, you just take the
| | 04:49 | defaults here and click Record.
| | 04:51 | So those are the five basic ways that you can
share your project once you have completed it.
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15. Tips for Shooting Video and Creating a StoryShooting great video| 00:00 | In this tutorial I'm going to give
you some tips on how to shoot video with
| | 00:03 | storytelling and editing in mind.
| | 00:05 | You are the videographer, the shooter, but you
are also the storyteller and the video editor.
| | 00:10 | So your goal when shooting video is to
make your life as storyteller and editor easy.
| | 00:15 | As the shooter, you need to think about
the story's theme, characters, and its arc,
| | 00:18 | its beginning, middle, and end.
| | 00:20 | To help the editor, you need to come up
with a variety of shots that will help
| | 00:23 | move the story forward.
| | 00:24 | So I'm going to give you some tips about
how to shoot great video and in another
| | 00:29 | tutorial, I'll show you some examples.
| | 00:30 | First and foremost, shoot a variety of video.
| | 00:33 | Get some unusual angles, low shots, high angles.
| | 00:37 | Get wide and tight shots.
| | 00:38 | Don't just zoom in.
| | 00:40 | Move closer to your subject.
| | 00:42 | Get matched action.
| | 00:43 | That is when you see something
happening repetitively, get a wide shot of it,
| | 00:47 | and then go in tight to get
the same thing happening again.
| | 00:49 | When shooting sequences, where one thing
happens after another, shoot the entire
| | 00:53 | sequence wide, and then shoot it up
close, so you can edit back and forth
| | 00:57 | between those shots.
| | 00:58 | Get trucking shots.
| | 00:59 | Physically move along with the
action, like following your kid crawling
| | 01:03 | across the carpeting. Shoot cutaways.
| | 01:05 | These are shots that help you cut
smoothly from one scene to the next.
| | 01:09 | If you are interviewing someone, you
can get a shot of their hands gesturing
| | 01:12 | that you can use between sound bites.
| | 01:14 | Follow the rule of thirds.
| | 01:16 | That is in your mind divide each scene into
thirds horizontally and thirds vertically.
| | 01:20 | You want the horizon line in your
video to run along the upper third or lower
| | 01:24 | third, but not in the center.
| | 01:26 | Don't put the center of attention of
your video in the center of the video.
| | 01:29 | You want to put it onto one of those
four places where those lines intersect.
| | 01:33 | Keep your shots steady.
| | 01:34 | Avoid fast pans and zooms.
| | 01:36 | Finally, make sure you get an
establishing shot and a closing shot.
| | 01:41 | The establishing shot sets
up the story. Where are we?
| | 01:44 | What's happening?
| | 01:45 | And the closing shot is probably
the most important shot of your video.
| | 01:48 | That's what people will
take away from your project.
| | 01:51 | You want to give viewers something to remember.
| | 01:53 | If you keep this list of tips in mind as
you shoot your videos, I think you will
| | 01:57 | create a better finished product.
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| Creating a story| 00:00 | As a way to wrap this course, I want to
show you a project that I made using the
| | 00:04 | video that we've been using throughout
the course, plus the techniques that I
| | 00:07 | have been teaching in the course.
Not all of them but most of them.
| | 00:10 | And rather than go through these
piecemeal and explain each individual technique
| | 00:13 | of the top here, what I thought I'd do
is just play this little video and give
| | 00:17 | you a sense of the story that we've
created here and then come back and explain
| | 00:21 | some of techniques that were
involved in creating this thing.
| | 00:24 | So let me just put it to the beginning
and click on Full Screen and let it rip.
| | 00:28 | (Video playing. Birds chirping.)
| | 00:38 | (Whack! Golf ball being hit.)
(Male Speaker/Golfer: That's going to hook.)
| | 00:43 | (Golfer: Alright, settle down right there.)
| | 01:04 | (Whack! Golf ball being hit.)
| | 01:08 | (Plop! Golf ball hitting the green.)
| | 01:22 | (Male Speaker 2: There he is!)
| | 01:25 | (Male Speaker 2: Mr. Clutchy!! Nice, very nice.)
| | 01:29 | (Male Speaker 2: Very nice.)
| | 01:32 | There you have it, Mr. Clutchy.
| | 01:34 | Let me go back to the beginning.
| | 01:36 | Now you saw that had a beginning and a
middle and an end and as I mentioned in
| | 01:41 | my explanation about how to shoot great
video, when you go out to shoot something
| | 01:45 | you want to think in terms of your
establishing shot and your closing shot and
| | 01:49 | the most important shot is your closing
shot, but I'll explain that in a moment.
| | 01:52 | The establishing shot I thought that
could just easily be someone teeing up a
| | 01:55 | golf ball, because that
says everything basically.
| | 01:57 | We're going to go out and play some golf today.
| | 01:59 | But if I thought that doesn't
really send the message, then a sign will
| | 02:01 | also send the message.
| | 02:02 | So that's kind of my
thinking when I went out there.
| | 02:05 | I wanted to make sure I got the camera
right down close to the ground and got
| | 02:08 | to shot off somebody teeing up their golf ball.
| | 02:10 | But teeing up the golf ball I
thought created a little bit of an editing
| | 02:13 | problem for me because I needed to go
from that shot to this shot, and then if
| | 02:17 | you look at that, there is no golf club and
there is the driver right there in the pictures.
| | 02:20 | So how I'm going to get from point A to point B?
| | 02:22 | Well, almost always you are going to run
into editing problems like this when you
| | 02:27 | go try to put together a video.
| | 02:28 | So when you're out there shooting,
always think about getting cutaways.
| | 02:32 | That's a typical shot that is not of
the subject at hand and also is generic
| | 02:36 | enough that allows you to get from
point A to point B. So I thought certainly a
| | 02:39 | sign is a thing that you can use for cutaway.
| | 02:42 | It's kind of a standard cutaway in the
video world, in the TV news business.
| | 02:46 | So I thought okay, there is that shot,
and where is my cutaway that I can use to
| | 02:49 | get through here to there?
And there is my cutaway that I used.
| | 02:52 | Now for this particular shot, I shot a
wide shot and I held a camera way over
| | 02:56 | my head as high as I could hold over my
head and tilted the View Finder down,
| | 02:59 | because I want to get unusual angles.
| | 03:00 | You want to get something other than
sort of standard shoulder-level views.
| | 03:04 | I got this shot way up high and then
on another hole I got the tight shot.
| | 03:09 | So this is what I was
thinking as I was shooting this.
| | 03:10 | I was thinking on some holes I'm going
to grab the high-over-my-head shots and
| | 03:14 | I was shooting four different guys,
but I ended up settling on this guy.
| | 03:18 | And then on other holes I want to get
the down, close to the ground, tight shots.
| | 03:21 | And on other holes I'm going to get
let's say hand shots, things like that.
| | 03:25 | So that's my thinking. I was getting
the types of shots that I needed based on
| | 03:29 | the hole, not based upon the current activity.
| | 03:31 | That way I didn't forget to get my
tight shots and forget to get my wide shots,
| | 03:35 | and that kind of stuff.
| | 03:36 | So as I went up there, I had this
plan in mind as I was shooting all this.
| | 03:40 | For this particular shot, you notice
that it's wide and then tight, but
| | 03:44 | the audio is only from one scene.
| | 03:47 | I'll play that for you.
| | 03:50 | (Whack! Golf ball being hit.)
(Male Speaker/Golfer: That's going to hook.)
| | 03:52 | You notice that the audio is of the tight shot.
| | 03:55 | I knew the tight shot was going to
be kind of a pithy, powerful noisy shot.
| | 03:58 | So I wanted to use that audio and
rather than take the audio from the wide shot
| | 04:02 | and just place it up right next to it
where it would be obviously different
| | 04:05 | because some audio I was close to a road,
some audio I was close to a stream,
| | 04:09 | other times we were close to an airport.
| | 04:10 | So I wanted to try to avoid having
the audio be too obviously different.
| | 04:14 | So I took the audio from this clip
here and stretched it out under. I had to
| | 04:18 | kind of cut it a little bit to duplicate
the audio so that it will be equal, but
| | 04:22 | in fact I used the audio from the
tight shot underneath the wide shot, so
| | 04:26 | it wouldn't be too abrupt as
we go from point A to point B.
| | 04:28 | Let's move on down the
line here, this cart shot.
| | 04:31 | It's always good to get action where you
can predict the action to have it come
| | 04:35 | into the scene or go out of the scene or both.
| | 04:38 | You don't want to start it in the scene.
| | 04:40 | It's tempting just to point at
something that's moving and follow it.
| | 04:43 | It's better if you can have it enter the scene.
| | 04:45 | So I shot this such that that was way
off camera for a while. Actually,
| | 04:48 | this clip went farther to the left.
| | 04:51 | That way you can edit it just before it
gets in the scene for a nice little transition.
| | 04:54 | So here the guy is standing,
here the guy is in the cart.
| | 04:56 | You don't want to really
have that kind of jump cut.
| | 04:58 | It wouldn't be obvious, but still I'd
rather have the cart enter the scene,
| | 05:01 | and then once it pulls back and the camera
settles down, then it's time to make my edit.
| | 05:06 | I don't really need to have
this picture go any longer.
| | 05:08 | But you do use the motion of the cart
| | 05:11 | as what's called s motivated pan.
| | 05:13 | You don't want to just
pan just for panning's sake.
| | 05:15 | It's good to follow action to allow you
to make a pan and also to follow action
| | 05:19 | to pull back and do what's
called a reveal of this golf course.
| | 05:23 | Now I needed to go from that
wide shot to this wide shot.
| | 05:26 | So again, I'm kind of in an editing
conundrum here. How do I get from one wide
| | 05:29 | shot to another wide shot?
| | 05:31 | The way you do that is another cutaway.
| | 05:32 | So throughout the entire day when I was
out there shooting, I thought I need to
| | 05:36 | get some things that can help me
transition from one place to another, so these
| | 05:39 | trees in the foreground
helped me get from there to there.
| | 05:42 | Now with the wide shot going, that's
fine. Now I want to go to an extreme
| | 05:45 | tight shot. There it is.
| | 05:46 | You always try to follow the entire
sequence, so I got him settling down
| | 05:50 | and doing the whole swing and
I don't try to follow the ball.
| | 05:52 | That would be impossible.
| | 05:53 | Then I position myself on the green
for a different shot, and this shot of
| | 05:58 | course starts farther back, but I'm
picking it up just as the camera view begins to
| | 06:03 | tilt up because that
matches the end of this scene here.
| | 06:05 | I am trying to follow the ball.
| | 06:06 | It's hard to follow the ball with a DV
camcorder, but here we go and when I'm
| | 06:10 | standing on the green I'm thinking
"I wonder where all these balls are
| | 06:12 | going to land" and this guy, our guy
that we ended up featuring here, puts it
| | 06:15 | right at my feet. I couldn't believe it.
| | 06:18 | I almost laughed out loud when
this rolled up to me like that.
| | 06:21 | I can't believe this guy
actually hit it to my feet.
| | 06:23 | But if you notice, with the original picture,
there is a shadow of the camcorder. It's that close.
| | 06:28 | You can see the microphone from the camcorder.
| | 06:30 | I thought well, how I'm going to deal
with that? But Premiere Elements has that
| | 06:33 | lovely Motion effect.
| | 06:34 | So I'm going to click on this, go to
Edit, Edit Effects, and you see that
| | 06:39 | the Motion effect has a bunch of
keyframes that kept the microphone shadow out.
| | 06:44 | If I turn it off, you will see there is
the shadow, and I used keyframes to get
| | 06:48 | that shadow to not show up in the
picture, and have it be wide throughout only
| | 06:53 | to the point where the
shadow popped into the picture.
| | 06:55 | So I start my keyframes right there you see,
and so you notice the keyframes are there.
| | 06:58 | So I kept the picture wide up to that
point. I didn't want to go any tighter
| | 07:02 | because it was already kind
of a hard picture to follow.
| | 07:05 | It was a little bit out of focus
because we were following action.
| | 07:07 | Then here is the pin coming out.
I knew I was going to get to some kind of a
| | 07:11 | transition shot to help me get from
someone hitting to the green to actually
| | 07:14 | putting on the green.
| | 07:15 | So you need something to
help you make that transition.
| | 07:17 | So I knew I was going to get
somebody taking the pin out.
| | 07:18 | So I asked the person taking
the pin out to hang on a second.
| | 07:21 | Let me get close to the pin, get the
camera right over the pin here, and asked him
| | 07:24 | to take his hand out of the picture, so
the shadow of his hand didn't suddenly
| | 07:28 | appear in the picture, and then I said
okay, now, grab the pin and take it out.
| | 07:31 | And so the clip itself was much longer.
| | 07:33 | I just wanted to get that one little
moment when out it comes and gets out of
| | 07:36 | the frame, and now we can go to the next shot.
| | 07:39 | Again, the tight shot of the hands, which I
got on a different green versus this shot here.
| | 07:43 | This is sort of a motivated tilt.
| | 07:45 | He is looking down.
| | 07:46 | So now I can tilt down.
| | 07:47 | It's kind of a comfortable move.
| | 07:49 | Now I was hoping he is going to put right away.
| | 07:51 | My thinking was, "He is going to put.
| | 07:53 | If it goes in the hole, that
will be the end of the shot."
| | 07:55 | But I still have not gotten my closing shots.
| | 07:57 | So on the back of my mind I was going
"when I'm going to get the closing shot?"
| | 08:00 | I'm watching this put.
| | 08:01 | It goes in the hole.
| | 08:02 | I was tempted to push. Oh, now I'm done.
| | 08:05 | I'll push the button, but I thought
well wait a minute. They are commenting,
| | 08:08 | there are people talking here.
| | 08:09 | Let's let it roll and see
what happens. Got the Mr. Clutchy comment,
| | 08:15 | got the pin going back in,
the flag, and the shadow. I thought
| | 08:18 | "got it, got my closing shot, thank
goodness," and that's basically my thinking as
| | 08:22 | I'm out there shooting.
| | 08:23 | I got to really know when
I've got the closing shot.
| | 08:26 | Finally, just a couple of things here.
| | 08:28 | You might notice there are all kinds of
little audio clips down here below the
| | 08:32 | regular audio one track, and out
there shooting over several holes,
| | 08:36 | with several different audio circumstances,
| | 08:37 | it's pretty hard to make the audio now
just go click, click, click and click and
| | 08:41 | be obviously different
from one hole to the next.
| | 08:43 | You might, over one shot to the next,
| | 08:44 | you might have noticed that the audio
did shift here from one scene to the next.
| | 08:47 | I did the best I could to try to avoid
having the audio obviously be different
| | 08:52 | and the way you do that is by cross
dissolving the audio, like I just put
| | 08:56 | a cross dissolve audio effect between
the two clips. Not necessarily the most
| | 08:59 | effective way to do it.
| | 09:00 | So what I do is I take a clip and I
disassociate the audio with the video by
| | 09:06 | simply holding down the Alt key and
then clicking on it. That makes it
| | 09:09 | so I'm selecting only the audio and
then I can move the audio from that track
| | 09:12 | down a track.
| | 09:13 | Now, once it's down a track-- let me
Ctrl+Z that just to get it lined up again.
| | 09:17 | Once it's down a track, I can then
use keyframes to have the audio increase there,
| | 09:22 | while the audio volume decreases over here.
| | 09:24 | I can do that inside the fixed audio
effect, but I can also do that right here
| | 09:29 | in these little audio rubber bands
they are called, by Ctrl-clicking on that
| | 09:32 | little yellow rubber band to add a
keyframe, then you can draw that handle up
| | 09:35 | or down accordingly.
| | 09:36 | This is fairly easy to add those guys.
| | 09:38 | So that's the process that I go
through, I try to, when I'm making a story,
| | 09:42 | think about the
establishing shot, the opening shot.
| | 09:44 | The establishing shot's not
necessarily the opening shot, but generally
| | 09:47 | close to the front.
| | 09:48 | Most important, the closing shot. Try to
get some kind of a character and we had
| | 09:52 | four guys playing golf here, but that
one older guy who was making those great
| | 09:56 | comments ended up being the one that I
focused on for this project, because he
| | 10:00 | made such a great comments, and
also he was just a great golfer.
| | 10:03 | And so you have got the beginning, the
middle, the end, the character and the
| | 10:07 | little editing techniques, the wide
and tight shots, the sequences that help
| | 10:11 | you to tell your story.
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ConclusionGoodbye| 00:00 | So that's a wrap.
| | 00:01 | I've had a lot of fun putting
these video tutorials together.
| | 00:04 | My suggestion to you now is to
experiment, go out and try some things out,
| | 00:08 | take some chances.
| | 00:09 | Some things will work, some things
won't. But I think the more you play with
| | 00:12 | this tool, the more video you shoot, and the
more you edit, the better you're going to get.
| | 00:16 | Thanks for tagging along on this
little ride and we'll see you next time.
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