IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi! I'm I'm Steve Grisetti and
this is Up and Running Elements 11.
| | 00:09 | In this course I'll walk you
through the basics of editing in Elements 11.
| | 00:13 | I'll start by showing you how to
import and organize your media files.
| | 00:17 | I'll go over basic editing
techniques like adding and trimming clips.
| | 00:22 | We'll cover some more advanced
techniques, such as correcting color, mixing your
| | 00:25 | audio, and adding transitions and text.
| | 00:28 | We'll also show you how to use some of
the new tools in the program, like the Pan
| | 00:32 | and Zoom tool for creating motion
paths that make your photos come to life
| | 00:36 | and the new Time Remapping tool that
lets you suddenly shift your video into
| | 00:40 | fast or slow motion and back again.
| | 00:42 | Finally, I'll show you how to publish
and output your movies, whether you're
| | 00:46 | burning them to DVD or Blu-ray disc,
sending them to a portable device, or
| | 00:50 | sharing them online.
| | 00:52 | Now, let's get started with Up and
Running with Premiere Elements 11.
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| Understanding the basics of editing| 00:00 | If you're new to the experience of
video editing, it's important to understand a
| | 00:04 | few basic principles before we get started.
| | 00:06 | Every frame of your video, just like any
digital photo, is made up of thousands or
| | 00:11 | even millions of little squares or
rectangles of color called pixels.
| | 00:16 | These pixels are so small
you normally don't see them.
| | 00:18 | They blend together into the
shapes in the images you see in your photo or video.
| | 00:23 | How densely these pixels are
packed together is called resolution.
| | 00:27 | And every video, just like every photo,
must maintain a certain resolution in order
| | 00:31 | for you to see pictures rather than pixels.
| | 00:34 | The video that your camcorder produces
and most of what you will be working
| | 00:38 | with comes in one of two resolutions.
| | 00:40 | Standard-resolution video has
about 350,000 little pixels of video.
| | 00:46 | High-definition video has over 2 million pixels.
| | 00:50 | Matching this resolution to your video
project's specs are the keys to getting
| | 00:54 | good clean video results.
| | 00:56 | No matter where your video is coming
from or what you plan to do with it, you'll
| | 01:00 | use some of the same basic moves in
virtually every Premiere Elements project.
| | 01:05 | First, you add your media files to your project.
| | 01:08 | These media files, also known as
project assets, can be in the form of video,
| | 01:12 | still photos, graphics,
or audio files like music.
| | 01:16 | That you can be media files that are
already on your computer or you can
| | 01:19 | download or capture the video
directly from your camcorder, your iPad,
| | 01:24 | smartphone, or other video-recording device.
| | 01:27 | Once your media is gathered and
arranged on your project's timeline, you can trim
| | 01:30 | it or cut it and remove what you don't want.
| | 01:33 | You can also clean up the video's
color or sweeten the audio's sound.
| | 01:37 | Then you can add effects or use
several layers of video to create a video composition.
| | 01:42 | You can also add titles and
animations, and you can use a SmartSound express
| | 01:47 | tracks, which comes bundled with the
program, to create a custom soundtrack.
| | 01:51 | If you're going to create a DVD or
Blu-ray disc, Premiere Elements includes tools
| | 01:56 | for creating movie menus for your disc,
as well as tools for building links from
| | 02:00 | your menus to the scenes in your movie.
| | 02:02 | Once you've finished editing your video,
Premiere Elements includes dozens of
| | 02:06 | options for outputting your finished movie.
| | 02:09 | You can burn it as a DVD or Blu-ray
disc or even upload it to a web site as a web DVD.
| | 02:15 | You can upload your movie directly
from Premiere Elements to YouTube, Vimeo, or Facebook.
| | 02:19 | Or if you'd like, you can save your
move in an optimized format and port it to
| | 02:25 | your iPad, iPod, smartphone,
or other portable video player.
| | 02:30 | But those are the basic moves.
| | 02:32 | You bring your media into your project,
you apply edits and effects to it, and
| | 02:36 | then you output a new
video based on those changes.
| | 02:40 | Now let's take a look at the
interface for Adobe Premiere Elements 11.
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| Getting to know the interface| 00:00 | Welcome to Premiere Elements 11, and this
is, appropriately enough, the Welcome screen.
| | 00:05 | This is what greets you when you first
launch the program, and from here we can
| | 00:09 | launch either the Elements Organizer--
that is the file management tool that comes
| | 00:13 | bundled with Premiere Elements--or we
can go directly into the video editor.
| | 00:17 | By the way, if you'd like to skip the
Welcome screen and go directly into the
| | 00:20 | program, you can set that up by clicking
on the Settings available underneath this
| | 00:23 | little gear in the upper-right corner.
| | 00:25 | Click on that and you have the option of setting it
to launch directly into the video editor.
| | 00:30 | From the welcome screen we can go to
the video editor if we click the button.
| | 00:34 | We can go either into an existing
project by clicking on this option or
| | 00:38 | starting a new project.
| | 00:40 | In previous versions of Premiere
Elements when you clicked New Project, you
| | 00:43 | would go to a New Project Options screen and
you had to select settings for your project.
| | 00:49 | In Premiere Elements 11, a nice
innovation to the program is that the program
| | 00:53 | will set up your project settings
automatically, based on the very first clip
| | 00:58 | you add to the timeline.
| | 01:00 | There are two workspaces in Premiere
Elements: Quick view and Expert view.
| | 01:04 | The main difference is that in Quick
view you have a simplified timeline.
| | 01:08 | You see that you have a video track,
two audio tracks, and a title track.
| | 01:12 | While in Expert view you have a
full-blown professional timeline.
| | 01:16 | When you're in Quick view, whatever
media you add to your project is added
| | 01:23 | directly to the project's timeline,
while in Expert view the media that you add
| | 01:28 | goes first to a Project Assets panel,
and there you can prepare and order your
| | 01:33 | files before you add them to your movie.
| | 01:35 | Now one thing you will notice about
the interface, it's tremendously clean.
| | 01:39 | Adobe put a lot of effort into cleaning it up.
| | 01:42 | There was not a lot of clutter in it,
but fortunately, the way they have laid it
| | 01:46 | out almost every tool is only a few clicks away.
| | 01:48 | Many of the tools are launched from the
Action bar along the bottom of the program.
| | 01:53 | You'll see a similar Action bar
in the Elements Organizer and in Photoshop Elements.
| | 01:57 | When we click on the Tools button we
have access to a number of tools, and we'll
| | 02:01 | take a closer look at these
tools in an upcoming tutorial.
| | 02:06 | Transitions and Titles.
| | 02:07 | By the way, whenever you open a panel
that opens when you click on one of these
| | 02:10 | buttons and it seems a little bit
tight to you, you can always widen it out.
| | 02:14 | Just hover your mouse over
the top, click, and drag it up.
| | 02:18 | Every one of these panels in
Expert view has a number of categories.
| | 02:22 | So if you click on the Category bar at
the top, you can jump directly to any
| | 02:25 | category or you can browse from
category to category by clicking the buttons at
| | 02:30 | the top of the screen.
| | 02:33 | You also have video and audio
effects, music, and graphics.
| | 02:39 | On the right side of the interface we
have two new buttons added to the program.
| | 02:43 | The Applied Effects panel
replaces the old Properties panel.
| | 02:46 | So if I select a clip on the timeline
here and then open the Applied Effects for
| | 02:50 | it, this is where I would see any video
effects we added to the clip and we would
| | 02:55 | be open to the fine-tuning
adjustments or change the settings here.
| | 02:59 | The Adjustment panel will allow us to
make adjustments to the color and lighting
| | 03:04 | or to adjust also the audio.
| | 03:07 | Very nice tool here for doing
cleanup and color correction.
| | 03:10 | In the Publish and Share tab in the
upper-right corner we will have are options
| | 03:14 | for outputting our movie.
| | 03:15 | Now, we'll take a closer look at all of
these tools as we go on with the course here.
| | 03:19 | But I wanted you just a get a general tour of
what the program looks like and how it works.
| | 03:24 | The Premiere Elements interface, it's
designed to be clean and uncluttered.
| | 03:28 | So whether we are working on the big
production or just a quick movie for
| | 03:31 | YouTube, or whether you're assembling your
video, designing a title sequence, or
| | 03:35 | creating a DVD or Blu-Ray menu
structure, there is a custom workspace built
| | 03:39 | into the program for doing the job,
and the tools you need to do your video
| | 03:43 | editing are usually only a click or two away.
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com online training library you have
| | 00:04 | access to the exercise files
used throughout this course.
| | 00:07 | The exercise files that we will be
using the each movie are in this folder.
| | 00:12 | All of the media files used in the
projects are in the Project Assets folder.
| | 00:17 | When you open a project, you may be
prompted to relink your media, like this.
| | 00:26 | All you have to do is go into the
Project Assets folder there in your exercise
| | 00:30 | files, locate the clip--
in this case LoadingTruck2.
| | 00:34 | Once you do that, the program is smart
enough to find all the rest of the clips
| | 00:38 | that are inside this folder
and relink them automatically.
| | 00:42 | Click Select and you're done.
| | 00:43 | Your media files are relinked to
your project and we can proceed.
| | 00:51 | If you don't have access to
the exercise files, don't worry.
| | 00:54 | You can still follow
along using your own assets.
| | 00:57 | Now let's get started with Up and
Running with Premiere Elements 11.
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|
|
1. Gather Your AssetsCapturing video from a tape-based camcorder| 00:00 | The video you'll be using in your
Premiere Elements projects can come from
| | 00:04 | any number of sources.
| | 00:06 | If you're adding tape-based digital
video to your movie--that would be video
| | 00:10 | from a mini-DV camcorder or an HDV camcorder;
| | 00:13 | these are both tape-based camcorders--
| | 00:16 | the way you'll get your video from
camcorder to your project is by capturing it.
| | 00:20 | To capture from a DV or mini-DV or HDV
camcorder click on Add Media and select
| | 00:29 | the option for a DV Camcorder or HDV Camcorder.
| | 00:32 | Both of them open the same screen.
| | 00:35 | This is our capture screen.
| | 00:36 | Now, when you capture video from a
tape-based camcorder it streams in in real time.
| | 00:42 | In other words, you're essentially
downloading it from your camcorder as you're
| | 00:45 | watching it on your screen.
| | 00:46 | Now, the biggest advantage to that
is that you can choose where your
| | 00:49 | capture begins and ends.
| | 00:51 | So if you've got a 60-minute tape and
you only need five seconds of it, you can
| | 00:54 | capture just the five seconds of it.
| | 00:57 | When your capturing source is properly
connected, you'll see it indicated at the top
| | 01:00 | of the screen here, where it
says Microsoft DV Camcorder. That's good.
| | 01:04 | That means we're working.
| | 01:06 | You can choose your clip name.
| | 01:08 | By default it's the name of your project.
| | 01:10 | We can call it something else if we'd
like. And you can choose is saved to.
| | 01:15 | Now there's an option to capture to the timeline.
| | 01:18 | In Expert view, you can turn this option off.
| | 01:22 | Naturally, if you're working in
Quick view, every capture will go
| | 01:25 | automatically to your timeline.
| | 01:28 | You can choose the option of
splitting your scenes either by content or by timecode.
| | 01:34 | I recommend that if you're working
with a mini-DV camcorder, you set it to
| | 01:37 | split scenes by timecode.
| | 01:39 | That means every time you pause the
camera, every time you turned off the
| | 01:42 | camera, there is a break in the
timecode; the program will sense that, and it
| | 01:46 | will break and create a separate scene for you.
| | 01:50 | Now let's preview what we have on
camcorder by clicking the play button here at
| | 01:53 | the bottom of screen.
| | 01:54 | (video playing)
| | 02:00 | There are a number ways
I can navigate this tape.
| | 02:04 | I can use Rewind, Fast Forward.
| | 02:07 | I can go one frame at a time, using
the playback controls, or I can use this
| | 02:13 | little shuttle down here at the bottom.
And the farther I shift it to the left,
| | 02:17 | the faster it's going to go in reverse.
| | 02:19 | The farther I shift it to right,
the faster it's going to go in forward.
| | 02:23 | There are also two shortcut keys
that I just love over here on the left.
| | 02:28 | These will take you to the last break.
| | 02:30 | Remember I said there will be a scene
break whenever your paused your camera?
| | 02:34 | When I click on this the camera is
going to automatically shuttle over to the
| | 02:38 | last place where I paused--
in other words, the beginning of this shot.
| | 02:41 | (video playing)
| | 02:48 | There, it cued me up to the exact
spot where the timecode broke or where I
| | 02:54 | started to shooting this scene.
| | 02:55 | Then capturing, very simple.
| | 02:57 | I press the Capture button.
| | 02:59 | When I'm ready to stop, I click it again.
| | 03:01 | It becomes a Pause button once I
begin capturing, and it will pause the tape.
| | 03:04 | (video playing)
| | 03:13 | And you see it's captured and as soon
as it's captured, it's dropped into my
| | 03:16 | project Assets panel.
| | 03:18 | And it was given the name.
| | 03:20 | Remember, I typed the clip name City. It added a 01 to it.
| | 03:24 | That's pretty much all there is to it.
| | 03:26 | It will continue to gather video off
of your camcorder, and it will add 01, 02
| | 03:32 | to the name. And since I have this set
up in this configuration, it's going to
| | 03:37 | break every time there was a pause or
anytime the camcorder was stopped while I was recording.
| | 03:42 | Tape-based digital video like mini-DV
and HDV were designed specifically for
| | 03:47 | interfacing with computers, and when you
capture video from them, the video data
| | 03:52 | is transferred from the
camcorder to your computer unchanged.
| | 03:56 | In other words, they are
speaking the same language.
| | 03:58 | Although a lot of people see tape-
based video is being antiquated, it is, in
| | 04:03 | a lot of ways, the ideal format for
working within a program like Premiere Elements.
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| Downloading video from a hard drive or a storage-based camcorder| 00:00 | Many times the video you're adding to
your Premiere Elements project will be
| | 00:04 | coming from a hard drive camcorder or
a camcorder that stores its video on
| | 00:08 | a flash memory card.
| | 00:09 | It might also come from a portable device
like an iPad or an iPod touch, or even a smartphone.
| | 00:15 | In this session, let's take a look at how
to use Premiere Elements's video importer
| | 00:19 | software to download your video from
your camcorder or other portable video
| | 00:23 | recording device into the
program and onto your computer.
| | 00:28 | The tools for gathering your video
from an external device are all under Add
| | 00:32 | Media, and you have the same options
whether you are in Quick view or in Expert view.
| | 00:38 | The only difference is in how
the media is added to your project.
| | 00:41 | When you're in Quick view, any media you
add, even if you are adding it directly
| | 00:46 | from a camcorder, is going to
go directly to the timeline.
| | 00:50 | So it's already added to the
timeline of your video project.
| | 00:54 | When you're in Expert view, any media
you add is first gathered into a project
| | 00:59 | assets panel and from there you can
grab it and move it onto your timeline.
| | 01:04 | But the process of actually adding the
media to your program, to your project,
| | 01:08 | and onto your hard drive from the
external device is exactly the same, whether
| | 01:12 | you are working in Quick view or Expert view.
| | 01:15 | So let's go to Add Media, and in this
particular case we are drawing media from my iPod.
| | 01:21 | It would be exactly the same process if
you're getting it from AVCHD camcorder
| | 01:25 | or any kind of camcorder with an
internal storage device, or you are saving it to
| | 01:30 | an SD card, any kind of camcorder like
that, or if you are taking it from any
| | 01:34 | kind of recording device like an
iPad or an iPhone or a smartphone.
| | 01:39 | We'll select the option
Video from Flip or Cameras,
| | 01:43 | and when we do, it launches the Video Importer.
| | 01:46 | The Video Importer is a real nice
interface for selecting the video you want to
| | 01:51 | download and then bringing it into your
project, and at the same time copying it
| | 01:56 | to your computer's hard drive.
| | 01:58 | These are the clips that
are on my iPod right now.
| | 02:01 | If I'd like to preview one, I can just
click on it to select it and then play it
| | 02:06 | down here in little Preview monitor.
(video playing.)
| | 02:12 | The clips that are checked are the
clips that I will import onto my hard drive
| | 02:16 | and into my project.
| | 02:17 | I can of course have the option of
unchecking them all and then checking just
| | 02:21 | the ones that I want.
| | 02:23 | I also have the option over here on the
right to delete the originals off of my
| | 02:28 | camcorder or hard drive
after I copy them to my computer.
| | 02:32 | In this particular case, I don't want to do that.
| | 02:33 | I also have the option, you can see, of
adding them directly to my timeline as I
| | 02:37 | bring them into the project.
I'm going to select No for that.
| | 02:42 | Up here in the upper-right, we have the
option of setting where the videos are stored.
| | 02:46 | In this case, it's going to my
Videos folder, and that's just fine.
| | 02:51 | When it comes to naming the files as
they're captured, as they are brought over
| | 02:55 | from the camcorder, I can either let
them keep the names that they have right
| | 03:00 | now or if I select from the Presets Custom
Name Number, I can name them anything I want.
| | 03:06 | In this particular case I'm just
going to call it iPod, and you can see
| | 03:10 | what's going to happen.
| | 03:11 | Each clip is going to be called iPod,
and then it's going to add this little
| | 03:14 | extension--you can see right
underneath the Name blank.
| | 03:17 | It's going to add an extension to it: 001, 002.
| | 03:21 | Then I simply click on Get
Media in the lower-right corner.
| | 03:26 | The video clips are simultaneously
added to my project, as you can see there in
| | 03:30 | my project assets panel now, and copied
to my hard drive, and then I can just add
| | 03:37 | them to my timeline and
start building my movies.
| | 03:39 | The nice thing about the Video
Importer is not only does it work with an
| | 03:42 | external recording device, like an
AVCHD or other hard drive camcorder or a
| | 03:47 | smartphone or an iPad, but it also
works with DVDs that you've burned yourself.
| | 03:53 | You can put it in your computers DVD
drive and use the Video Importer to browse
| | 03:58 | it, select only the scenes that you want
to bring into your project, and then use
| | 04:03 | the Video Importer to copy those
scenes, or to rip them from the DVD into your
| | 04:08 | project and onto your computer's hard drive.
| | 04:11 | The Video Importer makes it very easy
to evaluate and select which video clips
| | 04:14 | are downloaded from a camcorder,
you smartphone, your iPad, or your iPad.
| | 04:19 | In the process the video then is both
added to your project and copied to your
| | 04:23 | computer's hard drive all in a single move.
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| Importing media already on your computer| 00:00 | Many times the video, the still photos,
the audio or the music files that you
| | 00:04 | want to add to your Premiere Elements
project are already on your computer.
| | 00:08 | When that's the case, you only
need to import this media into your
| | 00:11 | Premiere Elements project.
| | 00:13 | And we can do that exactly the same way
whether we are working in Quick view or Expert view.
| | 00:18 | The only difference is, whenever you
add media using the Add Media menu, that
| | 00:24 | media is added directly to
your timeline in Quick view.
| | 00:28 | In Expert view, any media you add,
however you add it--directly from a camcorder
| | 00:33 | or from your hard drive--it first goes
into a Project Assets panel, and then you
| | 00:39 | can organize it and bring it into
your timeline as you assemble your movie.
| | 00:43 | When your media is already on your
computer, you can browse to it one of two ways.
| | 00:49 | One is to use the Elements Organizer,
and that's an external program that comes
| | 00:53 | bundled with Premiere Elements.
| | 00:54 | We are going to take a closer
look at that in an upcoming session.
| | 00:58 | But the simplest way to get your
media is to just go down here to Files and
| | 01:01 | Folders, and that browses right
to a folder on your hard drive.
| | 01:05 | Then you can select whatever media you
want to add. And I am holding down the
| | 01:10 | Shift key, by the way, and you can
select the first and last, or you can hold
| | 01:14 | down the Ctrl key on a PC or your
Command key on a Mac and select several not in
| | 01:21 | succession, and just click Open and they
are added to your Project Assets panel.
| | 01:27 | Now there are also a couple of shortcuts.
| | 01:30 | You have to go all the way out
to add media if you don't want to.
| | 01:34 | If you right-click on an empty space
in your Project Assets panel, you have
| | 01:38 | access to a shortcut here to Get Media
and you can go right to folders that way.
| | 01:43 | There is even a shorter shortcut though.
| | 01:47 | Wherever there is an empty space--and
it doesn't matter whether you are in
| | 01:50 | Grid view or whether you are in List
view--just find an empty space, just
| | 01:55 | double-click on it in your Project
Assets panel, and it will open a Browse screen for you.
| | 02:00 | You can gather your assets and they
will come right into your project.
| | 02:05 | Once your video still photos, audio,
and music files are on your computer hard
| | 02:08 | drive and are imported into your
project, the files appear here in the Project
| | 02:12 | Assets panel. Or optionally, like I
say, if you are in Quick view, they go
| | 02:16 | immediately to your Timeline, and
once there, we can begin the process of
| | 02:20 | editing our movie.
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| Managing media files with the Organizer| 00:00 | The Elements Organizer is a companion
program that comes bundled with both
| | 00:04 | Premiere Elements and Photoshop Elements.
| | 00:06 | Although it also includes other tools,
| | 00:08 | its primary purpose is to serve as a
file management tool for the media files
| | 00:12 | on your computer, and your media files
will include your video, your still
| | 00:15 | photos, your audio files,
and of course your music files.
| | 00:19 | The Elements Organizer can be
launched by going to Add Media, and this works
| | 00:23 | whether you are in Quick view or Expert view.
| | 00:25 | It's right there at the top of the screen.
| | 00:27 | You can also launch it simple by
clicking the button on the Action bar at the
| | 00:31 | bottom of the screen. Now what you see on your
screen is going to be very different than what you see
| | 00:35 | on my screen because once you install
and launch the Elements Organizer, it goes
| | 00:41 | out and automatically adds all the
media files on your computer to its catalog.
| | 00:47 | The media files in your computer
display in this big gray area in the center
| | 00:51 | here. This is called your Media Browser,
and we can scroll through and see the
| | 00:54 | wide variety of still photos, video
files, music, and other audio files.
| | 01:00 | And we can look more closely at them
or zoom back using the Zoom slider in
| | 01:04 | the lower-right corner.
| | 01:05 | Throughout the tool are several ways
for you to manage, order, and locate your
| | 01:12 | specific media files.
| | 01:14 | The My Folders area here on the left,
those list folders on your hard drive.
| | 01:19 | In my case, the computer found media files in
those folders and it's watching those folders.
| | 01:25 | As I add new media to my computer, they
will automatically be added to my media
| | 01:31 | catalog here in the Elements Organizer.
| | 01:33 | Above my folders are the albums.
| | 01:36 | Albums are created in the Elements Organizer.
| | 01:38 | They work similar to folders.
| | 01:40 | To create a new album you simply
click on the Plus sign here and select the
| | 01:43 | option to create a New Album. And then
you just drag them onto the media files
| | 01:47 | you want to include in there.
| | 01:49 | So I have for instance an album here
called Harvest. When I click on that
| | 01:53 | I have all of the media files that I
wanted to include in the category of Harvest.
| | 01:58 | I have Music Tracks, Off to Market.
| | 02:00 | And this is one way to organize them.
| | 02:02 | Whenever you create a video project,
it automatically creates an album.
| | 02:06 | So if I open that up, they
are all in my video projects.
| | 02:09 | And if I were to click on one of those,
you will see the media files that were
| | 02:12 | added to that particular
Premiere Elements project.
| | 02:14 | But that's not all folks. By the way,
whenever you filter using one of these
| | 02:19 | Filter options here in the Elements
Organizer and you want to get back to the
| | 02:23 | main menu of your catalog, just go up
to the upper-left of the Media Browser
| | 02:27 | and click on All Media, or Back, sometimes it says,
until you get back out here to the main catalog.
| | 02:33 | There are other ways to filter your
media files here in the Media Browser, and
| | 02:38 | one of them is keyword tags.
| | 02:39 | If this panel on the right isn't
showing, just go down to the lower-right corner
| | 02:43 | and there is a thing that says
Tags/Info. Click on that button.
| | 02:46 | That will open and close that panel.
| | 02:49 | Keyword tags are dragged onto the
media, and they work sort of as metadata.
| | 02:53 | So for instance, if I want to see
everything that has to do with travel in my
| | 02:58 | particular Media Browser, I can click
on Travel or I can drill down and get
| | 03:03 | specific and look only at media files
that I have tagged with Europe. Go even
| | 03:07 | farther down to France, to Paris, to Shopping.
| | 03:11 | So you can get really specific or
look at a wide category of keywords.
| | 03:16 | Adding keywords to your media files,
especially when you are dealing with
| | 03:20 | hundreds, or maybe thousands of media
files, may seem a bit intimidating at first,
| | 03:24 | but it's great housekeeping and once
you've done it, it makes it so much easier
| | 03:28 | for you to locate a specific
file with just a couple of clicks.
| | 03:32 | You notice under keyword
tags we have Smart Tags.
| | 03:34 | These are added automatically by the Organizer.
| | 03:37 | It has a background program called the
Media Analyzer or the Auto Analyzer, and
| | 03:41 | it's going out onto your hard drive.
| | 03:42 | It's looking at all of your files
and it's tagging them with these Smart
| | 03:47 | Tags automatically.
| | 03:48 | Now, you can see most
these have to do with quality.
| | 03:50 | These Smart Tags will carry over to
Premiere Elements and there are a number of
| | 03:53 | automatic tools in Premiere
Elements--Smart Fix for instance--
| | 03:57 | that will look at these tags and
it will know exactly what to do to
| | 04:01 | automatically fix problems in
your video or your still photo.
| | 04:05 | But that's not all, folks. There are still other
ways to categorize our media files.
| | 04:09 | If you look at the center top of the
interface above the Media Browser, you'll
| | 04:12 | see four tabs, so we can search not
only generally with our media, but we can
| | 04:16 | look at specific categories.
For instance, we can look at People.
| | 04:20 | These are media files categorized by people.
| | 04:22 | Actually, this only works on photos,
but these are people in our photos.
| | 04:26 | The program will automatically go
out and look for faces in your photos.
| | 04:31 | You can launch that tool by clicking on
Add People here at the bottom of the screen.
| | 04:34 | Once you do that, you'll be prompted
to identify some of the people in the
| | 04:38 | photos. The program will take over
and it will start asking you, is this
| | 04:42 | so-and-so, is this so-and-so, and it
will work with you semi-automatically to
| | 04:46 | create categories of your photo
files based on the people in them.
| | 04:51 | You can also search your media files by place.
| | 04:55 | If you happened to have a GPS built
into your camera or your camcorder, anything
| | 04:59 | you shoot will automatically be added
to a certain place on this map of the
| | 05:03 | world, or you can search for a certain place.
| | 05:05 | For instance I want to see just the
media files or just the photos that are
| | 05:09 | shot in Santa Barbara. I can type Santa Barbara.
| | 05:12 | When I want to press Enter,
| | 05:14 | it says Santa Barbara, California.
Yes, that one. And there they are.
| | 05:18 | When I click on this, there is a filtered look.
| | 05:20 | These are only the videos and still photos
that were shot in the Santa Barbara area.
| | 05:25 | I can also search by specific events.
| | 05:28 | Clicking on that tab you
see that I create events here.
| | 05:31 | It will categorize my video and my photo
files according to when they were shot,
| | 05:37 | and I can name the event they were shot at.
| | 05:39 | And if I want to see for instance all
of the video that was shot at the event
| | 05:43 | shopping at the market in September,
I just double-click on that and I see
| | 05:46 | those files filtered too.
| | 05:49 | Particularly if you shoot a lot of
video or a lot of photos, the Organizer can
| | 05:54 | be an invaluable tool for
managing your media files.
| | 05:56 | It can help you quickly locate any video,
audio files, or still photos on your computer.
| | 06:01 | It's really a surprisingly powerful
file management tool and well worth
| | 06:06 | getting to know.
| | Collapse this transcript |
| Organizing media in the Project Assets panel| 00:00 | When you are working in Quick view any
media you add to your project using the
| | 00:05 | Add Media tools will go
directly to your project's timeline.
| | 00:09 | When you're in Expert view, however,
any media you add will go to your Project
| | 00:13 | Assets panel, and you can launch that
panel by clicking on the Project Assets
| | 00:17 | button here in the upper-
left corner of the interface.
| | 00:20 | By default, your project assets show
up in grid view as little thumbnails.
| | 00:24 | By the way, the Project Assets panel
is one of the few panels in the program
| | 00:29 | that you can enlarge as large as you
want; just hover over the lower-right
| | 00:32 | corner, click and drag, and
you can make that much bigger.
| | 00:36 | Some people prefer to work in Thumbnail view.
| | 00:39 | It's sometimes more efficient if
you've got a large number of files to look
| | 00:42 | at them in List view.
| | 00:43 | And you can do that by clicking in
the upper-right corner here on the Panel
| | 00:47 | Options button and selecting View > List View.
| | 00:51 | Still, we've got a lot of files to look at here.
| | 00:53 | A lot of times when I am working on a movie,
I may have 50 to 100 files to scroll through.
| | 00:58 | That's a lot to look through
every time I want to locate a clip.
| | 01:01 | Fortunately, the program includes
some management tools for gathering your
| | 01:05 | media into smaller packets, so you can
work on, and focus on, just one set of
| | 01:10 | media clips at a time.
| | 01:11 | To create a folder to put some of your
media in, you can go to the upper-right
| | 01:15 | corner again, select from
the Panel Options > New Folder.
| | 01:20 | We can call this folder, for instance, Harvest.
| | 01:22 | And I can gather all the media files
here that have to do with harvesting the
| | 01:28 | vegetables and select them either by
holding down the Shift key and selecting
| | 01:33 | the first and last or by holding down the
Ctrl key and clicking on one file at a time.
| | 01:41 | Then, to move them into this folder, I
can either drag them down to it or I can
| | 01:46 | right-click and select Cut, open
up the folder, and paste them in it.
| | 01:51 | I did this with a right-click selection.
And now I've got a lot less media to deal with.
| | 01:57 | I can create another folder.
| | 01:58 | By the way, I don't have to go to Panel Options.
| | 02:00 | I can just go to an empty area of
the Project Assets panel, right-click and select New Folder.
| | 02:05 | We can call this one Farmers Market.
| | 02:10 | Then we can drag all of the files.
| | 02:12 | I'm holding down the Ctrl key on my PC
or the Command key on my Mac--all the
| | 02:17 | files that have to do with the Farmers Market.
| | 02:21 | Then just dragging them down into the folder.
| | 02:23 | Now I've got a lot less distraction
here in my project Media panel, or my
| | 02:31 | Project Assets panel.
| | 02:32 | I'm going to create one more folder here.
We will call this one Audio.
| | 02:35 | Again, we're not changing the location
of any files on our computer's hard drive.
| | 02:39 | These folders are simply for
organizing in the Project Assets panel.
| | 02:43 | Let's select all my audio files, holding
down the Ctrl key or the Command key on a Mac,
| | 02:49 | cutting them, opening up the
folder, and then pasting them inside.
| | 02:53 | I can create subfolders within my folders.
| | 02:56 | Right-click again, select New Folder.
| | 02:58 | I'll call this one Music.
| | 03:03 | So you can create categories,
subcategories, and really keep the media into
| | 03:08 | small packets so that you can
focus on just what you need to create a
| | 03:11 | particular sequence.
| | 03:13 | The Project Assets panel also
contains some very cool tools that aren't
| | 03:17 | available anyplace else in the program.
| | 03:20 | I'm going to resize the Project Assets
panel here by dragging on the corner,
| | 03:24 | just to get it out of the way.
| | 03:25 | If you go to Panel Options,
you'll find there are also new items.
| | 03:29 | These new items are specific media clips
that the program creates for specific needs.
| | 03:34 | For instance, if you're creating a
video that you're going to show on a
| | 03:37 | broadcast television station, a TV
station may require you to have bars and tone
| | 03:42 | at the beginning of your video.
| | 03:44 | This is so that they can set the audio
level and the color level for your video.
| | 03:48 | And you can do that right here from New Items.
| | 03:51 | There's your bars and tone.
| | 03:53 | When I play it, you'll hear it
sets the tone at a certain audio level.
| | 03:57 | I'm going to click on the spacebar to play it.
(beeping sound)
| | 04:03 | You can see it also has a color
pattern for them to use to make sure that they're
| | 04:06 | using the same color space
as the rest of your video.
| | 04:11 | The Project Assets panel also
includes, under New Item, an option to create a
| | 04:15 | Universal Counting Leader.
| | 04:17 | You've seen these in old movies, right?
| | 04:19 | It counts down from eight to two,
and you can customize the look of your
| | 04:23 | countdown if you'd like, by changing colors.
| | 04:25 | And it has a blip on two seconds, and
they use this of course to queue up your
| | 04:31 | video, and it looks like this.
| | 04:45 | Now, in addition, on the Project Assets
panel, under our Panel Options, we have
| | 04:51 | the ability to create a
black video or a color matte.
| | 04:54 | These are just brief video clips that you can
use if you have a blank space in your video.
| | 04:59 | For instance, you may
want to fill it with black.
| | 05:01 | Not a good idea to have a blank space
on your timeline in Premiere Elements.
| | 05:04 | Sometimes it can lead to some
buggy behavior with the program.
| | 05:08 | Instead put a black video clip in there.
| | 05:10 | You can also create a color matte,
which is just a color video clip to
| | 05:14 | your specifications.
| | 05:16 | Using the Hue sliders or selecting from
a color picker, you can create a clip in
| | 05:22 | any color you want, and you can use that
for instance as a background if you're
| | 05:26 | going to create titles
over a colored background.
| | 05:30 | There are number of great tools worth
getting to know in the Project Assets panel.
| | 05:33 | Not only does the panel include tools
for ordering and managing the media files
| | 05:37 | you've gathered for your project,
but it also includes valuable tools for
| | 05:40 | generating media clips.
| | Collapse this transcript |
|
|
2. The Basics of Timeline EditingEditing with Quick view vs. editing with Expert view| 00:00 | Now, sometimes as you're working
you may want to work on your video on
| | 00:03 | a professional level, spending hours, days
or even weeks creating a movie masterpiece.
| | 00:07 | Other times you just want to pull
some video together and some titles and
| | 00:11 | effects and get it up on YouTube or Facebook.
| | 00:13 | For your more elaborate projects,
Premiere Elements offers this more traditional
| | 00:17 | Expert view; but for those quick-and-
dirty assemblies the program offers a much
| | 00:21 | more traditional Quick view.
| | 00:23 | Now, there are advantages to each view.
| | 00:26 | There are options available in some
views that are not available in the other.
| | 00:29 | So let's just explore these two
views here and take a look at some of the
| | 00:33 | advantages and limitations of each.
| | 00:35 | In Quick view, when you gather your
media, whether you're taking it directly from
| | 00:39 | your camcorder or other recording
device, or whether you're gathering it from
| | 00:42 | files that are already on your computer,
when you add media to your project, it
| | 00:48 | immediately goes directly to your timeline.
| | 00:50 | While in Expert view, any media you add
goes initially to a Project Assets area,
| | 00:57 | an area where you can gather your media,
you can organize and manage your media,
| | 01:01 | or you can even pretrim it prior
to sending it down to the timeline.
| | 01:05 | Now both Quick view and
Expert view have a timeline.
| | 01:09 | In other words, both of them represent
not just the video or media clip, but it
| | 01:14 | represents how long the media clip is.
So you can trim and you can cut in either
| | 01:19 | mode and it will behave exactly the same
way, but Quick view has some advantages
| | 01:26 | and it has some limitations.
| | 01:27 | I have my clip down there on the
timeline and you notice that it extends way beyond the timeline.
| | 01:31 | I'm going to use the shortcut key, the
backslash, which is right above the Enter
| | 01:35 | or Return key here, just to size that
down, so you can see how the clip looks.
| | 01:39 | You notice that here in Quick
view we have a very limited timeline.
| | 01:43 | We have our video clip, and that will
include the audio of course and the video,
| | 01:48 | and we have two additional audio tracks.
| | 01:50 | One track, where it says, "Recorded narration
appears here," that is your narration track.
| | 01:56 | It can also be used as just
an all-purpose audio track.
| | 01:58 | But be aware of one thing: narration
gets priority, so if you record narration
| | 02:04 | it's going to record over
whatever you've got on that track.
| | 02:07 | Additionally, you have another all-
purpose audio track where it says, "Drag
| | 02:10 | audio here." Generally, that's for your music,
but you can use it for any audio you'd like.
| | 02:14 | And then up above the video, we have a title
track for adding text or titles to your videos.
| | 02:20 | That cannot be used for video.
| | 02:23 | That's only for titles and text.
| | 02:25 | So it's the only overlay you can put
in there, so you're basically limited to
| | 02:29 | one video track, and a lot of
times that's more than enough.
| | 02:33 | You can quickly assemble a video or even
assemble a longer video project working
| | 02:38 | merely on one track a video.
| | 02:40 | However, in Expert view, we have some
advantages, namely that our timeline has not
| | 02:45 | just one video and audio track--
| | 02:46 | I'm going to expand the timeline here
just by hovering over the scene between
| | 02:51 | the timeline and the monitor and when
I do, I get this double-headed arrow.
| | 02:55 | When I drag up, you can see that we
can make the monitor smaller and see more
| | 02:58 | of the video tracks.
| | 02:59 | We have, by default, three video tracks
and three audio tracks in addition to our
| | 03:03 | narration and soundtrack.
| | 03:06 | By right-clicking and selecting the
option, you can add tracks, up to 99 tracks of
| | 03:12 | video and 99 tracks of audio officially,
although you can probably go even more
| | 03:16 | if you wanted. I've seen
experiments where people have.
| | 03:18 | I'll be needing an awful lot
of RAM to make that happen.
| | 03:21 | Even still, those extra audio and
video tracks can definitely come in handy.
| | 03:25 | You can use them for mixing many tracks
of audio or you can use them for making
| | 03:30 | compositions with your video,
things like pictures-in-pictures.
| | 03:33 | You can do what we call the Brady
Bunch effect where you make a grid like a
| | 03:36 | tic-tac-toe grid of faces;
| | 03:38 | you need many tracks of video to do that.
| | 03:40 | Also, in order to do compositing for
things like chroma key or video merge you
| | 03:44 | probably will need more than one track of video
to do it successfully, or to do it efficiently.
| | 03:50 | To the left of each track header we
have these little disclosure triangles and
| | 03:53 | when we click them we can get some
additional information about our video, and
| | 03:57 | we can edit our video and our audio
and adjust the volume levels and opacity
| | 04:01 | levels here on the timeline in Expert view.
| | 04:04 | That's not available in Quick view.
| | 04:06 | Quick view is basically for assembling your
video and cutting and trimming it as necessary.
| | 04:12 | One other thing to notice that's not
entirely obvious is that in Quick view when
| | 04:16 | we select our Transitions panel,
| | 04:19 | notice that we have 16 transitions available.
| | 04:22 | That's not the entire set
available in Premiere Elements.
| | 04:25 | If we go over to Expert view,
you'll see that we actually have,
| | 04:28 | if I click here on the Category, 16
categories of transitions available--a much,
| | 04:34 | much bigger library of transitions.
| | 04:36 | In Quick view, also, when we go to
Effects, we have about 20 effects available.
| | 04:41 | In Expert view we have
over 20 categories of effects.
| | 04:47 | Likewise the graphics. By the way,
whenever you see a pop-up panel in Premiere
| | 04:51 | Elements, you can enlarge it by just
hovering over the top seam here and you
| | 04:55 | see it get a double-headed arrow, and you
can drag up and extend the size of the panel.
| | 05:00 | We have a small selection of
clip art. Go over to Expert view and we
| | 05:05 | have over 350 pieces of clip art
in a wide variety of categories.
| | 05:10 | Now the nice thing about Quick view
and Expert view is they aren't actually
| | 05:14 | two separate workspaces, but they're
actually two separate views of the same workspace.
| | 05:19 | So you can click back and forth between
them as you work, working in Quick view
| | 05:23 | and working in Expert view and
taking advantage of the benefits of each
| | 05:27 | workspace as you work.
| | 05:29 | In Quick view, you can quickly gather
your assets and output your movie, while
| | 05:32 | in Expert view you have the option of
getting deeper into your project and use
| | 05:36 | professional-style tools to improve,
sweeten, and add special effects to your production.
| | Collapse this transcript |
| Adding, slicing, and trimming clips, and performing ripple edits| 00:00 | When you're editing your video in
Premiere Elements the vast majority of what
| | 00:03 | you're going to be doing is, well, editing.
| | 00:06 | You're going to be removing things you
don't want and arranging what's left in
| | 00:09 | an order that most effectively tells your story.
| | 00:12 | In this session, let's take a look
at how to trim and split your clips.
| | 00:15 | We're also going to look at timeline
rippling and how to make it work to your advantage.
| | 00:20 | When you add media in Quick mode,
whether you are adding it directly from a
| | 00:25 | camcorder or rather you're adding media
files that were already on your computer,
| | 00:28 | it's added directly to your timeline.
| | 00:33 | In Expert mode, your media first goes to
the Project Assets panel, where you can
| | 00:37 | then drag it to your timeline.
| | 00:41 | Once your media is on your timeline,
you'll want to remove from it things you
| | 00:45 | don't want, and you do that one of two ways:
| | 00:47 | you do that either by trimming
the clip or splitting the clip.
| | 00:50 | Now, trimming the clip means removing video
from the beginning or the end of the clip,
| | 00:55 | while splitting means
cutting video out from the center.
| | 00:59 | Trimming your video on your timeline
works the same whether you're in Expert
| | 01:02 | mode or in Quick mode.
| | 01:04 | To do it, you hover your mouse over the
in point or over the cut, and you notice
| | 01:09 | you get a bracket either facing
to the left or facing to the right.
| | 01:12 | When it's facing to the right any
trims you make are going to be made to the
| | 01:16 | clip on your right, and when it's facing
to the left any trims you make are going
| | 01:19 | to be made to the clip on your left.
| | 01:22 | When I trim the clip watch what
happens in the Preview monitor above. Click
| | 01:27 | and drag to the left.
| | 01:29 | Notice that what I see are two things.
On the left I'm seeing the new out point.
| | 01:33 | It's changing as I trim.
| | 01:35 | So I can decide exactly
where I want the clip to cut.
| | 01:38 | On the right I'm seeing the
first frame of the next video.
| | 01:43 | Likewise, if I were to trim the video
on the right, you see that I see not
| | 01:47 | only the new in point, but on the left I see
the last frame of the video that came before it.
| | 01:53 | That's simple trimming.
| | 01:54 | By the way, if you trim from the beginning,
you obviously only see your changing in point.
| | 01:58 | You don't see any video because
there is no video to the left of it here.
| | 02:02 | That's simple trimming, removing video
from the beginning or the end of the clip
| | 02:05 | and as you can see, it works exactly the
same in Quick view as it does in Expert
| | 02:09 | view: we drag in or we drag out.
| | 02:13 | By the way, you notice in the upper-
right corner of the clips that are on the
| | 02:16 | timeline here in Quick view, we see
little things that look like little E's.
| | 02:20 | Those are actually supposed to
represent tickers on the timeline.
| | 02:22 | They tell you that a
video clip has been trimmed.
| | 02:25 | They appear immediately
after a video has been trimmed.
| | 02:29 | The other way to remove video from your
clip is to remove it from the inside of
| | 02:32 | a clip or the middle of a clip, and
you do that using the Split tool.
| | 02:35 | A Split tool, again, works the same
whether you're in Quick view or Expert view.
| | 02:41 | We move the CTI playhead into position
and then when we find the place where
| | 02:46 | we're going to cut, we simply hover our
mouse over the CTI and we will see this
| | 02:51 | little pair of scissors. Click
on that and you split your clip.
| | 02:55 | I am going to Undo with Ctrl+Z or
Command+Z on a Mac, go over to Expert view.
| | 02:59 | It's exactly the same process.
| | 03:01 | Just hover your mouse over the CTI:
when you see the scissors, click and
| | 03:06 | you split your clip.
| | 03:07 | And of the course once
it's split, you can trim it.
| | 03:10 | Those are the basic moves of editing,
but they behave differently depending on
| | 03:14 | whether or not you have video
or audio on parallel tracks.
| | 03:18 | Let's take a look.
We'll just create a simple project.
| | 03:20 | I'm going to hover my mouse over the
top of the timeline here, and you see I get
| | 03:24 | this double-headed arrow. That allows me
to expand the timeline, to stretch it
| | 03:29 | up there so we have a little more room to work.
| | 03:32 | And I'll drag a video onto a parallel
track, and we'll put some music down on
| | 03:36 | our soundtrack, and I'm also going to
drag music onto the narration track just to
| | 03:40 | represent narration, because I want you
to see how these different tracks behave
| | 03:44 | when we're doing some of these functions.
| | 03:46 | Move my CTI into position.
(sound playing)
| | 03:51 | When I have a clip selected among many
clips, notice that when I split the clip,
| | 03:58 | it cuts only that clip.
| | 04:00 | I am going to Ctrl+Z or
Command+Z on a Mac to erase that.
| | 04:04 | If I have no clip selected, I am
going to click off--in others words I am
| | 04:07 | going to click out here in the timeline
where there are no clips, so none are selected--
| | 04:11 | what you think is going to happen
when I click on the Split Clip button?
| | 04:14 | When I do, it splits all video and all audio
above Audio1 and Video1. So as you can see---
| | 04:23 | (sound playing)
| | 04:24 | It split not only the video on
track 1, but up on track 2 our audio and
| | 04:29 | video also got split.
| | 04:31 | Notice what didn't get split; the
narration track and the soundtrack are
| | 04:35 | immune to that Split All.
| | 04:37 | All right, I'm going to delete a couple
of clips here to simplify the timeline
| | 04:41 | for this demonstration.
| | 04:44 | Whenever we remove a clip from the
timeline the other clips to the right of it
| | 04:49 | are going to ripple. They are all
going to move in to fill in that gap.
| | 04:54 | See how it kind of slammed shut?
| | 04:56 | If I have clips on parallel tracks, as
long as the in point, or the beginning of
| | 05:01 | the clip, is to the right of the clip
that I delete, it will ripple also.
| | 05:07 | So rippling when we remove clips is
taking all the video that we have that's off
| | 05:11 | to the right and shifting
it in to fill in the gap.
| | 05:14 | Now what happens if the in point, for
instance on this clip, is to the left, though,
| | 05:20 | of the clip we are going to
remove? In that case it doesn't move.
| | 05:25 | What happens if we want to remove this
clip, but we don't want anything else to
| | 05:29 | move on the timeline?
| | 05:30 | We'd like to take this one out,
but we don't want things rippling.
| | 05:34 | You can do that by right-clicking on
it and selecting the option to Delete
| | 05:38 | rather than the option to Delete and Close Gap.
| | 05:41 | When we select Delete, now the
clip disappears but nothing ripples.
| | 05:45 | That's a way to override
the ripple on the timeline.
| | 05:48 | It gets a little more
complicated when you're inserting a clip.
| | 05:51 | So I am going to Ctrl+Z,
put that clip back in there.
| | 05:54 | Let's create our fake movie again by
adding our soundtrack and narration track.
| | 06:01 | Now I want to insert a clip between
the first and second clip on Video1 and
| | 06:05 | Audio1. What's it going to do to the
other clips that are on the timeline?
| | 06:10 | To position my CTI right at the beginning
of that clip, I can use Page Up and Page
| | 06:14 | Down. That little command,
when the timeline is selected,
| | 06:17 | that command will jump the
playhead from cut to cut.
| | 06:20 | So I want to get it right precisely between
those two clips, and now I'll insert a clip.
| | 06:28 | When I insert a clip now, the entire
timeline splits; every single track splits
| | 06:33 | and moves off to the side.
| | 06:35 | That sometimes drives people crazy,
| | 06:38 | because they put down their audio
track, they put down their soundtrack.
| | 06:41 | They don't want it cutting and
breaking while they're inserting other clips.
| | 06:45 | I'll show you a trick for overwriting it here.
| | 06:47 | I am going to Ctrl+Z to get rid of that.
Here is how we overwrite it.
| | 06:51 | Rather than drag the clip directly to
the timeline, I am going to hold down the
| | 06:55 | Shift key, drag it onto the monitor.
| | 06:58 | When I let go, I get this pop-up menu,
and one of the options is Insert after this Scene.
| | 07:04 | Now it's going to insert right
where the CTI playhead is located.
| | 07:08 | It still inserts the clip into the movie,
but the clips on the narration track
| | 07:12 | and the soundtrack remain unchanged.
| | 07:14 | So that's just a trick there for
overwriting a ripple when you want to.
| | 07:18 | But generally, ripple is
working to your advantage.
| | 07:20 | It kind of is very intuitive and
as you remove clips, it closes shut.
| | 07:25 | As you add clips, it's moving your
whole movie down the movie timeline to make
| | 07:29 | room for the new clip you've added.
| | 07:31 | Now, Premiere Elements does a great job,
whether you're working in Quick view or
| | 07:35 | Expert view, of making splitting and
trimming very simple and intuitive.
| | 07:39 | And like those tools, the program's
Ripple function is designed to make the
| | 07:43 | process simple and intuitive too.
| | 07:45 | Knowing how to use these three
features alone is going to take you long way
| | 07:49 | toward mastering the
editing process with this program.
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| Pretrimming media in the clip monitor| 00:00 | Very often you've got a very long clip, but you
only want to use a short segment of it in your movie.
| | 00:05 | Or you have a long segment and you
want to use it as several short clips.
| | 00:10 | The Clip Monitor is a separate
monitor panel for previewing and even
| | 00:13 | pretrimming your clips before, or
even after, you add them to your timeline.
| | 00:17 | So for instances where you've got an
especially long clip and you only want to use
| | 00:21 | some short segments from it, the
Clip Monitor can be an invaluable tool.
| | 00:25 | Launching the Clip Monitor is very easy.
| | 00:27 | Let's open up our Project Assets
panel and inside we see a video
| | 00:30 | called Earthrine 4. And Earthrine 4, if I expand
the panel here just by dragging in the lower-right
| | 00:36 | corner, you can see the Media Duration.
| | 00:39 | This is about a two-and-a-half minute clip.
| | 00:41 | That would be a very long video to put
on your timeline. Generally, you want
| | 00:44 | to keep your video clips short.
I recommend about 5 seconds each.
| | 00:49 | To launch our Clip Monitor we
just double-click on the clip.
| | 00:53 | It always pops up right in
the center of the screen.
| | 00:56 | By the way, if that annoys you and if
you've got some extra room, you can
| | 00:59 | actually park it off to the side here
and whenever you want to use it, it's out
| | 01:04 | there and not in the middle of your work area.
But here it is by default, in the center of your screen.
| | 01:08 | Now in our Clip Monitor you see that we have
a light-blue area displaying on the timeline.
| | 01:14 | That's your live area.
| | 01:15 | That's the actual part of the video
that's going to display when we add the clip
| | 01:19 | to our timeline, and in fact I'll do that.
| | 01:21 | I'll drag it down to the timeline, and
I am going to click on the backslash,
| | 01:25 | which is right above the Enter or
Return on your keyboard so that I can see it
| | 01:29 | all spread out, and you see that it
stretches onto the timeline well over two and
| | 01:32 | a half minutes long. That's a long clip.
| | 01:36 | We're only going to use small parts
of it here, so we go back to the Clip
| | 01:40 | Monitor and we'll remove
this clip from the timeline.
| | 01:42 | I want to pretrim it now in the Clip
Monitor, and only use a small portion of it.
| | 01:47 | As I said, that blue area underneath
the Clip image is what your live area.
| | 01:52 | This is the part that will actually
appear when we add the clip to the timeline.
| | 01:56 | Our clip is not only pretty long,
but it shows a variety of images here.
| | 02:01 | We have our farmer picking his
vegetables. Then we have our close-up of the
| | 02:05 | farmer, and we've got long shot of
the farmer out here in the field.
| | 02:09 | This is actually probably several clips
| | 02:11 | that's just one continuous run the video,
so we want to maybe break it down into
| | 02:15 | some smaller clips.
| | 02:16 | Let's say for instance we wanted to
make one clip just of the farmer, the
| | 02:21 | close-up of him picking vegetables.
| | 02:23 | In changing the size of the live area, we
can pretrim this clip here in the Clip
| | 02:28 | Monitor simply by changing
the size of the live area.
| | 02:31 | So if I want to make a subclip of
just the farmer picking his vegetables, I
| | 02:35 | can set it an in and out point, and I could do
that three different ways in Premiere Elements.
| | 02:40 | The simplest and most intuitive way is
just by dragging on these end points on
| | 02:43 | this live area, and I can
drag them into position.
| | 02:48 | Another way you can set your in and
out points is just move the CTI into a certain position--
| | 02:53 | that's that playhead there--
and click on Set In and Set Out.
| | 03:00 | Another way to do it, and way a lot of
professionals prefer, is to use a keyboard
| | 03:03 | shortcut. I'm just resetting the timeline space here.
| | 03:05 | If I want to set an in point, I just
click on I. If I want to set an out point, I
| | 03:11 | just set the CTI in Position and click on O.
| | 03:15 | Right now we've effectively created a
clip that if you look up in the Project
| | 03:18 | Assets panel is about eight seconds
long. That's still pretty long, but
| | 03:23 | that'll do for now.
| | 03:24 | We'll drag it on down to the timeline.
And you see that when we add it to the
| | 03:27 | timeline, either by dragging it from
Project to Assets or by simply dragging it
| | 03:31 | directly from the Clip Monitor, that it
shows up on our timeline. I am going to
| | 03:36 | again press backslash right
above the Enter or Return key.
| | 03:40 | You can see now we have an eight-second clip.
| | 03:42 | That's very nice and we can make
several of these. We can leave that as is and
| | 03:46 | go back to this original clip.
| | 03:48 | I can make a clip now
that's a close-up of the farmer.
| | 03:51 | We'll set our in point, set an out point,
and now we've got a four-second clip of the farmer.
| | 03:59 | We're still using the same original
clip, but we're pre-trimming it before we
| | 04:04 | add it to the timeline.
| | 04:05 | Let me show you a trick.
| | 04:07 | If you'd like, you can pre-trim a whole
set of clips and save them in the Project
| | 04:12 | Assets panel and recall them as needed.
| | 04:14 | I'll remove these from the
timeline and show you what I mean.
| | 04:18 | We've pretrimmed here so now we have a
live section that's just a few seconds
| | 04:20 | long, about four seconds long, of the farmer.
| | 04:24 | If I drag this from the Clip Monitor--I
am clicking right on the Clip Monitor's
| | 04:28 | monitor and dragging it
into the Project Assets panel--
| | 04:31 | I now have a new subclip.
I'm just going to name this Farmer.
| | 04:35 | I can do the same thing here
for him picking vegetables.
| | 04:39 | Let's go back out here.
| | 04:40 | We'll make a Set In, Set Out, drag it in.
| | 04:46 | Now I have a new subclip I can call Vegetables.
| | 04:49 | See, what I have done is I've
effectively made little subclips in the Clip
| | 04:53 | Monitor, and I can pretrim all that I want.
| | 04:55 | I can take a very long clip, say four
minutes long, and make it into a bunch of
| | 04:59 | very short clips, and now when I add
them to the timeline they are coming in as
| | 05:05 | brief subclips. Isn't that cool?
| | 05:07 | I want to show you one more trick.
| | 05:09 | I am going to remove these subclips now,
deleting them right from the Project
| | 05:13 | Assets panel, which is also making
them disappear from the timeline.
| | 05:17 | Take the original clip, right-click
on it, and select Run Auto Analyzer, and
| | 05:21 | watch what happens.
| | 05:23 | The Auto Analyzer is a feature of the
Elements Organizer, which is a program that
| | 05:26 | comes bundled with Premiere Elements.
| | 05:28 | It's going to analyze this video.
| | 05:31 | It's going to automatically break it
into subclips based on the context.
| | 05:36 | Just take a second for it run and you
see that what is done is it's created a
| | 05:44 | subfolder on our Project Assets
panel that when we open it up, has little
| | 05:50 | pretrimmed clips already made for us of
that larger clip. How cool is that, huh?
| | 05:54 | So the Clip Monitor is both a great
way to preview your clips before you use
| | 05:57 | them in your movie, it's also a dynamic
workspace in which you can prepare your
| | 06:02 | scenes and pre-trim your scenes so
that only the part of the clip you want to
| | 06:06 | add to your timeline is
the part you actually have.
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|
|
3. The Premiere Elements ToolkitLooking at the Action Bar toolkit| 00:00 | One of the first things you'll notice
when you look at Premiere Elements 11 is
| | 00:03 | just how clean the work area is.
| | 00:05 | We've got a monitor with playback
controls, and we've get a timeline, and pretty much
| | 00:08 | everything else is hidden in pop-up
panels that are launched by clicking on the
| | 00:12 | tabs and buttons around
the outside of the interface.
| | 00:15 | Now, a large numbers of these tools are
launched from buttons on the Action bar.
| | 00:19 | That's that little bar that runs
along the bottom in the interface.
| | 00:22 | If you have Photoshop Elements,
that has a similar Action bar along the bottom
| | 00:26 | and if you have the Elements Organizer,
which comes with Premiere Elements, that,
| | 00:29 | too, has its own little Action bar, and
it's a place where a lot of the tools that
| | 00:34 | you'll use in Premiere Elements are docked.
| | 00:36 | In the lower left we have
an Undo and a Redo button.
| | 00:38 | I don't have any Redo because I didn't
undo anything to redo, but there's also a
| | 00:42 | button for launching the Elements Organizer.
| | 00:44 | The Tool button on the Action bar
will launch many of the tools in Premiere
| | 00:48 | Elements, and we look in depth at a couple
of these tools in some of our other movies.
| | 00:53 | We have an Adjustments button, which
when we click on that will launch the
| | 00:56 | Adjustment panel, which can also be
launched from the button here on the right
| | 00:59 | side of the interface.
| | 01:01 | We can launch the Audio Mixer.
The Audio Mixer is a tool for monitoring the
| | 01:06 | level of your audio tracks for your video;
| | 01:09 | it's also a dynamic tool that can be
used to change the levels of your audio as
| | 01:15 | you are working, and we look at
that in one of our other movies.
| | 01:19 | Freeze Frame will create a freeze frame
of your video, which we have the option,
| | 01:23 | as you can see, by clicking on a button
to either insert it into your movie or
| | 01:27 | to export it and save it as a
separate photograph, which you can edit in Photoshop Elements.
| | 01:33 | The Movie Menu tool is actually a
library of movie menus, and we use that when we
| | 01:39 | create disc menus and DVD menus.
| | 01:41 | We'll look at that more closely
in one of our other tutorials.
| | 01:45 | Narration launches the Narration tool,
which we look at in another of our tutorials.
| | 01:50 | The Pan and Zoom tool we'll look
at in depth in another tutorial.
| | 01:53 | The Smart Mix and Smart Trim tools are
automatic tools in Premiere Elements.
| | 01:57 | Smart Mix will mix the audio levels for you
automatically, based on criteria that you provide.
| | 02:04 | The Smart Trim tool will look over
your video and it will recommend cuts or
| | 02:08 | automatically make cuts for you on pieces that
it thinks are of low quality or poor quality.
| | 02:15 | Time Remapping and Time Stretch are
tools that will actually slow down or
| | 02:19 | speed up your video, and we look at them in
depth in one of our upcoming tutorials also.
| | 02:24 | Along the Action bar here are Transitions,
Titles & Text, Effects, Music, and Graphics.
| | 02:31 | This is kind of cool. When you're over
in Quick view, if you look at Graphics,
| | 02:35 | you'll only see a small library.
| | 02:36 | I am doing a hover over the top here and
you see, when I am at the top edge, I can
| | 02:40 | drag to extend this panel size a bit.
| | 02:44 | And you see you get a
small selection of clipart.
| | 02:47 | In Expert view, you get over 350 pieces
of clipart, in a variety of categories.
| | 02:53 | The cool thing is that some of these
are actually animated, so you have an
| | 02:57 | animated angry face, animated butterfly,
little stars going around somebody like
| | 03:01 | they got bonked in the head.
| | 03:04 | And my personal favorite here
are thought and speech bubbles.
| | 03:06 | Now you notice a lot of these, by the
way, have a little blue flag over the
| | 03:10 | upper-right corner. I am extending the
panel just a bit by dragging on the top.
| | 03:13 | That little blue flag is an indicator that the
media has not yet been added to your computer.
| | 03:19 | One of the things that Adobe did to kind
of streamline the whole installation
| | 03:22 | process is that there are a lot of
templates, a lot of effects, some instant
| | 03:27 | movie themes, and the clipart here that
are not added to the program or added to
| | 03:32 | your computer when you install the
program; they come down as needed.
| | 03:36 | So when you select them and add them to
the timeline, it just takes a second or
| | 03:40 | so and they're are downloaded to your computer.
| | 03:42 | I want to just drag one here, drag this
speech bubble onto the video right onto
| | 03:46 | the monitor, and you see it's added.
| | 03:48 | I can size it by grabbing the
bounding box or just dragging on these little
| | 03:52 | corner handles, position it as needed.
| | 03:55 | And it edits just like a title.
| | 03:57 | In other words if I double-click
on it, it opens up in the Title
| | 04:00 | Adjustments workspace.
| | 04:01 | I can customize the text and when I
leave the Adjustments area and return to
| | 04:06 | my Timeline, simply by clicking on the Timeline,
you see it's in position with my custom text.
| | 04:11 | So there are a lot of great tools in the
program, hidden away and yet very easily accessible.
| | 04:16 | Now, this keeps the interface and the
program's workspace nice and clean, yet
| | 04:20 | at the same time it puts virtually
every tool within easy access and only a
| | 04:24 | couple of clicks away.
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| Recording narration| 00:00 | Narration can be a very
powerful way to enhance your movies.
| | 00:03 | Narration helps tell the story, or it
can fill in gaps and help clarify what
| | 00:07 | your movie is showing.
| | 00:08 | We've got a practice movie
here called LIFE ON MILL'S FARMS.
| | 00:12 | Let's take a look at it.
| | 00:14 | To get my playhead back to the
beginning of the movie, rather than dragging it
| | 00:17 | back there, I can always just click to
select the Timeline panel. Click anywhere
| | 00:20 | on there and use the Home
button on your keyboard.
| | 00:23 | It will jump back to the beginning.
| | 00:25 | And to play it, rather then using the
playback controls that are underneath the
| | 00:28 | monitor panel, I'm just going to press the spacebar;
it's a little shortcut to play your movie.
| | 00:33 | (video playing)
| | 00:42 | Now this is the kind of movie that could
certainly benefit from some narration, and
| | 00:46 | fortunately, Premiere Elements has a
narration tool built right into the program.
| | 00:50 | Because it's built right in the program,
you can record on the fly, which means
| | 00:53 | you can record your
narration as the movie is playing.
| | 00:56 | We access the Narration tool on the Action bar.
| | 00:59 | That's that bar of tools and buttons
that runs along the bottom of the program.
| | 01:03 | Click on the Tools button
and scroll about halfway down.
| | 01:06 | There is our Narration tool. We open it up.
| | 01:09 | It's pretty intuitive.
| | 01:11 | If you're not seeing your Mic
Sensitivity displaying on your VU meter as you
| | 01:16 | talk--see that little thing bouncing
back and forth in the center of the panel?
| | 01:20 | If you're not seeing it, go to this
little button in the upper-right corner
| | 01:23 | where you see a microphone, click on
that, and make sure that it's selected.
| | 01:27 | Now this could be very important if
you are using USB microphone, because your
| | 01:30 | program may not default to the USB.
But you can select it right under there.
| | 01:35 | Once it's all working, I'm going to move
my Narration panel off to the side here
| | 01:39 | just by dragging on the top of it. We are set
to record. Move my CTI into the position where I'd like my
| | 01:44 | narration to start.
| | 01:45 | (video playing)
| | 01:47 | Then I simply click the Record button.
| | 01:49 | When you press the Record button
there will be a three-two-one countdown.
| | 01:53 | You'll see it at the top of the panel.
See where it says Press record to start
| | 01:57 | recording now, and then you just speak.
| | 01:59 | Click Record. Three, two.
| | 02:03 | A day at Mill's Farms begins at the crack of
dawn and sometimes lasts until long after sunset.
| | 02:11 | Stop to stop, and we're all set.
| | 02:13 | Our narration appears on the timeline
right where we positioned the CTI playhead.
| | 02:17 | To reposition my CTI playhead I just drag
it into position right before our narration.
| | 02:23 | (video playing)
| | 02:25 | And I'm going to just turn down the
volume on the music a little bit so you can
| | 02:29 | hear the narration better.
Ultimately, we will mix this;
| | 02:32 | we will set the music to
fall back behind the narration.
| | 02:37 | (Narration: A day at Mill's Farms begins at the crack
of dawn and sometimes lasts until long after sunset.)
| | 02:45 | Now that doesn't sound too bad, but if I
want to get rid of it, all I need to do
| | 02:49 | is click on the little trashcan icon
on the Narration panel and it's history.
| | 02:53 | I can reset the CTI and record it again.
| | 02:58 | If you've got several narration clips on
your timeline, you can jump from clip to
| | 03:02 | clip by just clicking on
the Previous and Next button.
| | 03:05 | Narration is a great way to enhance
your movies and to help tell your story, and
| | 03:10 | with the Narration tool in Premiere
Elements, recording narration isn't a
| | 03:13 | separate process, but rather, it's
integrated right into your editing workflow.
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| Creating a motion path with the Pan & Zoom tool| 00:00 | The Pan & Zoom tool is a fairly
recent feature added to Premiere Elements.
| | 00:03 | In fact, it's one of only several ways to
create what we call the Ken Burns effect.
| | 00:08 | That's the panning and zooming over a photo
to make your slideshows seem almost alive.
| | 00:12 | But it's a welcome innovation to the program.
| | 00:14 | With it making motion paths couldn't be easier.
| | 00:17 | Now, before we get into the tool itself,
there are a couple of things I want to
| | 00:21 | say about using photos in Premiere Elements.
| | 00:23 | One is before you bring a photo into
Premiere Elements, go to your Preferences.
| | 00:27 | If you are using a Macintosh, your
Preferences are listed under the program name
| | 00:31 | in the upper-left of the program.
| | 00:33 | If you are using a PC, go to Edit and
select Preferences, and on the General page
| | 00:39 | look for the option Default
scale to frame size. Uncheck that.
| | 00:44 | When that option is checked any photos
that you bring into the program will be
| | 00:48 | automatically down-resed and
scaled to fit the video frame.
| | 00:51 | We don't want that.
| | 00:52 | We want to have the photos in their
original resolution so we can do a little
| | 00:56 | pan and zooming across them.
| | 00:59 | If you do bring in a photo before you
uncheck that option, you can also do it
| | 01:04 | manually: uncheck the option by right-
clicking on the photo on your timeline and
| | 01:08 | selecting Scale to Frame Size to uncheck it.
| | 01:11 | One other thing I'd like you to do:
I recommend that if you are going to use a
| | 01:15 | photo in a standard-resolution video
project, make sure the photo is no larger
| | 01:20 | than 1000 x 750 pixels.
| | 01:22 | If you are going to use it in a
high-definition project, make sure your photo is
| | 01:26 | no larger than 2000 x 1500 pixels.
| | 01:29 | If you don't do that, the program is
going to have to expend a lot of energy to
| | 01:34 | down-resing the photo to fit into your project.
| | 01:36 | If you don't uncheck that option, any
photos you add to the program will come
| | 01:41 | in at full resolution.
| | 01:42 | Photos coming from a large, high-
resolution still camera, like a 3-gig or even on up
| | 01:47 | to a 10-gig camera can be massive in
this program, and that can mean the program
| | 01:53 | has to expend a lot of
resources to resing that photo down.
| | 01:57 | If you're using your photos at an
optimum size--1000 x 750 for standard
| | 02:02 | resolution, 2000 x 1500 for a high
resolution--the photos will be at an optimal size.
| | 02:08 | The program can operate much more
efficiently, and you'll get much better
| | 02:12 | performance out of the program.
| | 02:14 | That said, let's take a look at a photo
we have on our timeline here, our image
| | 02:18 | 1024. And if the photo looks like it
might be a little cropped down--the
| | 02:22 | farmer is kind of cut out of the picture and
the bucket is kind of cut out of that picture--
| | 02:25 | it's because he is at 1000 x 750 pixels
and the video frame is only 720 x 480.
| | 02:32 | If I double-click it on my timeline
to open it up in the Clip Monitor, you
| | 02:36 | can see that the photo is actually a
little bit larger than the image we're
| | 02:39 | seeing in the video frame.
| | 02:40 | If I click on it here in the video
frame, you can see the bounding box that
| | 02:43 | actually does extend a little bit
outside the video frame, and that's good.
| | 02:47 | That gives us some room for some panning and zooming.
| | 02:50 | So let's open up the Pan & Zoom tool.
| | 02:52 | It's located on the Action bar
along the bottom of the program.
| | 02:55 | You just click on the Tools button.
| | 02:57 | Make sure before you open the tool that
you have a clip selected on the timeline.
| | 03:01 | If you don't, you'll see something like this.
| | 03:06 | So select your clip on the
timeline and then click on Tools.
| | 03:09 | Scroll down if you need to
and select the Pan & Zoom tool.
| | 03:13 | The Pan & Zoom tool could not be more intuitive.
| | 03:16 | You simply set where you'd like the
pan and zoom to begin and set where
| | 03:20 | you'd like it to end.
| | 03:21 | Now, before we get into changing the
positions of these two panels, there is one
| | 03:25 | thing that's a default setting in the
Pan & Zoom that I don't particular like.
| | 03:30 | It's up to you whether or not you keep it,
but I'll show you how to turn it off anyway.
| | 03:34 | In the upper-left corner of the first
panel, you see something where it says HOLD:
| | 03:38 | 1s, then also a hold at
the end on the last frame.
| | 03:43 | And you can see it represented on the
timeline below our Pan & Zoom preview.
| | 03:49 | See that 1 second that's light green
and the 1 second that's light green at the
| | 03:53 | end on either side of
our five-second Pan & Zoom?
| | 03:55 | I don't like those.
| | 03:56 | I don't want my Pan & Zoom to be a
one-second hold and then the pan and zoom
| | 04:01 | begins and then it stops for another second.
| | 04:04 | If you don't like that, here's how you
turn it off. There are two ways to do it.
| | 04:07 | One way is the manual way so we can go to
either at the beginning or the end frame.
| | 04:11 | When you hover your mouse over it you
can see the one-second delay up there.
| | 04:15 | Click on it and when the Option
panel opens up, change that to 0.
| | 04:20 | Do it again for the end.
| | 04:24 | If you want to turn it off permanently
so that it never pops up again whenever
| | 04:28 | you create a pan and zoom, go up here
to Settings in the upper-right corner and
| | 04:32 | in Settings, just set the
Pan and Zoom Hold Time to 0.
| | 04:36 | The Pan time is 4 seconds and 29
frames, which is essentially 5 seconds.
| | 04:42 | Now we're all set to begin our pan and zoom.
We simply select that first and drag it into position.
| | 04:47 | Now, I would like my pan and zoom to
begin with a close-up of the farmer's face,
| | 04:51 | and I would like it to end with a
wide shot showing the entire photo.
| | 04:55 | So, to do that, I select the first frame
and just hover my mouse over one of the
| | 04:59 | corners and I get this double-headed
arrow. That tells me I'm on a corner handle,
| | 05:04 | and I can just drag that into position.
| | 05:05 | So I can drag to make the frame smaller.
| | 05:08 | I am getting a close-up here of the
farmer, and I could just drag on it to
| | 05:12 | move into position.
| | 05:14 | My second frame I'll select is my
closing keyframe, and I'll jus widen it out
| | 05:19 | so that I see the whole slide.
| | 05:22 | That's basically it.
| | 05:23 | I am going to drag the playhead back to
the beginning and we can preview it by
| | 05:28 | clicking the Play Output button
at the bottom of the workspace.
| | 05:32 | Now, don't worry too much
about the quality right now.
| | 05:34 | It looks like there is some pixelation
and some combing. That's just because
| | 05:38 | you're looking at a soft render of it.
| | 05:39 | Once we create a hard render out on the
timeline, it will look much cleaner and
| | 05:43 | when you output your
slideshow it will look terrific.
| | 05:46 | But if we're happy with it, we're
done, and we can click the Done button.
| | 05:50 | But if you want to adjust
the more, you can do that too.
| | 05:52 | Click on Exit Preview in the upper-
right corner and we're back in the workspace,
| | 05:57 | where I can continue to tweak
this and tweak the positions.
| | 06:01 | So, what happens if I want to make a
more elaborate pan and zoom, I want to stop
| | 06:06 | at one more spot along the way?
| | 06:08 | So we'll start out with a close-up of
our farmer, we'll widen out, we'll show
| | 06:11 | the orange bucket, and then we'll
widen out and see the whole picture.
| | 06:14 | That's easy enough to do.
| | 06:16 | I simply position the playhead about
halfway through here and click on the New
| | 06:20 | Frame button over on the
left side of the workspace.
| | 06:23 | This creates a new keyframe and you
notice now that our ending keyframe is now
| | 06:28 | called 3. So, our second keyframe is
called 2 and we drag it into position.
| | 06:34 | I want to be able to see that
bucket, and we'll widen out just a little bit.
| | 06:40 | And you can see the arrow shows us
the direction of our pan and zoom.
| | 06:42 | We'll start with the close-up of the
farmer, move down to a shot of the bucket
| | 06:46 | and then widen out to see the whole frame.
| | 06:48 | Drag your playhead back to the
beginning and click Play Output.
| | 06:56 | Farmer, bucket, widen out. Now that
looked like that was a little bit fast to me.
| | 07:01 | And if I think it's a little
bit fast, I can change that.
| | 07:04 | Let's click Done so that we save our work.
| | 07:07 | We are back out here onto the timeline.
| | 07:09 | In order to make it happens more slowly,
I just need to extend my clip a little bit.
| | 07:13 | So I am going to hover my mouse over
the right-hand side and to make my still
| | 07:16 | photo run a little bit longer, I'm just
going to drag it out. And you can see that
| | 07:21 | little number underneath there.
That's showing me how much I'm stretching it out.
| | 07:25 | I am going to stretch it out about two seconds.
| | 07:26 | There you go. And now I'll go back into my
Pan and Zoom workspace, Tools > Pan & Zoom.
| | 07:32 | You see the keyframe is now on our
timeline representing the three positions
| | 07:37 | of our Pan and Zoom.
| | 07:38 | I am just going to stretch them out.
| | 07:40 | Instead of happening at three seconds,
this will now happen at six seconds.
| | 07:44 | We'll move the playhead back to the
beginning of our timeline and let's take a
| | 07:48 | look at what our output will look like.
| | 07:49 | Click Play Output, Farmer, Bucket and
then widen out to show the whole picture.
| | 07:56 | That's how simple it is.
| | 07:58 | There is one more featuring in here
that's worth noting, and that is--I am going
| | 08:02 | to exit the preview and
go back into the workspace.
| | 08:05 | There also is an automatic feature
that will find faces in your photos, and it
| | 08:09 | will automatically create a
keyframe with a close-up of the face.
| | 08:13 | In this particular case, even though
we could see some of the farmer's face if
| | 08:15 | I click on it, it'll say Sorry no face detected.
It recognizes faces and it's actually very intuitive.
| | 08:22 | And so if you want to set up an
automatic keyframe that goes from face to face,
| | 08:25 | this is the feature that does it.
| | 08:27 | Once we are happy with the
results, we just click done,
| | 08:30 | we go back out to the timeline, and I
recommend that you render by clicking on
| | 08:35 | the Render button there in the
upper-right corner of the timeline.
| | 08:38 | That will show you a nice smooth
rendering of what this output is actually going
| | 08:43 | to look like. And you'll see it is a
very nice high-quality pan and zoom: the
| | 08:48 | farmer, bucket, out to the wide shot.
| | 08:53 | Motion paths add a whole other
dimension to your slideshows, and with them you
| | 08:57 | can direct your audience to specific
areas of your photo or you can help them to
| | 09:00 | see the photo in a whole new way.
| | 09:03 | But above all, they breathe life into
your still pictures, and they add motion and
| | 09:07 | action to an otherwise static image.
| | Collapse this transcript |
| Speeding up or slowing down video segments with Time Remapping| 00:00 | In this session we're going to look at a
brand-new tool introduced in version 11.
| | 00:04 | And I've got to say, it's one of the coolest
tools in the whole Premiere Elements toolkit.
| | 00:08 | The Time Remapping tool will take a
clip from your movie and it will suddenly
| | 00:12 | shift it into a fast
motion or slow it to a crawl.
| | 00:16 | Then just as quickly, it will
Shift it back to normal speed.
| | 00:18 | Now, it's a very cool effect and one
you see a lot in today's Hollywood action
| | 00:23 | movies, and you can do it
here on your own computer.
| | 00:25 | Let's take a look at how.
| | 00:26 | On my timeline I've got a clip of
somebody riding a bicycle--that's actually me
| | 00:30 | riding the bicycle past the camera--
and we're going to time shift it.
| | 00:34 | Now to use the Time Shift tool you have
to make sure that your clip is actually
| | 00:38 | selected on your
timeline or the tool won't work.
| | 00:41 | Go to the Tools button on the Action bar
along the bottom of the program, scroll
| | 00:45 | down if you need to, and select Time Remapping.
| | 00:48 | This pops us into the Time Remapping
Zone. And one of the cool things about
| | 00:53 | time remapping is that you don't have to
slow down or speed up your entire video clip.
| | 01:00 | We can set areas of it and in fact
make one area slow motion and another area
| | 01:05 | fast motion on the same clip.
| | 01:07 | Let's see how it's done.
| | 01:09 | This is the CTI playhead.
| | 01:11 | I want to position it right
where I'd like my time zone to begin.
| | 01:14 | So I like right about here, where the
bicyclist is coming by. Tight here.
| | 01:19 | Now to add a time zone or an area that
we're going to time shift, you can do
| | 01:24 | that one of two ways.
Either click on Add Time Zone--
| | 01:27 | this little button here underneath
the timeline--or simply click on the plus
| | 01:31 | sign button here on our CTI. Let's do that.
| | 01:34 | Now we have a defined area.
| | 01:36 | This is called a time zone,
and this is the part of the video that we're
| | 01:40 | going to time shift.
| | 01:42 | You notice right now it says 1x
because it just is going at one speed;
| | 01:46 | it's not been changed yet.
| | 01:48 | We can extend or compress it.
| | 01:50 | I am going to extend it so that
it goes all the way about there.
| | 01:55 | And notice that when we have a time
zone selected, you have a slider that
| | 01:59 | appears underneath it.
| | 02:00 | When there's no time zone selected, no slider.
| | 02:04 | And when the time zone is selected
the slider sets the speed of time.
| | 02:08 | Now, pick note of something here
along the bottom of the timeline: we have
| | 02:12 | something called duration.
Right now that duration is 1.4 seconds.
| | 02:16 | It's going to change of course when we
change the speed that our movie plays.
| | 02:21 | We can set our movie to slow down.
| | 02:22 | Let's say we'll slow it down about 1/3.
Notice now that our duration has gone
| | 02:28 | from 1.4 seconds up to 4 seconds,
so it's going to slow to 1/3 speed.
| | 02:33 | I also recommend whenever you do time
shifting you select the option for Frame Blending.
| | 02:38 | Frame Blending will help kind of smooth out.
| | 02:41 | So, for instance, we're actually
adding frames. We've got 29 frames per
| | 02:45 | second, but since we're slowing it down,
we've dropped down to about eight frames per second.
| | 02:50 | Frame Blending will help smooth that out,
so it's going to look jump, jump, jumpy
| | 02:55 | with less frames per second, but it's
going to be a nice smooth transition.
| | 02:59 | That's really it, but you know what?
Before we play it back, let's render it.
| | 03:03 | Rendering will create sort of a
temporary video file and show us a much cleaner
| | 03:07 | example of what our
output is going to look like.
| | 03:09 | And now we can look at our movie.
Let's see what happens when it slows down,
| | 03:15 | about halfway through.
| | 03:16 | Bicyclist arrives, suddenly drops
down to 1/3 speed. Pretty cool.
| | 03:22 | Now, of course jumping into an out
of that time zone is pretty abrupt.
| | 03:27 | He's traveling here at one speed;
suddenly he is traveling at 1/3 speed.
| | 03:31 | Fortunately, the program has these
little Ease In and Ease Out options in
| | 03:35 | the lower-right corner.
| | 03:37 | Click Ease In, click Ease Out, and
now instead of just immediately jumping
| | 03:42 | to slow motion or immediately jumping to fast
motion, it's going to be kind of a down shift.
| | 03:46 | So let's watch it. Cool right?
| | 03:53 | Now of course you have the option
also, you can see on the slider underneath
| | 03:56 | there, of setting it to play in reverse
and we can create an additional time zone
| | 04:01 | on the same timeline or on the same
clip. Click on plus, stretch that out.
| | 04:09 | Now this one we'll make go faster.
| | 04:10 | Let's send that about four times the speed.
| | 04:14 | Ease in and ease out of it and
we'll course we'll frame blend it.
| | 04:18 | Render it, move the CTI to the
beginning of the clip, and then let's play it.
| | 04:24 | And you can play it either by using the
playback controls underneath the monitor
| | 04:27 | or simply by pressing the
Spacebar on your keyboard.
| | 04:30 | Here we go: fast motion, slow motion.
| | 04:36 | When you're done you just click on the Done
button, but I want you to notice something.
| | 04:40 | I'm going to zoom in a little on the
timeline by pressing the plus button a
| | 04:46 | couple of times.
Look what happened to our audio.
| | 04:49 | Because we sped up a part of the movie
and slowed down a part of the movie, the
| | 04:53 | audio went out of sync.
| | 04:55 | Now the Time Stretch tool that's also
in Premiers Elements, you can use and it
| | 04:59 | will both slow down and speed up the
video and audio at the same time, but the
| | 05:03 | Time Remapping tool affects only the video.
| | 05:07 | So if you were to watch this, the audio
would go out of sync. And in fact if I only
| | 05:12 | have slow motion on here, my video
would be much longer than my audio.
| | 05:16 | So one of the things I recommend--I am
going to reopen the tool, click on the
| | 05:21 | Tools button, go back to Time Remapping,
and select the option to remove the audio.
| | 05:26 | And of course this is going to give you
warning because you're just throwing out
| | 05:28 | your audio clip completely.
| | 05:30 | But this particular effect is one that is
best not to try to sync the audio up with it.
| | 05:35 | When we click Done, we go back out
to the timeline and the audio is gone
| | 05:40 | completely, but our effect is intact.
| | 05:44 | Speed up and then slow down with Time Remapping.
| | 05:48 | As I said it's a really cool effect,
but what impress me most about it is just
| | 05:51 | how easy Adobe made it to use.
| | 05:53 | You can apply several of these time
shifts to a single scene, and it's very
| | 05:57 | effective with frame blending,
especially. It means that when you slow down a
| | 06:01 | video, even to 1/8 speed,
| | 06:02 | it still looks terrific and the
slow motion looks very, very natural.
| | Collapse this transcript |
|
|
4. Color Correction and EffectsAdjusting color, lighting, and audio| 00:00 | Sometimes your video
files need a little cleanup.
| | 00:03 | You shot video of someone standing in
the shade and it's too dark to see him or
| | 00:06 | the color isn't quite
right or it's not vivid enough.
| | 00:09 | The Adjustments panel in Premiere
Elements includes a number of tools for
| | 00:12 | correcting your movie's lighting and color.
| | 00:14 | Let's take a look at a couple of
clips we have on the timeline here.
| | 00:17 | We have a clip that is too dark.
| | 00:20 | So we can open up our Adjustments panel.
The Adjustments panel is launched by
| | 00:23 | clicking on the button on the
right-hand side of the interface.
| | 00:26 | By the way, make sure you have a clip
selected on your timeline when you open
| | 00:29 | it; otherwise it will say Please select a clip.
| | 00:32 | We'll select our DarkClip.
| | 00:33 | Remember that any adjustments you make
are not being made to the entire track or
| | 00:38 | to the entire movie; the adjustments
are being made to the individual clip.
| | 00:43 | At the top of the panel is the Smart Fix.
| | 00:45 | That's an automatic fix that
sometimes works and sometimes doesn't.
| | 00:48 | This will look at contrast and
lighting. And if your video has a lot of
| | 00:52 | jiggle from a handheld camera, it
will apply a Stabilizer effect to take
| | 00:55 | some of the jiggle out of it.
Now it's not really a color issue. We can try Gamma.
| | 01:00 | When we open it up, you notice that we
have sort of this tic-tac-toe pattern
| | 01:04 | here. That's what Adobe calls their
Quick Edit Preview tool, and it's designed to
| | 01:08 | make it very intuitive to
make adjustments to your clip.
| | 01:10 | What you do is you just look at the
variations on there and select the variation
| | 01:15 | you think might work.
| | 01:16 | We'll try this one, and that's
probably a little too bright.
| | 01:19 | To try a different one,
we don't have to reset anything;
| | 01:21 | we can just try another variation until
we find one that's just about where we
| | 01:27 | want, and that's probably as close as
we'll get using the Adjustment panel here.
| | 01:31 | If you prefer to work more analog,
you can click the More button and you have a
| | 01:35 | slider instead, and you can
adjust the Gamma with the slider.
| | 01:38 | And that's pretty good. That's not bad.
And we can take a look at the before and
| | 01:44 | after here by clicking on the Reset button:
| | 01:46 | there is the before and using
Ctrl+Z or Command+Z to undo or reset.
| | 01:51 | We can look at the after.
So, not bad. Before, after.
| | 01:56 | It's a pretty good adjustment.
| | 01:57 | Let's try another one of the
adjustments and see if it's more appropriate for
| | 02:01 | this particular clip.
| | 02:02 | I am going to select Lighting, and when
I do, take a look. When I scroll up here
| | 02:06 | you can see that there is a little
green dot next to Gamma Correction.
| | 02:08 | That means we've already applied Gamma.
I don't want to double up on adjustments here,
| | 02:12 | so I am going to reset Gamma by
opening up the Gamma Correction and clicking
| | 02:18 | Reset. That zeroes it out here.
| | 02:20 | Now when I close Gamma or open
Lighting, you see that green dot is gone.
| | 02:24 | So any changes I am going to make
are going to be made on the lighting adjustments for this clip.
| | 02:30 | Many of the adjustments have auto
levels and sometimes they work and
| | 02:34 | sometimes they don't.
| | 02:35 | Let's try this. Auto Levels,
Auto Contrast, not much help.
| | 02:40 | I am going to reset that.
| | 02:41 | Let's try Brightness.
| | 02:44 | We'll try one of the variations.
That's kind of nice.
| | 02:47 | Let's bring down the Contrast just a
little bit by clicking on the variations.
| | 02:51 | Not bad, but I want to
reset that and try one more.
| | 02:55 | There is an Exposure tab here that can
sometimes be very, very good at bringing
| | 02:59 | out or enhancing photos that were
shot in too bright a light or too dark.
| | 03:03 | Let's see what happens when we click it.
| | 03:07 | It's not quite powerful
enough in this particular case.
| | 03:09 | I think we're better off
with Brightness and Contrast.
| | 03:14 | That's not bad. Let's look at before, click Reset,
then Ctrl+Z or Command+Z to undo the reset.
| | 03:21 | There is our after. Before, after. Not bad.
| | 03:25 | I think that we could work with.
| | 03:27 | On our second video clip, we have a picture
that has a little bit of a yellow tint to it.
| | 03:33 | Now most likely, this yellow tint is
a result of changing color temperature.
| | 03:37 | Color temperature is not about Celsius
or Fahrenheit, but color temperature has
| | 03:41 | to do with the electromagnetic spectrum.
| | 03:44 | Things with a higher color
temperature tend to be a little more bluish; for
| | 03:48 | instance outdoor light is a much
hotter color temperature than indoor light.
| | 03:53 | Indoor light is a cooler color temperature.
| | 03:55 | It's more reddish and orange, and you
don't notice so much when you go from
| | 03:58 | indoors to outdoors or outdoors to
indoors, because your eyes automatically
| | 04:02 | adjust to it and if you have a
camcorder, it's automatically making those
| | 04:04 | adjustments. But in this particular case
I think the person who shot the video,
| | 04:08 | had the camera set up for midday light.
| | 04:11 | Now if you look at the boxes on the
truck, you can see the shadows are getting kind of long.
| | 04:16 | I think this is later in the day, and so
the light is cooling as daylight tends to do.
| | 04:21 | That's why sunsets are red and
orange. And he got a little bit of a yellow
| | 04:25 | tint to his picture.
| | 04:26 | So before I make the adjustment, I
want to make sure I select that clip so
| | 04:28 | that the adjustments, I am making,
are to that clip and we'll look at Temperature and Tint.
| | 04:35 | Let's try making a temperature change
first just by selecting one of the options
| | 04:39 | here on the Quick Edit Preview
tool, and we'll go down to more bluish.
| | 04:43 | This is actually pretty good.
| | 04:45 | I'm just going to scrub throw.
| | 04:46 | We'll take a look at it and see if it
looks natural. Yeah, those results are
| | 04:51 | pretty good I would say.
| | 04:53 | Before--I am going to click Reset--you
can see it's very yellow. After, Ctrl+Z
| | 04:58 | or Command+Z to undo the
reset. Looking pretty good.
| | 05:01 | Let's see what we can do with tinting though.
| | 05:04 | We'll reset it, go over to the Tint tab,
and now let's try making a tint adjustment.
| | 05:09 | In this particular case, I think Tint
actually did a better adjustment than Temperature.
| | 05:15 | Let's scrub through the
clip and see how it looks.
| | 05:19 | Yeah, I'd say that looks
pretty natural, that color.
| | 05:23 | Let's look at before, and let's look at
after. Ctrl+Z or Command+Z. Very, very nice.
| | 05:30 | The Adjustments panel is really your
master control for correcting and adjusting
| | 05:35 | color and lighting in your video.
| | 05:36 | And Adobe has done a great job of not
only making these tools easily accessible,
| | 05:41 | but also making the
interface very, very intuitive.
| | Collapse this transcript |
| Adding and customizing a video effect| 00:00 | Your video effects can be subtle and
naturally integrated into your movie or
| | 00:04 | they can be dazzling, turning your movie
into a truly special video and audio experience.
| | 00:09 | In this session, we are going to
look at how to add video effects to your
| | 00:12 | movie and then we'll show you how to
adjust and to customize these effects for your particular needs.
| | 00:17 | On our timeline, we've got a pretty simple clip.
| | 00:20 | It's just a truck arriving. And let's
use some special effects to make it
| | 00:24 | really interesting.
| | 00:26 | The Effects panel, by the way, you'll
notice I am in Quick View. When I open up
| | 00:30 | the Effects panel by clicking on the
button on the Action bar along the bottom
| | 00:33 | of the interface, I am going to
extend the size of the panel by hovering my
| | 00:36 | mouse over the top and dragging. Make it a
little bigger, so you can see all the effects.
| | 00:41 | You notice we have about
20 effects in Video Effects.
| | 00:45 | We also have some FilmLooks,
and that's all you get in Quick View.
| | 00:50 | So Quick View has a lot of advantages
as you are editing, but it does have a
| | 00:53 | limited catalogue of effects.
| | 00:56 | If you want the full catalogue of Premiere
Elements Effects, go over to Expert view.
| | 01:02 | Here in Expert view, we click and
select Effects and I am going to extend the panel a little bit.
| | 01:07 | We have 16 categories of effects,
including 275 presets. We have 80 video
| | 01:14 | effects total, and we have a
selection of audio effects.
| | 01:18 | So there are many more
effects available in Expert view.
| | 01:21 | By the way, you can access the
different categories by clicking on this
| | 01:26 | Category button at the top of the
screen and you see you can jump immediately
| | 01:29 | to any category of effect.
| | 01:31 | You can also browse through the
different categories by using the arrows at the
| | 01:35 | top of the panel to go left and
right through the various categories.
| | 01:40 | And if you want to locate an effect,
you can locate it quickly by simply
| | 01:44 | clicking on this little
magnifying glass in the upper-right corner.
| | 01:48 | That opens up a quick screen so that
can you can go directly to any effect just
| | 01:53 | by typing its name in there.
| | 01:54 | In this particular case, I'd like
to apply the NewBlue Old Film effect.
| | 01:59 | NewBlue--I'm just going to type Old Film and
you see it comes up immediately for me.
| | 02:04 | Now, NewBlue is a
world-class special effects company.
| | 02:09 | They provide a number of video and
audio effects for Premiere Elements, and some
| | 02:13 | of them are very, very cool,
including this one here.
| | 02:15 | Let's drag Old Film onto our clip on the
timeline and you see an immediate change.
| | 02:20 | Now it looks like an old film.
| | 02:23 | We can further adjust and customize this,
or virtually any effect in the program.
| | 02:28 | To do it, we go to our Applied Effects
panel. Make sure, by the way, that your
| | 02:32 | clip is selected on your timeline, because
the effect you are looking at is on the clip.
| | 02:37 | So make sure that when you're adjusting
your Applied Effects that you have the
| | 02:41 | clip that you want to
adjust selected on your timeline.
| | 02:43 | Open up Applied Effects by clicking on the
button on the right side of the interface.
| | 02:47 | Now, every video that you add to your
timeline is going to have by default Motion
| | 02:53 | and Opacity properties and these are
effects that you can open up and adjust, for
| | 02:58 | instant Scale, and Position, Rotation,
and Motion, or Opacity, which has to do
| | 03:03 | with the transparency of the clip.
| | 03:05 | Those are by default on every video
clip that you add to your timeline.
| | 03:09 | But on your Applied Effects panel you
will also see listed any effects you've
| | 03:13 | added to your clip, in this case, Old
Film. And when I click on it, you see that
| | 03:17 | I have a number of options for
controlling how this effect affects my clip.
| | 03:22 | This is the default setting, but I can
increase the damage if I want, make it even
| | 03:26 | more beat-up by moving the slider.
| | 03:29 | By the way, whenever you see a slider,
you'll also see a number up here to
| | 03:33 | the upper-right of it.
| | 03:34 | If you'd like to adjust using the
numbers, you can either click and type in a
| | 03:38 | number numerically or just click and
drag over it and kind of scrub across it
| | 03:43 | and adjust. So I'm adjusting here.
| | 03:46 | You can set your video so it's still
in color or come over this direction and
| | 03:49 | make it completely black and white.
| | 03:51 | Midway through, it's got a sepia tint to it.
| | 03:54 | We can apply Jitter, which makes the
video jump up and down, as if it has sprocket
| | 03:58 | hole damage, and then you see we
have a couple of presets here for making it
| | 04:03 | Wavy, Blotchy, Grainy, Fine,
Splotchy, Lite, or Crackly.
| | 04:07 | Let's make it Splotchy.
| | 04:09 | And I am going to render the timeline
because this is a pretty intense effect, so
| | 04:13 | you get a better idea of what the
output will look like if you render it first.
| | 04:15 | I clicked the Render button in
the upper-right of the timeline.
| | 04:20 | Now, let's take a look at what our
video looks like. A fun little special
| | 04:27 | effects, and now it looks much
more like an old beat-up movie.
| | 04:31 | I'd like to apply another effect here so
you can see that there is a difference
| | 04:35 | in how you adjust certain effects.
| | 04:36 | Let's try the Crop tool.
| | 04:37 | So I am going to the Effects panel, and
again I am just going to the Search box,
| | 04:41 | and I am typing the word crop.
| | 04:42 | By the way, if you notice when you go to
your Effects panel that there are only
| | 04:46 | a couple of effects or maybe one
effect showing, it means you maybe have
| | 04:49 | something in your Search box.
| | 04:51 | You can erase it by clicking on the X.
I'll type crop. We get our Crop tool and apply that.
| | 05:00 | Now when you apply a crop, this
is the default setting for Crop.
| | 05:03 | If I'd like, I can disable an effect,
in other words make it essentially
| | 05:07 | invisible but still keep it applied to
the clip, just by clicking on the little
| | 05:10 | eyeball here on the Applied Effects
panel. When I click on that, the effect is
| | 05:15 | essentially rendered disabled.
| | 05:17 | I can turn it back on just by clicking
the eyeball, or I can remove it completely
| | 05:22 | by clicking on the trashcan.
| | 05:24 | Now we can concentrate on the Crop effect.
| | 05:26 | Now the Crop effect, there are a
number ways to adjust cropping.
| | 05:29 | You can adjust them using these sliders, or
you can drag and scrub across the percentage.
| | 05:35 | But Crop is one of the tools that it's
sometimes more intuitive to adjust by
| | 05:41 | actually clicking on the Monitor panel.
| | 05:44 | So if I click to select the effect
by clicking on it here in the Applied
| | 05:47 | Effects panel, notice that I get a
bounding box around my video with little
| | 05:52 | corner handles, and I can adjust my Crop
effect just by dragging on those corner handles.
| | 05:57 | Is that much more intuitive than moving sliders?
| | 06:00 | Now, there is one other way to adjust
an effect, and I want to just apply the
| | 06:05 | Cartoonr effect. I like
the Cartoonr effect a lot.
| | 06:09 | It's one of the NewBlue's selection of effects.
| | 06:11 | We'll drag that onto our clip, and I am
just going to remove Crop, so it's not on the clip anymore.
| | 06:17 | And you see what it does.
It's suddenly turns your movie into a cartoon.
| | 06:21 | That's a pretty cool effect as is, at
its default setting, but you don't have
| | 06:27 | to keep it at that.
There are a number ways to adjust the effect.
| | 06:31 | When I open it up here in the Applied
Effects panel, you see I can go ahead and
| | 06:34 | make these individual
adjustments to lines and paint if I want.
| | 06:38 | This is a little beyond me. Look at
all these adjustments you can make.
| | 06:42 | Fortunately, NewBlue has made it simple.
| | 06:44 | There are a number of effects like this.
| | 06:46 | You can just use one of the presets and
the presets are right here at the top of
| | 06:49 | the panel. See, it's set for animation now.
| | 06:52 | When I click on that button,
I get a number of options--
| | 06:55 | Hallucination, Light Drawing, Paint
Blobs--a whole bunch of different variations
| | 07:04 | on this single effect.
| | 07:08 | So as you can see, effects can add
something very, very special to your movie.
| | 07:12 | They don't need to be big
and obvious to be effective.
| | 07:14 | In fact, some of the most effective
effects are those that your audience isn't aware are effects.
| | 07:19 | But they definitely do enhancive the
viewing experience and sometimes can just be
| | 07:23 | a lot of fun to play with.
| | Collapse this transcript |
| Using the Chroma Key and Videomerge effects| 00:00 | You no doubt encounter chroma key
effects on a regular basis whether
| | 00:04 | you're aware of it or not.
| | 00:05 | Keying removes the background from
behind an actor, for instance, and it
| | 00:09 | replaces it with any real or imagined
background. And you see this process used
| | 00:13 | in everything from big-budget fantasy and
science fiction movies to nightly TV weather reports.
| | 00:19 | Now, you can do it on your home computer too.
| | 00:21 | You need two things to create the effect
and I do recommend you work in Expert view;
| | 00:25 | it's a little hard to make this effect
successful if you're working in Quick view.
| | 00:29 | You need two things.
| | 00:30 | You need a new background and you need
a key clip, and our key clip is going to
| | 00:37 | be our actor shot in front of,
in this case, a green screen.
| | 00:40 | So let's add our background to Video track 1.
| | 00:45 | In this case, I'm using a
photo, and you can use a video also.
| | 00:45 | If you add a photo to your timeline
and your video frame is 16 x 9 and your 4
| | 00:52 | x 3 photo does not fill out the frame, it
may be because Scale to Frame Size is checked.
| | 00:57 | Right-click on the clip and
uncheck Scale to Frame Size.
| | 01:02 | Now it'll fill out the frame.
| | 01:04 | Let's get our key clip and we'll
enter key clip to Video track 2, directly
| | 01:09 | above our new background.
| | 01:11 | Whenever you add a clip that has a
smooth background to it--in this case a
| | 01:17 | green screen background--the program
automatically assumes you want to create a Videomerge effect.
| | 01:23 | Now we do; we just don't
want to do it right now.
| | 01:26 | I find this little pop-up annoying
because sometimes it pops up when you just
| | 01:30 | have like a picture of the sky,
something that is a smooth-color background.
| | 01:34 | It assumes it's a green screen or a blue screen.
| | 01:36 | If you want to see this message go
away and never come back, click on that
| | 01:40 | box and then select No.
| | 01:43 | The success of your green screen, it's
only going to be as good as the clip you
| | 01:48 | have for your key clip.
| | 01:50 | In this case, we have a really nice one.
See how smooth the background is?
| | 01:53 | It's a nice even color of
green. It's evenly lit.
| | 01:56 | There are no wrinkles.
| | 01:57 | There are no shadows.
| | 01:58 | There are no hotspots.
| | 01:59 | That's going to make a very nice key
clip. And what we're going to do when we
| | 02:04 | apply Chroma Key or Videomerge is we're
going to remove everything that's green
| | 02:08 | from this picture and make it
transparent, and that what we'll reveal the video
| | 02:12 | or the still photo we have on Video track 1.
| | 02:15 | Now, our still photo doesn't go the
entire length of the clip. Since it's a still
| | 02:19 | photo, we can just hover over the end
here until we get our trim indicator and
| | 02:23 | drag it out so that it's the
same length as our ChromaKey clip.
| | 02:28 | Now we are ready to go.
| | 02:29 | The Chroma Key effect is
located on the Effects panel.
| | 02:33 | We can open that by clicking on the
Effects button on the Action bar. And let's
| | 02:36 | go to the Keying effects category.
| | 02:39 | Chroma Key comes in a couple of different
flavors: Blue Screen Key, Green Screen Key.
| | 02:43 | Chroma Key is sort of the generic.
In this case we have yet a green screen, so
| | 02:46 | let's apply the Green Screen Key. Just drag
it right onto your key clip on your timeline.
| | 02:52 | That's the one on Video 2. And there, at its
default setting, it does a pretty good job.
| | 02:56 | Let's go to Applied Effects by
clicking on the Applied Effects button on the
| | 03:00 | right-hand side. We'll open up the
Green Screen settings, clicking on that, and
| | 03:06 | when you make adjustments to your
green screen or your blue screen or your
| | 03:09 | chroma key, I recommend that you
select the option to see Mask Only.
| | 03:12 | That will show you what is and what is
not being removed and as you can see, we
| | 03:16 | have just a little bit too
much being removed right now.
| | 03:19 | So let's adjust the cutoff a bit.
| | 03:22 | That looks pretty good.
Threshold will kind of smooth it out.
| | 03:27 | Let's uncheck the Mask Only and when we go
back to the clip, it looks pretty darn good.
| | 03:32 | We'll reset the playhead to the
beginning by dragging it to the beginning of the
| | 03:35 | timeline, and then I'm going to
press the spacebar to play it.
| | 03:43 | That doesn't look too bad.
| | 03:44 | It'll look even better when we render it
out. There is one challenge here, and that
| | 03:49 | is if you have the Macintosh version
of the program, unfortunately you have
| | 03:53 | neither Blue Screen, Green
Screen or the Chroma Key effect.
| | 03:58 | I don't know why they left that out.
| | 03:59 | Fortunately, you do have Videomerge, and
that's available in both the PC and Mac
| | 04:04 | version, and it does this kind of
keying effect extremely effectively.
| | 04:10 | So let's go back to our clip, and I'm
just going to remove the Green Screen Key
| | 04:13 | effect by clicking on the trashcan,
and this time we'll apply Videomerge.
| | 04:17 | Now, Videomerge is available in
a couple of different places.
| | 04:20 | You saw that it will
automatically apply if you let it.
| | 04:23 | If we go to the Effects panel and go
to the Videomerge category, it's right
| | 04:28 | there. Or we can just right-click on
the clip and select Apply Videomerge.
| | 04:33 | At its default setting, not too bad.
| | 04:36 | We do have a little bit of dithering up
here in the sky, so let's adjust it a bit.
| | 04:39 | We'll open up Videomerge in the Applied
Effects panel. And what I recommend you
| | 04:43 | do, even though Videomerge does a pretty
good job of guessing what the key color
| | 04:48 | is, we're going to designate it, and
you can do that by checking the box where
| | 04:51 | it says Select Color, then clicking
on the eyedropper--that's a sampler--and
| | 04:57 | let's designate the background at a good sort
of midrange of that green, right about here.
| | 05:02 | Now it does a great job of taking it away.
| | 05:04 | If we want to adjust it a bit,
we can adjust the Tolerance;
| | 05:07 | the wider the Tolerance, the
more color it's going to remove.
| | 05:10 | We don't want to remove too much, because
we don't want to remove any of our actor.
| | 05:15 | But we're in pretty good shape,
and this time let's render it out.
| | 05:17 | I am going to click the Render button here.
| | 05:19 | You can also render your timeline by pressing
the Enter key or the Return key on your Macintosh.
| | 05:29 | I'll set the playhead back to the
beginning of the timeline, and I'll press the
| | 05:33 | spacebar to play it.
| | 05:37 | Chroma Key and Videomerge fall into a
category I like to call Magic Effects.
| | 05:41 | They make something that isn't real
appear to be real and ideally they do it
| | 05:45 | without the audience even
being aware of the effect.
| | 05:48 | For my money, keying effects are some
of the most fun effects in the program
| | 05:52 | to play with.
| | Collapse this transcript |
|
|
5. Audio Production ToolsAdding and customizing an audio effect| 00:00 | Good, clean audio plays at least as
bigger role in your movies as your video,
| | 00:04 | and Premiere Elements includes a number
of tools for cleaning up and sweetening
| | 00:07 | your audio, as well as tools for
adjusting and adding special effects like
| | 00:11 | echoes or making someone's voice sound like
it's coming out of a small speaker or a telephone.
| | 00:15 | Let's take a look at some of the
effects here in the Premiere Elements toolkit.
| | 00:19 | Now, if you're in Quick view, you're
going to have to go over to Expert view.
| | 00:22 | You can't get to the
audio effects in Quick view.
| | 00:25 | In Expert view, if you go to the
Effects button on your Action bar and click on
| | 00:29 | it, it opens up your Effects panel.
And if you select from the categories Audio
| | 00:35 | Effects, I'm going to extend the panel
here just by dragging on the top, and you
| | 00:41 | can see we have about 19 audio effects.
| | 00:44 | If you have the Mac version of Premiere
Elements, not all of these effects are there;
| | 00:48 | however, all of the principal and basic
effects are included, even with the Mac
| | 00:52 | version of the program.
| | 00:54 | There are channel tools, either for
adjusting or affecting the individual right
| | 00:58 | and left channel of your stereo audio,
and I'll show you those in just a moment.
| | 01:03 | There are filter tools, and filter
tools can be used to remove specific
| | 01:07 | frequencies of your audio.
| | 01:10 | There are dynamics, and dynamics are
used to kind of reduce or control the
| | 01:14 | difference between your quietest and
your loudest audio. And then there are
| | 01:18 | special effects, and these special
effects could be just for fun or they can be
| | 01:22 | as part of your storytelling.
| | 01:23 | Let's take a look at how some of these work.
| | 01:25 | Let's try Channel Volume, and when I drag
that on to my clip, you see that when I
| | 01:29 | open my Applied Effects, by clicking on
the Applied Effects button on the right
| | 01:33 | side of the interface, and then click
on Channel Volume, you can see that I can
| | 01:37 | control the volume on the right
and left channels individually.
| | 01:40 | Two real valuable channel tools are
Fill from Left and Fill from Right.
| | 01:45 | I'm going to show you how those work
here on this second clip on the timeline.
| | 01:49 | You can see, it is a monaural clip.
| | 01:51 | The second clip has audio on the left
channel but not on the right channel.
| | 01:55 | This will happen when you're using an
external microphone on your camcorder or
| | 01:59 | when you're recording into your computer:
sometimes you get a left channel and
| | 02:02 | not a right channel.
| | 02:03 | Let's open up the Audio Meters.
| | 02:05 | I'm going to the Windows menu and open
up Audio Meters. Just expand the panel a
| | 02:11 | little bit and you notice when I play
this clip, by pressing the Spacebar or by
| | 02:15 | clicking on the Play button
on the playback control panel--
| | 02:19 | (Male speaker:--best of times. It was the worst of times.)
| | 02:23 | --notice that I only have
audio in the left channel.
| | 02:26 | If I go to the Effects panel and
select Fill from Left and drag it onto the
| | 02:30 | clip, notice the waveform doesn't change.
| | 02:33 | It still stays a monaural clip, but the
effect is going to spread the audio over
| | 02:38 | both channels, and now when I play back the clip--
| | 02:40 | (Male speaker:--times. It was the age of wisdom.
It was the age of foolishness.)
| | 02:46 | --we have audio now on both
channels. Exactly what we wanted.
| | 02:51 | There are a number of great special
effects in Premiere Elements for your audio.
| | 02:55 | One is technically not a special effect;
it's a filter, but it can be used to
| | 03:01 | create a special effect, and
that is the Highpass filter.
| | 03:05 | Highpass will block out the lower
frequency of sounds, for instance the bass,
| | 03:09 | and it can make your audio sound like
it's coming from a very small speaker, say
| | 03:13 | for instance out of a telephone or maybe
out of a small hand-held tape recorder.
| | 03:17 | Let me apply it to my clip and
listen to how this clip sounds.
| | 03:22 | (Male speaker: It was the epoch of incredulity.
It was the season of light. It was the season of darkness.)
| | 03:30 | So that sounds like it's
coming from a very small speaker.
| | 03:33 | When I go over here to the Applied
Effects panel and open up the adjustments for
| | 03:36 | the effects, I can set the cutoff, or
just how much bass is removed from it.
| | 03:41 | The higher I turn it, the
smaller the speaker sounds.
| | 03:43 | This would be good for getting an effect
like some voice coming over a telephone for instance.
| | 03:48 | (audio playing)
| | 03:53 | If I lower it a bit, it'll sound more
like it's coming from a small speaker, say
| | 03:57 | in a handheld tape recorder.
| | 03:58 | (Male speaker: It was the season of light.
It was the season of darkness.)
| | 04:05 | So that can be a great special
effect to use in your movies.
| | 04:09 | Another is of course the Reverb effect.
| | 04:11 | This will give you an echo chamber
sound, and I drag it onto the clip.
| | 04:15 | Now, when I open it in Applied Effects,
notice that there are a couple of ways
| | 04:18 | to adjust the effect.
| | 04:20 | When I open up Custom Setup, I have
this room and I can make adjustments to
| | 04:26 | lots of levels, like absorption, the size of
the room. That, to me, is a little bit complicated.
| | 04:32 | Fortunately, the program includes presets,
right here at the top of panel. When I
| | 04:37 | click on those, I can choose whether
the sound sounds like it's coming from a
| | 04:40 | small room, for a medium room,
a large room, or a large hall.
| | 04:44 | Let's drag the playback head back a
bit, and let's hear how it sounds when the
| | 04:50 | preset is set to small room.
| | 04:52 | (Male speaker: It was the best of times.
It was the worst of times.)
| | 04:59 | So that sounds like maybe a
banquet hall at a hotel or something.
| | 05:03 | We can go all the way up to a very large
hall or a church and it sounds like this.
| | 05:08 | (Male speaker: It was the age of wisdom.
It was the age of foolishness.)
| | 05:12 | So that's a really fun effect.
| | 05:15 | There is one more effect that is pretty
much for comical effect, but it's worth
| | 05:19 | getting to know, and that is the PitchShifter.
| | 05:22 | Let's drag that on here. And you can
tell that it is used for comical effect if
| | 05:26 | you just go to the Preset menu and
look at some of these options here: Female
| | 05:30 | becomes secret agent, Cartoon Mouse,
Booo!, Sore throat, Breathless.
| | 05:34 | Let's try one of those.
| | 05:35 | We'll try Cartoon Mouse and
see how it affects our clip.
| | 05:39 | (audio playing)
| | 05:45 | Obviously, you wouldn't use that in
a serious movie, although the Booo!
| | 05:50 | is kind of spooky and creepy.
| | 05:52 | (audio playing)
| | 05:58 | Anyway, rich interesting audio is as
much a part of a good movie production as
| | 06:02 | rich and interesting visuals, and by
applying and tuning the audio effects in
| | 06:06 | Premiere Elements, you have the
ability to give your movies good, clean,
| | 06:09 | professional-sounding audio,
and some pretty cool effects too.
| | Collapse this transcript |
| Creating custom music tracks with Quicktracks| 00:00 | Premiere Elements comes bundled with
remarkable piece of software called
| | 00:03 | SmartSound Express Tracks.
| | 00:05 | Express Tracks will create custom
music tracks to your exact specifications,
| | 00:09 | right down to creating a musical
clip at the exact length you designate.
| | 00:14 | Here we've got a clip on our timeline--
not very interesting clip; it's 13 seconds
| | 00:18 | long--just simply of a truck arriving,
so I'm going to play it back by clicking
| | 00:23 | on the timeline and then pressing the spacebar.
| | 00:25 | (video playing)
| | 00:34 | Stop playback by pressing the spacebar again.
| | 00:37 | You can see it's not terribly interesting,
| | 00:39 | simply a truck arriving outside of a
context of whatever else is going on in the movie.
| | 00:43 | We're going to enhance it a bit,
maybe make it even suspenseful by adding a
| | 00:47 | music track behind it.
| | 00:49 | And one thing I want to do before I
launch Express Tracks is I want to just mute
| | 00:54 | the audio that's on the clip.
| | 00:55 | And I can do that by just dragging this
yellow line that runs through the audio
| | 00:59 | track just by clicking on it and dragging down.
| | 01:02 | Now my clip is silent.
| | 01:03 | I am going to press play
again by pressing the spacebar.
| | 01:09 | Now, the only sound we will have is
the music track we're going to add.
| | 01:12 | I am going to move the CTI playhead
back to the beginning, just by dragging it,
| | 01:17 | and we'll launch SmartSound quick tracks.
| | 01:19 | Now when you click on the Music button
on the action bar that runs along the
| | 01:22 | bottom of the program, you'll
about 12 music clips in the panel.
| | 01:27 | You can use those as is, but then
you're missing out on the real benefits of
| | 01:31 | SmartSound Express Tracks.
| | 01:33 | To use the SmartSound Express Tracks
tool we simply click on the Use SmartSound
| | 01:37 | button in the lower-left
of the panel, right here.
| | 01:42 | Now, the very first time you use this
you're going to see some screens pop up.
| | 01:46 | You may even be asked to register
SmartSound quick tracks. It will ask for a
| | 01:51 | serial number. All of that is free. Just
put in your email address, click Yes, it
| | 01:56 | will send you a serial number so you
can just cut and paste right into it.
| | 02:00 | Now one of the things that comes
loaded with SmartSound Express Track is
| | 02:03 | Sonicfire Pro 5, and you can see it in the
background here. You don't really need
| | 02:07 | Sonicfire Pro 5 to run SmartSound Express Track.
| | 02:11 | It's there to further enhance it.
| | 02:13 | You can buy it for $99.95. There is a
30-day free trial, but it's not a necessary
| | 02:18 | component of what we're going to do
today in SmartSound Express Tracks.
| | 02:22 | Now on the SmartSound Express Track
panel you'll notice that we have those 12
| | 02:27 | clips there listed at the top, those 12
audio clips and music clips that we saw
| | 02:32 | when we clicked on the Music button on
the action bar, and then you'll see there
| | 02:36 | are additional clips listed below that.
| | 02:39 | The ones that don't have that little
blue indicator on the left are not yet on
| | 02:44 | your computer, so if you don't want to
see those, just grab to the top-left to
| | 02:47 | the panel and uncheck SmartSound Store.
| | 02:50 | Now you're only looking at the music
that is already owned by you and is
| | 02:54 | already on your computer.
| | 02:55 | Now these 10 clips that you see are
not actually clips so much as they are
| | 03:00 | themes and they have variations in
them. So for instance, if I select future
| | 03:04 | progress I can play it as is, just a
clicking on these little Play button in the
| | 03:10 | lower-right of the panel.
(music playing)
| | 03:15 | But there are a number of variations on
that theme, and I can get to those by just
| | 03:19 | clicking on this dropdown
menu listed next to Variations.
| | 03:22 | And you could see I have a number of
variations to that particular theme.
| | 03:26 | Let's try another one.
| | 03:27 | (music playing)
| | 03:32 | See, it's in the same
category but a little bit different.
| | 03:35 | I'll try one down here, Antimatter.
| | 03:37 | (music playing)
| | 03:42 | So it's still got the kind of
synthesizer sound, but it's a completely
| | 03:46 | different variation of it.
| | 03:47 | And so you could build your entire movie
around variations of one particular theme.
| | 03:51 | (music playing)
| | 03:54 | And some of these are slow and jazzy and
some of these are more upbeat. Some are
| | 03:59 | more production values for an
adventure movie, and some are more kind of
| | 04:03 | suspenseful. Some are very quiet.
| | 04:05 | In this particular case for
this theme, I want to use Run Down.
| | 04:09 | Here's how Run Down sounds
at its default variation.
| | 04:11 | (music playing)
| | 04:16 | So it's good adventure theme music, right?
| | 04:18 | And we can choose a number of variations.
| | 04:22 | We can choose Crevice, like he's
dangling on the edge of a crevice here.
| | 04:25 | (music playing)
| | 04:29 | We can choose Situation.
We've got a suspenseful situation.
| | 04:32 | (music playing)
| | 04:38 | So these are pretty cool.
These are Hollywood-style music themes.
| | 04:42 | In this particular case I would like to
choose, we've got just our truck arriving.
| | 04:46 | Let's choose In between. Let's hear that.
(music playing)
| | 04:54 | That should make the scene
just a little more suspenseful.
| | 04:58 | Now, we can also change the mood of it, so
you can change variations on your variation.
| | 05:03 | So the mood can, for instance, you can
make the drums and the base dominate, so
| | 05:06 | it sounds like this.
| | 05:07 | (music playing)
| | 05:12 | Or if we want, we could make it very sparse.
| | 05:15 | (music playing)
| | 05:19 | Or we could make it very brassy.
| | 05:20 | (music playing)
| | 05:24 | And if you really want to customize it,
there is a Mix button here so you can
| | 05:28 | actually choose how the various
instruments are mixed together, so putting
| | 05:31 | emphasis on Strings for instance, on
Brass or on you Trumpets, on your Percussion,
| | 05:37 | and create your own mix.
| | 05:38 | But I would like to use it with the Leads.
| | 05:43 | (music playing)
| | 05:48 | That's good and suspenseful
music for my truck arriving, right?
| | 05:51 | It's arriving from a farm, so we've got
to make it as interesting as possible.
| | 05:55 | Once we've done that then
comes the really cool part.
| | 05:57 | Remember my clip on my
timeline was 13 seconds long.
| | 06:01 | I can create this music clip at exactly
13 seconds. And this time clock here, this
| | 06:07 | represents hours, minutes, seconds,
and the last part represents frames.
| | 06:12 | So if all we want to change if we want
to change our duration in seconds is to
| | 06:17 | change these two numbers right here.
I am going to change them to 12.
| | 06:21 | Then I just select Send and
it's off. It's there on my movie.
| | 06:26 | Let's give it a test drive here and
see our scene looks now with that much more
| | 06:29 | suspenseful music, pressing Play.
| | 06:31 | (music playing)
| | 06:45 | Do you see how nicely that synced up
with the scene? And that's because we could
| | 06:48 | designate an exact time, and you can
designate as little as a second or two or as
| | 06:53 | long as 20 minutes if you'd like, or
even an hour I suppose. But every single
| | 06:59 | clip that it creates has a natural
beginning, middle, and end, so it ended exactly
| | 07:05 | where you wanted it to.
| | 07:06 | And one of the best things about the
music clips created by SmartSound Express
| | 07:10 | Tracks is that these clips are royalty-
free. That means you have full rights to
| | 07:14 | use this music in any video production,
even professional works for hire; they're
| | 07:18 | yours to use as you'd like in your movies.
| | 07:21 | Now the program comes with about 10
free music bundles here, but there are
| | 07:26 | hundreds more available on the
SmartSound site. Many are offered at a
| | 07:29 | discount. They have sales on a regular
basis, but you can purchase them right
| | 07:33 | here in SmartSound.
| | 07:34 | I will just re-launch the program again
by clicking on Music panel Use SmartSound.
| | 07:39 | And when we click on the option to look
at the store, you can again choose any
| | 07:44 | style, Disco for instance, and you can
see the options that are available for
| | 07:49 | disco, and you can buy the tracks
individually or they have packed sets available
| | 07:53 | on the SmartSound website.
| | 07:55 | But you can do an awful lot just
with the free titles they have included
| | 07:58 | with the program here.
| | 07:59 | It's a great little extra feature
Adobe has included with this program.
| | 08:02 | I really like it a lot.
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|
|
6. TransitionsCreating fade-ins and fade-outs| 00:00 | Transitions are a way to get
from one scene to another.
| | 00:03 | They often serve as a cue to your
audience, like a paragraph break that you're
| | 00:07 | beginning a new thought.
| | 00:09 | One of most basic transitions is
a simple fade: fade in, fade out.
| | 00:13 | And in this session we'll look at
how fade-ins and fade-outs are created in
| | 00:16 | Premiere Elements, and how you can then
customize them to your specific needs.
| | 00:20 | A number of transitions are available
by clicking on the Transitions button on
| | 00:24 | the Action bar. In this particular
case we're going to work with a simple one
| | 00:28 | that's created right on the timeline.
| | 00:29 | We have two scenes here--the
outside of a restaurant and the inside of
| | 00:34 | restaurant--and right now there's just a
simple cut between them. I'm clicking on
| | 00:38 | the spacebar to play the scene.
| | 00:39 | (video playing)
| | 00:44 | We just cut from one to the other.
| | 00:46 | Now we're going to fade out of the
outdoor and then fade in on the indoor.
| | 00:52 | Creating a fade is very, very
simple in Premiere Elements.
| | 00:54 | And the easiest way to do it is to
click to select the clip on your Timeline,
| | 00:58 | then right-click and select a fade option.
| | 01:02 | Now they are a little bit
different in Quick view and Expert view.
| | 01:06 | I'm here in Expert view now and
you see I have a number of options.
| | 01:09 | I can fade in the video, fade in the
audio, fade them both together, or fade
| | 01:14 | them out both together.
| | 01:16 | In a moment, we'll go out to Quick
view and we'll show you how there just a
| | 01:19 | little bit different there.
| | 01:21 | In this particular case, I just want to
fade the audio and video out on my first clip,
| | 01:26 | so I select that from my right-click menu.
| | 01:29 | And you notice that we have this
keyframe point created and then a downward
| | 01:35 | trend here on this yellow bar, and on audio we
also have a keyframe point and a downward trend.
| | 01:41 | We'll select our second clip, right-
click, and in this time we're going to
| | 01:45 | apply Fade In Audio and Video.
| | 01:47 | And you see we have the opposite effect.
| | 01:49 | Let me tell you what's going on here.
| | 01:51 | If you look really closely at the
clips at the top, you see that this
| | 01:55 | particular property on the video section of my
clip Opacity is represented by this yellow line.
| | 02:02 | You can set that to another and
do some other keyframing here.
| | 02:06 | But by default it says Opacity.
| | 02:09 | Opacity is the opposite of transparency,
so when you have 100% Opacity, you have
| | 02:14 | 0% transparency, right?
| | 02:15 | So when this line is all the way
to the top here it's 100% opaque.
| | 02:20 | As the line goes down, we go down here
to a second keyframe that represents 0%
| | 02:26 | Opacity, or 100% Transparency.
| | 02:30 | So what we're looking at as we
move down the timeline from that first
| | 02:34 | keyframe to second keyframe, is we're
watching the opacity, or the transparency,
| | 02:39 | go from 100% to 0%. I'll show you.
| | 02:41 | (video playing)
| | 02:44 | Now, the reason it's fading to black is
because there's nothing underneath it.
| | 02:48 | We are on the bottom track of our video.
| | 02:50 | If we had another video track below
it, we could use opacity to actually
| | 02:54 | transition into that through a dissolve.
| | 02:56 | But when there's nothing below it, when
you're on your first track, adding opacity
| | 03:01 | keyframe as we've done here will
take you from full Opacity to black.
| | 03:05 | Now the same thing has happened in
our audio. You see that the property
| | 03:09 | that's selected is Volume.
| | 03:10 | So we're going from medium-level
volume keyframe point down to zero volume.
| | 03:17 | And on the clip next to it we're
seeing the exact opposite happen.
| | 03:21 | We're going from 0 up to
100%, 0 up to full audio.
| | 03:26 | And you can see it as I'm playing the clips.
| | 03:31 | Pressing the spacebar to play.
| | 03:32 | (video playing)
| | 03:37 | Knowing that, you can change how
quickly or how slowly your fades happen.
| | 03:44 | In other words, if I would like to
stretch this fade out--by default it's about a
| | 03:47 | second long--I can move
this keyframe down the line.
| | 03:52 | Now my fade is going to be a lot longer.
| | 03:55 | It's going to take about two seconds now.
| | 03:57 | We will reset the playhead and play it again.
| | 03:59 | (video playing)
| | 04:06 | Fades are a very, very simple transition.
| | 04:08 | I'm going to remove these keyframes,
and you can do that by the way just by
| | 04:11 | selecting the keyframe, by clicking on it,
and clicking the Delete key on your keyboard.
| | 04:16 | So I'm just going to remove these.
| | 04:22 | So now those keyframes are removed. I would
like to jump over to Quick view Timeline.
| | 04:28 | In Quick view the audio that accompanies
your video isn't visible on the timeline.
| | 04:32 | It's there; you just can't see it.
| | 04:34 | But creating your fade-in and fade-out
is essentially the same process. We're
| | 04:38 | going to select the second clip and if
I right-click on it and I select Fade, you
| | 04:43 | see I have a different option:
| | 04:44 | Either Fade in, which is going to fade
in both the audio and video together;
| | 04:49 | Fade Out, which is going to fade
out the audio and video together; or I
| | 04:52 | can apply both a fade-in at the beginning
and fade-out at the end with a single click.
| | 04:57 | Voila! Let's take a look at the clip.
| | 05:00 | I am going to reset the
playhead and then press play
| | 05:03 | by just pressing the spacebar. There is
our fade-in and at the end, our fade-out.
| | 05:12 | If we go back over to Expert view, you can
see that those same keyframes were added.
| | 05:17 | They were just added to, at once, audio and
video commend at the same time when you
| | 05:21 | do it in a Quick view.
| | 05:23 | It's like lights dimming between scenes
in a play: they provide a chance for your
| | 05:26 | audience to pause and consider what
they've just seen and to anticipate the new
| | 05:30 | scenes that's opening up over them.
| | 05:32 | They can be some of the most
effective transitions in your movie.
| | Collapse this transcript |
| Adding and customizing a transition| 00:00 | Transitions communicate to your audience
that a scene or sequence is over and that a
| | 00:04 | new scene has begun.
| | 00:06 | Applying a transition in Premiere
Elements is very simple, and the program
| | 00:09 | includes dozens of them. But what's
most amazing is how customizable each
| | 00:13 | transition is, giving you countless
unique ways to customize how you move from
| | 00:18 | one scene to another.
| | 00:19 | We have two simple scenes on our
timeline here. One is the outside of a
| | 00:23 | restaurant, and next to it we
have the inside of a restaurant.
| | 00:27 | Right now there's just a cut between them.
| | 00:29 | We would like to add a transition, make a
much smoother change from one scene to the next.
| | 00:35 | Our transitions are launched from
the Transition panel, and that's open by
| | 00:39 | clicking on the Transition button on
the Action bar that runs along with the
| | 00:42 | bottom of the program.
| | 00:43 | But before we look at these, I do
want to show you this one quick thing.
| | 00:46 | When we're over in Quick View,
although the process of adding a transition
| | 00:50 | is almost identical, when we click on the
Transition button, we see about 16 transitions.
| | 00:57 | That's all you get in Quick
view. Over in Expert view,
| | 01:00 | when I click on the Transitions panel,
if I click on the category at the top, you
| | 01:04 | see I actually have 16 categories of
transitions, for well over 70 transitions, and
| | 01:09 | these are all customizable too.
| | 01:11 | You can go from category to category
by either clicking on the Categories
| | 01:15 | button at the top of the panel or
by just browsing. Or you can jump to a
| | 01:19 | category by simply clicking on the
Quick view and typing in the name of that
| | 01:23 | particular transition.
| | 01:25 | Let's choose one. From the Wipe category,
| | 01:28 | we're going to choose Barn Doors.
| | 01:30 | To apply transition, whether you're in
Quick view or Expert view, you simply drag
| | 01:34 | it to the point between two clips.
| | 01:36 | And when I let go I get the
Transition Adjustments panel.
| | 01:39 | Now, these are pretty simple adjustments
here. I can choose whether it hovers more
| | 01:43 | over the left clip or the right clip,
and setting the duration. And by the way, if
| | 01:47 | you want to go fractions of a second,
you can, by just typing it in manually.
| | 01:52 | Generally one second is a pretty
good default length for your transition.
| | 01:56 | If you click the More button, down to
the bottom of the panel you'll see some
| | 02:00 | additional ways you can customize
your transition. Scroll down and you see
| | 02:06 | that in this particular case I can choose a
border, a border color, and a border width.
| | 02:11 | Now, the border is the transition between
the incoming clip and the outgoing clip,
| | 02:16 | and you can see from where I have the
playhead positioned that I can see part of
| | 02:20 | the new clip coming in and
there's the old clip on the outside.
| | 02:23 | Our barn doors are opening from the center out.
| | 02:26 | I could add a border to that, simply by
dragging my mouse over those numbers so
| | 02:33 | that it's creates a border.
| | 02:34 | I don't want a border in this case; you
could choose the color if you do want a
| | 02:38 | border. There is also an option--and this
is almost on every transition--an option
| | 02:42 | to reverse the movement.
| | 02:43 | In this particular case, we have the
barn doors opening from the center out.
| | 02:46 | When I click Reverse, now the motion
goes the other direction, and instead of
| | 02:51 | opening from the center out, it's
actually going to close from the sides in. And I
| | 02:55 | am going to drag the playhead across
that so you can see that happening.
| | 03:01 | Now, replacing a transition is very
simple. If you've already got one on your
| | 03:05 | timeline, you just drag a new one
over it. Let's go to the Transitions panel.
| | 03:08 | I'll show you one more
transition and how to customize it.
| | 03:11 | We'll go to the Slide category
and we'll select the Band Slide.
| | 03:18 | Drag it onto the clips. And when I let
go, you see what we have is banding, about
| | 03:23 | seven bands going through there.
| | 03:26 | And if I scrub through it, you can
see what happens. Those bands move in to
| | 03:30 | transition from one clip to the other.
| | 03:35 | If I click on the More button, I can
see some of the customization features.
| | 03:39 | Scroll down and you can see not only can
we add a border here, but there is also
| | 03:43 | a Custom button. And when I click on
Custom, I can choose how many bands there are
| | 03:48 | in the transition. It says 7. I can
make it 32 if I want. And when I click OK
| | 03:53 | I get a very different transition.
I'm going to just scrub through it.
| | 03:59 | Pretty cool and most of these
transitions have some pretty high-level
| | 04:03 | adjustments you can make.
| | 04:04 | Now, before I finish speaking about
transitions, there is one very important
| | 04:08 | concept I think you need to understand,
and that is, notice on the timeline where
| | 04:13 | the transition is placed, that the
transition now needs about half a second more
| | 04:19 | of the first clip beyond it's end
point to create the transition. I'll move the
| | 04:23 | playhead and you can see. See, even though it's
being transitioned out, transition one is still visible onscreen.
| | 04:30 | So you need a little extra there for it
to create that transition. Likewise, the
| | 04:34 | same thing is true of our second clip.
We need about half a second before it to
| | 04:39 | create that transition between them.
| | 04:41 | I'm going to try just another transition
so you can see this more obviously.
| | 04:44 | We'll go to Center Merge, and you can
see that we need transitional material for
| | 04:53 | that point when both clips are onscreen.
| | 04:55 | If I remove the transition, you'll see
there is no indicator in the upper-right
| | 05:00 | corner of my first clip, or in the upper-
left corner of my second clip. That means
| | 05:04 | that these clips have been trimmed, and
I can untrim them just by hovering over
| | 05:08 | the end of the clip, dragging that one
out, hovering over the end of this clip,
| | 05:12 | and dragging it out.
| | 05:14 | And now you see we have indicators in
the corners that says this is the absolute
| | 05:18 | dead-end to the clip--nothing beyond that.
| | 05:20 | We don't have any material
beyond the end of our trim.
| | 05:23 | When I apply a transition now--say the
Push transition--see the man walking by there.
| | 05:32 | Notice what happens to the first
clip as we go past the end point.
| | 05:37 | Well, it's not terribly obvious,
but that first clip freezes.
| | 05:41 | Likewise, the second clip, we have a dead
end here, nothing beyond the end point or
| | 05:47 | the in point on the first clip.
| | 05:50 | So, when I transition into it, that first
clip is freezing too and there is not a
| | 05:58 | lot of motion in the second
clip, so it's not real obvious.
| | 05:59 | If you have a lot of movement in your
videos, your video frames will suddenly
| | 06:03 | freeze during the transition.
That's probably not what you want.
| | 06:07 | So if you want a good-looking
transition, what you need to do is add what are
| | 06:10 | called handles, and that means a
little extra head and tail material on each
| | 06:15 | clip so there is room to create
the transition from the extra video.
| | 06:19 | Let me show you how to do that.
| | 06:20 | Very simple. I'm just going to click on
the transition, press Delete to remove
| | 06:23 | it, and all I need to do is trim back
about half a second of this clip and about
| | 06:29 | half a second of that clip.
| | 06:31 | Now, when I add my transition, the
program is now using those extra couple
| | 06:39 | seconds of footage beyond the in point
and beyond the out point of the clips to
| | 06:43 | create the transition.
| | 06:44 | Very, very important to understand: you do
need handles in order to create a transition.
| | 06:48 | And as I play through the transition,
you'll see how important those handles are
| | 06:53 | in creating a smooth natural
transition between the two scenes.
| | 06:58 | Reposition the playhead and
press the spacebar to play.
| | 07:01 | (video playing)
| | 07:04 | Transitions can be as obvious or
subtle as you like them, but they are part of
| | 07:09 | your movie's style and tone, so use your
transitions deliberately and with a purpose.
| | 07:13 | As with any visual effect, sometimes
you can say more with a whisper than
| | 07:17 | you can with a shout.
| | Collapse this transcript |
|
|
7. Titles and TextAdding and customizing a title| 00:00 | Titles can help you tell your story.
| | 00:02 | A few words on the screen can help you
clarify a scene or identify a person, or
| | 00:07 | it can simply give credit where credit's due.
| | 00:09 | Premiere Elements includes dozens of
title templates that you can use to add
| | 00:12 | titles to your movie, each one of
which is fully editable and customizable.
| | 00:16 | There are a number of ways to
create a new title in Premiere Elements.
| | 00:19 | We can just simply go up to the Text
menu at the top of screen and select New
| | 00:22 | Text and create either a Default
Stationery text title; a Roll, in which the
| | 00:27 | title goes from the bottom of the
screen to the top of the screen; or a Crawl, in
| | 00:30 | which it goes either left or right
or right to left across your screen.
| | 00:33 | Rather than choosing a generic title
though, let's take a look at the templates.
| | 00:36 | The templates panel for titles and
text is launched by clicking the button on
| | 00:41 | the Action Bar at the bottom
of the screen, Titles & Text.
| | 00:44 | There are a variety of themes here
in Premiere Elements for your title.
| | 00:48 | You can see them as we scroll down.
| | 00:50 | Some of these are fun, some are a little
more serious, some contain graphics, some
| | 00:54 | are just very basic fonts and they
come in a variety of categories too.
| | 00:58 | You can browse those categories simply
by clicking on the Category button at
| | 01:01 | the top of the panel.
| | 01:02 | Some of these include animation, like
for instance a Roll, and if you want to see
| | 01:06 | the animation, you simply hover your
mouse until you see the play button and
| | 01:09 | click on it and you can watch
the animation, in this case a Roll.
| | 01:14 | Some include lower thirds, and a lower
third is just a title that sits at the
| | 01:18 | bottom of your screen and identifies either
the person or the situation in your video.
| | 01:22 | In this particular case, just for
demonstration purposes, I'm going to just use our
| | 01:25 | default text in the Default category.
| | 01:28 | And to use it I simply drag the
template onto my title's track on my timeline.
| | 01:34 | It works essentially the same in Quick view
as an Expert view; you just drag it to a
| | 01:37 | video track in Expert view.
We'll take a look at Expert view in a moment.
| | 01:41 | But you notice that when I add the
title to my timeline, I open up in a title
| | 01:46 | adjustments area here.
| | 01:47 | To customize my text, simply drag
across it and type in the new title.
| | 01:53 | In this particular case, my title kind
of extends beyond the edge of the frame.
| | 01:57 | I can just resize it by dragging
across the Font Size option here in the
| | 02:02 | Adjustments panel. Down it goes.
| | 02:05 | Below the option to select a font,
you'll to see two alignment buttons.
| | 02:08 | When you click them they will align
your text both horizontally and vertically.
| | 02:14 | When you're in Typing mode or Text mode, you
can simply select and then retype your text.
| | 02:21 | When you're in Selection mode, you can
move the titles around or you can use it
| | 02:26 | to move around the graphic
elements in your title. Let's realign it.
| | 02:31 | I can change the font by selecting a
Font option here, or I can go over to
| | 02:34 | Styles and I can browse for a particular look.
| | 02:39 | Some of these include drop shadows, some
include outlines, they include colors and fonts.
| | 02:43 | We'll choose that one, chaparralPro.
| | 02:47 | Once again, it's too big for the screen.
| | 02:49 | And I'm just going to drag over the
size to resize it and then align it again.
| | 02:54 | Notice on the Monitor panel you
have two concentric rectangles.
| | 02:58 | Those are your safe areas.
| | 03:01 | The outward rectangle is
called your action-safe area.
| | 03:03 | You want to make sure that nothing
that's relevant to your movie appears
| | 03:07 | outside that rectangle.
| | 03:08 | The reason why is all televisions have
something called overscan, which means
| | 03:12 | they cut off a little bit of
your video frame around the edge.
| | 03:15 | So these safe areas will make sure that
whatever is important shows up on any TV.
| | 03:21 | In the case of your titles, your
title-safe area is the inner rectangle.
| | 03:25 | So make sure that any text you add to
your video stays within that inner rectangle.
| | 03:29 | In addition to changing the font and
adding styles, we can add shapes to our title.
| | 03:35 | And you can draw basic shapes, and
you can color them just as you could in
| | 03:40 | any graphics program. Draw, for instance,
a square and I can color it any color want.
| | 03:46 | I don't want to have graphics in this
particular one, so I'm selecting it and deleting it.
| | 03:51 | But you can do the same with your text.
| | 03:53 | If you'd like to color your text,
you can use either the Text tool or the Selection tool.
| | 03:57 | Simply select the text box, go over here to
color, and you can color it any color you want.
| | 04:06 | Once you're satisfied with the results,
just click on your timeline. You'll come
| | 04:09 | out of the title adjustments area
and back into editing your video.
| | 04:12 | Now, when you've added the title in
Quick mode, you see that it appears here on
| | 04:17 | the title track, right above the video.
| | 04:19 | You can also put directly on
the video track if you'd like.
| | 04:22 | When we switch over to Expert mode, that
title that we applied in Quick mode, it
| | 04:28 | shows up on Video 3.
| | 04:30 | And you can put your title on any
video track you want in Expert mode.
| | 04:34 | But if you're one of those people who
likes to work between Expert mode and
| | 04:37 | Quick mode, jumping back and forth, make
sure that your titles stay on Video 3 and
| | 04:42 | then they'll also be visible in Quick mode.
| | 04:44 | In Premiere Elements you can create a
title in any font, any color you want.
| | 04:48 | You can make rolling and crawling titles.
| | 04:50 | You can even add and remove graphics.
| | 04:52 | The title adjustment area is a very
versatile workspace, and it's got lots
| | 04:56 | of great options.
| | Collapse this transcript |
| Adding a text animation| 00:00 | The style, shape, and movement of your
opening titles can do a lot of set your
| | 00:04 | audience's expectations
for the rest of your movie.
| | 00:07 | In this session we're going to look at
some of the very cool text animations
| | 00:09 | Adobe has included with Premiere Elements,
| | 00:12 | and we'll look at how to use them to create
some pretty dazzling animated title effects.
| | 00:16 | We have a title on our timeline now.
| | 00:18 | You can see it on the titles track,
on the timeline here and Quick View.
| | 00:22 | If I go to Expert View, it's
going to be up on Video track 3.
| | 00:27 | And to launch the title adjustments
area, I can do one of two things: either
| | 00:31 | select the title on the timeline and
click on the Adjustments button or simply
| | 00:35 | double-click on the title.
| | 00:37 | We're in the title adjustments area and
under the third tab here are animations.
| | 00:44 | These animations come in a variety of
categories, which you can look at simply
| | 00:47 | by clicking on the Category
button at the top of the panel.
| | 00:50 | And if you want to preview what the
animation looks like, just hover your mouse
| | 00:55 | over the animation until you see a
play button. Click on the play button and
| | 00:59 | you can watch the animation.
| | 01:02 | You notice that there are
two kinds of animations.
| | 01:04 | There are animations for introducing
your titles and then there are sort of outro
| | 01:08 | animations for getting your title offscreen.
| | 01:10 | You can't apply more than one
animation at a time, unfortunately.
| | 01:14 | Let's take a look at one of the categories here.
| | 01:16 | I kind of like the Slide category,
and I like SlideinByCharacter, which is this one right here.
| | 01:24 | There are three categories of
animations here: one that moves your text in all
| | 01:29 | at once, one that move it in a word at
a time, and then a third category that
| | 01:34 | moves your text in one character at a
time or out one character at a time.
| | 01:39 | In this case, I'm going to slide in my
text one character, or one letter, at a time.
| | 01:45 | To play animation, all I've got to do is
simply click on the text box there or
| | 01:50 | have just my mouse cursor in the text box,
and then I select my animation and click Apply.
| | 01:57 | That's it; we are done.
| | 01:59 | Let's go back out and
take a look at how it plays.
| | 02:02 | Click on the timeline to close the
title adjustments area and return to regular
| | 02:05 | editing mode. We'll move the
playhead here to before the title.
| | 02:09 | And then just click on the
spacebar in order to play my movie.
| | 02:14 | Let's look at how the animation looks.
| | 02:16 | (video playing)
| | 02:20 | Didn't look too bad.
I think it's a little bit fast.
| | 02:24 | In order to slow down your animation or
to speed up your information, all you've got
| | 02:27 | to do is resize your title.
| | 02:29 | So if hover, I mouse over the end of
the title here until I get that trim
| | 02:33 | indicator, I can click on the
title and drag and make it longer.
| | 02:37 | Now my animation will happen more slowly.
| | 02:40 | Reset the playhead by
dragging it before the title.
| | 02:42 | And we'll click on the
spacebar to play the movie.
| | 02:46 | (video playing)
| | 02:54 | Much better. To apply a different text
animation or to remove your text animation completely,
| | 02:59 | you just go back to your title
adjustments area, and you can do that either by
| | 03:02 | double-clicking on the clip on your
timeline or simply selecting it on your
| | 03:05 | timeline and clicking on the Adjust
button here on the right side of the interface. We're back.
| | 03:11 | If I want to apply a different
animation, all I've got to do is select that
| | 03:14 | animation and click Apply.
| | 03:18 | Now we've applied SlideInByLine.
| | 03:21 | I go back out, I can watch it.
| | 03:24 | Click on the timeline, reset
the playhead, and press spacebar.
| | 03:27 | (video playing)
| | 03:38 | Now, removing a text animation is
also very simple to do there in the
| | 03:41 | title adjustments panel.
| | 03:42 | Let's just double-click on this clip.
| | 03:44 | We get back to the title adjustments.
| | 03:47 | I select the text block or just make sure
my cursor is in there and then click Remove.
| | 03:53 | It's gone and now we just
have a straight generic title.
| | 03:56 | Then we go back out to the timeline by
clicking on the timeline. We're back in
| | 04:00 | normal Edit mode and play through.
| | 04:02 | (video playing)
| | 04:08 | And we've again got a stationary title.
| | 04:10 | Text animations are a lot of fun, and Premiere
Elements makes creating them very, very easy.
| | 04:15 | You don't want to overdo them of course,
but some lively animated titles can be
| | 04:19 | a real attention grabber and add a
nice flourish to your movies and videos.
| | Collapse this transcript |
|
|
8. KeyframingCreating a custom motion path using keyframes| 00:00 | Keyframing is the process Premiere
Elements uses for creating animations.
| | 00:04 | Keyframing can be used to create motion
paths over a photo, as we're going to here.
| | 00:08 | It can be used to set an effect to
change over time, or it can be used with a
| | 00:11 | 3D effect to make your clip appear to
rotate in space. Or it can be used with the audio too.
| | 00:16 | In this session, we're going to look
at the basic principles of keyframing,
| | 00:21 | because once you understand the
basics, you're going to see all kinds of
| | 00:23 | applications for this amazing tool.
| | 00:25 | Now we have just a basic photo on our timeline here,
and I'm going to create a motion path over it.
| | 00:31 | Now of course, I could use the Premiere
Elements Pan & Zoom tool, which is on the Action bar.
| | 00:36 | If you click on the Tools button, you
can see--if I scroll down--Pan & Zoom. But I
| | 00:40 | wanted to do it manually so I can
demonstrate how keyframing works.
| | 00:45 | So I select the clip on the timeline
and then I go to the Applied Effects
| | 00:49 | button here on the right side of the
interface, which opens the Applied Effects panel.
| | 00:53 | Now, this would show any
effects I've added to the clip.
| | 00:56 | In this particular case, I haven't
added any effects to the clip, so I see the
| | 01:00 | two default properties that are a part of
every video or still photo: Motion and Opacity.
| | 01:05 | Opacity has to do with the
transparency of the clip.
| | 01:08 | We are going to work with Motion, which
deals with position, scale, and rotation,
| | 01:13 | the elements of creating a motion path.
| | 01:16 | To get to the keyframe control area, I
click on this little stopwatch in the
| | 01:19 | upper-right of the panel.
| | 01:20 | And you notice we have a mini-timeline
representing the duration of the clip,
| | 01:23 | in this case a still photo.
| | 01:25 | It also has a CTI playhead in it, and
when I move you'll notice that playhead on
| | 01:30 | the timeline moves in sync with it.
| | 01:32 | Let's move it to the beginning of our clip.
| | 01:35 | Now, until I turn on animation,
any changes I make to the clip, in terms of
| | 01:40 | positions, scale, and rotation, are
going to apply to the whole clip.
| | 01:43 | So if I were to change the scale here to
65%--now I did that just by clicking on
| | 01:48 | the number here and manually typing in
| | 01:52 | and then clicking off--you see that
it's 65% the entire way through the clip.
| | 01:57 | Once I turn on toggle animation, which
I can do by clicking on this little stop-
| | 02:01 | watch in the upper-right of
the panel, we get keyframes.
| | 02:04 | Keyframes are these little diamond things.
| | 02:06 | They represent the current
settings for position, scale, and rotation.
| | 02:10 | I'll move the CTI playhead down to the end
here, and I am going to raise Scale up to 100%.
| | 02:16 | I could do that either by moving the
slider or by clicking and dragging across
| | 02:20 | the numbers here, or by simply clicking on the
numbers, and I'll type 100%. So I'm zooming in.
| | 02:27 | I'm going from 65% to 100%. When I click off
| | 02:31 | now we're zoomed in on the farmer.
| | 02:33 | I could change position the same way,
either by typing it numerically or clicking
| | 02:37 | and dragging over these numbers.
| | 02:39 | But instead, I'm going to it the more
intuitive way. I just click on the monitor
| | 02:43 | and drag the clip into position.
| | 02:46 | And you see that as we've changed
these settings for scale and position, new
| | 02:50 | keyframes have automatically been
created at the position of the CTI.
| | 02:54 | And if I play this clip through--I'm
going to just drag the playhead to the
| | 02:58 | beginning of the clip and press the
spacebar to play the clip through--
| | 03:02 | you will see motion path going from the
initial position of the keyframes to the
| | 03:07 | second position of the keyframes.
| | 03:14 | That's the basic principle behind keyframing.
| | 03:17 | You create these little keyframes,
represented by diamonds, that represent the
| | 03:21 | setting for any effect or level in the program.
| | 03:25 | And when you create two or more,
the program will create the animation between them.
| | 03:30 | Now keyframes are very, very malleable.
| | 03:32 | You can create as many as
you'd like. You can move them.
| | 03:35 | I'm just going to drag from the
timeline up to them to select them.
| | 03:39 | And I can move them closer together to
make my animation happen more quickly.
| | 03:43 | I can of course click on
them and delete them also.
| | 03:48 | Keyframes are not limited to motion paths,
| | 03:50 | however; they can be applied to any affect.
| | 03:53 | In fact, if I go out here to the
Adjustments panel, you will see that I also
| | 03:58 | have a stopwatch, and when I click on
that, it opens up a keyframing area
| | 04:02 | for my adjustments.
| | 04:03 | So I could make my color
adjustments change over time.
| | 04:06 | I could make any of the adjustments in
the Adjustment panel, from lighting to
| | 04:10 | temperature to color,
change over time as setting up keyframes.
| | 04:14 | So keyframes are a very important
principle, and there are many, many
| | 04:18 | applications of them in Premiere Elements.
| | 04:20 | In fact, you'll also find that
keyframing works the same way in programs like
| | 04:24 | Premiere Pro, After Effects, Final Cut,
even Sony Vegas. With it you can create
| | 04:30 | all kinds of cool video and
even audio effects and animations.
| | Collapse this transcript |
| Keyframing video effects| 00:00 | Keyframing has many applications in
Premiere Elements, but it's especially
| | 00:04 | useful for creating custom
animations from video effects.
| | 00:08 | Here we've got a simple
generic clip of a truck arriving.
| | 00:11 | We're going to make it more interesting
by applying some special effects to it.
| | 00:15 | I'm going to start with the Crop effect,
and I can locate that by going to the
| | 00:19 | Effects button on the Action bar at
the bottom of the interface. And I could
| | 00:22 | search through it, but instead, I'm
just going to up here to quick search which
| | 00:26 | is this little magnifying glass near the
upper-right corner. Click on that and type in crop;
| | 00:28 | and that brings my effect right to the top.
Drag it onto the clip and we see the initial crop setting.
| | 00:35 | Let's look at Applied Effects
and we'll click on Crop to see the
| | 00:39 | individual settings.
| | 00:41 | Now, right now, whatever changes I make to the
Crop effect are going to be for the entire clip.
| | 00:47 | So for instance if I were to make
adjustments to the top, right, bottom, and
| | 00:53 | left cropings--and I can do that either
by dragging across the numbers, moving
| | 00:57 | the sliders, or more intuitively,
simply by grabbing the corner handles here
| | 01:01 | and dragging them in--whatever change
I make will apply to the entire clip.
| | 01:08 | We're going to animate that. So I want
to make my initial keyframe setting a
| | 01:13 | close-up cropping of the truck.
| | 01:14 | So I'm going to move the CTI back to
the beginning of the clip, and then
| | 01:20 | I'll grab my corner handles and drag
them in so I get a nice cropping that's
| | 01:23 | very close to the truck.
| | 01:26 | And we're going to create an
animation where that cropping widens out.
| | 01:30 | Very simple to do. We're in
our Applied Effects panel.
| | 01:32 | We're going to click on the
Show keyframe control area.
| | 01:37 | That's that little stopwatch in the
upper-right corner of the panel.
| | 01:39 | It opens up the keyframe control area.
Scroll down. It is a little timeline
| | 01:44 | representing the duration of the clip,
and right now we're at the beginning of it.
| | 01:49 | Once I click toggle animation--this
little stopwatch that runs just right to
| | 01:54 | the right of the word Crop
there in the Applied Effects panel.
| | 01:57 | When I click on that it creates the
initial keyframes for our animation.
| | 02:02 | Now when I move the CTI playhead and
make a change to any one of the settings,
| | 02:06 | it's going to create new
keyframes representing those new settings.
| | 02:10 | So I'm going to make my animation very
short. I'm just going to move the CTI about a
| | 02:14 | second or so to the right, and then
I'm going to change the Crop settings so
| | 02:21 | they're all back to zero, and I can
do that just with the slider here.
| | 02:25 | In other words, we've gone to a
tight cropping to no cropping at all.
| | 02:28 | When I move the CTI back to the
beginning of the clip, click on the timeline, and
| | 02:35 | then press the spacebar,
we can see how our animation looks.
| | 02:38 | (video playing)
| | 02:42 | Now you can do that with any effect.
| | 02:44 | Let's try it with one more.
| | 02:46 | Trash that effect just by clicking on
the trashcan here in Applied Effects.
| | 02:50 | We've removed the crop effect completely.
Let's go to the Effects panel again, clicking
| | 02:54 | on the button on the Action bar, and
this time we're going to try basic 3D, so
| | 02:57 | I'm going to type the words 3d in there,
| | 03:00 | get a basic 3D effect, and drag it onto the clip.
| | 03:04 | There is the default setting for Basic 3D.
| | 03:06 | I'm going to click on it and
scroll down a little so I can see it.
| | 03:10 | We'll move the CTI, the playhead,
right to the beginning of the clip.
| | 03:14 | And I'm going to set Swivel to maximum swivel.
| | 03:16 | I'll do that by dragging on the slider,
and as you see as I do that, I'm actually
| | 03:21 | rotating it several times.
| | 03:22 | Tilt I want to set to 0.
| | 03:23 | I don't want any tilt in this. So I type in 0
over the number and then click off to apply it.
| | 03:30 | Distance from the image, we can also
drag that out so that our image is very far
| | 03:36 | from the video frame.
| | 03:37 | So what's going to happen when we create our
animation is this thing is going to rotate.
| | 03:41 | It's going to spin and
come at us at the same time.
| | 03:44 | So let's turn on Toggle animation
once again by clicking on that stopwatch
| | 03:47 | across from the words Basic 3D.
| | 03:50 | Now we have our initial keyframes.
Move the playhead about a second to the
| | 03:54 | right, and then we'll create our new
keyframes, which are everything at 0.
| | 03:59 | So I'm just selecting the numbers,
typing in 0 over them, and then clicking off
| | 04:07 | so our second setting for our
keyframes has no effect at all applied to it.
| | 04:12 | I'm going to click on the Render button
here in the upper-right of the timeline
| | 04:15 | so that we can get a much
cleaner look for our video.
| | 04:18 | It's going to create a temporary video
showing us what the effect will look like
| | 04:22 | in our final output.
| | 04:23 | Let's move the CTI to the beginning of
the timeline and I'll press the spacebar.
| | 04:30 | (video playing)
| | 04:32 | Kind of cool, huh? It created an
animation between the two keyframes.
| | 04:37 | Let's try one more effect.
| | 04:39 | Click on the Effects button on the
Action bar, and we'll type "film."
| | 04:45 | Going to take the NewBlue Film
Look and drag it onto my clip.
| | 04:49 | This is kind of cool.
This makes it look like an old movie.
| | 04:52 | And I open up the effect, and you can see
we have some interesting settings here:
| | 04:56 | Damage, Color. By dragging this
you can either make it in color, in
| | 05:00 | black and white, or with a sepia tint to it.
| | 05:03 | And Jitter, which makes it look like
sprocket hole damage, is going to jump all over the place.
| | 05:07 | But what I like to do is begin my
movie with no effect applied to it and then
| | 05:12 | transition into a really beat-up movie.
| | 05:14 | Move the CTI playhead back to the
beginning of the clip, and then let's set it
| | 05:18 | for 0, click on the numbers
again, set it to 0, set it to 0.
| | 05:26 | So we have no effect applied at this time.
| | 05:28 | Everything is set to 0.
| | 05:29 | Let's click on Toggle animation, that
stopwatch in the upper-right corner across
| | 05:33 | in the words Old Film.
| | 05:35 | This is our initial setting for our keyframe.
| | 05:37 | We'll move the CTI playhead about a
second to the right, and now we'll apply our
| | 05:42 | damage, make a sepia tone, and we'll
make it really jittery. And just for fun,
| | 05:50 | instead of making it Blotchy, we'll
select a preset here for Splotchy.
| | 05:54 | And now we'll see our video transition from
a good clean video into a beat-up old video.
| | 05:59 | Drag our CTI playhead back to the
beginning of the timeline, and again
| | 06:03 | we'll click our spacebar.
(video playing)
| | 06:09 | So, understanding how keyframing works,
how you set up just two sets of keyframes--
| | 06:14 | or as many as you want actually--and
then let the program design the transition
| | 06:19 | or the animation between them,
| | 06:20 | understanding how keyframing works
| | 06:22 | you're going to be able to do all
kinds of effects in Premiere Elements.
| | 06:25 | Keyframes can be used to
create motion or animation;
| | 06:29 | they can be used to vary the
intensity of an effect like we did with the
| | 06:32 | Old Film effect here.
| | 06:34 | And of course, you can even use keyframes
to vary your audio level and audio effects.
| | 06:38 | It's a simple tool with a lot of
power and well worth getting to know.
| | Collapse this transcript |
| Mixing several tracks of audio using keyframes| 00:00 | Keyframing is a very powerful
feature in Premiere Elements.
| | 00:03 | It can be used to create a number of
special-effects in animations, but it can
| | 00:06 | also be used to mix your audio levels
and to control your volume at specific
| | 00:11 | points in your movie.
| | 00:12 | Now, we have a movie here in which we
have a video clip on Audio 1 and Video 1.
| | 00:17 | We have narration on the narration track,
and we have music on the soundtrack.
| | 00:23 | The music sounds great, but when the
narration comes in, the narration and
| | 00:26 | music are just as loud.
| | 00:29 | Now, the music is at 100%
and the narration is at 100%,
| | 00:34 | and when the narration comes in,
they're both equally loud and they kind of
| | 00:38 | compete with each other.
| | 00:39 | I'll just play the timeline by clicking
on the spacebar here and you can hear it.
| | 00:43 | (video playing)
| | 00:48 | Okay, what we want to do is when the
narration comes in, we want to fade back
| | 00:53 | the music, make the music softer.
| | 00:56 | And then when the narration is
over, music comes back up again.
| | 00:58 | There are actually three
ways to do that in the program.
| | 01:01 | One is a manual way, which is
actually the way I prefer to do it.
| | 01:04 | There's also semi-automatic
way and a fully automatic way.
| | 01:07 | Let's take a look at how to do each.
| | 01:10 | Now, when you have your clips on your
timeline in Expert mode--and I do prefer to
| | 01:15 | work in Expert mode when I'm mixing my audio--
| | 01:17 | we have a yellow line that
runs through all the audio clips.
| | 01:20 | This represents the audio level, and by
raising and lowering that line, you can
| | 01:24 | make your clip louder or softer.
| | 01:27 | When you're mixing audio, I highly
recommend that you open up some audio meters
| | 01:32 | and have those onscreen as you work.
| | 01:34 | Don't trust what you're hearing out your
computer speakers, because they may be
| | 01:37 | too loud or too soft;
always work with your meters.
| | 01:40 | You can open up the basic overall
meters by going under the Window menu and
| | 01:44 | selecting Audio Meters and they'll show you
the overall output of your audio for your video.
| | 01:50 | But I prefer, under the Tools
menu, selecting the Audio Mixer.
| | 01:55 | Now the Audio Mixer has a number of
purposes in the program, but what I like is
| | 01:59 | that I can see the levels of
each audio track individually.
| | 02:03 | I'm going to position this off to the side.
| | 02:05 | We're more concerned here with
Audio 1 narration and the soundtrack.
| | 02:09 | And when I play my movie
by pressing on the spacebar--
| | 02:12 | (video playing)
| | 02:17 | --you can see that the audio
levels are registered in there.
| | 02:21 | Now, our audio on our video clip,
we can just silence that completely.
| | 02:26 | We don't need that right now.
| | 02:27 | And so I'm just going to drag that
yellow line all the way to the bottom.
| | 02:30 | But when it comes to our music, we want
to be able to control at a precise point.
| | 02:34 | I'll show you how to do to that.
| | 02:36 | Move the CTI to just before the
narration comes in and when we have the CTI
| | 02:42 | positioned over a clip and we have
the clip--in this case the music clip--
| | 02:46 | selected on our timeline,
| | 02:47 | this little button here becomes
activated. That's the Add Keyframe button.
| | 02:52 | When I click on it, it creates a
little diamond on our timeline.
| | 02:56 | If I move the CTI a little bit to the
right, I can create another one; move it
| | 03:01 | to the other side of the narration,
create another one; and move it a little bit
| | 03:07 | further to the right and create another one.
| | 03:11 | We've just built a bridge here between
these keyframe points, and I can lower
| | 03:16 | the volume of the music simply by
dragging this center part between the two
| | 03:21 | center keyframes down.
| | 03:23 | And you can see you can
drag it all the way down to 0.
| | 03:26 | I recommend putting it at about 8.
| | 03:29 | Now when we play our timeline, the
music is going to fade back when the
| | 03:33 | narration comes in.
| | 03:34 | Move the CTI playhead
back and press the spacebar.
| | 03:36 | Now, that's a much better mix.
| | 03:37 | (video playing)
| | 03:48 | The music fades back naturally when the
narration comes in, but that's not the
| | 03:52 | only way to do this.
| | 03:54 | Here's another way to do it. I'm just going to click
Ctrl+Z and Command+Z to undo it. A couple of steps we'll
| | 03:59 | get rid of those keyframes completely.
Here's another way to do it.
| | 04:03 | At the top of the Audio Mixer
there's something called the Smart Mixer.
| | 04:07 | And when I open that up--this Smart
Mixer by the way can also be launched from
| | 04:12 | the Tools button on the Action bar,
selecting Smart Mix. There it is.
| | 04:18 | When it's opened up, we can set how
these audio levels perform automatically.
| | 04:24 | Now Audio 1 is the audio with the video.
| | 04:26 | We want to disable that completely.
| | 04:28 | We don't want to hear that at all.
| | 04:30 | Our narration we'd like to make in the
foreground, and our soundtrack in the background.
| | 04:35 | Now, watch what the program does, completely
automatically, when I click Apply. That's it!
| | 04:42 | Look at our timeline.
| | 04:43 | It has automatically set keyframes,
lowering the volume on our music whenever
| | 04:48 | there narration comes in.
| | 04:49 | Let' play it quickly.
| | 04:51 | Move the playhead back and press the spacebar.
| | 04:54 | (video playing)
| | 05:03 | That's very nice! Fully automatic.
| | 05:06 | Now there is another semi-
automatic tool you can use.
| | 05:08 | I'm just going to just Ctrl+Z or
Command+Z to remove those keyframes again.
| | 05:12 | Let's try one more tool, move the
CTI playhead to before the narration.
| | 05:17 | We'll go back to the audio meters, and
I can open those either from the Tools
| | 05:22 | dropdown menu at the top of the screen
or by clicking on the Tools button in
| | 05:26 | the Expert workspace.
| | 05:27 | It's not available in the
Quick view workspace, by the way.
| | 05:31 | And scrolling up to the top and
selecting Audio Mixer, there they are.
| | 05:36 | Now, the audio mixers have these
little sliders on them, and I can move those
| | 05:40 | while the video is playing and
on-the-fly make adjustments to the levels.
| | 05:45 | So I'm going to ride the gain for
soundtrack as the video was playing.
| | 05:50 | So we'll move the playhead back just a
little more, get a running start, and I'm
| | 05:56 | going to press the spacebar and as
the video is playing, once the narration
| | 05:59 | comes in, I'm going to
lower the volume on soundtrack.
| | 06:02 | (video playing)
| | 06:14 | And you see what it does.
| | 06:15 | The program automatically creates
keyframes here on the timeline as I raised and
| | 06:21 | lowered that slider.
| | 06:23 | My challenge with this is look how many
keyframes it created, probably about 20 of them.
| | 06:29 | And I didn't make a lot of adjustments on that.
| | 06:31 | I just move the slider down at the
beginning and moved it back up after
| | 06:35 | the narration was over.
| | 06:36 | If I want to make adjustments to this
and fine-tune this, I'm messing with a
| | 06:40 | whole bunch of keyframes. It's not my favorite way
to work, but it's another way to work.
| | 06:44 | I actually like the Smart Mixer a lot
more, and there is a manual way to do it too.
| | 06:49 | In any event, whether you are using
Smart Mixing or whether you are using the
| | 06:52 | Audio Mixer or whether you're manually
putting keyframes on the timeline, you're
| | 06:56 | working with keyframes. And keyframing
has many applications in Premiere Elements,
| | 07:00 | not only for creating animations and
visual effects, but also for precisely
| | 07:04 | controlling your volume levels of your
various audio clips as you mix your movie's audio.
| | 07:08 | In fact, when it comes to mixing
audio, there's really no easier and more
| | 07:13 | effective way to do it than with keyframes.
| | Collapse this transcript |
|
|
9. DVD and Blu-ray ProductionAdding menu markers| 00:00 | Two of the most popular ways to share
your movies are by creating a Blu-ray or
| | 00:04 | creating a DVD to distribute it as a disc.
| | 00:07 | In this session we're going to look at
how to create your movie menu markers for
| | 00:11 | your movie's timeline.
| | 00:13 | We'll look at three different kinds of
menu markers, and we'll look at how they
| | 00:16 | interact with your movie menus.
| | 00:19 | To create or to add a menu marker to your
timeline you just drag your CTI into position.
| | 00:24 | I'm going to drag this toward the beginning of
my timeline. Then I can add them either
| | 00:30 | by clicking on the Markers button here
and selecting from Menu Marker > Set Menu
| | 00:35 | Marker or I can simply just right-
click on the CTI and Set Menu Marker.
| | 00:40 | The effect is exactly the same.
| | 00:42 | We open up on a Menu Marker
options screen. You can name it.
| | 00:45 | Now, the name you give to this menu
marker is what's going to appear on your
| | 00:50 | scene menu or your main menu on your
menu screens for your DVD or Blu-ray.
| | 00:54 | So I'm going to call this one Arrivals.
| | 00:59 | I have the option when I create a menu
marker of setting it as a scene marker, a
| | 01:04 | main menu marker, or a stop marker.
| | 01:06 | A scene marker will link to
the scene menu on your menus;
| | 01:11 | the main menu marker will link to the
main menu. So you always get two levels of
| | 01:16 | menus in Premiere Elements: a main
menu and then an individual scene menu.
| | 01:20 | And a stop marker will set the program
to stop its playback and return the
| | 01:25 | viewer right to the main menu. Now, that
has a special use and I will show you in
| | 01:30 | an upcoming session what that use is,
but for now let's just set a scene marker.
| | 01:34 | You notice you have a thumbnail offset.
| | 01:36 | This is what's going to show as
your thumbnail on your scene menu.
| | 01:40 | If you don't like it, you can change
it just by clicking on this little
| | 01:44 | timecode and then dragging to scrub
through till you find a spot that looks a
| | 01:49 | little more photogenic.
| | 01:50 | If you'd like, you also have the
option of setting it as a motion menu, which
| | 01:54 | means it will show a continuous
30-second loop beginning at this particular
| | 01:59 | space on the timecode.
| | 02:00 | You notice that when I change the
timecode and change the thumbnail offset
| | 02:04 | it did not change the position of the marker
itself on my timeline, only the thumbnail itself.
| | 02:10 | Click OK. We'll move the CTI further down the timeline.
| | 02:16 | We'll create another one just by right-
clicking on the CTI and selecting Set Menu Marker.
| | 02:21 | Let's call this one Set-up.
| | 02:22 | And we'll move a little farther down
the timeline, and we'll create a new one.
| | 02:31 | Right-click, Set Menu Marker,
and call this one Market Opens.
| | 02:39 | And then, just to show you how the
markers function, I'm going to move down to
| | 02:43 | the last clip, and we'll
create a main menu marker.
| | 02:48 | Right-click, Set Menu Marker.
We'll call this one Farmers.
| | 02:53 | And instead of setting it as a scene marker,
we'll set it as a main menu marker. Click OK.
| | 02:58 | You'll notice that my
scene menu markers are green.
| | 03:02 | The main menu marker is blue. When we
create a stop menu marker it will be red.
| | 03:06 | And let's take a look at how
these apply now to our Movie menu.
| | 03:11 | Click on the Tools button on the Action
bar along the bottom of the interface,
| | 03:15 | and select Movie menu.
| | 03:17 | I've already applied a movie menu
template. And you can see on the main menu we
| | 03:23 | have our link to Farmers.
| | 03:26 | We also have a link to Scenes.
| | 03:28 | The scene is what's going to take us to
our scene menu, and then Play Movie of
| | 03:32 | course just launches the movie.
| | 03:34 | Down at the bottom, underneath our
Movie Menu layout panel, you'll see we have
| | 03:38 | little thumbnails
representing each of our menus.
| | 03:40 | When I double-click on the Scene menu 1,
it comes up in my Movie menu layout
| | 03:46 | screen. And you can see our three
scenes. I have four markers on the timeline.
| | 03:52 | The template itself only had a
room for three scenes on each page
| | 03:56 | so it created an additional page, and it
will create as many pages as necessary
| | 04:00 | to accommodate all of the scene or main
menu markers you add to your timeline.
| | 04:05 | I can test drive this template, by
the way, by clicking on Preview Disc over
| | 04:10 | here in the upper-right. It's going to be a
low-quality playback. Don't let that worry you.
| | 04:15 | When it's rendered out and printed out,
it will look terrific, but if you just
| | 04:19 | want to test drive it and see how the
markers work, you click on Preview Disc.
| | 04:24 | There you can see our main menu.
I have also a little clip installed here on
| | 04:29 | the main menu template.
| | 04:31 | If I click on Farmers, it's going
to take me right to the Farmers.
| | 04:34 | (video playing)
| | 04:40 | If I click on Scenes it will take me
to my Scene menu. And whenever I click on
| | 04:44 | any of these scenes, it will take me
right to the space on the timeline where we
| | 04:48 | laid in our menu marker.
| | 04:49 | (video playing)
| | 04:54 | Click Exit to get out of Preview mode.
| | 04:56 | One of the benefits of having a
program which combines video editing and DVD
| | 05:00 | authoring, or disc authoring, is just
how nicely these two processes are
| | 05:04 | integrated in the program.
| | 05:06 | In Premiere Elements here we can go
directly from video editing to DVD or
| | 05:10 | Blu-ray menu creation
without even leaving a program.
| | 05:13 | We use the same timeline for both,
and then we can seamlessly go from one
| | 05:18 | process to another and stay within the program.
| | Collapse this transcript |
| Applying a menu template| 00:00 | Your movie menus are the first thing
your viewers see when they put your DVD or
| | 00:04 | Blu-ray disc into their disc players.
| | 00:06 | And your menu's look and style will help
set your viewers expectations for your movie.
| | 00:10 | In this session, we'll apply one of the
Premiere Elements movie menu templates
| | 00:14 | to our video project, and we'll also
see how our movie menu markers interface
| | 00:19 | with our menu system.
| | 00:20 | We have a timeline and as you can see,
we already have our menu markers down on the timeline.
| | 00:25 | These little green dots represent
scene menu markers. They'll connect to our
| | 00:29 | scene menu. And the blue dot
represents our main menu marker so it will
| | 00:35 | connect to our main menu.
| | 00:36 | Let's go to the Tools button on the
Action bar at the bottom of the interface.
| | 00:40 | When we click on that, we'll select Movie menu.
| | 00:43 | If you click on the categories bar at
the top of the Movie Menu panel, you'll
| | 00:47 | see that you have 14 categories of
movie menu templates, for a total of 71
| | 00:53 | templates. Some of these are kind of
funny and silly; some of them are very
| | 00:57 | serious and sentimental.
| | 00:59 | Let's go to the Memories category.
| | 01:03 | By the way, if you ever see templates or
effects in Premiere Elements and
| | 01:07 | you see a little blue flag over the
upper-right corner, that means they're not
| | 01:12 | yet on your computer.
| | 01:13 | Once you select one the very
first time, it's going to download and
| | 01:17 | automatically install on your program, and then
it'll be in there permanently from there on out.
| | 01:22 | I'm going to select the Album template.
| | 01:25 | By the way, we added our
movie menu markers manually.
| | 01:28 | You can also do it automatically,
selecting various settings down here at the
| | 01:32 | bottom of the panel.
| | 01:34 | So uncheck that, and then
we'll click on the Continue button.
| | 01:38 | There is our Movie menu template
applied, and if we look at our scene menus,
| | 01:43 | we'll see the individual scenes that
we created markers for, using the names
| | 01:47 | that we added when we created our markers.
| | 01:49 | Since we have four scene menu markers
and only three spaces on the template
| | 01:54 | itself, it created an additional page.
| | 01:56 | And then on the main
menu we have bonus features.;
| | 01:59 | that's what I named this marker down
here, the little blue marker on our timeline.
| | 02:03 | We also have something very interesting
here on our main menu page, and that is
| | 02:08 | this little icon in the
center of the black square that says Add Your Media Here.
| | 02:12 | That's called a drop zone, and we can
add custom media. That means we can add
| | 02:16 | video or a still photo into that
space and further customize our menu.
| | 02:22 | To do that we simply click to select it
and then click on the Browse button
| | 02:26 | over here in the Adjustments
panel and browse to a media clip.
| | 02:30 | Let's select this one right here
and click Open, and now that will appear
| | 02:37 | inside of our movie menu.
| | 02:38 | We can use it as a still frame by
clicking this option on our Adjustments panel
| | 02:43 | or we can let it play as a 30-second loop.
| | 02:46 | We could also add audio if we'd like.
Click the Browse button and we can select a
| | 02:50 | music clip for instance.
| | 02:52 | It will play a 30-second loop and
transition back to the beginning again.
| | 02:55 | So we're customizing our menu page.
| | 02:58 | Whatever you see text it's just
placeholder text on the template.
| | 03:02 | We can customize this too, just by
double-clicking on it. And now instead of
| | 03:08 | saying Movie Title Here, we can call
it The Farmers Market and click OK.
| | 03:13 | We can also customize it in the
Adjustments panel by changing the font or
| | 03:17 | the style or the size.
| | 03:19 | So we've got a selected text box here,
and we can change it to any font we want.
| | 03:25 | We can change the size, and we can even
change the color of it. Double-click on
| | 03:29 | that little black box and we can
change it to, say, bright yellow.
| | 03:33 | And that's true in the scene
menus as well as the main menu.
| | 03:39 | Let's go to the scene menu, just by
going down here to these little thumbnails
| | 03:43 | underneath the layout panel. Double-
click on it, and you'll be in the scene
| | 03:47 | menu. And we can change the colors of
the font, the styles of the font, on any
| | 03:51 | one of these scenes we select.
| | 03:53 | And then after we apply a certain font
and style and look to one of the scene
| | 03:58 | thumbnails, we can just click on this
button here on the Adjustments panel and it
| | 04:01 | will automatically apply
it to all the other buttons.
| | 04:05 | And when we're ready we can test drive
it. We can test drive it by clicking the
| | 04:09 | Preview Disc button at
the top of the panel here.
| | 04:11 | Preview Disc, by the way, is going to
show you a low-resolution preview.
| | 04:15 | It's not going to show you how good
your disc is going to look when it's done.
| | 04:19 | So it's going to be kind of fuzzy
and pixelated. Don't worry about that.
| | 04:22 | It's just to preview your navigation,
to preview to preview your buttons and
| | 04:26 | make sure they all work. I'm going to
click on Preview Disc. There it is.
| | 04:30 | (video playing)
| | 04:38 | And you can see that we could see
the main menu along with the music.
| | 04:41 | I'm going to click on one of the
buttons here when I open it up, and you'll
| | 04:44 | be able to see how we jump right to the
scene where the main menu marker is located.
| | 04:49 | So we'll go back to Preview Disc.
| | 04:50 | (video playing)
| | 04:59 | And you can see, when I click on the
Scenes button I go to the scene menus,
| | 05:04 | and when you click the Preview Disc button you
can test drive your menu and its navigation.
| | 05:09 | And that's really all there is to it.
| | 05:11 | Now, because disc authoring is
incorporated into Premiere Elements, adding your
| | 05:15 | scene markers and your menus is just
part of the process of editing your movie.
| | 05:19 | But as you can see, the program includes
a nice variety of templates as well as a
| | 05:23 | wide variety of ways to
customize the look of your menu pages.
| | 05:27 | For a built-in disc authoring system,
it's surprisingly versatile and easy to use.
| | Collapse this transcript |
| Adding a "special features" video to your DVD or Blu-ray| 00:00 | Premiere Elements has a single
timeline on which to build your movie for your
| | 00:03 | DVD or your Blu-ray disc.
| | 00:05 | But what if you've got more than one
movie you would to include on your disc?
| | 00:10 | What if you've got some bonus or
special features video you'd like to add as a
| | 00:14 | separate selection on your movie menu?
| | 00:18 | We've only got a single timeline. How do
you make it look like two separate movies?
| | 00:22 | That's where the Stop
menu buttons come in handy.
| | 00:25 | I'll show you how it works.
| | 00:26 | I'm going to add a second clip to my
movie, go to Project Assets. I'm going to
| | 00:31 | drag TheFarmersMarket to the end of the
timeline, right after our main feature.
| | 00:37 | So our main movie is called LifeOntheFarm,
TheFarmersMarket is our bonus features.
| | 00:42 | Now in order to make this work, there has
to be a little bit of space between the
| | 00:47 | stop marker and the next menu marker,
| | 00:49 | so I'm going to add some black video
between these two, and I can do that by
| | 00:53 | going back up to Project Assets,
clicking on the panel options button, and
| | 00:57 | selecting New Item > Black Video.
And when I do that black video is added
| | 01:01 | between the two clips and I've got a
little bit of space now between them.
| | 01:06 | When I click the play button on the main
menu, Life on the Farm is going to play.
| | 01:13 | I'd like it to stop after that
and go back to the main menu.
| | 01:17 | To do that I just right-click on the CTI
| | 01:19 | at its position at the end of the
clip and select Set Menu Marker.
| | 01:23 | But instead of naming a menu marker,
I'm going to select the stop marker
| | 01:28 | option and click OK.
| | 01:31 | Notice that it put a red stop
marker at the end of the clip.
| | 01:36 | Now, my next clip, move the CTI to the
beginning of it, right-click again, select
| | 01:41 | Set Menu Marker. And I'm going to change
this to a Main Menu Marker so that my
| | 01:46 | link to this appears on the Main menu.
| | 01:49 | We'll call this bonus feature. Click OK
and now let's take a look at how it looks.
| | 01:57 | We'll go to our Movie Menu Adjustments panel.
| | 02:00 | Click on Tools on the Action bar at the
bottom of the screen and select Movie menu.
| | 02:05 | Here's a menu I've already applied, and
you see what we have is the Play movie
| | 02:10 | button, which will launch the movie.
| | 02:12 | We also have a Scene menu link or a Main
menu link that will take us to bonus features.
| | 02:18 | Let's go to Preview Disc, clicking on
this button in the upper-right corner.
| | 02:24 | And you see when I click Play movie--
| | 02:26 | (video playing)
| | 02:31 | --it plays my movie, but once it gets to
the end of that movie, it will come back
| | 02:36 | out here to the main menu,
because it hit that stop marker.
| | 02:39 | And as far as your viewer is concerned,
that's the end of that movie. When you click
| | 02:43 | Bonus Features our link will take
us right to the Bonus Features movie.
| | 02:47 | (video playing)
| | 02:52 | So that's how you add two movies on a
single timeline and make them appear as
| | 02:57 | two separate movies.
| | 02:58 | Using stop markers along with your
main and scene menu markers, you can place
| | 03:02 | more than one movie on your timeline.
| | 03:04 | And as far as your audience is concerned,
it will appear to be several separate movies.
| | 03:08 | And that means that your movie can
only have a main feature, but it can also
| | 03:12 | include outtakes and bonus features too.
| | Collapse this transcript |
|
|
10. Sharing Your VideoBurning a DVD or a Blu-ray disc| 00:00 | DVDs and Blu-ray discs are great ways
to share your movies with your friends,
| | 00:05 | your family, and your clients.
Almost everyone has at
| | 00:07 | the very least a DVD player, and in
this session we'll look at how to output
| | 00:12 | your finished movie to a
DVD or to a Blu-ray disc.
| | 00:16 | Here we have a movie on our timeline
and we have our little menu markers
| | 00:19 | applied. We have a DVD or a Blu-ray
disc applied, a Movie menu applied, and now
| | 00:25 | we're all set for our output.
| | 00:27 | The output options in Premiere Elements
are located under Publish+Share, in the
| | 00:31 | upper-right corner of the program.
| | 00:33 | And when I want to click on that, I get a
variety of options for outputting the video.
| | 00:39 | These are all optimized for
whatever destination you choose.
| | 00:43 | In this particular case we're going to
burn a DVD or a Blu-ray disc. And on the
| | 00:49 | Option panel we have the option of
selecting a DVD, a Blu-ray, or an AVCHD.
| | 00:55 | DVDs of course are standard-resolution discs
that play into DVD player or in a Blu-ray player.
| | 01:02 | Blu-ray discs are of course high-
definition discs that play only in Blu-ray players.
| | 01:07 | AVCHD discs, they're recorded
to a DVD, but they are not DVDs.
| | 01:12 | They're high-definition and they can
only be played on a Blu-ray player. But you
| | 01:17 | can burn them to a DVD rather
than a more expensive Blu-ray disc.
| | 01:21 | We select the option we want. In this
case I have chosen a DVD and you could see
| | 01:26 | I could name it if I want.
| | 01:27 | No reason to name it if I'm burning it
to a disc, but there's an option here
| | 01:32 | also to burn to a folder on your hard
drive, which I will talk about in just a moment.
| | 01:36 | Once you've selected your options,
you may want to leave this checked, Fit
| | 01:39 | Contents to available space.
| | 01:41 | The program will automatically optimize
your output, and it will make it as large
| | 01:47 | as possible. As long as you've got
less than 70 minutes of video,
| | 01:51 | it's going to fit just fine at
full quality onto a DVD disc.
| | 01:55 | If you have a dual-layer disc, you can fit
little over two hours' worth of video on a disc.
| | 02:02 | You also have the option, in addition to
burning to a disc, of burning your files
| | 02:06 | to your hard drive, and you can select that
option right here from this dropdown menu.
| | 02:12 | You can burn it to a 4.7 or a
single-layer-disc-size folder on your hard drive
| | 02:17 | or you can burn it to a larger
dual-layer-disc size folder on your hard drive.
| | 02:22 | Why would you want to burn your DVD files to a
folder on your hard drive rather than to your disk?
| | 02:28 | And the reason why is, well, for one
thing, it gives me a master file that I can
| | 02:32 | archive and always have at my disposal.
| | 02:34 | The other thing is if I'm going to
create more than one copy of my DVD, I might
| | 02:37 | as well just burn the folder to my hard
drive and then whenever I want to burn
| | 02:42 | off a copy all I've got to do is just go to
that folder and make copies out of that
| | 02:47 | folder of the Video TS folder for the file.
| | 02:51 | Blu-rays, on the other hand, do not have
the option to burn to a folder. They can
| | 02:54 | only be burnt to a disc, and you can
fit about two hours' worth of video on a
| | 03:00 | single-layer Blu-ray disc or
four hours on a dual-layer disc.
| | 03:05 | AVCHDs, like I say, will burn AVCHD
high-definition video to a DVD disc.
| | 03:14 | Again, you need a Blu-ray player to play
them, but you can squeeze about half an
| | 03:18 | hour of high-definition video onto an
AVCHD disc, and you have the option here of
| | 03:24 | burning to a folder rather
than directly to a disc too.
| | 03:27 | DVDs and Blu-rays are terrific
ways to share your movie projects.
| | 03:32 | They look great, they're easy to deliver,
and they're a fairly universal video format.
| | 03:38 | And with Premiere Elements, you can edit
your movie, create your disc menus, and
| | 03:41 | output your DVD or Blu-ray
discs all from the same program.
| | Collapse this transcript |
| Uploading video to Facebook or YouTube| 00:00 | Posting your video online is a
great way to share your movies.
| | 00:04 | Just click a few buttons and your
video is on public display for the world to
| | 00:07 | see. Premiere Elements has
incorporated tools for sharing your movie to three
| | 00:12 | popular video sharing sites--YouTube,
Vimeo, and Facebook--right in the program.
| | 00:18 | We've got our movie on our
timeline here, and it's all set.
| | 00:21 | We'd like it to upload to these sites.
| | 00:23 | We'd like it to upload in the
most optimized format possible.
| | 00:27 | The program is going to do
all that automatically for us.
| | 00:30 | To share our site online, we go to
Publish+Share in the upper-right corner of
| | 00:34 | the program and click on that and
select the Online option, and here we can see
| | 00:39 | that you have the option to share
to YouTube, to Facebook, or to Vimeo.
| | 00:43 | Now, I'm going to click on Facebook here.
| | 00:45 | The very first time you do this, when
you click the Next button, it's going to
| | 00:50 | ask you to authorize the connection.
| | 00:52 | You only have to do it once. Click on it.
| | 00:54 | It'll open your web browser and send
you to the Facebook site. All you've get to
| | 00:58 | do is sign in and then come back
to this program and click Complete
| | 01:02 | Authorization and you're done.
| | 01:03 | After that, you'll never have to do it again.
| | 01:06 | I've already done it on this computer,
so I click Next, and you see that it
| | 01:10 | logged me in and I can name my file,
| | 01:12 | I can provide a description, and I can
decide who sees it: Everyone, Friends of
| | 01:17 | Friends or Friends Only.
| | 01:19 | Then you click Upload and
walk away. You are done.
| | 01:22 | It will optimize the file, transcode it
into a format that is ideal for Facebook,
| | 01:28 | and load it up to the site automatically.
| | 01:30 | If I click Cancel, I can go back.
| | 01:33 | Let's select Online.
| | 01:35 | YouTube and Vimeo work very similarly.
| | 01:37 | You select the site and from the Preset menu,
| | 01:41 | you can select what
quality of video goes up there.
| | 01:43 | Now, before you jump ahead and go right
to a High Definition Video, know that
| | 01:49 | the higher definition your video
the more challenges it may have as it's
| | 01:53 | streaming to your viewers.
| | 01:55 | So Lower Definition Video, you can be
sure to go anytime a day just fine.
| | 02:00 | If your viewers might have a slower
connection or they are trying to watch your
| | 02:03 | video during a high-traffic time and
you have a high-definition video up there,
| | 02:07 | it may not load quite as smoothly.
| | 02:09 | So you can go with the default setting, or you
can go with High Definition. It doesn't matter,
| | 02:14 | if you have got a High Definition Video
to begin with of course. And we click on
| | 02:17 | Next. Same thing.
The very first time you use it
| | 02:21 | you're going to have to log in.
| | 02:22 | I'll log in, click Next. The very
first time you do this, once again you're
| | 02:27 | going to get an authorization screen.
| | 02:29 | It'll just launch your browser, take
you to the website, you log in, come back
| | 02:33 | to the program, and click Complete
Authorization, and you're done. You never
| | 02:36 | have to do it again.
| | 02:37 | With YouTube, you name your
video, provide a description.
| | 02:42 | This is required, by the way, a description.
| | 02:44 | You don't have to have much in here.
| | 02:46 | And include any tags you want.
| | 02:48 | Tags of course will help somebody when
they're searching YouTube for your video,
| | 02:52 | to be able to find whatever subject
matter you're covering here. So in this case
| | 02:56 | we're covering, say, Organic Farming. And
you can choose what Category the video
| | 03:01 | goes to: Is it Comedy, is it
Education, is it Science and Technology?
| | 03:06 | Click Next and it allows you to choose
whether or not this is for public viewing
| | 03:11 | or whether it's only for
people you invite to see the video.
| | 03:14 | Once you've done that,
you click the Share button.
| | 03:17 | The file is optimized, sent up to YouTube or
Vimeo, and just like that, you just walk away.
| | 03:23 | It's done. By incorporating these tools for
sharing your video online into the program,
| | 03:28 | Adobe made the process of uploading
your movies to YouTube and Facebook and
| | 03:32 | Vimeo just a part of your video editing
process. The video is delivered to the
| | 03:36 | sites in an optimized format at the
ideal specs for that particular site.
| | 03:41 | By the way, in addition to these tools,
take a look at the Publish and Share
| | 03:44 | options that are in the Elements Organizer.
| | 03:46 | That's the program that comes bundled
with Premiere Elements. And you'll also
| | 03:49 | find options for uploading your videos
to not only just Vimeo and YouTube and
| | 03:55 | Facebook, but also Flickr,
Photoshop Showcase, and even Adobe Revel.
| | 04:00 | And that will greatly expand the
ways that you can share your movie
| | 04:03 | masterpiece with the world.
| | Collapse this transcript |
| Outputting a movie for viewing on a portable device| 00:00 | Premiere Elements includes a number of
tools for outputting your finished videos.
| | 00:04 | It even includes tools for outputting
videos for iPads and iPods, Sony PSPs, and
| | 00:09 | smartphones. And the output files
that it creates are in a format and in a
| | 00:14 | resolution that's optimized
for these particular devices.
| | 00:18 | We've got a completed
movie on our timeline here.
| | 00:20 | Let's share it to a device.
| | 00:23 | Click on Publish+Share in the upper-
right corner of the program and select the
| | 00:27 | option Mobile Phones and Players.
| | 00:30 | And you can see that it's got a number
of options for you: the Apple iPod, iPad
| | 00:36 | and iPhone, an Audio Podcast, a Pocket
PC, a Smartphone, Sony PSP, or a Mobile
| | 00:43 | Phone. And whatever you select,
| | 00:45 | if you look down here, you can see it
will create an optimized file that's ideal
| | 00:50 | to play on that particular device.
| | 00:52 | If you select, for instance, the Sony
PSP, you can see it creates an H.264--
| | 00:56 | that's an MP4--at 320 x 240.
| | 01:00 | That's a low-resolution video.
| | 01:02 | If you select an Apple iPod, iPad, or
iPhone and go to the Presets menu, you see
| | 01:10 | that there are a variety of options for
you, depending on what you're saving for.
| | 01:14 | So if you're saving it to an iPhone or
iPod--these are smaller screens--you can
| | 01:19 | see you choose in Low Quality,
Medium Quality, or High Quality.
| | 01:23 | High Quality creates 400 x 300 pixels,
still fairly low resolution, that it creates
| | 01:29 | an H.264, which is an MP4.
| | 01:32 | If you select the option here for an
iPad High Quality, the file is 640 x 480.
| | 01:38 | And you can go all the way up to
select something for and iPad or Apple TV at
| | 01:44 | 1080p--in other words, a high
definition video that will play on your iPad or
| | 01:50 | iPod. And then it's as simple as
clicking Save and it will output your video.
| | 01:55 | Now, unfortunately, it doesn't send
your video directly to the device.
| | 01:58 | It will send it to you computer and
then you move it to your device, and you can
| | 02:01 | do that with whatever
interface software you have.
| | 02:04 | So if you have a smartphone, you
probably have interface software for moving
| | 02:07 | videos and photos back and forth to your device.
| | 02:11 | If you're using an Apple device, like
an iPod, an iPad, or an iPhone, you can
| | 02:15 | then move it into iTunes, sync up
your device, and it will move the video
| | 02:19 | directly to your Apple device.
| | 02:21 | So as you can see, in Premiere Elements,
Adobe has really made an effort to
| | 02:25 | create the total package.
| | 02:26 | It's a program that downloads or
captures your video from your camcorder or your
| | 02:30 | portable device, edits it, mixes the
audio, adds effects and titles, and then
| | 02:34 | sends out an optimized video to
whatever device or website you want to share
| | 02:39 | your movie masterpiece on.
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ConclusionNext steps| 00:00 | If you've enjoyed Up and Running
with Premiere Elements 11 and you are
| | 00:04 | interested in learning more about
making and editing videos, lynda.com offers a
| | 00:08 | number of terrific courses.
| | 00:10 | Jason Osder's terrific course that
teaches you how to make a purpose-driven
| | 00:13 | video and it's specific to Premiere Elements.
| | 00:18 | There's also Fundamentals of Video:
Cameras and Shooting, by Anthony Artists.
| | 00:22 | Now, this deals much more with camera
and microphone techniques, but it's how to
| | 00:25 | get the best video possible.
| | 00:29 | Creating a Vacation Video with iMovie,
Abba Shapiro's terrific course that
| | 00:34 | deals with how to take home movies
that really tell a story and involve your
| | 00:38 | audience in the action.
| | 00:39 | And if you've got any specific
questions about Premiere Elements, come on over
| | 00:43 | to my website, muvipix.com, and we've
got lots of tips and tutorials there, and
| | 00:49 | check out our community forum.
| | 00:50 | I'm here almost every day on the community forum.
| | 00:54 | And if you've got any specific
questions about the program or just need some
| | 00:57 | help, I, or any one of the helpful
Muvipix community members, will be glad to
| | 01:02 | get back to you personally here on
the forum and help you out. Why? Because
| | 01:06 | making movies is a lot of fun, and we
want to help you get up and running with
| | 01:10 | Premiere Elements.
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