IntroductionWelcome| 00:04 | Hi! I'm Chad Perkins and welcome to
Premiere Pro CS5 Essential Training.
| | 00:09 | In this course, we're not only
going to learn how to edit video using
| | 00:12 | Premiere Pro CS5, but we're also
going to learn how to use video to tell
| | 00:15 | compelling stories.
| | 00:17 | We're going to begin by looking at
the entire Premiere Pro workflow from a
| | 00:21 | high-level to give you
understanding about how a project works.
| | 00:24 | Then we'll talk about how to use
editing techniques to tell a story.
| | 00:27 | We'll look at how to adjust clips as well.
| | 00:29 | Everything from color correcting
scenes for more dramatic impact to applying
| | 00:34 | transitions effectively, to slowing
down and speeding up clip playback.
| | 00:38 | We'll also learn how to make titles,
and how to remove a green screen
| | 00:43 | background from a shot.
| | 00:44 | Whether you've been editing for years or are
brand new to the art, this course is for you.
| | 00:50 | So let's get started with
Premiere Pro CS5 Essential Training.
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| What is Premiere Pro CS5?| 00:00 | Adobe Premiere Pro CS5 is a professional
video editor for creating and adjusting
| | 00:04 | video projects in a number
of formats for any occasion.
| | 00:09 | Whether making a quick rough cut or
creating a final product, Premiere Pro CS5
| | 00:13 | can be your complete video option
for the amateur filmmaker or for the
| | 00:17 | professional editor.
| | 00:19 | Premiere Pro CS5 integrates
remarkably well with the rest of the Adobe
| | 00:22 | Production Premium tools.
| | 00:24 | So users from any creative profession
can feel confident in their ability to
| | 00:27 | review, organize, and
output exciting video content.
| | 00:31 | Its groundbreaking new Mercury
playback engine can easily handle the playback
| | 00:35 | and editing of otherwise tough to edit
footage such as HD H.264 files and more.
| | 00:41 | Getting assets into your project is a
snap, whether capturing footage from your
| | 00:45 | camera or importing other
assets from your computer.
| | 00:48 | Once in Premiere, its editing tools
allow for impressive effects from simple
| | 00:52 | overlays and video layering for B-roll
to transition effects and compositing.
| | 00:57 | Premiere has a wide array of
tools and shortcuts to make your video
| | 01:00 | editing experience as efficient and enjoyable
as possible, allowing you to tell your story.
| | 01:06 | Video editing is not just about
putting clips in a certain order.
| | 01:09 | It's also about making each clip look its best.
| | 01:12 | Premiere allows you complete control
over video clips and everything from the
| | 01:15 | speed of clip playback to the
brightness and colors of each clip as well.
| | 01:20 | Premiere also has Speech Search, a
technology which allows you to recognize the
| | 01:24 | spoken words in a clip.
| | 01:25 | In addition, Premiere can now even
recognize faces in footage as well.
| | 01:29 | All of these features combine to
make locating the footage you need more
| | 01:33 | efficient than ever.
| | 01:34 | With Premiere, you will have all the
tools you need to create award quality
| | 01:38 | professional videos in a fraction of the time.
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| Using the exercise files| 00:01 | If you are a premium member of the lynda
.com Online Training Library or if you
| | 00:04 | are watching on a disc, then you'll
have access to these Exercise Files.
| | 00:09 | And I want to show you in this movie how
I've arranged them so you know how they work.
| | 00:14 | Basically, the projects for the
different chapters will be in its
| | 00:19 | corresponding chapter.
| | 00:20 | So when you're watching the movies in
Chapter 5, you'll find the projects for
| | 00:24 | Chapter 5 in the Chapter 5
folder of the Exercise Files.
| | 00:26 | Now, it's important that you keep all
these folders together with the Media
| | 00:30 | folder, because the Media folder
contains the videos and stills and graphics and
| | 00:35 | things like that that are
linked to in these projects.
| | 00:38 | So we need to maintain their relative
space or else we'll break the link and our
| | 00:43 | projects won't work.
| | 00:44 | Now, if you find when you open a
Premiere project, if you get a warning about
| | 00:48 | how there is media that is offline or
it can't find certain media clips, then
| | 00:52 | what you could do is jump ahead to Chapter 6.
| | 00:54 | There is a movie about
reconnecting offline media.
| | 00:56 | Just go ahead and watch that and you
should get all the information you need
| | 01:00 | about how to fix that problem.
| | 01:02 | Now, unless specifically mentioned in
the training, most of the time all you'll
| | 01:05 | have to do is just open up the project
in the chapter folder and you won't have
| | 01:09 | to worry about the media folder.
| | 01:11 | Now, if you're a monthly or annual
subscriber to the lynda.com Online Training
| | 01:14 | Library, then you won't have access to
these files, but of course, you can just
| | 01:17 | follow along and watch the training,
or if you have other assets of your own
| | 01:21 | that you'd like to follow along with,
then feel free to use those as well.
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|
|
1. Introductory ProjectThe Premiere Pro workflow| 00:00 | As you begin your Premiere education, it's
good to take a step back and see the big picture.
| | 00:04 | So in this movie, we're going to look
at the overall workflow in Premiere Pro.
| | 00:09 | The first step in the Premiere
process is that we import footage.
| | 00:12 | We bring in all kinds of elements
that we'll be using to create our story.
| | 00:17 | So in the Project panel is
where this all goes down.
| | 00:19 | We bring in audio clips.
| | 00:21 | We bring in graphics, Photoshop files.
| | 00:23 | We bring in video clips.
| | 00:25 | Anything that will help us to tell
our story, all different kinds of media.
| | 00:29 | We then take the clips from the
Project panel and add them to a little mini
| | 00:33 | project called a sequence and this is
really where we do our work, here in the sequence.
| | 00:40 | And this is the Timeline
panel where we see our sequence.
| | 00:43 | And I have several clips here that you can see.
| | 00:46 | And we add effects and we add
transitions to our clips in the Timeline over
| | 00:53 | here in the Effects panel.
| | 00:55 | We can tweak those effects and
transitions in the Effect Controls panel up here.
| | 01:01 | With our Timeline panel selected, we
can preview and pause our timeline by
| | 01:06 | pressing the Spacebar.
| | 01:07 | (Male speaker: Plenty of places
to ride, beautiful weather?)
| | 01:11 | Just press the Spacebar again to stop.
| | 01:13 | We use the Program
Monitor to see what we're doing.
| | 01:16 | And the Timeline panel again
is where we do most of our work.
| | 01:20 | We use these tools here to work
with and trim and adjust our footage.
| | 01:25 | We do that here
again in the Timeline panel.
| | 01:27 | We also create markers so that we
know where we are and we know where are
| | 01:30 | significant points in our video and
audio clips, and also significant
| | 01:35 | points of our Timeline.
| | 01:36 | We have an Audio Mixer to mix the
balance of our audio tracks so we have a nice
| | 01:42 | audio sound for our final output.
| | 01:44 | And once we're all done, then we
output this sequence to a final video.
| | 01:49 | So if we're going to boil the workflow
down to three simple steps, it's that one,
| | 01:54 | we bring in elements,
often called clips or assets.
| | 01:58 | And then we work with them
here in the Timeline panel.
| | 02:01 | We fiddle with them.
| | 02:02 | We make them shorter.
| | 02:03 | We move them around.
| | 02:05 | change their sequence.
| | 02:06 | And we do that here in the Timeline panel.
| | 02:08 | We add effects and transitions, polish it up,
make it look all nice, and then we export it.
| | 02:13 | Now, of course, it is an overly
simplistic view of it, but that is again the
| | 02:17 | bird's eye view of what we do in Premiere.
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| Adding footage to the Timeline| 00:00 | Now, we're going to jump in and look at
a real Premier project just to kind of
| | 00:04 | get our feet wet a little bit.
| | 00:05 | We have this really cool project here, but
we're missing a video clip from the beginning.
| | 00:10 | We're going to be adding that video clip.
| | 00:12 | First, let's go ahead and look at what we have.
| | 00:14 | This project that we're going
to be looking at in this chapter.
| | 00:16 | It's about 14 seconds long or so.
| | 00:18 | You'll notice that there is a distinct
absence of video for the first three seconds.
| | 00:22 | But that's okay.
| | 00:23 | We'll get that video back and
restore it by the end of this movie.
| | 00:26 | (Music playing)
| | 00:27 | (Male speaker: Beautiful scenery, plenty
of places to ride, beautiful weather.)
| | 00:36 | (Male speaker: It just
doesn't get any better than this.)
| | 00:41 | We're pretending this is going
to be like a Web advertisement.
| | 00:44 | So what I'm looking for is a
video clip to fit in this spot.
| | 00:48 | I know it's in this Video folder.
| | 00:50 | I can click these little arrows here
and put things in the Video folder.
| | 00:53 | You don't have to use these folders in
the Project panel, but they really to help
| | 00:57 | to keep things organized
and I prefer to use them.
| | 01:00 | I could open up the Video folder, but
there is this handy search field here.
| | 01:04 | And I know that the word train is in my footage.
| | 01:08 | So I just simply start typing t-r, and look
how live update this is. That's amazing.
| | 01:14 | So as soon as I type t-r-a, I could
see the clip that I'm looking for.
| | 01:17 | Again, it's a live update.
| | 01:19 | To see all the rest of your footage,
just go ahead and click this X to close out
| | 01:22 | that Search result, but this is
actually the clip that we what.
| | 01:25 | So what I'm going to do is I'm going to click
here, and I want to add this to my sequence.
| | 01:29 | So to do that, I simply drag and drop.
| | 01:33 | You can see that I could add this to
different video layers essentially.
| | 01:37 | I can also change where this goes in time.
| | 01:40 | And if I put this clip over an existing
clip, it will erase the content that's there.
| | 01:46 | I don't want to do that.
| | 01:47 | So I'm just gong to drag this all the
way to the left, and there you have it.
| | 01:52 | That clip has been added to our timeline.
| | 01:54 | So I'm going to press the Spacebar to
preview this and look at the Program
| | 01:57 | Monitor at what we have.
| | 01:59 | (Music Playing)
| | 02:00 | (Male speaker: Beautiful scenery,
plenty of places to ride.)
| | 02:04 | Fantastic!
| | 02:05 | As we'll see as we go throughout this
training series, there are several ways
| | 02:08 | that you could add, clips to a Timeline,
but that's as simple as it gets though.
| | 02:12 | That's all you need to do is just
simply drag and drop from the Project panel
| | 02:16 | into the Timeline panel.
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| Understanding timecode| 00:00 | As video editors, time is the
environment in which we work.
| | 00:05 | And so timecode is the way that we
define that time, and I'm going to explain it
| | 00:10 | to you in just a moment.
| | 00:11 | First, let's take a look at our
sequence here, the Timeline panel.
| | 00:14 | It's important to recognize
that this represents time.
| | 00:18 | As we go to the left of our
Timeline, it represents earlier in time.
| | 00:22 | As we move towards the right, it
represents our program going later in time,
| | 00:27 | towards the end of our movie.
| | 00:29 | This happy little fellow with the
blue handle with the red vertical line is
| | 00:33 | referred to as the Current Time Indicator.
| | 00:36 | It tells us where we are in time.
| | 00:38 | So here we are towards the beginning
of our program and I can drag it to the
| | 00:42 | right, and that moves us later in time.
| | 00:46 | Now, the spot where we are exactly in
time is demonstrated or shown to us by
| | 00:53 | this Time Indicator here.
| | 00:55 | And the way that this is read,
there are four groups of numbers here.
| | 00:58 | This reads from left to right:
| | 01:00 | hours, minutes, seconds, and then frames.
| | 01:05 | Really, all a video is a series
of still images playback in a row.
| | 01:10 | Those still images are called frames.
| | 01:12 | We'll talk specifically about frame
rates later on in this training series.
| | 01:16 | But for now just know that there is
usually between 20 and 60 frames every second.
| | 01:22 | The current time display, for
example, is telling us that we are at
| | 01:26 | the nine-second mark.
| | 01:27 | We could click somewhere and our Current Time
Indicator will just jump where our cursor goes.
| | 01:32 | We don't have to drag the
Current Time Indicator or CTI.
| | 01:36 | So we can see here that the
time is 3 seconds and 12 frames in.
| | 01:41 | If we wanted to, we can click and drag
right or left on the time display to get
| | 01:46 | to a particular frame if we wanted to.
| | 01:48 | Now, we could also manually type in a
certain timecode to go to and our Current
| | 01:53 | Time Indicator will jump to that spot.
| | 01:56 | Let's say for example, I have the
Timeline panel selected, which is necessary.
| | 01:59 | So you need to click on my sequence
and get this orange outline around this
| | 02:04 | panel for this to work.
| | 02:05 | But let's say, for example,
I want to go to 4 seconds and 12 frames.
| | 02:11 | I can just type in 412, and then hit
Enter and my Current Time Indicator jumps
| | 02:18 | to 4 seconds and 12 frames in.
| | 02:20 | Likewise, I could type in 1103, and
that will jump to 11 seconds and 3 frames.
| | 02:27 | So you can see that I don't have to
actually click in this field or have
| | 02:30 | my cursor anywhere near this field in order
to get to a certain a spot using timecode.
| | 02:36 | Timecode becomes extremely important as
you become more and more professional in
| | 02:41 | the world of video editing.
| | 02:42 | As we film, let's say for example a full-
length movie, you will have hundreds of
| | 02:47 | minutes of footage that you
will need to sort through.
| | 02:50 | So you will get probably a list
depending on how professional the production
| | 02:54 | is of shots that are good takes and spots
that you need to avoid and that type of thing.
| | 02:58 | You need to be able to
navigate quickly using timecode.
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| Making basic edits| 00:00 | In this movie, we're going to look at
making the most basic of video edits and
| | 00:04 | these edits that we're going to look
at in this movie are actually the most
| | 00:06 | common techniques that you will be
using as you edit video, even when you get
| | 00:09 | super pro and everything.
| | 00:11 | Most of what we are going to be doing
is we are going to be taking this clip
| | 00:13 | here, this RideBy clip, and we are
going to be trimming off some of this
| | 00:17 | stuff in the beginning.
| | 00:19 | We are also going to be trimming
up the end a little bit as well.
| | 00:22 | So what I am going to do is I am going
to move my Current Time Indicator around
| | 00:25 | this B-roll_ RideBy clip.
| | 00:26 | We'll start at the beginning.
| | 00:28 | As you can see, it takes a little while
for the camera to kind of get situated
| | 00:32 | and the bikers are way in the
background and they stay there for a while, and
| | 00:35 | this is very common with video clips
because it's customary on a video shoot or
| | 00:40 | a film shoot for the cameras to start
rolling and then for the director to yell
| | 00:46 | "action!" and start
everything in motion afterwards.
| | 00:50 | So it's very common that the first few
seconds, even the first few minutes, of
| | 00:54 | a take are just kind of
junk that you got to get rid off.
| | 00:56 | So I am going to move my Current Time
Indicator, and this is referred to a
| | 01:00 | scrubbing by the way.
| | 01:01 | So I am dragging my Current Time
Indicator around and I get a live update while
| | 01:05 | that's happening, even
though not too much is going on.
| | 01:08 | Then I am going to move this out to
about here. This looks like a good spot.
| | 01:13 | There is already action kind of
happening, so the viewer doesn't have to wait
| | 01:16 | for these bicyclists to
kind of get into view here.
| | 01:19 | So maybe around 12 seconds and 21 frames in,
that's where I want to start this footage.
| | 01:26 | So we need to trim off all of this
section right here. Get rid of that.
| | 01:30 | So what we are going to do is make sure
we have the regular black arrow selected
| | 01:35 | from the Tools panel.
| | 01:36 | You might have noticed earlier in
this chapter, I had this docked to
| | 01:38 | the right-hand side.
| | 01:39 | That's actually where I prefer it to be.
| | 01:41 | I'll talk about how to do that in
the next movie on the interface.
| | 01:43 | But what we want to do here if
wherever your tools are, is select the black
| | 01:47 | arrow, and that's the tool that
you want to have most of the time.
| | 01:49 | It is very versatile tool and it
changes based on what's going on.
| | 01:53 | So as I put the Selection tool over
the beginning part of this clip on the
| | 01:57 | left-hand side here, you'll see that it
kind of changes to be this red bracket.
| | 02:02 | It kind of looks like a bow and arrow.
| | 02:03 | Now what I am going to do is I am going
to leave my Current Time Indicator where
| | 02:06 | it is because I can use that as a
guide and as a helper when I am cutting.
| | 02:10 | So I am going to get this icon and then
click-and-drag to the right and by the way,
| | 02:16 | you want to make sure
you don't have this icon.
| | 02:17 | See how the red bracket is
pointing the other way? That's bad stuff.
| | 02:20 | That's actually going to trim the end
of this clip, which is totally fine.
| | 02:24 | So I am going to go back in and
get that correct icon, drag to the right.
| | 02:28 | You notice through my program
monitor up here, I am getting a live update
| | 02:33 | as I am trimming this.
| | 02:34 | So it's showing me what the new
first frame of this clip is going to be.
| | 02:39 | Well, I actually don't really need to
worry about that because I put my Current
| | 02:42 | Time Indicator where I wanted this edit to be.
| | 02:45 | So what I can do is go over here and as
we get close to it, it would be like the
| | 02:50 | suction cup that just sucks it up and
that will indicate to us that we are
| | 02:54 | actually now on that same line, that same
frame, with the Current Time Indicator.
| | 03:00 | So we can let go of the mouse and
then we have this big gap in footage.
| | 03:03 | So if we scrub this now,
it's totally black and empty.
| | 03:06 | So what we need to do is click-and-drag
on this clip and move it to the left to
| | 03:11 | make it come on earlier.
| | 03:13 | Now again, we are getting this vertical
black line that you could see and what
| | 03:18 | this is, this is the snap feature.
| | 03:19 | This is the same thing that we just
saw with the Current Time Indicator,
| | 03:22 | although the red line of the
Current Time Indicator kind of hit it.
| | 03:25 | But as we move around, you
notice that these black lines
| | 03:29 | all around the clip at the beginning
and the end are snapping to other key
| | 03:33 | points in the Timeline.
| | 03:35 | So what I want to do is I want to line
this up right there so that the first
| | 03:39 | frame of this clip goes to the last
frame of the B-roll_train clip that precedes it
| | 03:44 | and our program monitor should
look like it does now over here.
| | 03:48 | It should look like that with the train on
the left-hand side and then we can let go.
| | 03:54 | The snap feature is very handy.
| | 03:56 | Make sure that your clips are all
lined up and you don't have big blank gaps
| | 03:59 | in your presentation, and this snap
feature is controlled here by this little magnet.
| | 04:04 | If you ever want to turn it off to get
some more precise control, just click it
| | 04:08 | to turn if off, but almost all
the time, I leave this feature on.
| | 04:12 | I really enjoy-- especially as a new
user you want to leave that there.
| | 04:16 | The next thing we need to do is trim the
end because it's a little bit too long now.
| | 04:19 | As we will learn in video editing as we
go through this training series, we will
| | 04:22 | learn that long clips are not a good
thing and in the world of video, ten
| | 04:26 | seconds is a very long time.
| | 04:28 | So what we are going to do is grab
the end of this clip and we are going to
| | 04:32 | trim it in the same way we trim
beginning of the clip. Click on the end and
| | 04:36 | drag it to the left and we are going
to move this until the end is lined up
| | 04:39 | with the cut point below it
| | 04:41 | down here, and we'll get again the
snap line and then we can let go and now
| | 04:47 | we have made a complete edit.
| | 04:48 | We have gotten rid of the junk at the
beginning of the clip and we have made it
| | 04:52 | so that the clip that we are seeing
here is the most exciting part of the clip
| | 04:57 | and again, as we'll talk about later,
that is really the key of video editing.
| | 05:01 | We don't want our viewers to sit here
and look at the most boring part of our
| | 05:04 | clip when we have got
more juicy stuff to show them.
| | 05:06 | So this is the good stuff and now
this is what's part of our presentation.
| | 05:10 | The best of the best is what
we are going for in editing.
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| Getting familiar with the interface| 00:00 | Now let's take a very brief
tour of the interface in Premiere.
| | 00:05 | Premiere, like all Adobe video
apps, is made up of a series of docked
| | 00:10 | modules called panels.
| | 00:12 | So we have, for example, the Effect
Controls panel, the Project panel, the
| | 00:16 | Resource Central panel, Media
Browser and so on and so forth.
| | 00:19 | And you could see which one is selected
by this little gold outline around it.
| | 00:23 | Now this is very crucial because the
keyboard shortcuts that you will use to
| | 00:27 | control Premiere are depended
upon which panel is selected.
| | 00:32 | If you want to make one panel the focus
and maximize it, press the Tilde key,
| | 00:36 | which is the little squiggle which is
above the Tab key and to the left of the
| | 00:39 | number one on your keyboard, and then
hit the Tilde key again to restore the
| | 00:44 | interface the way it was.
| | 00:46 | Now between each of these docked panels,
you will have a little divider line
| | 00:50 | and if you put your cursor over that
divider line, whether it would be vertical
| | 00:53 | here or horizontal here, you can resize the
interface and it's very dynamic as you can see.
| | 01:00 | In the Program Monitor, I have my
resolution set to Fit rather than
| | 01:05 | a prescribed percentage.
| | 01:06 | So if I say Fit, then as I move
this around you are seeing that it's
| | 01:10 | dynamically resizing my
content to fit in that window.
| | 01:14 | So I can basically customize
the interface however I want.
| | 01:17 | Now if there is a certain panel that I refer
to in the training that you are not seeing--
| | 01:21 | Let's say, for example,
there is the Effects panel here.
| | 01:24 | Let's go ahead and press this little
X next to it to get rid of the Effects
| | 01:27 | panel to clean things up a little bit.
| | 01:29 | Let's say I refer to the Effects panel,
and it's not in your interface anymore.
| | 01:31 | You can go to the Window menu at
the top to restore all missing panels.
| | 01:35 | So I can go Window > Effects and
there is she is, right where she belongs.
| | 01:40 | Now you might decide that that's
not where she belongs after all.
| | 01:43 | So you can click on the word Effects
and drag around. You get these little
| | 01:48 | drop zones telling you
where this panel is going to go.
| | 01:52 | So this here is a panel and it contains
the Source Monitor, Effect Controls panel
| | 01:57 | here and also the Audio Mixer.
| | 02:00 | That will group it in with these other panels.
| | 02:03 | If I select one of these drop zones
around the edges here, that will create a
| | 02:07 | brand new frame with the
Effects panel on its own.
| | 02:11 | So as you can see, it's completely customizable.
| | 02:14 | One of the things I would like to do
with the interface is if you hold the
| | 02:17 | Command key on the Mac, or the Ctrl key
on the PC, and for some of these panels
| | 02:22 | with the drop-down right here, then you
actually kind of get this little grip in
| | 02:24 | the upper left-hand corner but if you
grab this while holding the Command key on
| | 02:28 | the Mac or the Ctrl key on the PC, then
you will actually make this panel float
| | 02:33 | and you can move this wherever you want.
| | 02:34 | So right now I have two monitors and
so if I move this over here, you can't
| | 02:38 | see this right now.
| | 02:39 | because I'm only recording my main monitor,
but it appears as if this panel is
| | 02:43 | disappearing off into the
wilderness and it's not.
| | 02:45 | It's just moving over to my second
monitor and so then I maximize this and that
| | 02:49 | gives me like a full HD preview of
what I am outputting, which I really like.
| | 02:53 | And then just to re-dock it, you grab
that handle again and move it over and
| | 02:57 | we'll create a frame on this side by
using this right-hand drop zone and there
| | 03:01 | is the Program Monitor again.
| | 03:04 | You can grab the Effects panel, drag it
back, use the center drop zone again to
| | 03:09 | reshuffle that and there you go.
| | 03:11 | Now if I did totally screw up my
interface and I move things all over the place
| | 03:16 | where they ought not be, what I can
do is go to this drop-down over here in
| | 03:20 | the upper right-hand corner and it says Workspace.
| | 03:23 | Now there is a series of pre-made
workspaces based on different tasks that you
| | 03:27 | will encounter in Premiere and what I
am going to do is just a Reset Current
| | 03:32 | Workspace and it's going to say,
"Are you sure you want to reset it?"
| | 03:35 | I am going to say Yes and it restores
the workspace to its original layout.
| | 03:40 | So there is the nuts and bolts of the
interface. Totally customizable the way
| | 03:44 | that you want it to be.
| | Collapse this transcript |
|
|
2. Importing and Organizing FootageSetting up a new project| 00:01 | In this movie we're going to create a
new Premiere project of course but we're
| | 00:04 | also going to look at what
exactly a Premiere project is.
| | 00:08 | Now we have this Welcome screen that pops up.
| | 00:12 | And I'm going to create a new project.
| | 00:15 | Now thankfully they've actually
simplified this dialog box over the years.
| | 00:19 | There's not too much we
need to worry about here.
| | 00:22 | Although we can go to the Scratch
Disks tab, especially if you're going to be
| | 00:25 | capturing footage, which we'll talk
about later on in this chapter, but other
| | 00:30 | than that we don't need to worry
too much about what's going on here.
| | 00:33 | We just need to pick a
location and pick a name here.
| | 00:37 | I'm just going to go with
the defaults for right now
| | 00:39 | just to go ahead and move on and click OK.
| | 00:41 | Now this is the kind of challenging part
about creating a new project because it
| | 00:45 | seem like you go through all these steps.
| | 00:47 | Well, actually what we've done, we've
actually created the project and since
| | 00:52 | really the lifeblood of projects are
sequences, it asks us if you want to
| | 00:56 | create a new sequence. Okay, fine.
| | 00:58 | Let's go ahead and just select whatever
the first thing is selected here. A DV -
| | 01:02 | NTSC Standard 48 kHz is what I have selected.
| | 01:06 | Sure, we'll go with that for right now.
| | 01:07 | I'll go ahead and click OK.
| | 01:09 | Now after that Premiere
opens up and we can get to work.
| | 01:13 | Now if you want to adjust some of the
settings that we just saw in the Project
| | 01:18 | Settings initially, we can go to
Project > Project Settings and then choose
| | 01:22 | either General or Scratch Disks and
here we have our Project Settings.
| | 01:26 | Now I'm not going too much into
these parameters because they are pretty
| | 01:30 | advanced and the good news is that you
typically don't have to change these and
| | 01:35 | if you ever did need to change them
then you'd be a pretty advanced user and
| | 01:38 | you'd know what to do.
| | 01:39 | And honestly I've never had a need to
change any of these default settings.
| | 01:44 | So I think you are good there.
| | 01:45 | Now one thing you need to know about
Premiere Pro projects is that all of the
| | 01:50 | stuff that you bring, all of the stuff
that we'll be importing later on in this
| | 01:54 | chapter, Premiere projects
maintain the links to those files.
| | 01:58 | They don't actually get embedded in a project.
| | 02:01 | Let's say you have a 2 gigabyte
video file on your hard drive.
| | 02:04 | That file doesn't actually come into
your Premiere Pro project and you're making
| | 02:08 | your Premiere Pro project's file
get 2 gigabytes in size. Premiere only
| | 02:12 | maintains a link to that
file on your hard drive.
| | 02:14 | So you want to make sure that you
don't rename or move or delete any of the
| | 02:18 | source files that you bring
into your Premiere projects.
| | 02:21 | Also you want to make sure that--
I like to go into Premiere Pro menu, go into
| | 02:25 | Preferences, on a PC by the way this
will be under the Edit menu, then just
| | 02:30 | go to Auto Save here.
| | 02:32 | And Auto Save allows you to
save your projects automatically.
| | 02:36 | I highly recommend turning this on.
| | 02:38 | If this is on then you don't have to
worry about saving. Premiere will actually
| | 02:42 | create a new folder in the same folder
as where your project file is and it will
| | 02:47 | save different versions
of your project as it goes.
| | 02:50 | So by default it's going to auto-
save every 20 minutes and there's
| | 02:54 | five different versions.
| | 02:55 | So when it comes time for the sixth
version, after a hundred minutes, it's
| | 02:58 | going to make a sixth version, then
it's going to record over, save over,
| | 03:03 | the initial auto-saved project.
| | 03:05 | Now I tend to take this number down.
| | 03:08 | The automatically saves every 20
minutes again's the default but I might
| | 03:11 | save every ten minutes.
| | 03:12 | When you're in the groove, when you're
editing it is very challenging to get the
| | 03:16 | right tempo and the pace of your edits
and the right feel, and once you do, it's
| | 03:21 | sometimes impossible to get back to the
way that you initially had it or at least
| | 03:25 | it's very challenging and time-consuming.
| | 03:27 | So what I'd like to do is take this
number down to the number of how often it
| | 03:31 | saves and I also would like to
increase the Maximum Project Versions because
| | 03:35 | the final projects-- Actually because
Premiere is only maintaining links to
| | 03:39 | your source footage,
| | 03:40 | the Premiere Pro project file itself is
very small, so you could afford probably
| | 03:44 | to take this number up a
little bit more if you need to.
| | Collapse this transcript |
| Creating a new sequence| 00:01 | Sequences are really the foundation
of everything that you do in Premiere.
| | 00:04 | As I mentioned before, sequences
are basically kind of like little mini
| | 00:07 | projects, kind of like little compilations.
| | 00:09 | That's where we put all of our
footage and our graphics and our images.
| | 00:13 | That's where we do our work.
| | 00:15 | Now I showed you in the last movie
how to create a sequence when you're
| | 00:17 | creating a new project.
| | 00:18 | But I want to show you here, if you're
not creating a new project, how do you
| | 00:21 | create a new sequence?
| | 00:22 | You'll notice that I've imported a
video clip here and if I drag-and-drop it to
| | 00:27 | the Timeline, there is a little no
sign by the hand, meaning that there is
| | 00:30 | nothing I could do there because
there are no sequences in my project.
| | 00:33 | So I basically have no forum
in which to work with this clip.
| | 00:37 | So the way I'm going to create a
sequence is by going to the bottom of the
| | 00:40 | Project panel here and I'm
going to go to the New icon.
| | 00:43 | It looks like a piece of
paper with the edge turning up.
| | 00:45 | That's the Adobe universal
icon for making something new.
| | 00:48 | And before I do that, notice that when
I have a clip selected in the Project
| | 00:52 | panel, I get like a little status update
about its information, its basic facts.
| | 00:56 | So it's 1280x720 pixels, so
we would refer to that as 720p.
| | 01:02 | That's got square pixel aspect ratios.
| | 01:04 | This is the frame rate, and this is
the duration, 19 seconds and 1 frame.
| | 01:09 | And that's going to help
as we make our sequence.
| | 01:10 | So I'm going to go ahead
and click this New icon.
| | 01:13 | You could see that we have a
list of new things that we can make.
| | 01:15 | But right at the top of the list is Sequence.
| | 01:17 | Go ahead and click that to get
the New Sequence dialog box here.
| | 01:21 | Now we have a series of presets on
the left-hand side that we can use and
| | 01:26 | basically what you want to do is you want
to select a preset that matches your footage.
| | 01:31 | It doesn't matter what you are outputting to.
| | 01:32 | We might take this HD video and spit
it out to a very small video on the web
| | 01:37 | or maybe for an iPhone or something,
but still, nonetheless, we want our
| | 01:41 | sequence to match this to be 1280x720
that we'll talk about a little bit later
| | 01:46 | on this training series.
| | 01:48 | Now the presets here are actually
really helpful and they're available for all
| | 01:52 | different kinds of formats, even
the new DSLR trend that's catching on.
| | 01:56 | There's like 1080p for that.
| | 01:58 | So if you have a Canon 5D Mark II, like
I have a Canon 7D, these presets would
| | 02:02 | work great for that.
| | 02:03 | There is also RED Camera presets,
Mobile Devices presets, all kinds of great
| | 02:09 | presets that you can use, and when
you click one of these presets, you get
| | 02:12 | information about the sequence
settings right here on the right-hand side, so
| | 02:17 | it's actually a little bit more complex
and let's say for example we are in
| | 02:19 | the Standard Definition DV - NTSC,
if we have Standard Definition 48 kHz,
| | 02:24 | that refers to the audio.
| | 02:25 | Basically there's a lot more to
that preset than just those facts.
| | 02:28 | And so we could see that here on the
right-hand side with that selected in
| | 02:30 | the left-hand side.
| | 02:31 | We could also go over to the General
tab at the top and we can go into the
| | 02:36 | Editing Mode drop-down and we
can change our Editing Mode.
| | 02:40 | If we go to the top where it says
Desktop, I don't know why. This is so
| | 02:44 | counterintuitive to me,
but this is the way it goes.
| | 02:45 | If you select Desktop then you
could manually enter in your settings.
| | 02:51 | You see with all of these other
presets the settings are pretty much
| | 02:53 | determined for you.
| | 02:54 | These are different formats.
| | 02:56 | They're different specific settings.
| | 02:58 | And Desktop is the only one that
allows you to kind of play with this.
| | 03:00 | So I can manually type in the frame
size, 1280. Go across over here to 720.
| | 03:06 | The Pixel Aspect Ratio is this thing in
parentheses. You can see it's 1.0. That means square.
| | 03:12 | We'll talk about that a little
bit later on this training series.
| | 03:14 | I'm just going to choose
Square Pixels 1.0 in parentheses.
| | 03:18 | And for Fields, I'm going to
take this drop-down to No Fields.
| | 03:22 | It's progressive scan so
it's not interlaced footage.
| | 03:24 | And the audio, it works
great. It's fine for us.
| | 03:28 | That's a typical sample rate, 48 kHz.
| | 03:30 | But we don't really need to worry about
that right now because you could see our
| | 03:33 | clip in the Project panel here doesn't
have any audio. A little speaker icon
| | 03:38 | next to it, so it's just video only.
| | 03:40 | Our Timebase here is 29.97 frames/
second, just as it is in our clip in the
| | 03:44 | Project panel, and then we could go
over here to Tracks and this is where we
| | 03:48 | would adjust the number
of video and audio tracks.
| | 03:50 | We could always add and delete these
later, but if you know what your settings
| | 03:55 | are ahead of time, it's
really good to input these here.
| | 03:58 | So I've set up my Sequence settings
in the General tab, got what I wanted.
| | 04:02 | You don't have to use a preset, if you're
going to use the General tab and make your own.
| | 04:06 | But I'm going to name this Snowboard and go
ahead and click OK to create our sequence.
| | 04:11 | Now as you can see, it automatically
created a sequence for us and opened it up.
| | 04:15 | But we could close this if we wanted to.
| | 04:16 | And if you're ever not finding your
sequence, you could simply come over here
| | 04:19 | into the Project panel and you could
see that this is the icon for a sequence.
| | 04:23 | So just double-click it here on
the Project panel to open it up again.
| | 04:26 | And now I am free to drag and
drop my footage as I please.
| | 04:31 | As you could see, it all works
together because our sequence and our clips
| | 04:35 | are the same settings.
| | 04:37 | Now we could if we wanted to bring in
mismatch footage and that's not going to
| | 04:41 | cause any kind of problem.
| | 04:42 | If I want to bring in a smaller clip or
a graphic that's too big or too small,
| | 04:45 | that's totally fine.
| | 04:46 | You can mix and match different
dimensions and different settings in the same
| | 04:50 | sequence if you want to.
| | 04:51 | But it's a good idea to have your
sequence match like the main footage that
| | 04:55 | you're going to be using for that sequence.
| | 04:57 | You could have as many sequences in
the same project as you'd like as we'll
| | 05:02 | talk about a little bit later on this
training series, and again just as a
| | 05:04 | little teaser for that,
| | 05:05 | you could actually create other sequences.
| | 05:08 | Let's say I create a sequence with
like an animated graphic sequence.
| | 05:11 | I can actually take that sequence and
nest it or put it inside of this sequence
| | 05:16 | as a clip in this sequence, and again
later on in this training series we'll
| | 05:19 | talk about how to do that.
| | 05:21 | But sequences again are
really the building blocks
| | 05:23 | in Premiere. You can't work without it,
and that's where most of the work goes down.
| | Collapse this transcript |
| Capturing and ingesting footage| 00:01 | So now that we've talked about making
new projects and sequences, we're ready to
| | 00:04 | talk about getting footage into Premiere.
| | 00:07 | Now if you're going to get footage from your
camera, there are two ways to do this really.
| | 00:13 | One is through a process called capturing.
| | 00:15 | This is an outdated way to do things
because it means that you have tape-based video.
| | 00:22 | So if you have of a video camera
connected via FireWire or what have you.
| | 00:25 | And then we can go to the
File menu and select Capture.
| | 00:29 | So with your tape-based video camera
connected to your computer via FireWire,
| | 00:33 | Premiere can look at the footage on
your tape and capture it, or in other
| | 00:38 | words digitize it and make it become movie
files on your computer that you can use in Premiere.
| | 00:42 | Now the reason why I say this is kind of
outdated is not that Premiere's capture
| | 00:47 | capabilities are behind in any way.
| | 00:49 | This is a really great feature in
Premiere and it works very well.
| | 00:53 | But the world is very rapidly
moving away from tape-based media.
| | 00:57 | Tape wears out and it's not
as efficient as it needs to be.
| | 01:02 | And so they're moving more towards
solid state methods of capturing video,
| | 01:06 | usually on a hard disc of some kind.
| | 01:09 | If we have a camera captured here, what
we could do is click the Record button,
| | 01:13 | once we had a camera hooked up, and
it would actually control our camera.
| | 01:16 | So these settings would light up and
we could actually press Play here in
| | 01:20 | Premiere and we would see the
footage playing from our camera.
| | 01:24 | So it's this really crazy master-
slave relationship that you create where
| | 01:28 | Premiere actually controls your camera.
| | 01:31 | That's fascinating.
| | 01:32 | Now we can add the name of the tape and
the clip. We could adjust the timecode.
| | 01:37 | So we could adjust this,
| | 01:38 | the in points and the out points, which
we'll talk about in the next chapter a
| | 01:41 | little bit, but we can
add these parameters here.
| | 01:44 | I'm going to close this and talk a
little bit about another way to get footage
| | 01:47 | to your computer and that is ingesting.
| | 01:49 | When you have a hard drive-based media, when
you bring in that footage to your compute,
| | 01:55 | that is referred to as ingesting.
| | 01:57 | So it's called capturing
| | 01:59 | if Premiere captures it from tape.
It's called ingesting if you take those files
| | 02:03 | and put them on your computer.
| | 02:04 | Typically you have a camera that uses a P2 card.
| | 02:07 | It's a Panasonic HPX170 and it captures
P2 card and when I ingest that footage
| | 02:12 | using this application here, P2 Contents
Management Software. It's something from Panasonic.
| | 02:18 | And so let's say this is the date that
I've recorded and maybe this is the shot
| | 02:21 | that I recorded. it creates this Contents
folder and tons of other crazy folders
| | 02:26 | with a bunch of junk that I
don't really ever look at.
| | 02:28 | And the video file is actually in the Video
folder and Premiere can use this MXF file as video.
| | 02:35 | One of the really great things about
having solid-state media like this and
| | 02:40 | being able to ingest footage rather
than capture it is it saves the entire
| | 02:43 | process of capturing that.
| | 02:45 | That just saves a lot of time where we
have to go in and log clips and this way
| | 02:48 | they are already there.
| | Collapse this transcript |
| Importing files| 00:00 | So now we're ready to start bringing in footage.
| | 00:04 | We also refer to footage as clips, assets.
| | 00:07 | They're basically all interchangeable terms.
| | 00:09 | In this movie I'm going to show you three
different ways to bring stuff in to Premiere.
| | 00:14 | Perhaps the most common and fast way to
do this is to go to the Project panel.
| | 00:18 | Find some big blank empty
space here and just double-click.
| | 00:21 | That will open up the
Import File dialog box here.
| | 00:24 | And then what I'm going to do is I'm
going to go to the Media folder inside the
| | 00:27 | Exercise Files folder.
| | 00:29 | And we could navigate to any of
these different types of media here.
| | 00:32 | I'm going to negative to Video for example.
| | 00:33 | I click on this B-roll_ocean
clip and then just click Open.
| | 00:38 | After a quick second it
pops up in the Project panel.
| | 00:41 | I double-click again in some blank
area in the Project panel, and this time,
| | 00:46 | I'll go to Audio, and I'll open up this
Explore California Intro with percussion
| | 00:51 | and bass, click Open, and now we have
an audio clip in our Project panel.
| | 00:57 | And we could use this same method to
import still images such as this TIF file
| | 01:03 | or any other type of file that
you would bring in to Premiere.
| | 01:06 | To make you feel more comfortable,
you can right-click in the Project panel
| | 01:09 | and choose Import, or if you want, you can go
to the File menu at the top of the interface.
| | 01:14 | You can choose Import here.
| | 01:16 | You can also use the
keyboard shortcut if you want.
| | 01:18 | It's Command+I on the Mac, Ctrl+I on the PC.
| | 01:22 | Now I want to share with you a couple
of other ways to import files I think
| | 01:25 | are really helpful.
| | 01:26 | Number one is this Media Browser.
| | 01:28 | This was introduced in the last version
of Premiere and I didn't hear too much
| | 01:32 | buzz about it, but it's
a really helpful feature.
| | 01:34 | In the last movie, I showed you how
I bring in footage from my P2 cards.
| | 01:39 | And we opened up one of
these folders, the 0005GA.
| | 01:43 | By the way you will not have
these in the Exercise Files.
| | 01:46 | These files are massive.
| | 01:47 | They're too big to be
transferred to the Exercise Files.
| | 01:50 | I'm actually not even
going to be working with them.
| | 01:52 | I just want to show you
what they look like here.
| | 01:55 | So if I open up 0005GA and instead of
seeing this huge folder structure with
| | 02:00 | contents and then like the audio and
icon and proxy and all that kind of stuff,
| | 02:05 | Premiere looks at this stuff and just
digs down through those layers and shows
| | 02:09 | me just what I want to know. There's
just the clip there that I can play with.
| | 02:14 | And if I double-click it, it will import.
| | 02:16 | So again when you're working with
media, where there's this huge folder
| | 02:20 | structure, the Media Browser in
Premiere here makes that so easy that you don't
| | 02:24 | have to worry about all that stuff.
| | 02:25 | It just gets the good stuff.
| | 02:27 | Now there is another way to bring stuff in,
| | 02:30 | if I go to the File menu
and choose Browse in Bridge.
| | 02:35 | Adobe Bridge is a file browsing
application that comes with Adobe Premiere,
| | 02:41 | ships with it for free.
| | 02:42 | And what this allows you to do is to
navigate stuff on your hard-drive, the same
| | 02:46 | way that you would through the
navigation system on your operating system
| | 02:50 | through Explorer or Finder.
| | 02:52 | But what this does, if I go to Video
here, is it allows you to actually preview
| | 02:58 | your footage, including Photoshop files,
Illustrator files, Flash video, and a lot
| | 03:04 | of other Adobe formats which is really cool.
| | 03:06 | I can get a bigger thumbnail
by clicking on this slider here.
| | 03:09 | Dragging this to the right
increases the size of these clips.
| | 03:11 | The left reduces them.
| | 03:13 | As you can see it's very dynamic.
| | 03:14 | We can resize these panels
just like we do in Premiere.
| | 03:17 | And when we click on one of these clips,
we can actually click the Play button
| | 03:22 | over here on the right-hand side and
we have a little Current Time Indicator.
| | 03:27 | We could scrub through this clip.
| | 03:28 | We can adjust the volume. We can loop it.
| | 03:31 | We can rate it.
| | 03:32 | We can sort it, organize it, etcetera, etcetera.
| | 03:34 | So if you have a folder full of clips,
you're not sure which one's to use,
| | 03:39 | Bridge is a great asset for that.
| | 03:41 | It's kind of funny to me that
Bridge's actually talked about more in the
| | 03:45 | static design community like if you're doing
like Photoshop, InDesign page layout type stuff.
| | 03:49 | We talk about a lot there, but we don't
talk about very much in the video world.
| | 03:52 | But it's unbelievably
helpful in the video space.
| | 03:56 | If you have like a huge folder of images,
how else you're going to preview them
| | 03:59 | really quick like that?
| | 04:01 | It's just a great asset.
| | 04:02 | You even get like file properties here.
| | 04:03 | So it tells me the dimensions of this
clip and it tells me the document type
| | 04:08 | and all kinds of information about it
here that would be challenging to know or
| | 04:13 | it would take longer to find out just
using my operating systems or browsing system.
| | 04:18 | So I actually use Adobe Bridge all the
time and you might have noticed that
| | 04:21 | when I selected that, that
Bridge just popped right up.
| | 04:24 | That's because I always have Bridge on.
| | 04:26 | As I'm doing this training series and so like
that, it's always just like in the background.
| | 04:30 | So if I need to find something
to use, it's always there for me.
| | 04:33 | So there are several methods here.
You can import stuff in the Project panel.
| | 04:37 | You can use the Media Browser, and
again when we find footage that we want,
| | 04:41 | we can simply double-click it or drag and
drop it into the Project panel, either way,
| | 04:45 | and we could also use Adobe Bridge.
| | 04:47 | One other thing I neglected to
mention about Bridge, which is really the whole
| | 04:49 | point of Bridge, is that Bridge is
intelligent and it remembers which program opened it.
| | 04:56 | So because we opened it from Premiere,
what we can do is simply double-click on
| | 05:01 | a clip that we want here in Bridge
and then automatically it goes over to
| | 05:06 | Premiere and the clip is imported.
| | 05:08 | We don't have to like find it
on our hard drive or whatever and
| | 05:11 | then drag-and-drop it.
| | 05:12 | Bridge, it's just a really quick
smooth process. Double-click it in Bridge,
| | 05:16 | opens it up in Premiere.
| | 05:18 | Now again, in case you couldn't tell
there's no right or wrong way to import but
| | 05:21 | you do have a few options here.
| | Collapse this transcript |
| Sorting and organizing clips| 00:00 | So we have this project here with tons of
clips of all different types in our Project panel.
| | 00:06 | And it not sound like your mom, but this
was the mess and needs to be cleaned up.
| | 00:11 | So what we're going to do is we're going to
talk about how to tidy up the Project panel.
| | 00:14 | This is actually an extremely small
project to compared what you will have.
| | 00:20 | You probably, in the real world, will
never have a project with this few clips.
| | 00:25 | And realistically one of the editor's
biggest jobs and I might have managed
| | 00:29 | this before and I've probably mentioned it
several times throughout this training series.
| | 00:32 | One of the editor's biggest jobs is to
manage media, to be organized, and to know
| | 00:40 | where certain files are at all times.
| | 00:42 | And you can't very well do that with a
mess like this in your Project panel.
| | 00:47 | So the first thing we're going to do is
actually hit the Tilde key on your keyboard.
| | 00:51 | That's again a little
squiggle above the Tab key.
| | 00:53 | That's going to maximize this panel.
| | 00:55 | So we really don't care about
anything else for the time being.
| | 00:58 | You see the Project panel
actually gives us tons of information.
| | 01:01 | We're actually not even seeing that.
We have a scrollbar here and we could scroll
| | 01:03 | down and see all the different
things that we could have access to
| | 01:07 | as far as knowledge goes about
this clip, which is really cool.
| | 01:10 | And actually these
columns right here are sortable.
| | 01:13 | So if we want to sort by media duration,
maybe we have a bunch of little small
| | 01:16 | clips and we have one major clip, we
can click on Media Duration and now all
| | 01:21 | these clips are sorted
based on their media duration.
| | 01:25 | You also might notice that some of
these clips have different frame rates,
| | 01:28 | 23.976 here and 29.97 here,
again another 23.976 here.
| | 01:33 | So we might want to click on
Frame Rate to sort by frame rate.
| | 01:36 | Now typically I sort by the name.
| | 01:38 | So I'm just going to click on name here,
and if you want to change the name of
| | 01:42 | something, say for example cool bird.
| | 01:44 | That's not very descriptive.
| | 01:45 | So I might click on this clip and then it
becomes a text field that I can type in.
| | 01:49 | So I might type B-roll_bird.
| | 01:53 | So the naming convention
matches what else is going on here.
| | 01:56 | And I can just click in some blank
area of the Project panel to accept that.
| | 02:01 | Now what we really need to do here is
categorize what is happening in the Project panel.
| | 02:06 | The way that we do that is by going
down at the bottom of Project panel and
| | 02:09 | clicking the folder icon.
| | 02:10 | Folders in the Project panel in
Premiere Pro are referred to as bins.
| | 02:14 | This goes back to verbiage from the
old film days where they used to collect
| | 02:18 | spools of film in big bins.
| | 02:21 | So we have this folder here called Bin and
I'm going to call this audio and hit Enter.
| | 02:27 | And so what we could do now is go ahead and
click on the clips that are just speakers.
| | 02:32 | That means they are only
audio and we have two here.
| | 02:34 | I'm going to drag and drop into that folder
and chad piano, drag and drop into that folder.
| | 02:40 | Then I'm going to create
another folder that is called video.
| | 02:43 | Now you notice that I had this other
audio folder selected when I created this
| | 02:48 | new bin and so that's actually created
a bin inside of a bin, which is totally
| | 02:52 | acceptable, but not what we want here.
| | 02:54 | So I'm going to drag this to the left of
audio and then it will be aligned here.
| | 03:00 | And so I'm going to now grab my video
clips and actually I could click one at
| | 03:04 | the top and then Shift+Click this
one here to select all those at once.
| | 03:08 | Just drag-and-drop those into
the Video bin and yummy doughnuts.
| | 03:13 | Let's not forget about yummy, yummy doughnuts.
| | 03:16 | Create a new bin that is Sequences
and again drag that to the left and drag
| | 03:24 | Sequence 01 and 02 in here.
| | 03:26 | Drag the sequences, and finally in this case
we have images or graphics, what have you.
| | 03:32 | It really is up to you how
you sort/organize your footage.
| | 03:35 | You might choose to organize your
clips based on scenes or by actors or
| | 03:42 | however you choose to do it.
| | 03:43 | If you making a documentary, you might
choose to do it by locations or whatever
| | 03:48 | else is going on in your
world that can help you.
| | 03:50 | What I typically do when I'm
creating projects is to do it like this, to
| | 03:55 | categorize by the different type of
media, audio, video, sequences, and images.
| | 04:00 | And now ladies and gentlemen,
I truthfully recognize that this is not the most
| | 04:05 | exciting topic in the world.
| | 04:06 | I doubt that this movie for you was an
edge-of-your-seat thrill ride, but the
| | 04:10 | concept is very, very
important when you are editing.
| | 04:14 | When people are starting out and they
are new, often this is one of the things
| | 04:18 | that they want to just
skip over and forget about.
| | 04:20 | But this really is the key to being a
good editor, is learning how to manage
| | 04:25 | your media well.
| | Collapse this transcript |
|
|
3. Basic Video EditingMaking a rough cut| 00:00 | One of the first major editing
tasks usually is to create a rough cut.
| | 00:05 | A rough cut is a basic ballpark
approximation of what the final edit is going to be like.
| | 00:11 | It doesn't have be perfect, it doesn't have to
be smoothed out, but just kind of a general idea.
| | 00:15 | Now Premiere has a great feature
that's going to help us out with that here
| | 00:18 | in the Project panel.
| | 00:20 | Here in this project I have three
clips of A-roll of our main subject being
| | 00:23 | interviewed, and then I have three clips
of B-roll, just basic like scenery shots here.
| | 00:28 | And what I want to do is I want to cut
them altogether so there is one clip of
| | 00:31 | B-roll and then there's an interview
in it, and then another clip of B-roll,
| | 00:34 | and then an interview.
| | 00:35 | This is basically how I want this project to go.
| | 00:38 | So what I'm going to do is actually
change the view here, because right now
| | 00:41 | we're looking at this view,
which is the list view.
| | 00:43 | It's a list of all of the
assets in our Project panel.
| | 00:45 | I'm going to change this over to the
Icon view, so we're actually going to be
| | 00:48 | able to see and iconic
representation of each of our clips.
| | 00:54 | From here I can move these around
like pieces on a board or something, so I
| | 00:59 | could really see what's going on and
restructure my presentation from right here
| | 01:04 | visually while I'm seeing all these clips here.
| | 01:07 | This is very akin to what people are
doing, like what directors might do before
| | 01:11 | they go out and shoot, where
they take clips and assemble them.
| | 01:14 | It is called pre-visualization.
| | 01:16 | They make a storyboard with different
cards or little pieces of paper that have
| | 01:21 | visual representations of each shot.
| | 01:23 | And even screen writers, when they
are writing scripts, do this with index
| | 01:26 | cards on a big board.
| | 01:27 | So this is a great way for us
to visualize what's going on.
| | 01:29 | So I click on this clip, and I want
there to be this A-roll_PlanA_06, I want
| | 01:36 | this to be second, and I
want a piece of B-roll first.
| | 01:38 | I think I want the ocean first, so I'm
going to click and drag on this and move
| | 01:42 | this over to the left.
| | 01:43 | And then in this clip here, which is A
-roll_planA_02, I'm going to put this
| | 01:48 | after the B-roll_train.
| | 01:50 | So we have B-roll, then A-roll, then
we have another piece of B-roll, then we
| | 01:55 | have the other A-roll clip, and this clip of
the closeup I want it to be the final shot.
| | 01:59 | So I'm going to move this B-
roll standing around clip.
| | 02:02 | Drag this in between the gaps, so we
get this thick black vertical line here
| | 02:06 | between these clips, and now from this
first shot to our last shot we have a
| | 02:10 | rough assembly of what our
final project will look like.
| | 02:14 | So what I'm going to do now is I'm
going to click the first clip, I'm going to
| | 02:17 | Shift+click the last clip, so
that all these clips are selected.
| | 02:21 | Don't need to select this sequence.
| | 02:22 | Then I'm going to click this
button right here, which is Automate to
| | 02:25 | Sequence. Click this button.
| | 02:27 | And what this is going to do, it is
going to take all these clips and assemble
| | 02:31 | them in our timeline in the
order in which we choose them.
| | 02:34 | So we'll leave the ordering at the
selection order here and again it's going to
| | 02:38 | make it so that in our timeline these
clips will appear in this very order.
| | 02:42 | What's also cool about this is we
could have these clips overlap, so their
| | 02:46 | endpoints and their beginning points
will overlap each other and we can also
| | 02:49 | apply default transitions to these,
and these default transitions,
| | 02:53 | because we've not changed them from
their defaults, they are going to blend the
| | 02:57 | two clips together visually with the
video transition and the audio will also
| | 03:02 | kind of cross-fade from one clip to the next.
| | 03:05 | This is a really great feature, but
I'm not sure I want it here, so I'm just
| | 03:08 | going to uncheck these so the
clips just go from frame-to-frame.
| | 03:13 | Next, I'm going to go ahead and click
OK and there are our clips here in
| | 03:19 | the Timeline panel.
| | 03:20 | Right here, in order, very quickly
and easily added to our program here.
| | 03:27 | Now technically our rough cut is not
finished yet, because a rough cut really
| | 03:31 | needs to be cut still a little bit,
so it's even rough for a rough cut.
| | 03:36 | But we can go in here and begin
trimming our clips and making those edits and
| | 03:40 | polishing this up, because all of our
program now is in the correct order and
| | 03:44 | it's in our Timeline.
| | 03:45 | So this Automated Sequence feature here
in the Project panel is a great way to
| | 03:50 | visually see your story and to tell it
with representations of the different
| | 03:54 | segments of what's going on, the different
scenes, and then bring that into your Timeline.
| | Collapse this transcript |
| Making preliminary edits| 00:00 | What I'm going to do here is I'm
going to take this clip and I'm going to
| | 00:03 | add it to our Timeline by just
dragging it and dropping it here, making it
| | 00:06 | start at the first frame.
| | 00:07 | And then I'm going to hit the Backslash key.
| | 00:10 | That's the slash that's tilting backwards
above the Return or Enter key on your keyboard.
| | 00:14 | And that makes it though so we
could see the entire clip at a glance.
| | 00:17 | So basically takes the zoom of the
Timeline, so you could see the entire clip.
| | 00:22 | And as I play this, you'll see that
we have a lot of extra material in the
| | 00:27 | beginning of the clip.
| | 00:28 | (Wind)
| | 00:32 | Okay, so they're just kind of
standing around for a while.
| | 00:34 | Let's move a little bit further
in time and see how things are going.
| | 00:36 | (Inaudible dialogue)
| | 00:39 | Okay, still kind of standing
around. A little bit farther.
| | 00:42 | (Whirrrr.)
(Male speaker 1: Ooo! Look at that!)
| | 00:44 | And a helicopter goes through the shot.
| | 00:46 | A little while longer, and we'll try that there.
| | 00:49 | (Whirrrr.0
(Male speaker 2: That was bad.)
| | 00:53 | Okay, talking about the helicopter.
| | 00:55 | A little farther on, and
somebody walks in front of the camera.
| | 00:58 | So we are not quiet ready to start yet.
| | 00:59 | So it's about 50 seconds into this clip
before they even get something that we
| | 01:04 | could even begin to edit.
| | 01:05 | So the first 50 seconds,
this is really just a waste of time.
| | 01:08 | My point here is that in the Timeline
when you have tons of other clips and
| | 01:12 | tons of other things going on usually,
this is not the place to be making
| | 01:16 | these huge gigantic cuts.
| | 01:18 | So what I'm going to do is show you how
to make an edit before you even bring a
| | 01:22 | clip to the Timeline.
| | 01:23 | I'm going to select the clip, click it to
select it and then hit the Delete key to remove it.
| | 01:27 | Now I'm going to go back up here
to my Project panel and I'm going to
| | 01:30 | double-click this clip.
| | 01:31 | That will open it up in
what's called the Source Monitor.
| | 01:35 | That's by default the viewer on the
left hand side. So the Program is the final
| | 01:40 | project that we're making and the Source
is basically a way that we can edit the
| | 01:45 | material before it gets to the timeline.
| | 01:47 | So I'm going to scrub in time about 50 seconds
or so, and it likes he's about to start going.
| | 01:54 | Maybe like right here,
| | 01:55 | (Male speaker: ?or if you're
thinking about visiting California,)
| | 01:58 | (Male speaker: then booking your trip
through Explore California's the only way to go.)
| | 02:04 | Okay! And it looks like
he's about to start right there.
| | 02:06 | Now, I usually like to leave a little
bit of extra room so we can have some room
| | 02:10 | to play with when we bring this down,
so I might back this up just a little bit
| | 02:13 | and then we're going to do
something called creating an in point.
| | 02:17 | And that's going to be done by clicking
this little button here. We could press
| | 02:20 | the letter I on our keyboard also, and
that basically says that this is the part
| | 02:25 | where we want the clip to come in at.
| | 02:27 | So we have the beginning of the clip
over here on the left-hand side, but
| | 02:30 | the part that we wanted to actually put
into our program is the in point of the clip.
| | 02:36 | Likewise, the point we want to stop
taking stuff from the clip is the out point.
| | 02:41 | So there is this zoom here, and I don't
think I'm going to use anything after that zoom.
| | 02:46 | So what I'm going to do is go up to
right before it's zoomed and this is
| | 02:50 | probably the last usable frame
that we could possibly want to use.
| | 02:53 | And so I'm just going to press
the letter O to set the out point.
| | 02:56 | Now the clip is this long, not this long.
| | 03:01 | And so what I can do now is put my
Current Time Indicator into position at the
| | 03:06 | beginning of my program where it's all
zeros here, and then I'm going to click
| | 03:11 | this button here, which is an overlay
edit, which is going to just plop this
| | 03:15 | right down on the Timeline there.
| | 03:17 | And now we don't have those extra
50 seconds of helicopters and people
| | 03:21 | walking in front of the camera, and we don't
have the end with this close-up that we can't use.
| | 03:26 | So this is usable stuff. We still need
to edit it, still need to tweak it, but
| | 03:30 | now it's more of a process of refinement
rather than getting rid of minutes of
| | 03:34 | junk that we'll never use.
| | 03:36 | By the way, another little trick here is
that once we've made it is kind of cut,
| | 03:40 | we've set an in point and an out point,
I can drag this back to the Project
| | 03:45 | panel, and that will create
something called a sub-clip.
| | 03:49 | So it will be almost like a piece of the whole
that we can then use later on, as we see fit.
| | 03:55 | So it doesn't really duplicate the clip
on our hard drive. It just made another
| | 03:58 | reference of the clip.
| | 03:59 | If I click the initial clip, you could
see that it's-- well, the in points and
| | 04:03 | out points are a little bit longer here.
| | 04:04 | So I'm basically like trimming the
end point to go back to beginning, and
| | 04:08 | trimming the out point to go back to the end.
| | 04:10 | And so now I have one clip of this that
is 2 minutes and 8 seconds long, and we
| | 04:16 | have another clip of this,
which is still 55 seconds long.
| | 04:19 | So we have the original and then trimmed.
So if we wanted to go back to this
| | 04:22 | original and get another piece of the
video in the beginning or something like
| | 04:26 | that, then we can continue to use
this as like the master and this one as
| | 04:30 | just that one clip.
| | 04:32 | This is especially good for like a
documentary situation where you might have a
| | 04:36 | really long interview with somebody,
and you want a master shot like this where
| | 04:41 | you can just continually take pieces,
but then you want also like little blurbs
| | 04:44 | that they'll be using, and you want to
just keep taking sub-clips from that one
| | 04:48 | long clip over and over again.
| | 04:50 | So that's how you create
preliminary edits with the Source Monitor.
| | Collapse this transcript |
| Creating overlay and insert edits| 00:00 | Previously in this training
series we have looked at basic edits.
| | 00:04 | Basic trimming where we're cropping off
some of the beginning or some of the end
| | 00:07 | of a clip, and that's probably what
you'll do most of the time with clips.
| | 00:10 | But there are a wide variety of
different types of edits that you can perform.
| | 00:15 | We're going to look at two of the most
basic in this movie, Overlay and Insert.
| | 00:19 | Now to give you the setup of our project
here, in our Timeline we have two clips.
| | 00:23 | We have this cool clip of flowers,
and then we have this cool clip of the
| | 00:27 | inside of the flower shop.
| | 00:29 | Now at the end of this flower clip,
basically it freezes for a second and then
| | 00:34 | a door closes and we want to get
rid of that, and we also don't need the
| | 00:37 | beginning the flower shop here.
| | 00:41 | So what I want to do is bring in this
clip of the owner talking and I wanted
| | 00:46 | to overlay and get rid off some of this
junk at end of the flower clip and the
| | 00:50 | beginning of the merged clip. We can
actually do that from the Source Monitor.
| | 00:55 | So what I've done here is I'm going to
line this up in time. I want this to be
| | 00:58 | at 10 seconds and 13 frames in, is
where I want this edit to happen.
| | 01:02 | So I'm going to line up my Current
Time Indicator there, and in the Source
| | 01:05 | Monitor I have set an out point for 11
seconds and 14 frames in, and we just
| | 01:10 | want the first 11 seconds and 14 frames.
| | 01:14 | By the way, as you are scrubbing
through and navigating the Source Monitor,
| | 01:17 | we have these two controls here.
| | 01:18 | We have a jog wheel, so if you want to
slowly go through the clip and you could
| | 01:23 | look at it frame by frame a little slower
than you would by playing it, you can do that.
| | 01:27 | You can go backwards by dragging it to
left or right, and then right above it,
| | 01:30 | if you want to go a little bit faster,
instead of jogging we can shuttle.
| | 01:34 | So if we drag this to the right,
we're going to go forward in time and
| | 01:38 | it's going to go slowly as we move a little
bit to the left, a little bit to the right.
| | 01:42 | As we move more to the right,
it's going to go faster.
| | 01:48 | Likewise, we could also take this to
the left and again, as we move a little
| | 01:51 | bit to the left it's going to go slowly
backwards, and as we move farther to the
| | 01:55 | left, it's going to go backwards more quickly.
| | 02:02 | So as you can see, sometimes it takes a
second to initialize, but these are both
| | 02:05 | good ways to navigate around your footage.
| | 02:08 | So now that we have the section that
we want, we have a few options and I
| | 02:13 | didn't mention this in the last video,
but we could also take just the video by
| | 02:16 | dragging this icon to our Timeline.
| | 02:18 | We could also take just the audio by
dragging the speaker icon to our Timeline.
| | 02:24 | But what I wanted is these two buttons
right here. This is what I'm interested in.
| | 02:27 | Now we have the Insert
edit and the Overlay edit.
| | 02:31 | First let's talk about the Insert edit.
| | 02:33 | As you could see from the icon here,
it looks like its cutting something in half
| | 02:37 | and then putting itself into the space.
| | 02:39 | That's exactly what this is going to do.
| | 02:41 | If I were to click this Insert button,
what it does is that it will split the
| | 02:47 | footage at the Current Time Indicator, and
put the clip from the Source Monitor there.
| | 02:52 | So what it did is we had the Fridge clip,
and then it cuts in to the footage we
| | 02:57 | just inserted in here and then there
is the remainder of the flower clip.
| | 03:02 | So there's the stuff that we don't want,
and then we still have all of the store
| | 03:06 | stuff that we don't want.
| | 03:08 | So I'm actually going to undo that.
| | 03:09 | But that's what an Insert edit does,
and it is very helpful for when you don't wan
| | 03:13 | to replace footage, but you
actually want to make way for it.
| | 03:17 | You want to create a wedge and
stick the footage in that wedge.
| | 03:20 | But I'm going to put this Overlay Edit
on now, and you could see that there's
| | 03:24 | a Down arrow on top of stuff that's already
there, and that's what this is going to do.
| | 03:28 | This is going to replace what is there.
| | 03:31 | So as I click the Overlay edit, you'll
notice that the time changed last time
| | 03:35 | because we actually inserted this and
everything moved over to the right, or
| | 03:39 | later in time in other words.
| | 03:40 | And so it actually changed the
duration of our program, the Insert edit did.
| | 03:44 | The Overlay edit is not going to
change the duration of our program.
| | 03:47 | It's still going to end here.
| | 03:49 | It's going to replace what is
there for 11 seconds and 14 frames.
| | 03:53 | So I'll click this button
now and there you have it.
| | 03:56 | So now we have the footage of the
flowers, then the interview with the woman,
| | 04:02 | and then we have the part of
the flower clip that we want.
| | 04:07 | And again, because Overlay edits
replace content, it does not change the length
| | 04:12 | of the program as we saw with the Insert edit.
| | Collapse this transcript |
| Using video layers to add B-roll| 00:00 | In this tutorial we're going to
look at two important concepts,
| | 00:03 | that of video layers, also called video
tracks, and also B-roll, which we have
| | 00:08 | talked about but haven't really explained.
| | 00:10 | So basically, let's look at our program so far.
| | 00:12 | We have a sequence of this cool
little interview of this guy explaining how
| | 00:17 | wonderful California is. (Video Playing)
| | 00:19 | (Male speaker: Beautiful scenery,
plenty of places to ride, beautiful weather.)
| | 00:25 | (Male speaker: It just
doesn't get any better than this.)
| | 00:28 | Okay, and that's great.
| | 00:29 | But it does get a little bit
fatiguing for our eyes just to hear him talk.
| | 00:34 | Now it's great to connect with him, and to
be able to see his face and his expression.
| | 00:39 | But wouldn't it be better while he's
talking about the beautiful weather to be
| | 00:43 | able to see the beautiful weather?
| | 00:44 | To be able to see how great it is, that
when he says there's plenty of places to ride?
| | 00:49 | (Male speaker: ?plenty of places to ride.)
| | 00:50 | Wouldn't it be better to actually see
people riding bicycles rather than just
| | 00:55 | watching him talk about it?
| | 00:56 | And that's what we try to do when we have video.
| | 00:58 | We try to show rather than tell.
| | 01:01 | So what I want to do is I want to
bring in a clip to show while he's talking.
| | 01:05 | We can do that using a video
track, video track 2 actually.
| | 01:09 | So what I'm going to do is I'm going to
double-click this B-roll_RideBy and
| | 01:16 | this is what B-roll is.
| | 01:18 | A-roll is like our main program, and
that's why this guys speaking is A-roll.
| | 01:22 | He's the main subject and this B-roll
is kind of just like extra footage that
| | 01:26 | we shot when our talent wasn't
there, our subject wasn't there.
| | 01:29 | We just went out with the camera crew
and we shot some extra beautiful stuff,
| | 01:33 | some kind of like stock footage type elements.
| | 01:35 | And then we're going to just bring that
in on top. So really it's not key part
| | 01:39 | of the program. It's just kind of explanatory.
| | 01:42 | So what I'm going to do is again move in
time and wait until this clip gets good.
| | 01:48 | Let's say right about there, right
when he's underneath that sun flare.
| | 01:51 | Then I maybe will go ahead and click I
or click the Set In Point button, move in
| | 01:56 | time, and we don't want
any blank shots like this.
| | 02:00 | So let's back it up to when we still have
some bicyclists on screen. That looks good.
| | 02:04 | Go ahead and click the Set Out Point
button. If we want to, you can click the
| | 02:08 | Play In to Out button to start from the
end point and play it right to the out point.
| | 02:12 | But we're not going to do that.
| | 02:14 | And what I'm going to do is I don't want the
audio from this clip. I just want the video.
| | 02:17 | So I'm going to grab the video icon,
and drag this down to video track 2 or
| | 02:23 | video layer 2, and what that does now
is it stacks the video, and so as we're
| | 02:28 | playing this here-- and actually I
might want to drag this to where he says
| | 02:32 | "there's plenty of places to ride," and
you could see that by the audio waveform
| | 02:36 | representation here in the Timeline panel.
| | 02:38 | that this is where he says that. That
was his second line. So now by putting
| | 02:42 | this over that layer on top, that covers up
or obscures the view of the A-roll footage.
| | 02:49 | So now as we play this,
watch what happens.
| | 02:52 | (Male speaker: Beautiful scenery,
plenty of places to ride, beautiful weather.)
| | 02:58 | (Male speaker: It just
doesn't get any better than this.)
| | 03:03 | Okay, so what I would like to do
ideally is to have another clip of B-roll when
| | 03:05 | he says "beautiful weather" or that third
statement that he makes here, and then
| | 03:09 | cut back to him when he's
all happy saying the final line.
| | 03:12 | (Male speaker: It just
doesn't get any better than this.)
| | 03:14 | He's really passionate, he's feeling
it, and so I want our audience to be
| | 03:18 | able to connect with him when he says that
line, because that's really well done there.
| | 03:23 | So now we have is the B-roll on this
second layer and that's as far as we're
| | 03:27 | going to take it, but you could
continue on with this project, import some more
| | 03:30 | B-roll and put this over some of his
other comments. But basically that is what
| | 03:35 | I want to show you here, that we can
add B-roll, and also too if we wanted to
| | 03:39 | add credits or a lower third or whatever,
this is how we add content on top of
| | 03:43 | what is already there, by using video tracks.
| | Collapse this transcript |
| Using ripple edits and ripple delete| 00:01 | So again, we have these two clips here.
| | 00:02 | We have the clip of flowers in the
fridge followed by another clip of the
| | 00:07 | inside of this flower shop here.
| | 00:10 | Only this time I'm not bothered to go
through and perform a preliminary edit on
| | 00:15 | this flowers footage.
| | 00:16 | So, we have a bunch of junk in the
beginning where we're trying to pull focus,
| | 00:20 | and all that jazz and really at about
14 seconds in, we get to what we want.
| | 00:26 | Now that's no problem, right?
| | 00:27 | We can just go and put our cursor at
the beginning of the clip and then just
| | 00:30 | drag our cursor at the
beginning to our Current Time Indicator
| | 00:33 | and then we've trimmed this.
| | 00:34 | The problem now is that we have multiple
clips, and that's created a gap in our project.
| | 00:40 | We could go and click and drag a
marquee around both of our clips to select
| | 00:44 | them and then move them back to the
beginning, but that's a lot of work.
| | 00:48 | If our project was more complex,
that would be next to impossible.
| | 00:52 | So what we can do instead is just
right-click in this blank spot here and
| | 00:56 | select Ripple Delete.
| | 00:57 | By the way, we can also just click to
select that spot and then hit the Delete
| | 01:00 | key on our keyboard.
| | 01:01 | That works as well.
| | 01:03 | Another thing that we can do, I'm
just going to undo a few times by hitting
| | 01:05 | Command+Z on the Mac or Ctrl+Z on
the PC to get our footage back there.
| | 01:10 | We could do this all in one fell swoop
as we put are cursor over the beginning
| | 01:15 | of the clip to trim it.
| | 01:16 | If we hold the Command key on the Mac or
the Ctrl key on the PC, our cursor changes.
| | 01:21 | That arrow gets a little bit fatter and
indicates instead of trimming the clip we
| | 01:25 | are performing a Ripple edit.
| | 01:27 | So as I click and drag to trim this to
the CTI, once I let go then it's going
| | 01:34 | to automatically Ripple Delete that clip.
| | 01:37 | So as referred to as Ripple edit.
| | 01:39 | So if you have the gap and you do the
Ripple Delete, so it moves everything
| | 01:43 | forward to fill that gap,
| | 01:44 | that is a Ripple Delete and if you
edited that way, it is a Ripple edit.
| | 01:48 | Now I'm going to undo that one more time.
| | 01:50 | If you can't remember the
keyboard shortcut, there is a tool here.
| | 01:54 | It is the Ripple Edit tool.
| | 01:55 | It kind of looks like the fatter
arrow that we're looking at moments ago.
| | 01:58 | Then we can just click and drag this to
the 14 second mark or thereabout and let
| | 02:04 | go and it automatically
Ripple edits the whole thing.
| | 02:08 | Personally, I prefer to you remember
the keyboard shortcut, but if you like to
| | 02:12 | use a tool for that, it's there for you.
| | 02:14 | Ripple edits are one of the most
common types of edits and I found myself
| | 02:17 | using them all the time.
| | 02:19 | Even on the ends of clips we can hold
the Command key or the Ctrl key down, and
| | 02:23 | trim off ends, so that we Ripple edit this.
| | 02:26 | It's really great so that you
don't have extra gaps in your footage.
| | 02:30 | You also notice that as I'm
performing this Ripple edit, just like with a
| | 02:34 | regular edit, in the Program Monitor
I'm getting a representation of what I'm
| | 02:39 | going to be trimming the new in point
to on the clip that I'm working with and
| | 02:43 | the new out point of the existing
out point of the previous clips.
| | 02:46 | So I could use those to know
what my cut is going to look like.
| | 02:50 | So there you have it.
| | 02:51 | There are Ripple edits and Ripple Delete.
| | 02:53 | Not something you have to use, but not
only is it a time saver, it also makes sure
| | 02:57 | that you don't inadvertently
have little gaps in your footage.
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| Performing slip edits| 00:01 | In this tutorial, I'm going to show
you one of my favorite tools and types
| | 00:04 | of edits in Premiere.
| | 00:05 | But this is a little bit
challenging, more than the rest, to understand.
| | 00:09 | So let me show you the dilemma that I have here.
| | 00:11 | I have our little program, and
everything is edited in exactly the right spot.
| | 00:15 | All the cuts happened where they need
to happen and it's taking me a long time to
| | 00:21 | get things in order exactly they should
be. But this B-roll_RideBy clip is not
| | 00:26 | exactly cut in the right spot.
| | 00:29 | Now I needed to start here at the
program at 3 seconds and 5 frames in and I
| | 00:33 | needed to end here at 6 seconds and 6 frames in.
| | 00:38 | So it's in the right spot, but I'm not
looking at the right part of the video.
| | 00:43 | So I have these bicyclist guys. They
are supposed to come down by the camera.
| | 00:46 | But by the end of the clip, they
still have just barely even started
| | 00:50 | riding their bikes.
| | 00:51 | So what I want to do is leave this clip
in place, leave the beginning here,
| | 00:56 | the end here, and just change the content
of the clip, what's inside of it or the
| | 01:01 | part of the video that we're looking at here.
| | 01:03 | It's almost as if this clip is a window
and the video content that we are seeing
| | 01:08 | it through is in the wrong spot.
| | 01:09 | So we need to actually
just move the entire window.
| | 01:12 | So what I'm going to do is go up to the
toolbar here and I'm going to select the Slip tool.
| | 01:16 | It looks like this here.
| | 01:18 | I am going to click and drag over my clip,
and just click in the middle and move it around.
| | 01:25 | As we click and drag, you'll see the
clips update in the upper left-hand corner.
| | 01:31 | Actually, in the entire Program Monitor,
everything is kind of taken over by
| | 01:34 | what's going on with the Slip Edit tool.
| | 01:36 | This is very convenient.
| | 01:37 | You see all that you need to
see to make a wise editing choice.
| | 01:41 | So in the upper left-hand corner,
we're seeing the end of the previous clips,
| | 01:46 | the end of the B-roll_train clip.
| | 01:48 | Then in the upper right corner, we're
seeing the beginning of the next clip and
| | 01:52 | that's the B-roll_StandingAround clip.
| | 01:55 | Then in the major area, in the left area here,
we're seeing the new beginning of the clip.
| | 02:00 | In the right side, we're
seeing the new end of the clip.
| | 02:03 | So we have again all that we
need to make a wise editing choice.
| | 02:07 | So what I wanted to have happen is so
that we are seeing the best part of the
| | 02:12 | clip without changing the cut
points that I already have set up.
| | 02:16 | So I want to have happen again is that we
have bicyclists on screen most of the time.
| | 02:23 | So this looks like it's going to be really good.
| | 02:24 | We have some bicyclists that are
starting, as you see in the left-hand side of
| | 02:28 | the Program Monitor there.
| | 02:30 | They've already started biking and then at
the end of the clip, they're still on screen.
| | 02:34 | So I'm going to let that go there and
then you can see now as we cut to this,
| | 02:38 | the bicyclists are already almost to the camera.
| | 02:41 | They begin passing it.
| | 02:42 | And they are still in frame
when we cut to the next clip.
| | 02:45 | So again, the Slip Edit tool allows
you to keep your cut points in place, and
| | 02:50 | just scrub the content within that video window.
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| Using the Razor tool| 00:01 | Most editors have their favorite tool,
and mine perhaps is the Razor tool.
| | 00:05 | I love it and I use it
in almost everything that I do.
| | 00:09 | Basically, what the Razor tool
allows us to do is to split up footage.
| | 00:13 | Here, I have this project, the initial
project that we were looking at throughout
| | 00:16 | this training series, but
this is the original clip.
| | 00:20 | Let's look at this.
| | 00:20 | (Music playing.)
(Male speaker: Beautiful scenery?)
| | 00:23 | (Male speaker: Plenty of
places to ride, beautiful weather.)
| | 00:27 | (Male speaker: It just
doesn't get any better than this.)
| | 00:29 | (Music playing.)
| | 00:33 | So you notice the music goes on a lot longer.
| | 00:36 | When I initially setup this project in
my head, I'm thinking that these clips,
| | 00:41 | the things that he says,
they are too close together.
| | 00:44 | I want to give it some breathing room,
so that we could put this cool B-roll in
| | 00:48 | and that it would have just
little bit more emotional impact.
| | 00:51 | So when he said like, this line
about different places to ride.
| | 00:54 | (Music playing)
(Male Speaker: Plenty of places to ride.)
| | 00:56 | I want to show that clip and have more time to
show that there are plenty of places to ride.
| | 01:02 | It's just too close together
when he said this for that to happen.
| | 01:05 | I also have logistic problem with the music.
| | 01:08 | I wanted it to be longer, so that at the
end when the music is climaxing right here.
| | 01:11 | (Music playing)
| | 01:15 | That he would be saying his last line.
| | 01:17 | So the way that I got around this was to
use the Razor tool to split this clip up.
| | 01:21 | This is the first time we've actually cut audio,
but that's what we're going to be doing here.
| | 01:25 | Actually, we had the audio and video
connected, but we didn't actually end up
| | 01:29 | using the video of this except for the very end.
| | 01:31 | So what I'm going to do is I'm going
to use the audio waveforms as a guide.
| | 01:35 | You could see these little light glitches here.
| | 01:37 | It's not really a glitch.
| | 01:38 | It's just kind of like a marking,
letting us now where he talks.
| | 01:41 | So I'm going to go and select the
Razor tool, which looks like a razor blade.
| | 01:45 | I'm just going to cut in
between these little lines here.
| | 01:48 | So just click, and click, and click.
| | 01:53 | Now I can go back to the
Selection arrow and click
| | 01:56 | and these are all separate clips
that I can move around. Very nice.
| | 02:02 | Now what I can do is I can turn on
the visibility of this top video track.
| | 02:08 | So we have this B-roll here, but we're
not seeing it visually in our Program
| | 02:11 | Monitor because that track is turned off.
| | 02:13 | So let's enable it by clicking the
eye icon, which enables Track Output.
| | 02:18 | We'll go ahead and click the Home key to get
back to the first frame of our whole video.
| | 02:24 | Now we can preview this
with the split-up layers.
| | 02:27 | (Music playing.)
(Male speaker: Beautiful scenery?)
| | 02:29 | (Male Speaker: Plenty of places to ride.)
| | 02:32 | (Music playing.)
| | 02:33 | (Male Speaker: Beautiful weather.)
| | 02:34 | (Music playing)
| | 02:38 | (Male Speaker: It just
doesn't get any better than this.)
| | 02:43 | So we put space in between his statements.
| | 02:44 | There is definitely some
polishing that needs to go on.
| | 02:46 | We saw his clip first,
because that top clip fades in.
| | 02:49 | So we'd want to move that over a little bit.
| | 02:50 | Again, we could tweak all of these.
| | 02:53 | I was not really paying attention
very closely when I moved these, but the
| | 02:56 | point is that the Razor tool gave us separate
clips, all distinct clips that we can adjust.
| | 03:01 | One of the things that I have not
mentioned yet in this training series is that
| | 03:04 | when you make these cuts,
they are non-destructive.
| | 03:08 | So basically what we can do at any
point with any time we cut or trim or do any
| | 03:12 | edits like that, we can go to these
clips and we can extend them if we want to.
| | 03:17 | So there is nothing that is
destructive about these at all.
| | 03:20 | So again, we could constantly get back
what we've lost from each of these little
| | 03:24 | segments if we wanted to.
| | 03:26 | Now one last word about the Razor tool.
Right now we just used it to create some distance.
| | 03:30 | But often times, I'll use the
Razor tool to get rid of problems.
| | 03:34 | Let's say somebody is talking or
doing a voiceover and they cough or
| | 03:37 | something like that.
| | 03:38 | I might use the Razor tool before the cough
and after the cough and then delete the cough.
| | 03:43 | So it's a good way to get rid of the
junk that you don't want, in addition to
| | 03:48 | putting in space like this.
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| Moving edit points| 00:00 | As we saw in the last movie, I used the
Razor tool here to chop up the different
| | 00:05 | pieces of footage here, but
I didn't do that great of a job.
| | 00:09 | As I separate these clips,
you'll see that I blew it pretty bad.
| | 00:15 | I will start here and preview it.
| | 00:16 | (Music playing)
| | 00:18 | (Male Speaker: Plenty of places to ride.)
| | 00:20 | Uh-oh, I left a gap there, "plenty of...
places to ride" and that's not that great.
| | 00:27 | So what am I going to do? Because I
already cut this up in the wrong way.
| | 00:32 | Well, here is what I can do.
| | 00:34 | I'm going to Command+Z to undo that
and I want to move this edit point.
| | 00:38 | I still want to cut this.
| | 00:39 | I want to get rid of this blank
footage or this extra stuff here at the end.
| | 00:43 | So what I'm going to do is I'm going to
select this tool, which is the Rolling Edit tool.
| | 00:49 | When you roll and edit, it means that
you're going to take this cut point, also
| | 00:52 | called an edit point, just
the line between two clips.
| | 00:55 | I'm going to move it over.
| | 00:58 | In this way, I am going to fix that edit point.
| | 01:02 | So now I can press V to get the Selection tool.
| | 01:05 | Then I select this extra bit
of fluff, like a pause here
| | 01:09 | and I'm just going to delete it.
| | 01:10 | Now we can go back and play this.
| | 01:11 | (Music playing)
| | 01:12 | (Male Speaker: Plenty of places to ride.)
| | 01:14 | Oops, I still cut it off too prematurely.
| | 01:16 | So I can undo that again.
| | 01:18 | Go back to the Rolling Edit tool
and move this over a little bit more.
| | 01:24 | Then I can click this clip
to select it. Press Delete.
| | 01:27 | Now let's see if I got it.
| | 01:28 | (Music playing)
| | 01:30 | (Male Speaker: Plenty of places to ride.)
| | 01:33 | Okay, so that works.
| | 01:34 | So that's what our Rolling Edit tool does.
| | 01:36 | It allows you to click and drag and
move the edit point between two clips.
| | 01:43 | Now the one disclaimer here is that
there has to be enough extra footage in the
| | 01:49 | clip that we're not seeing in order
to be able to roll the edit point.
| | 01:55 | For example, we can click and drag on
this edit point and move it all the way
| | 02:00 | left and right, because there is
that much extra footage that we're not
| | 02:04 | seeing of these clips.
| | 02:05 | But if I were to select one of these
clips, and let's go ahead and click and drag
| | 02:08 | it upwards, so that we can
extend it on a different track.
| | 02:14 | Okay, let's go ahead and move this over.
| | 02:17 | Move the in point over.
| | 02:20 | So we're extending it here.
| | 02:21 | Okay, so this is the true beginning of the clip.
| | 02:26 | We're going to put this here.
| | 02:28 | Now if we select the Rolling Edit tool,
we can't take this to the left anymore.
| | 02:34 | We can still go to the right, because
there is extra footage at the end of
| | 02:37 | the RideBy_04 clip.
| | 02:39 | So you can keep going until that
clip no longer has content to extend.
| | 02:45 | But as we go left, we cannot take this
farther anymore earlier in the Timeline,
| | 02:51 | because there is no more content to roll.
| | 02:53 | We're already at the beginning of this clip.
| | 02:55 | So you can almost think of this as
kind of like a tug of war, as we're going
| | 02:59 | back and forth between these two clips.
| | 03:01 | When you've reached the end of the clip,
it's almost like you run out of rope.
| | 03:04 | You just can't go any further.
| | 03:06 | Now personally, I use the Rolling Edit
tool for like the example we just showed
| | 03:10 | here where we cut a little bit too
early and then we can move that cut point.
| | 03:14 | Oftentimes when I'm trying to edit a
word out of what somebody has said, kind
| | 03:17 | of like what we did here,
| | 03:19 | then I will roll the edit point if I cut a
little bit too soon or little bit too late.
| | 03:23 | Oftentimes as well I'll use the
Rolling Edit tool when I want to edit to music.
| | 03:29 | So let's say for example like I had this
cut point here between these two video clips.
| | 03:33 | Let's see for example there is an
Audio Queue that's starts at this clip.
| | 03:36 | I might roll the edit point to snap to
there, so that we have a cut that starts
| | 03:42 | at the same time the music does.
| | 03:43 | So when editing to music, I use
the Rolling Edit tool a lot as well.
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| Navigating efficiently in the Timeline| 00:01 | Now that you know how to perform basic
edits, one of the things that will make
| | 00:04 | or break you as an editor is your
efficiency, your ability to work in the
| | 00:09 | timeline and navigate your way around.
| | 00:11 | So I want to take this movie and get
you up to speed, get you more efficient in
| | 00:15 | working here in the Timeline panel.
| | 00:18 | First of all we need to
change the view of the Timeline.
| | 00:21 | As we use these mountains here, we can
drag left to zoom out and see more of our
| | 00:26 | footage, or if we want to zoom in
more closely, we can drag to the right.
| | 00:29 | We can also use this scrollbar
here to get where we need to go.
| | 00:33 | Again, of course, we can just click the
Current Time Indicator to jump in time as well.
| | 00:37 | We could also press the Backslash key as
talked about before to make it so that
| | 00:41 | we can see the entire program at a glance.
| | 00:44 | And as mentioned before, we could press
the Home key to jump to the beginning of
| | 00:48 | the sequence, and we could press End
to jump to the end of our program.
| | 00:52 | Now, if we're going to make a fine-
tuned adjustment, so we can just kind of
| | 00:56 | scrub in the timeline here, but when
we get to a spot where we want to really
| | 01:01 | have fine control and advance a little
bit at a time, we could use the Right
| | 01:05 | Arrow key to advance one frame at a time.
| | 01:09 | We could also use the Left Arrow
key to go back in time one frame.
| | 01:15 | If you have a wheel on your mouse, you
can actually use the wheel on your mouse
| | 01:18 | to scroll up and down.
| | 01:20 | And as you scroll up on your mouse,
you're going to go forward in time.
| | 01:23 | As you scroll down on your mouse,
you're going to go backwards in time.
| | 01:27 | Now, one other keyboard shortcut or a
series of keyboard shortcuts that really
| | 01:30 | helps when you edit video.
| | 01:32 | When I edit I'd like to have my right
hand on my mouse and my left hand on the
| | 01:35 | keys J, K and L. This is a great combination.
| | 01:39 | I keep my third finger on the J, my
middle finger on the K, and my index finger
| | 01:45 | on the L. And as we press L, we go
forward in time, and I press K to stop.
| | 01:51 | And as we continue to press L, we go
faster and faster and faster in time,
| | 01:56 | and again K stops it.
| | 01:58 | If we press J once, we will go backwards in
time fairly slowly and we press K to stop.
| | 02:05 | Now, if I keep pressing J, every time I
press it we're going to go backwards in
| | 02:09 | time faster and faster and faster and faster.
| | 02:13 | And again K stops it.
| | 02:15 | If I press K and L together, I will
advance in slow motion forward through the clip.
| | 02:21 | If I press J and K together, I go
backwards through the clip. That did not work.
| | 02:26 | Not quite right.
| | 02:27 | Let me advance this a little bit here, using
L and K to stop, and then J and K together.
| | 02:33 | Again, it takes me backwards as well.
| | 02:36 | So, again, these are different ways we
have to navigate through the Timeline to
| | 02:41 | get to the clips that you're looking
for, make the cuts that you need, are
| | 02:44 | really going to determine your
ultimate success as an editor.
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|
|
4. The Art of Video EditingThe job of an editor| 00:00 | In this chapter we're going to take a
little break from learning about what
| | 00:04 | the buttons do in Premiere and talk
more about the concepts, the principles
| | 00:08 | behind video editing.
| | 00:10 | This is one of my favorite topics to
look at, because we're going to really
| | 00:14 | figure out how to edit.
| | 00:16 | We know what the buttons do, we know
how to trim, but when should you edit.
| | 00:20 | That's what we're going to look at.
| | 00:21 | You see the editor's job, other than
media management which we talked about
| | 00:25 | earlier on, is really the last
line of defense for the story.
| | 00:29 | Let me show you what I'm
talking about in this example here.
| | 00:32 | Let's say we're making a little
promo ad for this olive company here.
| | 00:36 | We have multiple clips that we can use
and each says a different thing, and it
| | 00:41 | really is in the editor's hands to
choose which one of these clips that we use.
| | 00:45 | We have the clip of the showroom with
the bottles of olive oil in their nice
| | 00:50 | little packages there.
| | 00:52 | We have shots of the grove in
the location which they are.
| | 00:56 | We have the olives and some hands
sorting the olives, and we have the owner,
| | 01:01 | founder of the company,
kind of lecturing about things.
| | 01:05 | So, as an editor which clip
do you use? That depends.
| | 01:09 | Each one of these clips
tells a very different story.
| | 01:12 | So even though this isn't a narrative
story, we are still telling a story.
| | 01:16 | When you are editing,
you are always telling a story.
| | 01:20 | So this first clip would say look at
this wonderful product. Maybe you get
| | 01:25 | people's mouth-watering if they do that
with olive oil, but still it gets them
| | 01:29 | excited about olive oil, about the
product, about the pleasure that you would
| | 01:34 | get from having this gourmet olive oil.
| | 01:37 | We might choose to focus on the grove.
| | 01:39 | We might show the climate that these
trees are growing in and people that are
| | 01:43 | experts about olives might say, "wow,
that's the perfect climate for olives."
| | 01:47 | "So this must be a very quality product."
| | 01:50 | We might show the care that is given
these olives, as people are moving these
| | 01:54 | about by hand. This tells a different story.
| | 01:58 | This is almost like giving the viewer
quality assurance, because people are
| | 02:02 | doing this by hand. This process of
making this olive oil at this company is done
| | 02:06 | with real care and concern, so it
says that you can trust this product.
| | 02:11 | We might develop a love for the company
by showing the owner, showing the human side,
| | 02:16 | so people not only want
the product, but love the company.
| | 02:19 | Each of these clips is trying to get
the viewer to believe something different
| | 02:24 | or to feel a different way.
| | 02:26 | You might initially feel as you begin
your career working in Premiere that your
| | 02:29 | job is just to put clips together, but
nothing could be further from the truth.
| | 02:33 | You have so much power in
your hands as an editor.
| | 02:37 | As Quentin Tarantino once said,
musicians have their notes and that's how you
| | 02:42 | work your magic, and editors have
frames, filmmakers deal in frames, and
| | 02:47 | that's how you paint your pictures
and you tell your stories, is with every
| | 02:51 | single frame of video.
| | 02:53 | So let's continue on in this chapter and
see the power that you have as an editor.
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| When to cut| 00:00 | One of the questions you'll probably ask
yourself most often is, when should I cut?
| | 00:04 | And that is the constant question of the editor.
| | 00:08 | We're going to be using some old movies
here to help us figure out when we should cut.
| | 00:12 | One of the times that we should not
cut is when we want to show a period of
| | 00:17 | transition from one period
of time or space to another.
| | 00:22 | For example, in this clip from "Night
of the Living Dead" this guy is building
| | 00:25 | these barricades on the doors and windows to
secure himself and his friends from zombies.
| | 00:31 | And so he is just starting to put up the
first board here, and that's not a good cinema.
| | 00:36 | We don't want to sit here and watch
him put up boards around the windows and
| | 00:39 | doors, just constantly
throughout the whole house.
| | 00:42 | And so there is a transition here,
there is a fade, a cross dissolve, as we'll
| | 00:47 | talk about later in the transitions chapter.
| | 00:49 | Cross dissolve from when he
starts to when he finishes.
| | 00:52 | Thankfully George A. Romero who
directed this picture knew that it's not good
| | 00:56 | cinema to watch this guy go through a
Home Depot project, so now we're just
| | 01:00 | seeing the final results.
Hence a transition is used.
| | 01:03 | Here's another time where a transition was used.
| | 01:06 | In "Plan 9 from Outer Space," noted by
many to be the worst movie ever made, we
| | 01:11 | have this woman here who is apparently
killing someone at night, and then as we
| | 01:16 | go to the next scene, which is the
house during the day, there is again this
| | 01:20 | fade to black and a fade from black.
| | 01:23 | So again, when we are moving in time or
space for great distances, then we use
| | 01:28 | transitions as opposed to a cut.
| | 01:31 | So, that is one thing.
| | 01:32 | A cut is when we go
straight from one clip to the next.
| | 01:36 | Now we also cut to get rid of bad stuff.
| | 01:39 | If we go to the "get rid of bad stuff"
comp, you'll see what I'm talking about.
| | 01:42 | There is another clip from "Plan 9 from
Outer Space." Pilots are sitting here in
| | 01:45 | an airplane minding their own business,
having conversation. All of a sudden
| | 01:49 | there is a UFO that flies by
and it knocks them for a loop.
| | 01:55 | Now if you watch this pilot on the
right, long after the UFO does a driveby,
| | 02:01 | and long after the light is gone, and
even long after the pilot on the left
| | 02:05 | has come to his senses again, this guy is still
freaking out over here on the right-hand side.
| | 02:10 | So let's watch that.
| | 02:11 | (Pilot: American Flight A12 requesting?)
| | 02:13 | (Whirrrrr.)
| | 02:16 | So, now it's over and it's time for
them to be still and he keeps going.
| | 02:22 | (Clack clack clack)
| | 02:26 | (laughing) And so, we go from that cut from
this scene to seeing the UFO, which is actually
| | 02:31 | just kind of sitting there, not
really moving. But it was a pretty traumatic
| | 02:36 | experience apparently.
| | 02:37 | And what the editor should have done
is cut it right here, because basically
| | 02:42 | we want to show the pilots messed up,
and then he looks over at the UFO and
| | 02:47 | then we go to the UFO.
| | 02:48 | There's really no reason to
have this extra jolt in there.
| | 02:52 | It really takes you away from the movie,
because now you're wandering why this
| | 02:56 | guy is continually rocking back and
forth even after the UFO episode is done.
| | 03:00 | So, that is your job as an editor, to
look at pieces of footage, even if the
| | 03:04 | director has shot it, even if he
wants to keep it in there, your job is to
| | 03:07 | look at the story and say, "you know
what, this little piece is not necessary
| | 03:11 | and we need to remove it."
| | 03:13 | Now, another reason that we
cut is for the rhythm of edit.
| | 03:16 | So we'll talk about pacing a little
bit later in this chapter, but here's the
| | 03:21 | good example of how the rhythm
of the edit can be really off.
| | 03:25 | In this clip, I think it's from
"Hercules Conquers the Moon Men," there is this
| | 03:29 | giant mountain that is eating people.
| | 03:31 | I didn't write it, but that's what the
story is,. The mountain is eating people,
| | 03:34 | and this light is the
mountain that's eating people.
| | 03:37 | And then we cut from the mountain
that's eating people, that has just taken
| | 03:40 | sacrifice of human life, and
then we go to a throne room.
| | 03:44 | And when we go to a throne room, these
people are kind of already talking, so
| | 03:48 | we're here with the mountain,
apparently there's like a drawbridge that's
| | 03:51 | closing or something, and then we cut
to the throne room. These people were
| | 03:54 | already talking and it's just very
jarring to have this huge difference in
| | 03:59 | time and space and be already
kind of in the middle of a conversation.
| | 04:03 | So, let's play this edit and
see what I'm talking about here.
| | 04:05 | It actually starts a little bit later.
| | 04:06 | We don't need to watch
this whole mountain thing.
| | 04:08 | (Music playing.)
| | 04:09 | (Male speaker: Queen Samara, your?)
| | 04:11 | So, again we have this mountain thing,
there is treacherous music, and then
| | 04:15 | we're right in the middle
of a conversation.
| | 04:16 | (Music playing.)
(Male speaker: Queen Samara?)
| | 04:19 | We really didn't have a breath to take that in.
| | 04:22 | And so, again, as an editor it's
your job to give it that breath.
| | 04:26 | There could have been a dissolve or
they could have more footage to show this
| | 04:29 | guy walking in to the room. Anything to
make this kind of drawn out a little bit more.
| | 04:34 | We could have taken the music cues or
we would have allowed the music to fade
| | 04:37 | out a little bit before making that cut.
| | 04:40 | Anything that we could do to make it so
that this scene kind of fades away and
| | 04:45 | we have a chance to catch our breath
before we start listening to dialogue.
| | 04:49 | Now, it's also an editor's job to watch
for storytelling issues and continuity.
| | 04:55 | So, as we have here again, this clip
from "Plan 9 from Outer Space," as I've
| | 04:58 | showed you before in this movie, we have
Vampira going to kill some people here.
| | 05:03 | And the people that she's killing-- if
we back up a little bit further, here's
| | 05:06 | her coming into the scene here-- are
apparently these guys who are somewhere
| | 05:11 | where it's daytime, and then they
see her and she is somewhere where it's
| | 05:16 | apparently night, and it
cuts back to them being day.
| | 05:20 | This is what referred to as a continuity issue.
| | 05:22 | This is probably one of the worst
you'll ever find, but still it does a
| | 05:25 | good job to illustrate the issue of continuity.
| | 05:28 | Oftentimes, directors will not realize
that an actor will have their watch on
| | 05:32 | maybe their left-hand in one take, and
then they will go out to lunch and take
| | 05:35 | off the watch or whatever piece of
clothing they are using, and they will put
| | 05:39 | the watch on the other wrist.
| | 05:40 | So, if at all possible, it's your job to
watch for those things and to fix them
| | 05:45 | so they don't take people out of the story.
| | 05:48 | So hopefully these examples will
make a little bit more clear about when
| | 05:52 | we ought to cut.
| | Collapse this transcript |
| Avoiding bad edits| 00:00 | Now we're going to take a brief look at
what constitutes a bad edit, so you know
| | 00:04 | and not to make those.
| | 00:05 | This is one of the worst edits I've
possibly ever seen and this is a clip
| | 00:08 | from "Ninja Death 3." And here a guy
and a girl are playing coy, kind of
| | 00:12 | flirting a little bit, and then it
cuts to something else, a different scene
| | 00:18 | entirely, which is a little jarring
just because it seems like they were
| | 00:23 | kind of like flirting or kind of here.
Not the worst edit ever, but they are
| | 00:27 | somewhere else, and then all of a
sudden it cuts back to the first couple,
| | 00:32 | and all of a sudden they are embracing.
| | 00:34 | So we didn't really tell the complete story.
| | 00:37 | We don't know how they went from
being coy and flirty and far away to
| | 00:43 | embracing each other and being
really close, and he is kind of like in
| | 00:46 | mid-sentence arguing with her.
| | 00:48 | So, emotionally there was a huge
section there that we didn't see and we're
| | 00:53 | seeing another part of the story instead.
| | 00:55 | So we're not really seeing the complete story.
| | 00:56 | Let's look at that edit, and see if you
could feel how uncomfortable it is as we
| | 01:00 | go back and forth without really
giving the viewer the complete story.
| | 01:04 | (Music playing)
| | 01:11 | (Female speaker: Brother, where are you going?)
| | 01:14 | (Male speaker: To go talk to a teacher!)
| | 01:16 | (Male speaker 2: So tell me, what am I?
Why do you treat me so well?! Tell me!!)
| | 01:20 | So again, emotionally as we cut back
to these people, we missed something.
| | 01:26 | The editor did not give us a
clue about what's going on.
| | 01:29 | So, be aware of that.
| | 01:31 | And sometimes you're given a movie to
edit where it wasn't written very well or
| | 01:36 | wasn't directed very well and there's
not too much you can do, but that's still,
| | 01:40 | again, as an editor you're the
last line of defense with the story.
| | 01:42 | So, you've got to try to come up with
the way to tell a better story than that.
| | 01:47 | Now, let's talk about jump cuts.
| | 01:49 | Jump cuts are when we jump from one
frame to the next and from one frame to the
| | 01:54 | next it just doesn't make sense visually.
| | 01:56 | In this clip from the "Night of the
Living Dead" they are fiddling with the TV set,
| | 02:00 | and this guy here our main
character is fiddling with the rabbit ears, and
| | 02:05 | as we advance frame by frame, there is
a frame where he goes to sit back down
| | 02:08 | again and then in one frame he is
sitting down, and then in the next frame he's
| | 02:13 | completely sitting down.
| | 02:15 | Now, that's totally okay, because we
assume that he's going to finish sitting
| | 02:19 | down, so it's not the end of the world.
| | 02:21 | However, the audio is consistent from
that frame to that frame, so we refer to
| | 02:27 | this when it's just kind of an
extra leap like that, as a jump cut.
| | 02:31 | So, again it's very subtle.
| | 02:33 | It's a very small thing, but let's
see if we can detect that jump cut.
| | 02:38 | (Male speaker 3: Play with the rabbit ears!)
| | 02:39 | (Tv announcer: As incredible as they seem?)
| | 02:42 | So, it almost seems like as he was
about to sit down that he just warped
| | 02:47 | into sitting position.
| | 02:49 | So, again, if there wasn't consistent
audio, then it would be okay but because
| | 02:53 | there is consistent audio,
it doesn't really make sense.
| | 02:56 | He kind of like warped into a sitting position,
and so again that's referred to as a jump cut.
| | 03:01 | Here is a more glaring example of a jump cut.
| | 03:04 | In this clip from "Santa Claus
Conquers the Martians," this robot enters
| | 03:07 | this room here, and he breaks down
Santa Claus's door and then he enters in.
| | 03:12 | And we have this medium shot of him
coming in and he enters. He takes several
| | 03:18 | steps into the workshop there.
| | 03:21 | And then in the next cut, when we cut
back to it being a wide shot, he is right
| | 03:25 | in front of the door.
| | 03:27 | So again, that's a jump cut. It's jarring.
| | 03:29 | That's not what happened.
| | 03:30 | We saw him take several steps into the
room and then we cut back to him he is
| | 03:34 | by the door and he is not moving as much.
| | 03:37 | Like here he is in walking formation,
like his arms and legs are in the process
| | 03:42 | of walking, and then when we cut back
here he is standing still, almost like
| | 03:47 | the director said "action," and we
needed him to take a few steps in and the
| | 03:51 | editor should have cut it
like right here or something.
| | 03:54 | Let's watch this scene, and see
if you could see the jump cut in motion.
| | 03:57 | (Dramatic music playing)
| | 04:11 | So, again you can see that it
kind of warped backwards when we cut.
| | 04:14 | Again, that is a jump cut.
| | 04:17 | Now, this next idea isn't
really avoiding bad edits.
| | 04:20 | It's avoiding bad pieces of footage.
| | 04:23 | Here in this clip I have footage
of a hopping ferret, very cute.
| | 04:27 | And then towards the last half of the
clip he is kind of off-screen most of the way.
| | 04:32 | And then this is me doing the camera work,
| | 04:36 | by the way. I did a terrible job.
| | 04:37 | Admittedly I'm an awful cameraman.
| | 04:39 | Also too the first little part of
the clip we don't even see the ferret.
| | 04:43 | So, this isn't really a bad edit,
but we take the chance of boring or
| | 04:47 | fatiguing the audience, because we're
showing them something they don't really
| | 04:50 | need to care about.
| | 04:51 | So, make sure that every
frame of video is juicy.
| | 04:55 | As good as it can possibly be.
| | 04:57 | So, I might start there with the
ferret just about to come on screen, and
| | 05:02 | then he comes on screen, and then he
runs away, and the audience is going to
| | 05:06 | assume that he ran off screen,
because he is going that way and most of his
| | 05:10 | body is away anyways.
| | 05:11 | So, really this is the best part of this clip.
| | 05:14 | We might even consider
jumping off or cutting it there.
| | 05:17 | But anyways, we don't want to
show the audience anything they don't
| | 05:20 | absolutely need to see.
| | 05:23 | Here's another more humorous
example from "Jesse James Meets
| | 05:27 | Frankenstein's Daughter."
| | 05:28 | Apparently, he has to go out and find
somebody named Wanita and I don't recall
| | 05:32 | the plot line why he needed to do that,
but this evil scientist is trying to
| | 05:36 | get him to remember Wanita and so she keep
saying it over and over, and it's hilarious.
| | 05:43 | (Male speaker: Wa-ni-ta?)
| | 05:45 | (Female speaker: Yes! Wa-nita.)
| | 05:48 | (Male speaker: Wan-ita? Wan-ita?)
| | 05:54 | Okay, so we probably could have done
with one or two less Wanitas there and I'm
| | 05:59 | not sure how that could have been done
in editing, but we could have maybe cut
| | 06:02 | away to something, as we'll
talk about later in this chapter.
| | 06:05 | We could fix some problems by cutting
away to other things, but this is just long.
| | 06:09 | I mean as an audience member, I'm
sitting here and watching this saying, yes I
| | 06:12 | get it, I get that you're
trying to pronounce Wanita.
| | 06:15 | I get that that's who you are going after.
| | 06:17 | I don't need to be told
this over and over again.
| | 06:19 | Let's move on with the story.
| | 06:20 | So, again, only the best. When we're
making our edits, we want to give the users
| | 06:25 | the best of our footage, the best of the story.
| | 06:28 | Anything that's extra, let's get rid of.
| | Collapse this transcript |
| The pacing of edits| 00:00 | One of the story elements that you
have total control of as the editor is the
| | 00:04 | pacing of the cuts. And man,
| | 00:07 | what a difference that they make.
| | 00:09 | Here are two clips from
"Night of the Living Dead."
| | 00:11 | Here is the first clip here
and we are going to watch this.
| | 00:14 | Notice how often that
we cut from shot to shot.
| | 00:18 | (Female speaker: 6 o'clock and it's still light!)
| | 00:21 | (Male speaker: A lot of good the extra daylight does us.)
| | 00:24 | (Male speaker: Now we've still got a 3-hour drive
back. We're not going to be home until after midnight.)
| | 00:28 | Actually, I'll just go
ahead and keep scrubbing this.
| | 00:30 | But notice there is no cuts yet, no change in
clips, no change in clips, and like that's it.
| | 00:35 | That entire shot was almost 27 seconds long.
| | 00:41 | This is before any zombies happen at the
beginning of the movie. Nothing scary yet.
| | 00:45 | So 27 seconds, which is a
really long time for a single cut.
| | 00:49 | Now contrast that with later in the movie
when they are getting attacked by zombies.
| | 00:54 | Notice all the cuts here.
| | 00:56 | (Music playing)
| | 01:03 | (Female speaker: I'm going with them!)
| | 01:05 | (Male speaker: Get back in the cellar!)
(Female speaker: I'm going!)
| | 01:07 | (Male speaker: It's too late!)
| | 01:08 | (Music playing)
| | 01:12 | So here in even a less period
of time we have far more cuts.
| | 01:16 | Some of them only lasting a split-second.
| | 01:18 | And so we are constantly cutting.
| | 01:20 | And this makes it feel a lot more intense.
| | 01:22 | Just like the speed of the cuts.
| | 01:23 | How many cuts are coming per
second or per minute? Much faster.
| | 01:28 | Again, what this is doing is its kind of
mimicking what's happening with the human heart.
| | 01:32 | Like in the beginning our
heartbeat is slow. Nothing much going on,
| | 01:36 | everything is normal.
| | 01:37 | But at the end, our heart
rate is supposed to be up.
| | 01:39 | It supposed to be beating a
little bit more intensely.
| | 01:41 | So that's what's happening
here with the speed of the cuts.
| | 01:44 | So again, as we go from frame to frame
here, we go and then he looks back and
| | 01:54 | there is a cut of her exiting the door.
| | 01:57 | A couple of seconds later, there
is a cut of him turning his head.
| | 02:01 | And there's only a few frames of that.
| | 02:05 | Another cut of him closing the door.
| | 02:07 | Another cut of her turning her head and
another cut in just a second of his face again.
| | 02:14 | So we are constantly cutting,
cutting, cutting, cutting.
| | 02:17 | And again, it's that frenetic pace that makes
you just feel really on the edge of your seat.
| | 02:21 | Again, the editor has total control of
the pacing and the speed of the movie,
| | 02:26 | which is very important.
| | 02:27 | Also, one other thing, you
want to keep in mind your audience.
| | 02:30 | Here is a clip from "Jesse James
Meets Frankenstein's Daughter."
| | 02:34 | And I am just going to play this
without the audio on and talk over it.
| | 02:37 | Notice how long this shot goes on.
| | 02:41 | This movie was made in the 60s, and again it
goes on and on and on and on and on without a cut.
| | 02:48 | So it goes on over a minute long which
is almost unheard of in movies today.
| | 02:54 | So you need to take into consideration
the audience that you are speaking to.
| | 02:58 | If you were making a piece for National
Geographic, then you could have longer cuts.
| | 03:02 | You could have cuts that are 10
seconds long and that's okay, because the
| | 03:05 | audience could pay attention.
| | 03:07 | But if you are making something for MTV,
you need to speed up the pace of those cuts.
| | 03:10 | If you've ever watched something on
MTV, the cuts only last a few seconds apiece
| | 03:14 | or maybe even a split-second,
because people that are watching have a very
| | 03:18 | short attention span.
| | 03:19 | So if you are having a younger audience,
then you want to keep their interest
| | 03:22 | and their excitement by doing what
"Night of the Living Dead" did, where you are
| | 03:25 | constantly moving, you are constantly changing.
| | 03:28 | But if you have an older audience,
you can just take your time a little bit,
| | 03:32 | because they have a little
bit longer of an attention span.
| | 03:36 | You might find exceptions to this.
| | 03:37 | Like your grandma might get bored really
easily and you might be able to sit and
| | 03:41 | watch a two-minute sequence
without a cut and be fine with it.
| | 03:44 | But that is the general rule.
| | Collapse this transcript |
| Using establishing shots| 00:00 | Establishing shots are shots that give the
viewer a frame of reference of where you are.
| | 00:06 | They might not seem
important if you are not the viewer.
| | 00:10 | If you are making the movie,
Establishing shots don't feel as important as they
| | 00:14 | really are to the viewer.
| | 00:15 | Here is an example of an establishing shot.
| | 00:18 | This is our scene from "House on Haunted Hill."
| | 00:20 | This guy discovers a secret
passageway, then he gets eaten by the house.
| | 00:24 | Apparently, we don't know what happens to him.
| | 00:25 | Then we are going to see another
scene a little bit later in the same house
| | 00:29 | again, because everyone is
trapped in this haunted house.
| | 00:31 | That really was one of the first
"trapped in the haunted house" movies.
| | 00:34 | So we have another scene in the same
house, but it doesn't just cut from this
| | 00:37 | scene to that scene.
| | 00:39 | There is another scene in between. Let's watch.
| | 00:41 | (Music Playing)
| | 00:58 | So before it cuts from one room of the
house to the other room of the house, it
| | 01:01 | cuts to the house itself.
| | 01:03 | This establishes where we are.
| | 01:05 | Now mentally, we all know where we are.
| | 01:07 | We know that we are in a house and
we know that she's in the house.
| | 01:10 | We know that he's in the house.
| | 01:11 | We've seen them throughout
the whole movie in this house.
| | 01:13 | The entire movie almost
takes place in this house.
| | 01:16 | So, why show another shot of it?
| | 01:18 | Because it reminds us where we are,
and as an audience we need that.
| | 01:23 | "The Simpsons" has been on the air
for over 20 years, and it's one of the
| | 01:27 | longest-running TV shows ever, and
still when they cut from like Homer Simpson
| | 01:33 | at work into the interior of the
Simpson's house, well, they still cut first to
| | 01:37 | the Simpsons exterior home, to the outside
of their home just to establish where you are.
| | 01:43 | And so we need that.
| | 01:44 | We can't just cut from inside the
house to another spot inside the house.
| | 01:48 | It's a good idea to cut to the exterior
of the house to remind us where we are and
| | 01:53 | then cut back inside the home.
| | 01:55 | Now, you might use this
in several different ways.
| | 01:58 | If you have a couple of people talking
in a room or a restaurant, you might cut
| | 02:02 | back and forth between their faces.
| | 02:04 | But occasionally, you want to back up
and show them in the restaurant, just to
| | 02:08 | remind the viewers of the environment that
they are in. As you are shooting the movie,
| | 02:13 | if you are behind the camera, you
are very aware of the boundaries and
| | 02:16 | dimensions of the
environment that you are shooting in.
| | 02:18 | But the audience isn't.
| | 02:20 | So these establishing shots of the
environment, as they are called, the
| | 02:24 | establishing shots help you to get
a better bearing of where you are.
| | 02:28 | Now, if you are an editor and the
director shot no establishing shots,
| | 02:32 | then you might have to get more
creative and it might be completely
| | 02:35 | impossible for you to do this.
| | 02:36 | But if you can, then remember that
establishing shots help viewers to get a
| | 02:41 | sense of where they are better.
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| Using emotional cutaways| 00:00 | A cutaway is when we
literally cut to something else.
| | 00:05 | And in some cases, when we cut to something
besides where their main action is,
| | 00:11 | it can have a very powerful emotional impact.
| | 00:14 | So in this scene from '"House on
Haunted Hill," Vincent Price is kind of
| | 00:18 | in-charge of this scary haunted house.
| | 00:20 | He is basically telling the people here
that just kind of came on a fluke just
| | 00:24 | to kind of check things
out that they are stuck here.
| | 00:26 | That whoever was in charge of the
keys of the door, they are gone.
| | 00:30 | So we have a regular back and forth.
| | 00:33 | And then we have an
emotional cutaway. Let's watch.
| | 00:36 | (Vincent Price: We're all locked in now.)
| | 00:38 | (Female speaker: But I don't want to stay.)
| | 00:40 | (Vincent Price: I'm sorry,
my dear, but it's too late now.)
| | 00:43 | So did you see that?
| | 00:44 | We have a dialogue and Vincent
Price is speaking to the whole group.
| | 00:47 | He says "we are stuck."
| | 00:49 | Then she's worried. She's afraid.
| | 00:51 | She does not want to be here.
| | 00:53 | She's established as vulnerable.
| | 00:55 | And she says, "I don't want to be here."
| | 00:57 | It cuts back to Vincent
Price and he says "I'm sorry."
| | 01:01 | And then he is going to say "it's too late now."
| | 01:04 | Now, the editor could choose to stay
on Vincent Price and show him saying
| | 01:09 | that "it's too late now."
| | 01:10 | But how much more powerful was it that
it cutaway from him to show her face,
| | 01:15 | just as a reaction shot for
when he said "it's too late now?"
| | 01:19 | There is a look of panic.
| | 01:21 | She turns to the guy, like help me.
| | 01:24 | And it's much more powerful seeing her
reaction rather than seeing Vincent Price
| | 01:29 | simply saying that line.
| | 01:31 | So be aware in your edits of times when
you could cut away from the main action
| | 01:35 | or the main speaker, if
someone else is reacting to that.
| | 01:38 | And if their reaction is more potent and
more powerful than the person saying it
| | 01:42 | than by all means do it.
| | 01:43 | Again, this is another trick
that was in the editor's hands.
| | 01:47 | It was the editor's decision to
choose here whether they would show Vincent
| | 01:51 | Price continuing to say those words or
whether they would cut to her reaction
| | 01:55 | and I think that that was a great
decision to show her vulnerability and
| | 01:59 | reacting to his words.
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| Fixing problems with cutaways| 00:00 | Now, in the last movie we saw how
cutaways can be used emotionally.
| | 00:04 | In this movie, we are going to take a
look at how cutaways can be used in a more
| | 00:07 | utilitarian purpose for fixing jump cuts.
| | 00:10 | So here I have this clip from this
movie called "Dream Job" that I worked on.
| | 00:14 | In this scene, this actress
is exhausted from her work.
| | 00:17 | But she is looking pretty good here and
then in just a second, we are going to
| | 00:21 | have the slate cut come in and that
has all the information and they are
| | 00:25 | going to clap that thing.
| | 00:26 | And then, after that's done,
the DP needs to pull focus again.
| | 00:30 | The DP being the Director of Photography.
| | 00:32 | He pulls focus again and then we
continue on with the rest of the shot.
| | 00:37 | But actually, I want to use the first part
of this shot where she puts the pen down.
| | 00:42 | And all she is doing here is just
kind of like getting in the zone.
| | 00:44 | She is like starting to feel her
character and that's actually good stuff.
| | 00:47 | We are not supposed to use it.
| | 00:48 | But I am still going to use it.
| | 00:49 | So what I want to do is I want to go out
to about 418, and I am going to get the
| | 00:55 | Razor tool and I am going to click
right there on the clip to cut it.
| | 01:00 | And then, I am just going to
manually type 1514 and press Enter.
| | 01:05 | That's going to jump us
to 15 seconds and 14 frames in.
| | 01:08 | Let's go ahead and cut there as well.
| | 01:11 | We are going to press the letter V
on the keyboard to get back to the
| | 01:14 | regular Selection tool.
| | 01:15 | Let's right click on this
clip and choose Ripple Delete.
| | 01:20 | That will delete the cut and then
bring these two pieces together.
| | 01:24 | The problem is these clips
are never meant to be together.
| | 01:26 | So as we move from one to
the next, there is a jump cut.
| | 01:30 | So it's here one frame then
there all of a sudden it jumps.
| | 01:34 | So what we are going to do is we are
going to take the hand for cutaway DJ clip,
| | 01:38 | drag this down to the video 2
track and put that over the jump cut.
| | 01:42 | So it's almost like this is like a
Band-Aid that we've put on the wounded
| | 01:46 | footage that we have cut.
| | 01:48 | And it's actually perfect.
| | 01:50 | This cut, right here, this hand,
this was another shot where this was
| | 01:53 | not supposed to happen.
| | 01:54 | This is kind of like an outtake so to speak.
| | 01:56 | But we are still going to use
it and it works out perfect.
| | 01:58 | She has the pen in her hand in
this clip and she puts it down.
| | 02:01 | So for continuity's sake, it works
perfect that it shows her hand.
| | 02:05 | And then, the pen kind of like falls
over her hand because she is just exhausted.
| | 02:09 | And we cut back to her and she is
exhausted. That kind of adds to the feeling
| | 02:13 | that her whole body is kind of just giving up.
| | 02:17 | So we use this cutaway not just for
emotional purposes but for, again, very
| | 02:21 | useful purposes to fix that situation.
| | 02:24 | So if there is an example--- Let's say
for example you are doing a documentary
| | 02:27 | and you interview somebody, and you
take out a huge long story that maybe
| | 02:31 | doesn't work or is boring or whatever.
| | 02:33 | Then you could put in some extra B-roll
footage over that gap so that it doesn't
| | 02:37 | seem like there is anything missing there.
| | 02:40 | But realistically, folks, this cutting away
to fix problems is one of the most common
| | 02:45 | tricks in the editor's bag.
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| Matching action| 00:00 | This next concept referred to as
matching action or sometimes cutting on action
| | 00:05 | is when we take two different
camera angles and we cut between them.
| | 00:09 | In order to do this, the actors have to
be basically doing the same exact thing.
| | 00:14 | I directed a music video for these guys.
| | 00:17 | These are the Zen Chemists, a rap
group from Seattle. Here we go.
| | 00:20 | He is like rapping away, and I have
this medium shot that I believe was
| | 00:25 | locked down with a tripod. Yeah it
actually looks a lot more steady than I
| | 00:27 | can hold the camera.
| | 00:28 | He kind of does these things with
hands, where he is like, "no way."
| | 00:32 | And then I did another shot, which was
hand-held, and it's kind of like all up
| | 00:36 | in his face like this.
| | 00:37 | He did the same exact thing. They're
rapping for the same song and the same part.
| | 00:42 | He does the same thing
with his hands, "no way" again.
| | 00:45 | So in order to change camera angles,
what I wanted to do is cut on that action.
| | 00:50 | And that's how we create
what are called invisible cuts.
| | 00:52 | I have already created markers, which
we will talk about in the next chapter.
| | 00:55 | Markers are where there is this
motion, where it's going to be matched.
| | 00:59 | So I am going to grab the end of the
clip, trim it to that marker, and drag the
| | 01:04 | beginning of the next clip
and drag that to the marker.
| | 01:07 | It will snap on it as long as we
have Snap on here. I am going to
| | 01:10 | right-click in this blank
area and select Ripple Delete.
| | 01:14 | Now, when I play this back, you'll
see that when he does his hands,
| | 01:18 | it cuts pretty seamlessly.
| | 01:20 | Probably could have done a little bit
better of a job there, but it's believable
| | 01:26 | that in one frame it's here and in the
next frame, because he is moving pretty
| | 01:29 | fast, so it's believable in the
next frame his hands could be there.
| | 01:32 | So again, it's a good way to cut in
and out of like a wide shot, somebody is
| | 01:36 | like far away and they start moving.
| | 01:39 | You could close in when
they are moving on the action.
| | 01:43 | It is a good way to get intimate with
them without really the viewer being aware
| | 01:46 | of what's happening.
| | 01:47 | So there we go, matched action.
| | 01:51 | As you could see here it's critical
that your subject is doing the exact same
| | 01:57 | thing both times or it's
really not going to work.
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|
|
5. Helpful Editing TechniquesUsing markers| 00:00 | In this movie we are going to look at markers.
| | 00:02 | Markers are a way for you to mark clips
and sequences in your project to leave
| | 00:08 | notes for yourself, kind of like
sticky notes all over your project.
| | 00:12 | First let's talk about clip notes.
| | 00:13 | I'm going to click this yummy doughnuts clip.
| | 00:16 | It is actually clip of some,
as indicated, yummy doughnuts.
| | 00:19 | I am going to go out to about 22 frames in.
| | 00:22 | Now, this is me experimenting with my
new Canon 7D camera and I hadn't yet got
| | 00:26 | the gist of focusing yet with it.
| | 00:28 | So most of the clip, as we just kind of
skim here, most of this is out of focus.
| | 00:32 | I am just kind of playing around with it here.
| | 00:33 | But there are a few frames, which
are in focus and look pretty all right.
| | 00:36 | So it starts at about 22
frames in and I want to mark this.
| | 00:41 | So that from now on I know where the
spot is on this clip that is in focus.
| | 00:46 | I can go to the Marker menu at the top.
| | 00:47 | So markers are that important.
They even have their own menu at the top.
| | 00:50 | I am going to go to Set Clip Marker.
| | 00:52 | I am going to choose Unnumbered.
| | 00:53 | Now, you could also
choose the Available Numbered.
| | 00:56 | You can have numbered markers if you
wanted to, which I'll show you in just a
| | 00:59 | second you can use to navigate.
| | 01:00 | But I am going to choose Unnumbered here.
| | 01:02 | And then we have a little marker, a
little indication right there on that
| | 01:06 | current frame for that clip.
| | 01:08 | So I know that begins in focus phase
and then I could go out to where there is
| | 01:13 | no longer focus, probably about right there.
| | 01:15 | Go to Marker > Set Clip
Marker > Unnumbered again.
| | 01:19 | Now, another cool thing about these
markers is that I can navigate between them
| | 01:24 | by hitting Command+Shift+Left and Right Arrow or
| | 01:28 | Ctrl+Shift+Left and Right Arrow on the PC.
| | 01:31 | So again they are good for navigation
as well if there are key points in your
| | 01:35 | video, not just ones that you've got
markers for trimming purposes where for
| | 01:39 | example this marker I just created basically
says after this it's kind of junk for a while.
| | 01:44 | So this is kind of like a trim help.
| | 01:45 | But it could be just a note.
| | 01:47 | It could be just something for
yourself to remind you of where things are.
| | 01:50 | Now because clips move in time, if
you want to set a marker for your entire
| | 01:56 | project then you'd want
to use a sequence marker.
| | 02:00 | For example I have this audio here and the end,
there is just kind of like this final hit.
| | 02:05 | So I want to mark in my
sequence where that hit is.
| | 02:13 | So it happened about right here.
| | 02:15 | So I can go to the Marker menu > Set
Sequence Marker, and let's just make it
| | 02:21 | Unnumbered Sequence Marker.
| | 02:23 | Then we have that sequence marker
here that tells me where that music ends,
| | 02:26 | where the last hit is.
| | 02:27 | Now you might have sequence
markers for a whole host of things.
| | 02:31 | The director might come to
you and say, hey, you know what?
| | 02:32 | At 15 minutes in, we need such and such to
happen or such and such event needs to
| | 02:36 | occur by the 30-minute mark or whatever it is.
| | 02:39 | Then you go in and put markers at that point.
| | 02:42 | Also, what you can do is double-click on the
sequence markers and you get this dialog box.
| | 02:46 | You could specify what
should happen at this marker.
| | 02:49 | So you could say 'director
says end of picture mark.'
| | 02:54 | You could just leave that there, and you
can set a duration for the clip if you want.
| | 02:58 | It will make an extended horizontal
white bar for the duration of the marker.
| | 03:02 | I usually just leave that alone.
| | 03:04 | We might add some comments about
this if there's more to talk about.
| | 03:08 | Then I could go ahead and click OK.
| | 03:10 | Then now when I move in time and I save
my document, I come back here, or maybe
| | 03:14 | I pass this along to somebody else.
| | 03:16 | They can put their cursor over this and
get information about this particular marker.
| | 03:21 | They could double-click it and read
what I put, and all of that is there just
| | 03:25 | to help me get my bearings and know what's
going on both for my clips and for my sequences.
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| Replacing clips| 00:01 | Now, this is one of those features that
you'll only use once in a blue moon but
| | 00:05 | when you do need it,
oh man, do you need it.
| | 00:08 | So what Premiere allows you to do
is to swap out clips for one another.
| | 00:14 | Actually let me select my Selection
tool in the Tools panel up top here.
| | 00:19 | I have this really low quality version
of the Dream Job clip that we looked at
| | 00:25 | in the last chapter.
| | 00:27 | But the benefit of the low quality is
it's really, really easy to edit because
| | 00:30 | of the compression algorithm
and the size. It's very small.
| | 00:33 | But what I actually really want in the
end is to use this clip which is an HD
| | 00:39 | clip 1280x720, a much higher
quality, really good looking file.
| | 00:45 | As you could see here I have already done
some changes to this lower quality clip.
| | 00:49 | Actually what I could do
here is I am going to trim this.
| | 00:51 | Let's say I want it to be 5 seconds long,
and I've also added some desaturation
| | 00:55 | to this to remove some of the colors.
| | 00:57 | You could see the difference between
the thumbnail in the Project panel in the
| | 01:00 | original and this one here.
| | 01:02 | So I've already done all this work to it.
| | 01:05 | What I can do now is select the real
master clip up top, hold the Option key or
| | 01:10 | the Alt key, and drag-and-drop onto that clip.
| | 01:15 | You notice that not only did our
edit stay the same, but also the
| | 01:19 | color correction that I added also
stayed the same, and these colors
| | 01:23 | are now desaturated.
| | 01:24 | So really it did just swap out
the clip, which is very handy.
| | 01:28 | Let me tell you two
reasons why this is very helpful.
| | 01:31 | One reason that's coming handy for me is a
lot of times I am asked to do like spec work.
| | 01:35 | Well, let's just whip this up really
quick and we will see what it looks like
| | 01:39 | and then maybe you'll get the job.
| | 01:40 | So I need to put stuff together.
| | 01:42 | So I get some stock video, and it would
be watermarked, because I am not going
| | 01:45 | to pay for the stock video before I get
the job, so it'd be like lower quality
| | 01:50 | footage, but I still set it up
as if I were doing it for real.
| | 01:54 | So once the client said, "yes that's
awesome, let's go for it," then I could use
| | 01:58 | this replace feature to swap out the
proxy footage or the stock video with the
| | 02:02 | watermark, with the good stuff, and I
wouldn't have to go back and do all that
| | 02:06 | work all over again.
| | 02:08 | The other reason why we want to replace
footage is sometimes our computer might
| | 02:11 | not be able to handle the full
resolution of the footage that we are editing.
| | 02:14 | If you are using 4k RED files from the
very popular RED Camera, that's a lot for
| | 02:19 | your computer to take on.
| | 02:21 | So what you might need to do is make
proxies, these representations that are
| | 02:25 | much smaller and much less
attractive,. They are compressed more.
| | 02:28 | Then at the end we can swap out or
replace the bad stuff with the good stuff.
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| Exporting a still frame| 00:00 | Premiere lets you export a still frame
like a capture of what you've got going
| | 00:05 | on here in your project very
quickly with a touch of a button.
| | 00:09 | Before I show you how to do that, let me show
you why this is so great. I love this frame.
| | 00:13 | It's just beautiful.
| | 00:13 | The colors of the snowboard and the
jacket against the sky, the composition of this,
| | 00:18 | something about like the
lines, I love this shot to death.
| | 00:22 | So let's say we wanted to have a
freeze frame on that where we ended up at
| | 00:26 | 13:11, which is the cool frame
here, and we want it to end on that.
| | 00:30 | We want to have a freeze-frame.
| | 00:31 | Well, what we had to do in the past is
split the layer and then right-click on
| | 00:37 | the layer, go to Frame Hold, and
then hold on let's say the out point or
| | 00:42 | whatever, and it was so tedious.
| | 00:45 | If you wanted to make a freeze-
frame that way, you still can.
| | 00:49 | It's good to know about that technique.
| | 00:50 | But it is much easier to simply go to
this camera icon and it says Export Frames.
| | 00:55 | We will click on this and
we will leave the name as is.
| | 00:58 | Change the format to something a little
bit more conventional like a TIFF or a Targa.
| | 01:03 | We will go to Browse, and we will go
to Media, Stills, choose that folder,
| | 01:09 | go ahead and click OK.
| | 01:11 | Then we could double-click in the
Project panel and go to our Stills folder,
| | 01:15 | import that TIFF as a still, and then
we could trim the end of our video to that
| | 01:21 | point, and then drag the
TIFF file right afterwards.
| | 01:26 | Then we have thereby created a freeze-frame.
| | 01:32 | Very cool, much easier than trying to
do a hold frame and not only that but
| | 01:37 | now you have an exported still from your video.
| | 01:41 | So if you want to show a client like
color correction or how things are lining up,
| | 01:45 | or a lower third or graphic that
you have created, then this is a great way to do that.
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| Creating alternate cuts| 00:01 | Now there will probably be several
times throughout the course of your career
| | 00:03 | where you want to make different cuts
to see how they play out and you might
| | 00:07 | even want to do this just with
different scenes, not only with your entire
| | 00:09 | project. Just with little pieces of it.
| | 00:12 | So what you can do is make sequences
that contain just those scenes and then I'm
| | 00:17 | going to open up the Sequences folder here.
| | 00:19 | I am going to select the sequence that
contains what I want an alternate version of.
| | 00:23 | I am going to hold the Command key on
the Mac, the Ctrl key on the PC, and I am
| | 00:26 | going to drag this down.
| | 00:28 | Now as long as I'm holding the Command
key or the Ctrl key on the PC down, you'll
| | 00:31 | get a little plus icon. If I let go
of that than that plus icon goes away.
| | 00:35 | But if I have the plus icon I let go.
| | 00:38 | What I've done is I've created a
duplicate sequence and what I could do is go in
| | 00:43 | and rename this. I'll call this 02
and I could double-click to open this.
| | 00:48 | You see that multiple sequences
open as tabs, so that we can go
| | 00:50 | back-and-forth to, and I am going to
click and drag and move this sequence up
| | 00:55 | and basically reorder these. I am going
to show you a more efficient way to do
| | 00:58 | that in the next movie. For now we'll
just do with the simple dragging way and I
| | 01:03 | might click this end logo thing. Delete that.
| | 01:05 | I don't know if we need that.
| | 01:07 | Bring this in a little bit closer perhaps.
| | 01:09 | So you've made a few changes.
| | 01:11 | You trim the end off the audio, who knows.
| | 01:13 | I am just kind of fiddling around here.
| | 01:14 | And now we have a one take here and a
second take here, or in other words one
| | 01:19 | full cut and a different full cut, just
so we can kind of compare and contrast
| | 01:23 | and see the way that they play out.
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| Rearranging clips in the Timeline| 00:00 | I am now going to show you a few
ways to rearrange clips in the timeline.
| | 00:04 | If we just simply click-and-drag
this clip over, assuming that we want to
| | 00:08 | trade places of these two clips. That's our end
objective, just kind of how we did in the last movie.
| | 00:13 | If I drag this over and just let go,
I'll be performing an overlay edit.
| | 00:18 | I'm going to move this over.
| | 00:19 | I'm going to replace whatever was there.
| | 00:22 | I don't want to do that.
| | 00:22 | I'm going to hit Command+Z to undo that.
| | 00:24 | Now I am going to drag this over and
what we are going to have to do here is use
| | 00:28 | keyboard shortcuts to make this happen.
| | 00:30 | So I'm going to hold down the Command key, and
you hold down the Ctrl key on the PC by the way.
| | 00:34 | Now when you do you get these little
right facing arrows here and what's going
| | 00:39 | to happen when I let go over the mouse
is this going to move everything over.
| | 00:44 | It's kind of like an Insert edit where
it cuts everything and scoots everything
| | 00:48 | down the line here and nothing is
replaced, and now we have this gap over here
| | 00:54 | and we have these gaps down here and
this footage over here was segmented.
| | 00:59 | That's not we want either.
| | 01:00 | I am going to hit Command+Z to undo that.
| | 01:02 | What we want to do instead is
click-and-drag on this clip.
| | 01:04 | We want to drag it to the end so the
beginning of the clip that we are moving is
| | 01:09 | at the end of the B-roll Standing Around clip.
| | 01:12 | Now we want to hold down the Command
key, the Ctrl key on the PC like we did
| | 01:16 | just a moment ago, but we also want to add to
that the Option key or the Alt key on the PC.
| | 01:23 | And you should get one right facing
arrow on the left side of the clip and you
| | 01:27 | should also have a cursor that looks like this.
| | 01:30 | The arrow with the spinny loop thing here.
| | 01:32 | So we are basically dragging and
putting this clip at the end of the other clip
| | 01:36 | and when we let go, it will
automatically re-order those clips.
| | 01:41 | Now in all honesty those keyboard
shortcuts are great but there is no sin really
| | 01:47 | in simply using other video tracks
temporarily to kind of move things around.
| | 01:52 | I kind of use these other tracks
sometimes that's kind of like a poster board where
| | 01:56 | I'm moving pieces around and
seeing how things play out.
| | 01:59 | It's not technically what you're supposed to do.
| | 02:02 | But still I find that works for me.
| | 02:04 | So I guess the moral of the story is
if none of these keyboard shortcuts work
| | 02:08 | for you then find something that does.
| | 02:09 | But it's good just to be aware that
there are other tools and techniques out
| | 02:13 | there that you can use.
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| Targeting tracks| 00:00 | When we target tracks, it specifies that we
want certain actions to take place on them.
| | 00:07 | The way that we know that a track
is targeted is by if it's little bit
| | 00:10 | highlighted more than the others, so for
example video track 1 and audio track 1
| | 00:15 | are targeted and now audio track 2 and
3 and video track 2 and 3 are targeted.
| | 00:22 | To un-target a track, we simply click it
and it becomes dark again so it's untargeted.
| | 00:27 | Now I am going to go back to
targeting audio track 1 and video track 1.
| | 00:32 | There is a cool keyboard shortcut for
navigating through clips and that is
| | 00:35 | the Page Down key on your keyboard.
That advances to the next edit point of
| | 00:41 | the targeted track.
| | 00:42 | So if I hit Page Down we go to that edit
point. Page Down goes to the next edit point.
| | 00:47 | This is again very handy.
| | 00:49 | The Page Up key goes back
to the previous edit point.
| | 00:53 | But again it's only for targeted
tracks. So notice that the b-roll on video
| | 00:58 | track 2 was ignored.
| | 01:00 | If we target video track 2 then we
hit Page Up, we will go to the beginning
| | 01:05 | of the b-roll clip.
| | 01:07 | So now that both tracks are targeted,
we can go and as we hit Page Down and Page
| | 01:11 | Up we are navigating through all of
the edit points on all the tracks.
| | 01:15 | Here is another cool keyboard shortcut.
| | 01:18 | Let's say I want to split this TourRon Intro.
| | 01:22 | If this clip is on a track that is
targeted, and it is, I can split this not by
| | 01:28 | going all the way up here to the
Razor tool and then clicking on my clip.
| | 01:31 | I could select it and then simply hit
Command+K on the Mac or Ctrl+K on the PC,
| | 01:37 | and that splits the clip.
| | 01:38 | I'll click away to deselect all clips
you can see that. So let's split the clip.
| | 01:44 | By the way, while we are talking
about tracks, if you ever wanted to add or
| | 01:47 | delete tracks, you could right-click in
the track area here and you could select
| | 01:52 | Add Tracks or Delete Tracks.
| | 01:55 | What's really convenient about
deleting tracks is that you could say you know what,
| | 01:59 | delete all tracks or all empty
tracks. So you could just check Delete
| | 02:02 | Video Tracks and Delete Audio Tracks. Leave
this set All Empty Tracks and All Empty Tracks.
| | 02:06 | I usually do this once I've brought in
all my footage and I have a good idea of
| | 02:09 | what's going on in the project.
| | 02:11 | I select this, so I can click OK,
remove that extra space, and then close down
| | 02:16 | the sequence a little bit of the
Timeline panel and resize this, my main window
| | 02:21 | here as long as the resolution is set
to Fit, and it gives me a bigger space if
| | 02:26 | I am not working on two monitors.
| | 02:28 | So in a nutshell, it's a
little bit about targeting tracks.
| | Collapse this transcript |
| Disconnecting audio and video| 00:00 | We are now going to look at the
relationship between audio and video.
| | 00:04 | We haven't talked about this too much.
| | 00:06 | By default, video clips that have
attached audio to them are attached at the hip.
| | 00:11 | We have the video equivalent and the
audio equivalent and as one moves, they
| | 00:14 | both move, and as you trim
one, you trim both of them.
| | 00:18 | So, what if we want to split up
how we edit the video or the audio?
| | 00:24 | You know it's one of the most powerful
editing tricks, as we'll see in just a second,
| | 00:28 | to be able to have the audio
come in a little early before we actually
| | 00:33 | get to the person making the audio.
| | 00:35 | So, what we are going to do here is we
are going to click on this first clip and
| | 00:41 | we are going to trim this.
| | 00:42 | But we are going to hold down the
Option key on the Mac or the Alt key on the PC,
| | 00:48 | and I am going to
trim just a few seconds here.
| | 00:51 | I've probably trimmed a little bit too much,
but I am going to drag this other clip in.
| | 00:55 | Now, I realize that we could have done
this with an overlay edit, but I wanted
| | 00:59 | you to see how this is done traditionally.
| | 01:02 | Actually, I'll hold down the Alt key
and restore that last little bit of audio.
| | 01:07 | This is referred to as a J-cut.
| | 01:10 | This is when the audio comes in before the video
of that clip, and it creates a lot of interest.
| | 01:16 | I am going to marquee select, just
click-and-drag around both of these clips
| | 01:20 | and move them to the beginning of the
sequence, and I am going to go to the first frame.
| | 01:25 | Now, let's see the initial video while
we listen to the audio of the speaker
| | 01:32 | here and see the effect that has.
| | 01:34 | (Female speaker: Welcome to Hansel & Petal. We are a full
-service florist, specializing in weddings and corporate events.)
| | 01:41 | Actually that edit doesn't look very good.
| | 01:43 | There is too much of that first video clip.
| | 01:45 | So, let me hit the Backslash key, so we
could see our whole timeline little bit better.
| | 01:49 | I am not able to edit as of right now
because I need to click outside these
| | 01:54 | clips to deselect them.
| | 01:55 | I could put my cursor back here and I
can trim the last little bit off this clip
| | 02:01 | and then hold the Option key
and restore some of that video.
| | 02:05 | But you'll get the effect that this
other video clip comes in and the audio of
| | 02:10 | the next clip comes in.
| | 02:11 | So, while we are looking at this really
cool floral shop, we are introduced to
| | 02:15 | it by the next clip.
| | 02:16 | So, it creates interest
before we even see her face.
| | 02:20 | (Female speaker: Welcome to Hansel & Petal.)
| | 02:22 | (We are a full-service florist, specializing?)
| | 02:25 | I probably want to fiddle with this
until I could get her to say "full-service
| | 02:28 | florist" and then have that
video come in when she says "full."
| | 02:32 | But for the time being, you get the
idea and the impact that that has.
| | 02:36 | It works really well with documentaries
like you are watching like an image of
| | 02:39 | the Civil War and then you hear
somebody's voice come in and saying like, "oh,
| | 02:43 | my grandpa says that those were hard
times" or whatever, and then you see the
| | 02:46 | person that's actually talking.
| | 02:47 | It's a way of leading interest.
| | 02:49 | Now, we could also do the
same to the end of the clip.
| | 02:51 | We could hold the Alt or Option key and
drag the video here and have the video
| | 02:57 | extending while we have another clip
going here. This is referred to as an L-cut
| | 03:01 | because it creates kind of like an L shape.
| | 03:04 | Now, if we wanted to, we could also
right-click on a clip that has video
| | 03:08 | attached to it and we could choose Unlink.
| | 03:11 | This will unlink the video and the audio.
| | 03:12 | So, as we move one, they will no
longer be in sync. So you got to be careful
| | 03:17 | about that, but this will allow
you to go in and delete the audio.
| | 03:21 | So, we have this video clip here of
the flowers in the fridge, then we don't
| | 03:25 | really need the audio here.
| | 03:26 | This is just b-roll.
| | 03:27 | So, I could now select this audio
and just hit Delete and now I can move
| | 03:31 | this over the end here.
| | 03:32 | I'll hold the Alt key and trim the
video a little bit more and I could
| | 03:37 | just bring in this video and actually we
could just perform a little Overlay edit here.
| | 03:41 | But now on this L-cut we have her talking
while we are looking at flowers in the fridge.
| | 03:46 | (Female speaker: And we do
take a lot of pride in that.)
| | 03:50 | Actually that was the end of the clip.
| | 03:52 | There everything else is an outtake.
| | 03:53 | So, I'll move this again a little bit
earlier and now we could see what that looks like.
| | 03:58 | (Female Speaker: Okay.)
(Male speaker: ?everything we discussed.)
| | 04:00 | (Female speaker 2: It was like
"every design is a one of a kind creation.")
| | 04:03 | Haha. That's actually another outtake.
| | 04:05 | So, I probably should have trimmed the
rest of the audio, but again the concept
| | 04:09 | is still there, where we can
see footage from something else.
| | 04:13 | We could see b-roll and have the
audio from another track continuing to go.
| | 04:18 | Now, again I can't stress enough,
| | 04:19 | if we were to for example click on this
clip and hold the Alt key and move this
| | 04:24 | clip, these would be out of sync.
| | 04:26 | And as you could see here, this is saying
that we get a +7.02 here and a -7.02 here.
| | 04:31 | So, as an indicator saying, hey, be
careful, because you've actually moved these
| | 04:35 | out of sync 7 seconds and 2 frames.
| | 04:38 | So, if we wanted to restore this we
have to again Option+Drag or Alt+Drag this
| | 04:43 | back to its spot to lose that warning.
| | 04:45 | But it's very easy to lose
sync with your audio this way.
| | 04:49 | So, again be careful.
| | 04:50 | So, that's basically the trick.
| | 04:52 | Just remember that when you are editing,
it's very powerful to be able to hear
| | 04:55 | something that leads you to the
next thing that you are seeing.
| | Collapse this transcript |
| Reconnecting offline media| 00:01 | Because of the way video applications
like Premiere Pro handle video files,
| | 00:06 | basically maintaining only a link to
them, you'll often find that you lose
| | 00:11 | connection with those source files. Sometimes,
| | 00:15 | as we'll talk about in this movie, you
want that and most of the time you don't.
| | 00:19 | Actually, when you opened up this
project, if you are following around here,
| | 00:22 | you've probably got this warning dialog box
saying, "hey, where is this file? I can't find it."
| | 00:26 | I did that intentionally to show you
how to reconnect media, which you might
| | 00:30 | have to do as you are
working to these Exercise Files.
| | 00:33 | So, I am going to right-
click on this offline clip.
| | 00:35 | That's what this icon means.
| | 00:36 | It means that this file is offline
and it's not connected to its media.
| | 00:40 | So, I am going to right-click here and
I am going to choose Link Media. Replace
| | 00:44 | Footage will also work, but I
am going to choose Link Media.
| | 00:46 | Go to the Media folder in the
Exercise Files folder, go to Video, and let's
| | 00:51 | choose the footage that it's asking
us for here, the B-roll_ocean_02, and go
| | 00:56 | ahead and click Open.
| | 00:58 | Now, as you can see everything's
linked up. We can drag this into our project
| | 01:02 | or into our sequence and use it, etcetera.
| | 01:05 | Now, there might be times when
I want my footage to be offline.
| | 01:09 | One is if I am just doing a rough cut.
Maybe I am on a laptop, maybe I am on
| | 01:14 | set, and I am just trying to
assemble things very quickly.
| | 01:17 | Well, I can actually use the notes
maybe from the script supervisor, put
| | 01:21 | things together, and I might not want
that the footage slowing me down while I
| | 01:25 | am trying to do that.
| | 01:26 | So, I can right-click on a
clip and choose Make Offline.
| | 01:30 | And it ask us here whether they
want to delete the media files.
| | 01:35 | So, in other words it would delete the
source footage here, or would themedia
| | 01:38 | files remain on disk.
| | 01:39 | Most of the time I want Media Files
Remain on Disc. I am very hesitant to have
| | 01:43 | Premiere go in and start
deleting media files for me.
| | 01:45 | So, I am going to ahead and click OK.
| | 01:47 | Now, we have the famous media offline
footage here, letting us know that this is
| | 01:52 | offline. But we can still edit this.
| | 01:55 | I can still trim it.
| | 01:56 | I can still add color correction.
| | 01:58 | I am going to hit the
Backslash key to maximize that.
| | 02:00 | I could still play with this as needed.
| | 02:02 | And then once I reconnect using Link
media, going back to the same footage
| | 02:08 | again, B-roll_ocean_02, open, you
notice that the footage restored but the edit
| | 02:13 | that we made remained intact.
| | 02:16 | So, again sometimes if you want to edit
very quickly, just do an assembly cut,
| | 02:20 | just kind of line things up in order,
then making things offline, especially
| | 02:24 | again if you are working on a
laptop or onset, this is the way to go.
| | Collapse this transcript |
|
|
6. Adjusting Clip PropertiesAdjusting the rubber band| 00:00 | In this chapter, we're going to look at
how to adjust clip properties, the size
| | 00:04 | of a layer and the movement, the
placement of the clip and so on.
| | 00:09 | So, we have here this logo and
this guy is talking and he is saying "if
| | 00:14 | you're going to book a trip to
California, then you've got to go through
| | 00:16 | Explore California."
| | 00:17 | We have the logo here, but it's a little
bit too strong, a little bit too harsh.
| | 00:21 | We're going to tone this down a little bit.
| | 00:22 | So what we're going to do is
lower the opacity of this logo.
| | 00:26 | So what we're going to do is we're
going to use an old trick and this is
| | 00:29 | something I don't typically prefer
to use, but it's here if you need it.
| | 00:34 | As you're working with clips, you
might notice that there is like this orange
| | 00:37 | horizontal band that goes
through both the video and audio clip.
| | 00:42 | This allows you to adjust certain properties.
| | 00:44 | So we're going to adjust the properties on this
logo here, which is actually on video track 2.
| | 00:48 | Now, video track 2 is collapsed,
as you can tell by this arrow here.
| | 00:52 | As we can click this, we'll expand it.
| | 00:54 | Click it again, we'll collapse it.
| | 00:56 | We can't see that rubber
band on collapsed tracks.
| | 00:58 | We need to expand this track
and then we get the rubber band.
| | 01:01 | Now, after the name of the layer, it
says the property that this rubber band
| | 01:06 | will be affecting in this case is Opacity.
| | 01:08 | So this orange band, the rubber band as they
call it, determines the opacity of this clip.
| | 01:15 | Now, we could click this and change
this to a variety of other parameters, but
| | 01:20 | I'm going to show you a different way to
do that in the movies that follow this one.
| | 01:24 | But for now, I'm just going to
grab this rubber band and I can
| | 01:26 | click-and-drag down, thereby reducing
the opacity of this layer, making it
| | 01:33 | a little bit more subtle.
| | 01:35 | Something around 50% is good.
| | 01:38 | You could still see it, especially
the California part. You could get that
| | 01:41 | it's kind of like an advertisement, but it's
not as annoying and as intrusive as it once was.
| | 01:47 | Now, later on in this training
series, we'll be talking about animating
| | 01:50 | properties, and I'll show you
how to fade in and fade out.
| | 01:53 | But we're not going to use the
rubber band for animation there.
| | 01:57 | So, here's how to animate fading in
and fading out with the rubber band.
| | 02:01 | I'm going to hold the Command key and
while my cursor is over at the rubber band,
| | 02:05 | I can click to set keyframes
or set animation points, basically.
| | 02:10 | So if I want the first part of
the clip to be 100% opacity, I could
| | 02:15 | click-and-drag that point up, and then
let's say I want this to fade out over time.
| | 02:19 | I can click on this next point that
I've added and drag this down all the way.
| | 02:23 | By the way, I could also hold Option
and Command on the Mac and Alt and Ctrl on
| | 02:28 | the PC to slow this down to get more
fine-tuned control over those values.
| | 02:33 | I'll take this all the way down and
now you could see that this point, if I
| | 02:37 | hold my mouse on it, it's a Opacity
value of 100. Click on this one, the
| | 02:40 | Opacity value is zero.
| | 02:41 | So it's going to start at 100% and at
this point, at about 13 frames in, it's
| | 02:47 | going to begin to fade and by this point,
two seconds and 19 frames in, it will
| | 02:51 | completely fade out.
| | 02:52 | So, let's preview that.
| | 02:58 | Now again, as we go into talking about
other properties and animation later on,
| | 03:03 | we're going to be going in to ways I
prefer, but it if you like using the rubber
| | 03:07 | band method of animation and adjusting
properties, then this is how you do it.
| | Collapse this transcript |
| Adjusting clip position| 00:00 | If you like to change the position of a
clip, in other words, where it appears
| | 00:04 | in the Program Monitor, it's pretty easy.
| | 00:06 | All you have to do is simply click on it,
and then once it's highlighted, you'll
| | 00:10 | get this effect control point, they call it.
| | 00:12 | It's a little circle with a plus in
the middle, and you'll get this bounding
| | 00:15 | box around the boundaries of the clip.
| | 00:17 | Then we could just click-and-drag and
move that wherever we feel like, even off
| | 00:22 | screen if we want to.
| | 00:23 | If we want to animate this coming on,
which I'll show how to do later in this
| | 00:26 | training series, we can do that.
| | 00:28 | Now, I could also click-and-
drag this clip and move this over.
| | 00:32 | So if I want to create kind of like a
24 effect, so I have just one little clip
| | 00:36 | here and then maybe another
clip over there, I can do that.
| | 00:39 | You'll notice that once I have one clip
selected, it's really hard to click and
| | 00:44 | select the Explore California layer.
| | 00:46 | I almost have to click away to
deselect and then click again to select the
| | 00:50 | Explore California clip.
| | 00:51 | That kind of bothers me.
| | 00:52 | So what I'm going to do is come down
here to video track 1 and in this little
| | 00:57 | blank spot here, I'm going to click,
which is going to lock video track 1.
| | 01:03 | So it's no longer selectable.
| | 01:04 | I can click all day and I'm not going to
inadvertently select or even edit video track 1.
| | 01:11 | Notice that it doesn't just lock the clip.
| | 01:13 | It locks everything on that track.
| | 01:16 | So, if you want to select a layer and
move it around, it's just that easy.
| | Collapse this transcript |
| Moving the anchor point| 00:00 | In the next movie, we're going to look
at how to adjust the size of a clip and
| | 00:03 | also how to rotate it, but before we
get to those properties, we need to talk
| | 00:06 | about the anchor point of a layer, because all
transformations happen around the anchor point.
| | 00:12 | Now, here we have a layered
Photoshop file that I've imported and there
| | 00:16 | are tons of layers.
| | 00:17 | We're actually looking for the Sun
layer, which is on the third track.
| | 00:22 | The Sun clip actually is on the third track.
| | 00:24 | So go ahead and select that.
| | 00:25 | Now, the way that I typically adjust
most properties, as I mentioned before
| | 00:29 | that I don't usually use the rubber
band all that often, I'd like to go to the
| | 00:32 | Effect Controls panel.
| | 00:33 | It's where we adjust effects, but it's also
where we have control over our clips as well.
| | 00:39 | Now, if you open up the Opacity area,
you'll see the Opacity property.
| | 00:43 | We could just simply click and scrub left
and right to adjust the opacity for a layer.
| | 00:49 | We could actually manually type in a value too.
| | 00:51 | So I could say 46.6%.
| | 00:54 | So, we have a lot of control over our
layers here in the Effect Controls panel.
| | 01:00 | This is where I like to do most of my adjusting.
| | 01:02 | It's also very much like Adobe After Effects
here, and that's like the best system ever.
| | 01:06 | So, I love that.
| | 01:07 | I'm going to open up the Motion category.
| | 01:09 | This is where we get most of
the properties for a layer.
| | 01:12 | We can adjust the position here, the X
position, in other words left and right
| | 01:16 | position. Also the Y position, up and down.
| | 01:19 | We could adjust with these values if we want to.
| | 01:21 | Here's where we adjust scale and rotation,
which we'll talk about in the next movie.
| | 01:24 | But I want to get to the anchor point.
| | 01:26 | We could see the anchor point,
if we click the word Motion.
| | 01:30 | If we click Motion, then we'll see the
layer, just like we did in the last movie.
| | 01:34 | Here we have this control point, and again,
this is referred to as the anchor point.
| | 01:38 | Now we need to adjust this anchor point.
| | 01:40 | Because if we want the sun to rotate,
which we're going to do in the next movie,
| | 01:43 | we can click on Rotation, and it's
going to rotate in a really weird way,
| | 01:48 | because it's rotating around this point here.
| | 01:51 | So what we need to do is
adjust the anchor point.
| | 01:53 | I'm going to click in Rotation, take
this back down to zero and we could adjust
| | 01:57 | the X and Y axis of the anchor point.
| | 02:00 | This is a little bit counterintuitive.
| | 02:02 | So as I click-and-drag to the right,
the sun actually moves to the left.
| | 02:06 | So it's really weird.
| | 02:07 | We have to kind of go backwards a little bit.
| | 02:09 | But what we want to do is try to
get it so that the anchor point is in
| | 02:12 | the center of the sun.
| | 02:14 | You might need to use Position to
move the layer over and up and then
| | 02:19 | adjust anchor point.
| | 02:20 | So we might need to bring it
down on the sun a little bit.
| | 02:25 | That's looking pretty good!
| | 02:26 | Now the way to tell that you've got
the anchor point in the right spot,
| | 02:28 | although there is no real hard, fast way to
tell, but a good way is to a rotate the layer.
| | 02:34 | If it rotates around its center, which
it kind of does, it's a little bit off
| | 02:38 | probably, but that's getting pretty
close, then we know that we have our anchor
| | 02:41 | point in the right spot.
| | 02:44 | So, now that we've just adjusted the
anchor point, we're ready to move on and
| | 02:46 | talk about scale and rotation in the next movie.
| | Collapse this transcript |
| Adjusting clip size and rotation| 00:00 | So, let's talk a little bit about
adjusting the size and rotation of clips.
| | 00:05 | We're going to, again, be using the sun
clip on the sun track in our project here.
| | 00:12 | We have our anchor point
fixed from the last movie.
| | 00:14 | Let's first talk about Size.
| | 00:16 | We adjust size with a property called Scale.
| | 00:18 | By default, we're at 100%.
| | 00:21 | Typically, you don't want to go above
100% because as you can see here, the
| | 00:25 | line starts getting a
little blurry, a little soft.
| | 00:28 | Actually, I'll resize this maybe,
so we can get this a little bigger.
| | 00:31 | So, our other layers are a little
bit more sharp and our layers that go
| | 00:34 | above 100%, again, start getting little fuzzy
on the edges and start losing their resolution.
| | 00:39 | Well, we can scale this down, and that's
totally legal, try not to scale above 100%.
| | 00:44 | I'm just going to manually
click in here and take this to 100%.
| | 00:48 | There's also the Uniform Scale value,
and actually I could click this little
| | 00:52 | chevron that points to
the right to expand this.
| | 00:55 | I want to uncheck Uniform Scale, and
that allows us to adjust the height and
| | 01:01 | width independently.
| | 01:02 | So we could scale width and
scale height, again, independently.
| | 01:06 | I'm just going to take this back to
100% and scale width to 100% as well.
| | 01:11 | Then check Uniform Scale again.
| | 01:13 | Now, it's important to note that if we
had tweaked our anchor point and made it
| | 01:18 | kind of in a weird spot like this
where it's not in the center, then when we
| | 01:21 | scale we get kind of unexpected
results because again, Scale and Rotation
| | 01:25 | both happen from that anchor point.
| | 01:28 | So as we scale up and down, it scales
up and down to that anchor point, which
| | 01:32 | looks a little bit different
if you're not planning on it.
| | 01:34 | Now, I'm just going to go ahead and
undo that until we get the anchor point
| | 01:37 | back in the center.
| | 01:38 | As we talked in our last movie, we
can click on the value for Rotation.
| | 01:41 | Click-and-drag to the right
| | 01:43 | and that will move this
in a clockwise direction.
| | 01:47 | If we want to move this in a
counterclockwise direction, then we take the
| | 01:50 | Rotation value to a negative number.
| | 01:53 | Now, later on in this training series,
again we'll be talking about how to
| | 01:56 | animate all these properties and how
to change them over time, so something
| | 01:59 | might scale up and down or something
like the sun might continuously rotate
| | 02:03 | throughout the duration of the timeline.
| | 02:06 | Every property that has a little
stopwatch here can be animated.
| | 02:10 | So just be aware, as you are working in
Premiere and you see these little icons,
| | 02:15 | just know that is Premiere's way of
telling you this property can be animated.
| | 02:19 | It can be changed over time.
| | Collapse this transcript |
|
|
7. Playing with TimeChanging the speed of a clip| 00:00 | In this chapter, we're going to look
at several ways to adjust the speed of a
| | 00:04 | clip, which is a really helpful tool in editing.
| | 00:06 | We have here this footage of this dancing
girl and she's just adorable as can be.
| | 00:12 | That's my five-year-old little daughter there.
| | 00:13 | What I'm going to do is right-
click on a clip and I'm going to
| | 00:18 | choose Speed/Duration.
| | 00:20 | By default, the Speed/Duration value
is set at 100%, meaning that it plays
| | 00:24 | back at regular speed.
| | 00:25 | We could type in 200 here and that
will play this clip, if we click OK.
| | 00:30 | It will shorten it, because
it's now playing twice as fast.
| | 00:34 | So it's now half the duration.
| | 00:36 | So again, there is this relationship
between speed of the clip and the duration.
| | 00:40 | If we play this back, we see it's
almost like a little Charlie Chaplin movie or
| | 00:43 | something, kind of adorable there.
| | 00:45 | I'm going to right-click again, go back
to Speed/Duration, and you'll see that
| | 00:49 | still remembers that same speed.
| | 00:51 | This is a nondestructive
act that we're doing here.
| | 00:53 | I'm going to type in 50%.
| | 00:55 | That's going to make this clip play
half as slow and be twice as long as
| | 01:00 | its original values.
| | 01:01 | Now, if I hit the Home key and preview this,
we could see that it is very cute and adorable.
| | 01:08 | It really draws out the emotion of this scene.
| | 01:11 | If it's played back at 100%, she just
seems like a regular old girl, but at 50%
| | 01:16 | speed, it makes her seem
just kind of larger-than-life.
| | 01:18 | It's just extra beautiful.
| | 01:20 | So what I did is I recorded me
playing some sappy, improvisational piano.
| | 01:25 | I'm not very good, as you'll see here.
| | 01:27 | But I'm going to turn this track on by
clicking the speaker icon, which turns on
| | 01:31 | the audio for this track.
| | 01:33 | Now, let's hear this with the sappy
audio and prepare to have your heart touched.
| | 01:37 | (Music playing)
| | 01:49 | So, very cute, very adorable, and
again, when you slow the clip down to 50%
| | 01:54 | speed, it really pulls
out the emotion of a scene.
| | Collapse this transcript |
| Using the Rate Stretch tool| 00:00 | If you have ever worked on a project
where the audio file set the timing of the
| | 00:05 | piece than this next tool
is the ultimate tool for you.
| | 00:09 | It's the Rate Stretch tool.
| | 00:10 | As is often the case as we have here,
we have our snowboard clip and then
| | 00:14 | we have some audio.
| | 00:16 | Often times we need to
get them to work together.
| | 00:19 | We need the snowboarding clip to take
place entirely within the time of this audio.
| | 00:24 | In our case here if we preview the
snowboarding footage, it is kind of
| | 00:27 | already in slow motion.
| | 00:29 | As you could see it going back here.
It has already slowed down a little bit.
| | 00:34 | So, what we're going to do is we're
going to speed it up exactly to about this
| | 00:38 | point right here and we don't have to
right-click and then go to Speed/Duration
| | 00:43 | and then just keep guessing. We could
use the Rate Stretch tool which is right
| | 00:47 | up here in the Tools panel.
| | 00:48 | The keyboard shortcut is X because
the icon kind of looks like an X.
| | 00:51 | So I'm going to click over here and then
I'm going to go to the end of this clip
| | 00:54 | as if I were trimming it, but we're
actually not removing these frames.
| | 00:58 | We're just speeding this clip up.
| | 01:00 | So, I'm going to snap this to the
Current Time Indicator and let it go and
| | 01:03 | actually I might want to bring
that out a little bit longer here.
| | 01:08 | Now, the next thing we want to do is
turn on the audio for this track here,
| | 01:11 | hit the audio track and now if we back up
we'll see that the clip and the audio go
| | 01:17 | for the same duration.
| | 01:18 | (Music playing)
| | 01:27 | Now, it ends a little abruptly.
| | 01:28 | We would probably want to add a Dip to
Black at the end, which we'll talk about
| | 01:31 | in the transitions chapter
later on in this training series.
| | 01:33 | But we get the idea of how powerful
this tool is. If we look at the rate on
| | 01:36 | that, we start it to 212.09%.
| | 01:40 | Imagine the guesswork that would have to
go into getting that to that exact right spot.
| | 01:45 | So, if you need to cut audio to
video or have the video sync up with the
| | 01:50 | audio and you are allowed to play with
the timing of it a little bit, this is
| | 01:55 | the ultimate tool.
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| Playing a clip backward| 00:00 | Now we're going to look at a
couple of ways to play a clip backwards.
| | 00:03 | I have this footage here that I used when I
created that music video I mentioned before.
| | 00:08 | It is kind of like this cool rack
focus, which is between the spider and
| | 00:12 | the bushes in back.
| | 00:14 | I'm a terrible cameraman, admittedly,
and so we don't really have too good of
| | 00:18 | focus in either spot, but
you kind of get the idea.
| | 00:21 | Now, I'd like to change this a little
bit because right now we have a spider
| | 00:26 | that's kind of in focus with a very
blurry background, and then if I move in
| | 00:30 | time a little bit then slowly the
focus changes from the spider to the
| | 00:35 | background and actually it
doesn't get quite in focus.
| | 00:38 | But the spider gets way more
out of focus than the bushes.
| | 00:42 | So, what we want to do is flip this,
because the spider is the real mystery.
| | 00:46 | By starting with the spider and then going
to leaves, that's not really that interesting.
| | 00:49 | So, I'd like to flip this clip in time.
| | 00:51 | So, I'm going to right-click on it in the
Timeline panel and I'm going to go to Speed/Duration.
| | 00:56 | I'm not going to change the Speed
value this time. Instead I'm just going to
| | 01:01 | select Reverse Speed.
| | 01:03 | Click OK and again the duration does
not change, but when I play this clip back,
| | 01:07 | it will start with the bushes in the
back and that's what I will be looking at
| | 01:11 | and all of a sudden well, hello, Mr. Spider.
| | 01:14 | So that's pretty awesome there.
| | 01:16 | Now, there is another more complicated way
to do this referred to as Time Remapping.
| | 01:22 | Now, Time Remapping also
allows us to animate timing changes.
| | 01:27 | What I'm going to do is
I'm going to click Opacity:
| | 01:29 | Opacity, which makes this
rubber band control opacity as we've
| | 01:33 | discussed previously.
| | 01:34 | I'm going to click this, go to Time
Remapping > Speed, and now this rubber
| | 01:39 | band controls speed.
| | 01:41 | So, by default it's at 100%.
| | 01:43 | This train plays back normally.
| | 01:45 | If I were to click-and-drag this
downwards then we would slow this thing down.
| | 01:51 | We can also click-and-drag
upwards to speed it up, etcetera.
| | 01:56 | I'm just going to hit
Command+Z or Ctrl+Z to undo that.
| | 01:58 | What I'm going to do is I'm going to
click-and-drag upwards on this to take this
| | 02:02 | speed up to-- I don't know.
| | 02:04 | Let's say 200%, somewhere around there.
| | 02:07 | And then I'm going to go out in time
here and when the train gets about here and
| | 02:11 | may back up a little about right,
about there, about the 12 frame mark,
| | 02:14 | I'm going to hold the Command key down
and I'm going to get that icon that's
| | 02:18 | instead of a white arrow with an up and
down arrow next to it, I'm going to get
| | 02:21 | a plus icon and if click that it's
going to be creating a keyframe basically,
| | 02:26 | which is going to
remember that value at that time.
| | 02:30 | And then I'm going to move out in time
and we'll just go ahead and Command+Click
| | 02:33 | or Ctrl+Click one more point there.
| | 02:35 | Now what that allows us to do is to
change the time between these keyframes.
| | 02:40 | So, at first we're going 200%, but then
when I get here I want this value to be lower.
| | 02:45 | So, I'm going to leave this where it is
and I'm going to click on this line and I'm
| | 02:48 | going to drag this downwards
to I don't know maybe 50% or so.
| | 02:53 | So, what that's going to do is going to
play very quickly until it gets to this
| | 02:57 | point and then it's going to slow down.
| | 03:01 | So, again let's preview that.
| | 03:02 | So, we have a very fast train,
twice as fast, and then twice as slow.
| | 03:09 | So, we can play with time like
that and change it over time.
| | 03:12 | So, it doesn't have to go
one constant rate or speed.
| | 03:14 | We can slow it down and then speed it up,
then make it normal, or what have you.
| | 03:17 | What I'm going to do is go out to
about this point, let's say two seconds
| | 03:20 | and thirteen frames in.
| | 03:21 | I'm going to Command+Click or Ctrl+
Click to create another point, but this time
| | 03:25 | I'm going to go over the keyframes
and I'm going to Command+Click+Drag or
| | 03:30 | Ctrl+Click+Drag on PC to the right.
| | 03:33 | And what that's going to do is it's
going to create a space that looks like this,
| | 03:37 | with left facing arrows
or little chevrons I guess.
| | 03:41 | And that's going to make it so that
this area of the clip plays backwards.
| | 03:45 | So, not only can we animate timing to
go faster or slower, but we could also
| | 03:49 | animate this to go backwards.
| | 03:50 | Another clip is going to go fast here,
slow through this passage, then it's going
| | 03:55 | to go backwards here and now
let's go ahead and preview that.
| | 04:03 | It kind of looks like a 1920s movie,
little Charlie Chaplin train or something
| | 04:07 | like that, kind of an amusing look, but
anyways the point is the Time Remapping
| | 04:11 | allows you to literally remap time to
control how you want things to go, fast or
| | 04:15 | slow at different points and
even to go backwards at other times.
| | Collapse this transcript |
|
|
8. Attributes of VideoUnderstanding pixel aspect ratio| 00:00 | In this chapter we're going to
look at several really key elements or
| | 00:03 | attributes of video.
| | 00:05 | Now, I'm not sharing this with you so
you could have this kind of like beard
| | 00:08 | scratching moment where you feel superior
and know all about the ins and outs of video.
| | 00:12 | I'm sharing these things with you
because oftentimes when you have trouble,
| | 00:16 | when you are troubleshooting with
your videos, something doesn't look right,
| | 00:19 | something is not working correctly, it is
often because of these attributes of video.
| | 00:24 | So, knowing this is really indispensable.
| | 00:27 | Let's look at this example here.
| | 00:29 | We have here some footage.
| | 00:30 | If I click on this, we could see that
the footage is 1280 x 1080 pixels, also
| | 00:36 | referred to as 1080.
| | 00:37 | If we click on our sequence,
our sequence is also 1280 x 1080.
| | 00:42 | But for some reason when I look at
the footage that I brought into the
| | 00:45 | sequence and I click it to activate it,
I can see that there's actually more
| | 00:49 | footage on the sides.
| | 00:52 | How can that possibly be, because my
sequence is the same number of pixels?
| | 00:56 | And something's also screwy with this video.
| | 00:58 | When I open this up in Adobe
Bridge it actually seems squished.
| | 01:04 | It actually kind of compresses the video.
| | 01:06 | So what is the problem?
| | 01:08 | Why is this piece of footage so weird?
| | 01:11 | The answer lies in its pixel aspect ratio.
| | 01:15 | On any piece of video footage or any
computer image, if we zoom in far enough,
| | 01:21 | we'll see these little tiny squares
that make up images on our computer and
| | 01:26 | these little squares are the building
blocks of what we do here, and these
| | 01:30 | little squares are called pixels.
| | 01:33 | That's short for picture elements.
| | 01:35 | Now, on a computer these
little squares are just that.
| | 01:38 | They are square, as
equally why it is they are tall.
| | 01:41 | But on a television set and the way
that the some cameras record footage,
| | 01:46 | those pixels are not square. They are a
little bit more wide or a little bit more tall.
| | 01:50 | So, I'm going to take this
magnification back to Fit here.
| | 01:53 | And what's happening is that we are not using
the correct pixel aspect ratio in this sequence.
| | 01:59 | We could tell the pixel aspect ratio
by this number in parentheses here.
| | 02:03 | So, our sequence, the pixel aspect
ratio is 1.0, meaning that the width and the
| | 02:08 | height are the same
proportions, so it's a square.
| | 02:11 | So, 1.0 means square pixel aspect ratio.
| | 02:14 | But if we click on our footage you
see that the pixel aspect ratio is 1.5.
| | 02:18 | In other words that the width of the
pixels are one and a half times wider than
| | 02:23 | the height of the pixels.
| | 02:25 | So, even though we're dealing with the
exact same number of pixels, the sizes of
| | 02:30 | the pixels are what are causing the differences
between the sequence and the footage.
| | 02:34 | So what I want to do is
create a new sequence here.
| | 02:37 | Go down to the bottom to this
new icon. Click on Sequence.
| | 02:40 | Now I know that this is DVCPROHD footage.
| | 02:43 | It's DVCPROHD and then 1080p and if
we select this we could see that the
| | 02:48 | settings are 1280x1080 with a 1.5
pixel aspect ratio, this is what we want.
| | 02:54 | Select this preset and the DVCPROHD >
1080p folder and go ahead and click OK.
| | 03:01 | And now when I put this footage
inside of this sequence, it looks perfect.
| | 03:06 | This is also why sometimes when you
give footage from sources like this that
| | 03:11 | have weird pixel aspect ratios to
another program or toward a client or
| | 03:15 | something and let's say here in Bridge
where it is expecting a 1.0 or square
| | 03:21 | pixel aspect ratio, it has to squish
all the stuff in to fit in the 1280x1080
| | 03:26 | spot and of course it's meant to have
a wider pixel aspect ratio than just
| | 03:30 | square and so it appears squished.
| | 03:32 | So, oftentimes if you're watching a
low-budget production, they are not
| | 03:35 | mindful of pixel aspect ratios, then
it will appear a little bit squashed or
| | 03:40 | little bit stretched out.
| | 03:41 | Now, another trick you can use to get
around this is if you notice that we have
| | 03:45 | basically HD footage here.
| | 03:47 | But HD, as we will learn about later in this
chapter, is really 1920x1080 not 1280x1080.
| | 03:55 | But the thing is that 1920x1080 with a
square pixel aspect ratio is about the
| | 04:01 | same as 1280x1024 with
the 1.5 pixel aspect ratio.
| | 04:05 | Let me show you what I mean here.
| | 04:07 | I'm going to go to this sequence here.
| | 04:08 | I'm going to click New >
Sequence. Another new sequence.
| | 04:11 | This time I'm going to go to Digital
SLR and I'm going to go to 1080p and
| | 04:16 | I'm going to go to 1080p24, and this
is true HD. 1920x1080 with the square
| | 04:23 | pixel aspect ratio.
| | 04:24 | I'm going to go ahead and click OK
here and when I bring in this footage and
| | 04:28 | bring this in here, then it matches.
| | 04:31 | So, really 1280x1080 with a 1.5
pixel aspect ratio is the same thing as
| | 04:37 | 1920x1080 with a square pixel aspect ratio.
| | 04:41 | And if all you get out of this movie is
that sometimes pixel aspect ratios can
| | 04:45 | make things look stretched or
squished then that is what you really need to
| | 04:49 | understand out of this.
| | 04:50 | Sometimes cameras play around with
their pixel aspect ratios so that they can
| | 04:53 | get away with having a smaller sensor
and recording this much footage and
| | 04:58 | stretching out the pixel aspect ratio
to compensate for it. So you're actually
| | 05:01 | getting the same amount of
information just kind of in a different way.
| | 05:03 | So, just be mindful as you're going
forward and creating sequences and working
| | 05:07 | your projects that pixel dimensions are
not the only key ingredient to getting
| | 05:12 | the right size of your sequence.
| | Collapse this transcript |
| Understanding frame rates| 00:01 | You might have noticed when creating a
new sequence-- let's go ahead and do that
| | 00:03 | now, go to the bottom of Project panel,
a new sequence here-- is that there is a
| | 00:07 | lot of different frame rates.
| | 00:11 | There is 24 frames/second, there is 25
frames/second, there is 29.97, there is 30,
| | 00:17 | there is 60, and there is different
variations in here and so you might be
| | 00:19 | wondering why that is the case.
| | 00:21 | Well let's back up a little bit.
| | 00:22 | Let's talk about the frames.
| | 00:23 | We know that frames are the
pictures that come at you one after another
| | 00:27 | that comprise video.
| | 00:29 | The speed at which you see those
frames is referred to as the frame rate.
| | 00:34 | For television standards, it's kind
of been a standard in North America,
| | 00:38 | referred to as the NTSC standard seen
here, that we use 29.97 frames/second.
| | 00:42 | So as we click on all of these, you'll
see the frame rate 29.97 frames/second.
| | 00:51 | For PAL, which is the standard in
Europe and other parts of the world as well,
| | 00:56 | we have a 25 frames/second frame rate.
| | 01:00 | Now, if you're going to create
something cinematic, you'll want to use 24
| | 01:04 | frames/second frame rate and
this is often referred to as 23.976.
| | 01:10 | You see film cameras go at
a rate of 24 frames/second.
| | 01:15 | Video approximates that at 23.976 frames/second.
| | 01:17 | If you're going to be catching a lot of
fast motion with your footage then it's
| | 01:24 | better to capture it a higher
frame rate rather than 23.976.
| | 01:29 | Sometimes when you're using the
film frame rate, things look stuttered,
| | 01:33 | especially if they're
moving quickly in the scene.
| | 01:35 | And also I should point out that a
new frame rate is coming into play.
| | 01:40 | It is 50 frames/second for PAL for high-
definition video, and 60 frames/second
| | 01:46 | for high-definition NTSC video.
| | 01:49 | So you are starting to see that a lot
with video games and maybe like live
| | 01:52 | sporting events in HD, the frame rate
makes things look really sharp and crisp.
| | 01:56 | Now, I realize that you don't have
that much control over this as an editor.
| | 02:02 | For example, with something that was
shot with 60 frames/second and that's the
| | 02:05 | way the footage is supposed to be,
there's not much you can do about that.
| | 02:08 | But it is something you need to be aware
of and it's good to know why you'd want
| | 02:13 | to use these different frame rates.
| | Collapse this transcript |
| About HD standards| 00:01 | One of the things that tends to be
confusing for new Premiere users,
| | 00:04 | it actually tends to be confusing for a
lot of people, is the standards for High
| | 00:08 | Definition video or in other words HD video.
| | 00:10 | So let's go over to Project panel again,
and create a new sequence and look at
| | 00:15 | what are the HD standards.
| | 00:17 | Now if we close up the Digital SLR, we
have basically the standards in a sense.
| | 00:24 | The 480p is kind of like the standard
for regular video and actually it is 480i.
| | 00:29 | So if we click DV-NTSC, open
that up, click on Standard 48kHz,
| | 00:33 | we can see that there are some standards here.
| | 00:37 | 29.97 frames/second, and it is 720
pixels wide by 480 pixels tall, in order words
| | 00:44 | horizontal and vertical,
what the h and v stand for.
| | 00:48 | When we talk about size as far as
video goes, we often just use the vertical
| | 00:54 | height in pixels or in other words in lines.
| | 00:58 | So for a regular standard definition video,
which is 720x480, this is referred to often as 480i.
| | 01:04 | It's referred to as i, because it
refers to interlaced fields and what that is,
| | 01:10 | they make little horizontal bands, 480
horizontal bands, from the footage and
| | 01:15 | then they interlace them with the next frame.
| | 01:18 | So this is what they refer to here, Fields.
| | 01:20 | Lower Field First that means
this is interlaced footage.
| | 01:23 | But as we go up to higher
definition, we have 480p.
| | 01:26 | This is not a High Definition standard.
| | 01:29 | This is referred to as
ED or Enhanced Definition.
| | 01:32 | This is not very common.
| | 01:34 | Now to add to the confusion, because
when there was Standard Definition, there
| | 01:37 | is basically just SD and that's it.
| | 01:39 | It eventually then came out with
widescreen but that was the same pixel dimensions.
| | 01:43 | It's just a different pixel aspect ratio
and that's really only difference there.
| | 01:46 | But the pixel dimensions were the same.
| | 01:48 | HD has kind of made things a little
confusing, because there are so many formats.
| | 01:51 | So I'm going to close that Digital
SLR and actually all these other preset
| | 01:54 | folders as well, and open up AVCHD and here in
we find the standard HD formats. We have 720p.
| | 02:02 | This is 1280x720 with
a progressive frame rate.
| | 02:06 | Then we have 1080i, which as you can
see here is broken up into 25 frames per
| | 02:12 | second, 50 frames per second for PAL,
and 30 and 60 frames/second for NTSC.
| | 02:17 | 1080i is 1440x1080, but
it has interlaced frames.
| | 02:22 | Really true HD is 1920x1080 progressive frames.
| | 02:28 | Again, progressive is when those
frames are not interlaced and you see the
| | 02:31 | entire frame as a whole.
| | 02:34 | So again, the term HD Standard is
kind a misnomer, because there are
| | 02:37 | multiple standards for HD.
| | 02:39 | So it can be 1280x720
progressive frames and that is HD.
| | 02:43 | It can be 1080i, and that is HD.
| | 02:46 | It can be 1080p, and that can be HD as well.
| | 02:48 | When they talk about true HD or
full HD, that's usually 1920x1080
| | 02:54 | with progressive frames.
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|
|
9. Creating Moving ElementsUsing layered Photoshop files| 00:00 | In this chapter, we're going to learn
how to animate, how to bring things to
| | 00:03 | life and we are going to do that by
using a layered Photoshop document.
| | 00:07 | But because importing layered Photoshop
document is so unique and different than
| | 00:11 | importing any other type of file I want
to show you how to do that really quick.
| | 00:15 | In the Project panel, I'm going to double-
click in the blank area here to Import a file.
| | 00:18 | I'm going to go to the Media folder inside the
Exercise Files folder. Go to the PSDs folder.
| | 00:24 | PSD stands for a Photoshop Document
and my little S at the end there is
| | 00:28 | because it's plural.
| | 00:29 | I'm going to click once on the Explore CA
Logo layered.psd file and then click Open.
| | 00:35 | This is what the file looks like here.
| | 00:36 | Click Open and this little
dialog box that pops up here,
| | 00:42 | this is where the power is
with importing Photoshop files.
| | 00:45 | You see in Photoshop, I created all
these different layers and we have all these
| | 00:49 | different layers to work with here and we can
choose how we want to bring these layers in.
| | 00:54 | Well we could squish all the layers
together. We can merge all the layers.
| | 00:57 | We could also choose Merged Layers
and choose which layers to merge.
| | 01:02 | We could also select Individual Layers.
| | 01:05 | So these are all the different
layers in the Photoshop document.
| | 01:08 | Let's say we only wanted one. Let's
say we wanted this girl riding the bike
| | 01:11 | right here, the Biker Body layer.
| | 01:12 | We could uncheck all the other layers,
click Select None, and just click select
| | 01:17 | Biker Body, and import just that layer.
| | 01:20 | Now I'm going to go back to Select All.
| | 01:22 | Make sure all the layers of the
Photoshop document are selected.
| | 01:25 | The real power here is in selecting a sequence.
| | 01:27 | Notice that I don't have any
sequences in my current project right now.
| | 01:30 | What this is going to do if I choose
Sequence is this is going to create a
| | 01:34 | Premiere sequence for me and it is
going to bring in all of the layers as is.
| | 01:39 | All those layers just as they were
in the master Photoshop document.
| | 01:43 | So I'm going to go ahead and click OK here.
| | 01:49 | Now I'm going to go back in the Project panel.
| | 01:51 | There is a nice tidy folder created for me
for the Photoshop document I just imported.
| | 01:55 | Open this up, every single layer.
| | 01:58 | I can click to preview this in the
Project panel preview area here, the thumbnail.
| | 02:02 | Every single layer comes in and I
could use them independently and they have also
| | 02:06 | created a sequence for me that I'm
just going to double-click and open up.
| | 02:09 | As you can see here, all these layers came
back intact, all of our layers separately.
| | 02:14 | So now, if I hit the Backslash key
on the keyboard, so I can see all
| | 02:18 | these different layers.
| | 02:19 | Now we can see all these layers on these
different video tracks and we can click
| | 02:24 | them to select them, move them around,
adjust them, what have you, and we're ready
| | 02:29 | to start talking about animation.
| | Collapse this transcript |
| Animating clip position| 00:00 | Now we're going to look at animating.
| | 00:02 | So let's go ahead and I'm going to
resize my Timeline panel here and I'm going
| | 00:06 | to look for the California layer
and it should be towards the top here.
| | 00:10 | I'm going to go ahead and click that
to select it, so we can see the clip
| | 00:12 | properties here in Effect Controls panel.
| | 00:15 | I'm going to open up Motion and
I'm going to look at Position here.
| | 00:20 | Now again, every time you see one
of these little stopwatches here
| | 00:22 | that means that you can
animate this property over time.
| | 00:26 | Now here is the process for animation.
| | 00:28 | First, I'm going to get my
California text in place.
| | 00:32 | What I wanted to do is start off screen
and then animate coming up from the
| | 00:36 | bottom on to screen.
| | 00:37 | So I'm going to increase the Y value,
which is the second property here.
| | 00:40 | Click and drag it to the right, to
move it downwards, and that works.
| | 00:46 | Now I'm going to have Premiere remember
where this layer is at this particular time.
| | 00:52 | I do that by clicking the stopwatch.
| | 00:54 | So again, that tells
Premiere two things actually.
| | 00:56 | One, it says remember this value at this time.
| | 01:01 | The second thing it tells Premiere is
that I want to animate this property.
| | 01:06 | So now, all we have to do once we click
the stopwatch is we move in time, I'll
| | 01:11 | go out to about the one-second mark,
and then change the value. That is it.
| | 01:16 | I'm going to reduce the Y value to put this
back into place and that looks about right there.
| | 01:22 | Now if I hit the Home key to get back
to the beginning, press the Spacebar to
| | 01:27 | play this back, we'll see
that we've created animation.
| | 01:31 | That's all there is to it.
| | 01:35 | So again, we click the Stopwatch
to have Premiere remember a value.
| | 01:38 | Then we move the Current Time
Indicator in time, then we change the value and
| | 01:44 | Premiere automatically creates the automation.
| | 01:45 | It remembers where you want it at a
point A, and where you want it at a point B,
| | 01:50 | and then it automatically
creates the automation for you.
| | 01:52 | Now we can continue on if we want to,
because that's what the stopwatch means.
| | 01:56 | It means that we wanted to animate over time.
| | 01:57 | So if I moved out, let's say another
second and then change the value again,
| | 02:01 | let's move it along X axis here.
| | 02:03 | This is not really what I want to do,
but just showing you as an example here.
| | 02:07 | It's going to move up, and then after
that point it's going to move over, just
| | 02:11 | like I told it to do.
| | 02:13 | Now if you go over to the Effect
Controls panel and you click this little
| | 02:16 | chevron here. If it's facing to the
left, you can click it right here to the
| | 02:20 | right so you can see the Timeline
view in the Effect Controls panel.
| | 02:23 | If you're not seeing the Effect
Controls panel, you can go to Window > Effect
| | 02:26 | Controls to see that.
| | 02:28 | If you don't want one of these keyframes,
which is basically what's happened here as
| | 02:32 | it remembers the values that we've created,
| | 02:34 | then it stores them in these
little diamonds called keyframes.
| | 02:37 | That last keyframe was just an example.
| | 02:39 | We don't really want to keep that.
| | 02:40 | So I am just going to click it to
select it and once it's got this bluish
| | 02:43 | fill, hit the Delete key on the
keyboard just to get rid of it and now we have
| | 02:48 | the original animation.
| | 02:50 | Everything works that way, not
just Position but with Scale as well.
| | 02:53 | If we want this to get bigger once it
landed we can let's say take the Scale
| | 02:58 | down little bit, and then click the
stopwatch for Scale and move out in time,
| | 03:03 | take this back to 100%, and that doesn't
really work out all that great, because
| | 03:08 | I'm going to have the anchor point set properly.
| | 03:11 | But you still get a sense of
what we can do just by animating it.
| | 03:15 | It's just that easy to animate
every single property that there is.
| | 03:18 | Later on the in this training
series, we'll talk about effects.
| | 03:20 | Effects animate the same way.
| | 03:21 | Anything that has a stopwatch, you click
the stopwatch, you move in time, change
| | 03:25 | the value, and Premiere will remember
that process and animate from one keyframe
| | 03:30 | to the next automatically.
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| Fading layers in and out| 00:00 | In this movie, we're going to talk about
fading in and out, but we have a couple
| | 00:03 | of extra cool tricks to look at as well.
| | 00:05 | Now, I'm continuing where I
left off in the last movie.
| | 00:08 | I don't really like what I did with the Scale.
| | 00:10 | It kinds of looks kind of cool how
it's pops up and then kind of comes forward
| | 00:13 | or whatever, but I don't like this.
| | 00:14 | I'm going to scroll that up, select the
California layer, and to delete all the
| | 00:19 | keyframes on a layer, I first want to
move my Current Time Indicator to where I
| | 00:24 | want the value to stay.
| | 00:25 | So I want it to be 100% constantly and
I don't want this to animate anymore.
| | 00:29 | I want there to be any more keyframes.
| | 00:31 | I wanted it just stay on 100% all the time.
| | 00:33 | So instead of deleting these keyframes,
what I want to do is just click the
| | 00:36 | stopwatch and then the little pop-
up will say, "this action will delete
| | 00:39 | existing keyframes.
Do you want to continue?"
| | 00:41 | Yes, it's exactly what I want to happen.
| | 00:42 | I want to get rid of all existing
keyframes and I don't want to animate Scale so
| | 00:46 | I'm going to click OK and
instantly, all these keyframes are gone.
| | 00:50 | Now if you want to fade in or fade out a layer,
| | 00:53 | let's say we go to the Explore layer
at the top here, it's easy enough.
| | 00:56 | We select the layer at the
very top of the video tracks.
| | 00:59 | Now if you want to animate a layer
fading in and fading out, super easy.
| | 01:03 | I'm just going to select the Explore
layer, which is actually at the top of the
| | 01:06 | video tracks and so I will select this
and then, I'm going to go to my Effect
| | 01:09 | Controls panel here, open up Opacity,
and then after you open up Opacity for
| | 01:14 | whatever reason, for Opacity this
stopwatch is already clicked for you.
| | 01:17 | It's the only property
that's like that, but whatever.
| | 01:21 | So we can click and drag to the left to
set a keyframe for Opacity at 0 percent,
| | 01:26 | and then move in time and let's say we
want to fade on or fade in right when
| | 01:31 | California comes in, which is at one second in.
| | 01:33 | So let's click and drag this
value to the right to make it 100%.
| | 01:38 | So now Explore and California come
on at the same time and that's not
| | 01:42 | looking too shabby.
| | 01:44 | Now what if I wanted this entire logo
to fade in and what if I wanted to shrink
| | 01:50 | it down in the corner with some
other footage in the background maybe?
| | 01:53 | Well, here is the way to do that.
| | 01:55 | The way to do is with nested sequences.
| | 01:57 | We wouldn't want to go and select each
one of these clips and then fade it in,
| | 02:00 | because if we want to make a
change later, it'll be so tedious.
| | 02:03 | It's just not worth it.
| | 02:05 | So what I'm going to do is I'm going to
click here to make a new sequence at the
| | 02:08 | bottom of the Project panel.
| | 02:09 | Let's go ahead and go into the
Digital SLR category. Open up 480p.
| | 02:15 | Let's go ahead and select DSLR
640x480p60 and go ahead and click OK.
| | 02:23 | Now we have a blank sequence here,
because again, we can have multiple
| | 02:26 | sequences in our project.
| | 02:27 | What I'm going to do is do
something called nesting a sequence.
| | 02:31 | When you take a sequence that we
already created, the Explore CA Logo layers
| | 02:36 | animation, and I'm going to take this
sequence and I'm going to drag it into the
| | 02:40 | new sequence we've created
as a layer in this sequence.
| | 02:45 | Now the sizing is off a little bit.
| | 02:47 | But that's okay because we are
going to shrink it down anyways.
| | 02:49 | Next time, I hit the Backslash key on
the keyboard above Enter or Return to
| | 02:52 | stretch this out so we can see our
little logo a little bit better here.
| | 02:56 | I'm going to select it, and I'm
going to go to the Motion category in the
| | 03:01 | Effect Controls panel and click Scale. Drag to
the left to reduce the size of this layer here.
| | 03:09 | So now, what we've done is we've made
it so that this logo is not just a series
| | 03:15 | of layers in its own sequence, but now
that entire sequence is a layer or a clip
| | 03:21 | in another sequence.
| | 03:23 | Now we could scale down the entire thing
and we can click on the word Motion and
| | 03:28 | then move this logo into place.
| | 03:31 | If we want to fade it in, we could go
to let's say to the first frame, open
| | 03:35 | up Opacity, take it to 0, move in time a
little bit and then drag this back up to 100%.
| | 03:44 | So now we could do is we can fade in the
entire logo, all the layers in that sequence.
| | 03:51 | We can manipulate the entire thing as one piece.
| | 03:55 | So if you ever have a series of layers
that you want all them to fade out or
| | 03:59 | fade in, or you want to affect all of
them in some way, then try nesting that
| | 04:05 | sequence. So taking that sequence and
putting that into a master sequence.
| | 04:10 | Now if we wanted to, we could put a
video layer here in the background and
| | 04:14 | then take this sequence, Sequence 05, and nest
that as a clip or a layer in another sequence.
| | 04:20 | Now my purpose isn't to fry your brain here.
| | 04:22 | It is to show you that you do have a
lot of control over multiple layers
| | 04:26 | when you nest sequences.
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|
|
10. Applying Video TransitionsApplying transitions| 00:00 | We've seen before in this training
series how when we put clips right up against
| | 00:04 | each other like this, it creates a cut,
just a spot where there is one clip and
| | 00:09 | then just immediately cuts to the next clip.
| | 00:11 | This is one frame, and
this is the very next frame.
| | 00:14 | Well, sometimes you don't want a
transition that's just that harsh, that just
| | 00:19 | goes from one clip and then
immediately cuts the next clip.
| | 00:22 | We want to have a smoother
transition from one clip to the next.
| | 00:27 | That's what transitions are for.
| | 00:29 | In the Effects panel, there is
a Video Transitions category.
| | 00:32 | Click the little arrow here to open that up.
| | 00:34 | You'll see we have several
categories of transitions that we can add.
| | 00:38 | Let's say, for example, between this B-
roll_RideBy_04 clip, the clip where the
| | 00:42 | guys are riding bikes, and then the
clips where these guys are kind of
| | 00:45 | standing next to the water.
| | 00:47 | Let's say we want to have a smoother
transition here. Open up Dissolve.
| | 00:52 | We're going to add Cross Dissolve.
| | 00:53 | This is the most common transition.
| | 00:55 | There is little red outline around its icon.
| | 00:58 | We'll talk about what that means a
little bit later on in this chapter.
| | 01:01 | What I'm going to do is I'm going to
grab this and I'm going to drag this over
| | 01:04 | to the cut point, the point between
the line dividing these two clips.
| | 01:10 | Now I don't want to put it here on the
end of the first clip and I don't want
| | 01:15 | to put it here at the
beginning of the second clip.
| | 01:18 | I want to put it here at the midpoint
between the two clips on the cut point.
| | 01:23 | Let go, and there we have the transition.
| | 01:27 | Now if I hit the Spacebar--
| | 01:29 | (Music playing)
| | 01:32 | You see that instead of cutting
directly from one clip to the next, we have a
| | 01:36 | nice slow fade, a cross
dissolve, between these two clips.
| | 01:42 | In this case, it's really a beautiful look.
| | 01:44 | Now if you want to make the transition
go on for longer or shorter, then we can
| | 01:49 | put our cursor at the
beginning and drag over to the left.
| | 01:52 | Put our cursor at the end, just kind
of like we're trimming a clip, and extend
| | 01:56 | this, so it's longer.
| | 01:57 | So now when we play this transition,
it will go on for longer.
| | 02:01 | (Music playing)
(Male speaker: Plenty of places to ride.)
| | 02:05 | (Male speaker: Beautiful weather.)
| | 02:07 | Now you'll notice that was a
little bit jerky through here.
| | 02:11 | If it is jerky and there is a red bar
at the top here, that means you need to
| | 02:14 | render the footage in order to get
it to play back at perfect speed.
| | 02:18 | So you can just hit the Return key and
it will create a video preview for you.
| | 02:23 | Again, this process is referred to as rendering.
| | 02:25 | I'm just going to go ahead and hit Cancel now.
| | 02:27 | I don't want to take the time to do
that, but that's how you could get it.
| | 02:30 | You could see the green area here has
been rendered for you and that indicates
| | 02:33 | that this will play back in real time.
| | 02:35 | Now, it's important when you're
talking about adjusting transitions to
| | 02:38 | realize the difference between
selecting a clip like this and selecting a
| | 02:42 | transition, like this.
| | 02:44 | So once the transition itself is selected,
not the clip that it's transitioning
| | 02:48 | into or from, but the actual transition
itself, then we could go to the Effect
| | 02:52 | Controls panel and adjust the
parameters of the transition.
| | 02:57 | Now, Cross Dissolve is probably the
transition that you will use the most.
| | 03:01 | We'll talk in the next movie
about why you'd want to use that
| | 03:04 | particular transition.
| | 03:06 | There is another one called Dip
to Black that I use a lot as well.
| | 03:10 | This is good for fading in and fading out.
| | 03:12 | You could use transitions not only in
between clips, but at the beginning or
| | 03:17 | end of clips as well.
| | 03:18 | If I put this at the beginning of the
B-roll_train clip, then when we play at
| | 03:21 | the beginning of this--
| | 03:23 | (Music playing)
| | 03:25 | It actually just fades in from
black, which is kind of nice.
| | 03:28 | It's little bit jarring to start your
video presentation right there with a frame.
| | 03:33 | It's good to kind of fade in, just to
kind of get viewers acclimated to what's
| | 03:38 | going on, what they're saying.
| | 03:40 | Likewise, we can put a Dip to
Black at the end, and kind of fade out.
| | 03:47 | Now, one thing about transitions
that's important to keep in mind, you want
| | 03:49 | to make sure that if you're going to
transition between one frame and the next,
[00:03:523.07]
that you have additional
frames that you are not seeing, so hidden
| | 03:57 | frames of each clip.
| | 03:59 | So I want frames after the tail end of
this clip and frames before the head of
| | 04:05 | this clip or before the in point of this clip.
| | 04:07 | So, that way they can blend together.
| | 04:09 | So right now in time, even though we
haven't got to the StandingAround clip yet,
| | 04:14 | we could still see frames of that here.
| | 04:17 | That's important for an effective transition.
| | 04:19 | If we didn't have those frames, in other
words, if this was the actual beginning
| | 04:23 | of this footage and there was no way we
could back up anymore, then we would not
| | 04:28 | have this same Cross Dissolve.
| | 04:29 | For example, let's look
at this B-roll_train clip.
| | 04:32 | I'm going to for the time being
drag this to the next video track.
| | 04:36 | I'm going to go and put my cursor at the
end of this and try to trim and extend it.
| | 04:40 | We'll see that there are no more frames here.
| | 04:43 | There are no more frames that
are hidden. That's all we got.
| | 04:46 | So, if I put this back to where I got it
from, get back there you, and then if I
| | 04:52 | try to add a transition between these
two clips it will say, "no, I can't do it."
| | 04:57 | I can either put a transition at the
end of this clip, so just a Dip to Black
| | 05:01 | from here, but I cannot really
accurately transition to the next clip.
| | 05:06 | We're not seeing the end of the train
clip or any more train footage, because
| | 05:11 | there is none there.
| | 05:12 | So, it's good if you're going to have
an effective transition that you trim off
| | 05:16 | some of that footage first.
| | 05:18 | That way, the transition has
some extra footage to play with.
| | 05:21 | Now I'm going to close out of this
Search field, because as long as we're
| | 05:25 | looking at the Search field we're not
going to be able to see any of our other
| | 05:28 | effects or transitions.
| | 05:29 | So I'm going to click this X here.
| | 05:31 | If you look through these transitions,
there are a lot of categories here, a lot
| | 05:35 | of really fun stuff to play with.
| | 05:36 | People that are brand-new to video
editing and brand-new to Premiere usually
| | 05:39 | love the feeling of going into some of
these transitions, especially like 3D
| | 05:43 | motion and things like that, and just
adding these really complex transitions
| | 05:46 | that take virtually no effort
whatsoever, just drag-and-drop, and it's a lot
| | 05:50 | of fun to play with.
| | 05:51 | Now, as fun as these are to play with,
it's important to note that these need to
| | 05:55 | be used very artistically
in professional projects.
| | 05:59 | I'll talk about how to
do that in the next movie.
| | Collapse this transcript |
| Using transitions effectively| 00:01 | Okay, so in my last movie, I basically
give you the charge to go out and play
| | 00:05 | with those video transitions and see
what you can come up with, just kind of
| | 00:07 | experiment and explore, play around.
| | 00:10 | That's all fine and good.
| | 00:11 | The problem is that many new users to
Premiere come up with final projects
| | 00:17 | that look like this.
| | 00:19 | (Music playing)
| | 00:21 | (Male speaker: Beautiful scenery.)
| | 00:23 | (Male speaker: Plenty of places to ride.)
| | 00:26 | (Male speaker: Beautiful weather.)
| | 00:29 | (Male speaker: It just
doesn't get any better than this.)
| | 00:33 | Okay, so you noticed that there are all
these crazy transitions from every clip.
| | 00:38 | So first, there is like this Center
Split, and then there is the Page Peel,
| | 00:43 | the ever-popular Page Peel.
| | 00:45 | And then we have the Cube Spin.
| | 00:47 | We have an Iris Diamond,
then we have Barn Doors.
| | 00:51 | These are all just default
transitions found here in the Video Transitions
| | 00:54 | category, not changed or
altered by me in any way.
| | 00:56 | It's just the default settings.
| | 00:59 | The problem with this is
this is very distracting.
| | 01:01 | Again, as we've been talking about
that the entire training series, we as
| | 01:05 | editors are storytellers.
| | 01:07 | So everything that we do
needs to have a purpose.
| | 01:09 | It needs to support the
greater story being told here.
| | 01:13 | We are trying to get people to go to
this Explore California website and
| | 01:18 | purchase travel from them.
| | 01:20 | So, how do these Barn Doors support that?
| | 01:23 | How does this Iris Diamond
support that and this Cube Spin?
| | 01:27 | So, oftentimes again, a lot of people
that are new to these transitions will go
| | 01:31 | crazy and use these effects just
because it feels good to use them and say,
| | 01:35 | hey, look what I can do with my computer.
| | 01:37 | But what is this Page Peel doing for
the story that we're trying to tell?
| | 01:42 | Here's the ultimate test that you can
ask yourself to see if you're using a
| | 01:45 | transition effectively.
| | 01:46 | If you are wondering between whether
you should use some cool-looking effect
| | 01:50 | like a Page Peel or some other cool-
looking effect like the Center or Split here,
| | 01:56 | then you don't need either one, because
if you're not using it to tell a story
| | 02:00 | effectively, again, it doesn't matter.
| | 02:02 | You might want to use the Page Peel if you
had an author and you're looking at a book.
| | 02:07 | So he turns the page and so you might
want to turn the page as well, or turn the
| | 02:10 | page to the next scene if you wanted to do that.
| | 02:13 | Because that would kind of go
with what is happening in the story.
| | 02:17 | But even then, when you use these big
what are called wipes, where you
| | 02:22 | have like these big things where
like some thing is coming in and very
| | 02:24 | significantly changing the shot,
as you move from one to the next,
| | 02:29 | that's referred to as a wipe.
| | 02:31 | So, most of these are referred to as
wipes here, and they are very jarring as
| | 02:37 | you're watching a video.
| | 02:38 | They take you out of this and instead
of thinking about Explore California
| | 02:42 | I started thinking about the Cube Spin.
| | 02:44 | I might like it, I might hate it,
but that's where my focus goes.
| | 02:47 | I don't think about buying
stuff from this company anymore.
| | 02:50 | I'm now thinking about the
Cube Spin or the Iris Diamond.
| | 02:54 | Even if I love the effect, I'm still
talking about the effect and not the company.
| | 02:58 | That's not what you want.
| | 03:00 | Most of the time, we just use the
big old Cross Dissolve effect that we
| | 03:04 | talked about before.
| | 03:05 | Cross Dissolve, again, is that one word.
| | 03:07 | It fades out from one to another.
| | 03:09 | As we talked about earlier in this
training series, when we talked about artistically
| | 03:12 | editing, dissolves can show a
passage of time or of distance.
| | 03:17 | Basically, it's saying like meanwhile,
such and such is happening, or if we want
| | 03:20 | to show again a soft transition
between one clip to the next to make it little
| | 03:25 | bit more relaxing, then that's
something you could do as well.
| | 03:28 | But the Cube Spin, you're going to
have to try really hard to find a good
| | 03:32 | artistic purpose to use that Cube Spin.
| | 03:36 | Now, there were times in "Star Wars,"
if I go down to the Wipe area and then
| | 03:40 | just grab Wipe, and I'll just go ahead
and drag-and-drop it on the Cube Spin,
| | 03:43 | which will actually replaced the Cube Spin,
so I don't need to delete it, which I
| | 03:47 | could do by selecting in the
transition and hitting Delete.
| | 03:50 | But if I just drag-and-drop a new transition
on an old transition, it will trade them out.
| | 03:54 | There were several times in "Star
Wars" when there was a wipe used.
| | 03:58 | Now, this is typically a very big no-no.
| | 04:01 | This is not something that
you ever want to do in a movie.
| | 04:04 | But George Lucas used a huge wipe like
this to show a huge distance in space, so
| | 04:11 | that his world was so big that just a
regular cross dissolve from one world to
| | 04:16 | another planet in the "Star Wars"
scheme of things, that was a huge transition.
| | 04:21 | So, that's why he used a wipe.
| | 04:23 | So he had a real purpose.
| | 04:25 | You might say that it didn't really work,
but still he used them with a purpose.
| | 04:29 | If you are going to use a wipe or
something that can really jar the viewer,
| | 04:34 | take them out of the scene, then
make sure you do so very wisely and with
| | 04:39 | serious intent.
| | Collapse this transcript |
| Setting up the default transition| 00:01 | Setting up a default transition
can really save you a lot of time.
| | 00:04 | Let's say we want to apply a cross
dissolve between all of these clips.
| | 00:09 | We could open up Video Transitions,
Dissolve and just drag-and-drop Cross
| | 00:13 | Dissolve to all of our clips.
| | 00:14 | That would take a long time.
| | 00:16 | But if we had a real genuine project
that went on for several minutes or an
| | 00:19 | hour, that would be ridiculously long.
| | 00:22 | So what we can do is use a default transition.
| | 00:25 | I'm going to select video track 1 to target it.
| | 00:27 | I'm going to hit Page Up
to go to the cut point here.
| | 00:30 | I'm going to a hit Command+D
on the Mac or Ctrl+D on the PC.
| | 00:36 | That will create a transition automatically.
| | 00:40 | Now when you see Cross Dissolve and it
has a red outline around it, that red
| | 00:43 | outline indicates that this
is the default transition.
| | 00:46 | Let me un-target the audio track here.
| | 00:48 | Then Command+D and then Page Down, Command+D,
Page Down, Command+D. And it's just that easy.
| | 00:54 | We've applied a Cross Dissolve
transition to every single cut point.
| | 00:59 | Now what I could do,
let's say I like Dip to Black.
| | 01:01 | I can right-click on Dip to Black in
the Effects panel and select Set Selected
| | 01:06 | as Default Transition.
| | 01:08 | Once we do that, then it's Dip to Black
that becomes a red outline and becomes
| | 01:12 | our default transition.
| | 01:13 | Then if we go back to the beginning
in our Timeline panel, then if I hit
| | 01:17 | Command+D or Ctrl+D on the PC, I'm
going to be applying the Dip to Black
| | 01:21 | transition and not the Cross Dissolve.
| | 01:24 | A lot of times, you might want the
same transition to kind of carry through.
| | 01:29 | Cross Dissolves are great for that.
| | 01:30 | You might also want an Additive
Dissolve, which goes to white, kind of gets
| | 01:35 | brighter like that, instead of darker.
| | 01:37 | So you might choose to do something like that.
| | 01:40 | A lot of times when you set up a
visual motif like that, you want to continue
| | 01:43 | the visual motif and
constantly apply that same transition.
| | 01:47 | So, instead of just constantly dragging-
and-dropping, which gets really tedious
| | 01:51 | and it's a big waste of time, set it up
as the default transition and just apply
| | 01:54 | using that keyboard shortcut.
| | Collapse this transcript |
|
|
11. Working with AudioThe importance of ambient audio| 00:01 | In the world of low-budget video, it's
actually not video that's the biggest problem.
| | 00:05 | It is audio.
| | 00:07 | Audio is the dead giveaway that
something is just a really poor production.
| | 00:11 | Try that next time.
| | 00:12 | Next time you look at an independent film,
see if you can stand it if the audio is bad.
| | 00:18 | Chances are you will not be able to.
| | 00:20 | You might be able to find a lot of
independent movies that you can tolerate if
| | 00:22 | the video is bad, even if the
quality of the video is poor.
| | 00:26 | But if the quality of the audio is
poor, there's no tolerance for that.
| | 00:29 | So, in this chapter, we're going to
look at the powerful world of audio.
| | 00:31 | In this movie, we're going to talk
about something called ambient audio.
| | 00:35 | Now, in our main project here, early
on in this training series when we were
| | 00:38 | talking about the Razor tool, we split
this main clip of this interview here,
| | 00:42 | this guy's interview, we split this up
into several little segments, where he
| | 00:46 | says something and then there is a break
and then he says something, there is a break.
| | 00:49 | But there is an audio
problem there with that gap.
| | 00:52 | Let's listen and basically what I want
you to listen for is the sound of the
| | 00:55 | ocean waves while he is talking.
| | 00:58 | (Music Playing)
| | 00:59 | (Male speaker: Beautiful scenery.)
| | 01:01 | (Male speaker: Plenty of places to ride.)
| | 01:04 | (Male speaker: Beautiful weather.)
| | 01:07 | (Male speaker: It just
doesn't get any better.)
| | 01:09 | So, we have the ocean waves in the background.
| | 01:11 | You could see as it goes over these gaps
that there is no ocean waves sounding off.
| | 01:16 | So, there is definitely a weird jarring
silence that happens as we're waiting
| | 01:22 | for these ocean waves.
| | 01:24 | Because these ocean waves are part of
the main talent's clips, we can't get rid
| | 01:28 | of those ocean waves, not very easily anyways.
| | 01:31 | Then we need to fill in these
gaps with additional ocean waves.
| | 01:36 | So, this is referred to as ambient audio.
| | 01:38 | When we are in a scene, we're doing a
shoot, let's say we're here, we'd want to
| | 01:42 | capture like a few minutes of just the
sound of the ocean waves for this very
| | 01:46 | purpose, so we could plug that sound into
these holes and make things sound more complete.
| | 01:51 | If this was an interior shot, we
refer to that extra audio as room tone.
| | 01:55 | Now, how to fix this?
| | 01:57 | In the Audio folder in the Project
panel, I have some ambient ocean audio.
| | 02:00 | I got this from another clip, but the
pitch of the ocean is about the same.
| | 02:04 | (Waves crashing)
| | 02:07 | I think it's going to work.
| | 02:08 | So what I'm going to do is I'm
going to resize my Timeline panel here.
| | 02:12 | I have a few ways that I can do this.
| | 02:15 | I can drag-and-drop this
to a separate audio track.
| | 02:19 | Then I can just chop this at
these different cut points here.
| | 02:23 | Let's say with this audio track
selected here, I could hit Page Down.
| | 02:26 | Then with this audio track selected as
well, I could hit Command+K. And I continue
| | 02:32 | to press Page Down, hit Command+K, Page
Down, Command+K, Page Down, Command+K,
| | 02:37 | and this is also Ctrl+K on the PC.
| | 02:40 | So, I'm basically splitting the audio
wherever there are cut points on the main audio.
| | 02:46 | Then I could select the duplicate
audio where the ambient ocean track I just
| | 02:51 | added and the original source audio
line up. I could just delete those.
| | 02:55 | The reason why we wouldn't want this
audio track to be continuous is that
| | 02:59 | because when the speaker would come on,
we'd have two layers of ocean noise.
| | 03:03 | And that would bury his
voice and we don't want that.
| | 03:06 | So, that's one way to do it.
| | 03:08 | But because this audio track is pretty
much the same thing the whole time,
| | 03:11 | we could double-click it to open
it up in the Source Monitor.
| | 03:13 | Then this is just another technique.
| | 03:16 | So whichever one you prefer is fine.
| | 03:17 | I'm going to go out in time just a
little bit, just like a few frames
| | 03:20 | here, a small amount.
| | 03:21 | And then I'm going to set the out point here.
| | 03:24 | Click this to set the out point.
| | 03:26 | Then I'm going to grab the Speaker
icon and drag this down to my timeline.
| | 03:30 | I'm going to drag that to
the beginning of that gap.
| | 03:33 | Then I'm going to just trim it there.
| | 03:35 | We could continue doing that.
| | 03:37 | We could drag this to the beginning and then
extend it with the Trim feature in Premiere.
| | 03:43 | There we have it.
| | 03:45 | We missed one gap here, because I think
that our initial trim was a little bit
| | 03:49 | too big to fit there.
| | 03:50 | So actually, I might want to go and
just get a few frames and make that the new
| | 03:53 | out point, drag the speaker icon to
that gap, make it all the way left flush
| | 03:58 | with the end of the previous clip.
| | 04:00 | Then I could extend this again by
clicking on the right side of the clip.
| | 04:03 | I might need to press the plus key to
zoom in on the timeline here a little bit.
| | 04:08 | Press Home and then extend that.
| | 04:12 | So, either way, we wouldn't
want to do both of these ways.
| | 04:14 | We wouldn't want to have the
double layer of the ambient ocean audio.
| | 04:18 | But these are two ways that you can do this.
| | 04:21 | If you do choose to go this route and
put it all on the same track, then you do
| | 04:25 | have the benefit of using the audio
transition, which is actually what I did in
| | 04:29 | the original project.
| | 04:31 | I went to Crossfade and then you
could see that Constant Power is the
| | 04:34 | default audio transition.
| | 04:36 | Basically, what that does is kind of
like a Cross Dissolve but for audio.
| | 04:39 | So I can hit Page Down here. Actually let
me select my Timeline panel. Hit Page Down
| | 04:44 | to go to the next spot between clips.
| | 04:47 | Now that I'm at the cut p oint between
these two audio clips, I can drag-and-drop
| | 04:50 | Constant Power to the cut point between these.
| | 04:53 | I want to do that between
all of these clips here.
| | 04:57 | Actually, let me undo that and I
probably want to zoom in a little bit closer.
| | 05:00 | Again, I'm hitting the Plus
key on my keyboard to do that.
| | 05:03 | So we could put this transition here
so that as one ocean sound goes to the next,
| | 05:08 | it kind of like fades out
and then the other clip fades in.
| | 05:11 | So it's less of a harsh
transition between these two ocean noises.
| | 05:14 | I'm actually going to hit Backslash
here and I'm going to click-and-drag a
| | 05:18 | marquee to select all of the
audio on audio track 3 and hit Delete.
| | 05:22 | I'm not going to bother with adding
the transitions to the remaining clips.
| | 05:25 | I think this is going to work just fine as is.
| | 05:27 | But let's hear the difference now with
the ambient audio, where we don't have
| | 05:31 | those big audio gaps in
between the subject speaking.
| | 05:35 | (Music playing)
| | 05:36 | (Male speaker: Beautiful scenery.)
| | 05:39 | (Male speaker: Plenty of places to ride.)
| | 05:42 | (Male speaker: Beautiful weather.)
| | 05:45 | (Male speaker: It just
doesn't get any better than this.)
| | 05:47 | Now, you might notice that the pitch,
the tone of the ambient audio, the
| | 05:51 | ocean waves, is a little bit different than
that of the ocean waves as this guy is speaking.
| | 05:57 | (Music Playing)
(Male speaker: Beautiful weather.)
| | 06:01 | It's a little bit higher in pitch.
| | 06:03 | So we could actually use audio effects,
which we'll talk about later in this
| | 06:06 | chapter, to lower that.
| | 06:08 | Or again, we can add this transition,
which makes it a smoother transition
| | 06:12 | so as that crossfades it would slowly
appear to go up and down and tone and be
| | 06:16 | less noticeable for the viewer.
| | 06:17 | But I can't stress enough how
important it is to have ambient audio.
| | 06:21 | If you have any kind of control over
the shooting of the video that you'll be
| | 06:25 | editing, make sure they get plenty of
room tone or ambient audio, whatever you
| | 06:28 | want to call it, but just get that,
because it really does save your skin in a
| | 06:33 | lot of cases like this.
| | Collapse this transcript |
| Cutting video to music| 00:00 | In this tutorial, I am going to give you
a few quick tips for how to edit to audio.
| | 00:07 | Now this works great for music
videos, such as the example that we will
| | 00:09 | be looking at here.
| | 00:11 | But it also works really well for other avenues.
| | 00:14 | If you're going to be making commercial
and there is a little jingle you need to
| | 00:17 | edit to, or a podcast, or maybe
there is like a show opener or whatever,
| | 00:20 | knowing how to edit to music, letting
the music be the standard, the guide that
| | 00:25 | you follow, is a very common thing in editing.
| | 00:28 | And these tips will really help you I think.
| | 00:30 | Now I have a musical background and
that tends to help, but even if you don't,
| | 00:34 | the audio waveform here is really
critical to getting a good edit with your audio.
| | 00:39 | So you want to make sure
that the track is expanded.
| | 00:42 | You want to make sure that
you are horizontally zoomed in.
| | 00:44 | So I'm going to hit the Plus key
to zoom in a little bit better.
| | 00:46 | Actually not that much, hit
the Minus key one more time.
| | 00:49 | And then I'm going to go
to the target area here.
| | 00:52 | And if I hold my cursor down right here in
between audio tracks 1 and 2, I get a Resizing tool.
| | 00:56 | So I can click and drag upwards to
see a better representation, a bigger
| | 01:00 | representation, of my audio track.
| | 01:03 | Now I am kind of forced to resize my
Timeline panel because I'm not seeing all
| | 01:08 | of the waveform and the audio.
| | 01:09 | But it's mainly because I have
these two empty video tracks.
| | 01:12 | So I can right-click on one of these
tracks and just click Delete Tracks, or I
| | 01:17 | could click and drag this divider in
between the video and audio tracks to
| | 01:21 | resize what I'm seeing here.
| | 01:24 | And then I could squish
this down a little bit better.
| | 01:27 | Now initially this audio waveform here
that we are looking at might look like a
| | 01:30 | bunch of gibberish to you.
| | 01:31 | But really this
represents the volume of the track.
| | 01:34 | And so we could look and see spikes in the
audio, even if we were looking at dialogue.
| | 01:38 | We can look at this and
see where the key points are.
| | 01:42 | So let's listen to this and as you are
listening to the rhythm of the music,
| | 01:46 | it's hip-hop so it's pretty easy
to discern were those beats are.
| | 01:49 | But as this Current Time Indicator
moves look at where these beats are, and see
| | 01:53 | if you can see where they land.
| | 01:55 | (Rapper: Time is money. Before owning it,
time is blowing in the wind. Never know when it begins.)
| | 02:01 | So we could see the four counts here.
| | 02:03 | We basically have the
spikes are where the beats are.
| | 02:05 | So we have 1, 2, 3, 4.
| | 02:06 | Now there is an "and" or a
halfway beat in between 2 and 3.
| | 02:13 | So we have boom, boom, boom,
boom, boom. So 1, 2, 3, 4.
| | 02:21 | And again it's good to know where
those beats are because those make good cut
| | 02:25 | points a lot of times.
| | 02:26 | They really emphasize the music because
the cut points are right there on the beat.
| | 02:30 | Now another thing that we can do is
while we play this back we can create
| | 02:34 | sequence markers by pressing the Asterisk
key on the numeric keyboard as we are playing.
| | 02:39 | So if you can't see where the beats are,
then you can feel them or hear them and
| | 02:44 | then hit the Asterisk key, almost as if
it were like a drum pad, and you want to
| | 02:48 | hit that on when you want to make the marker.
| | 02:50 | So I am going to preview this.
| | 02:51 | And as I am playing this back, I am
going to be hitting the Asterisk key and
| | 02:55 | it's going to be creating
sequence markers for me.
| | 02:56 | (Rapper: Time is money. Before owning it,
time is blowing in the wind. Never know when it begins.)
| | 03:02 | So you could see that as I was hitting
the Asterisk key, these sequence markers
| | 03:05 | up here at the top were being created for me.
| | 03:08 | So now I can use these as cut points
if I wanted to, and just trim to these
| | 03:13 | little markers here.
| | 03:15 | Now we find that we don't really
have enough footage, but still we
| | 03:18 | have somewhere to start.
| | 03:21 | Now another thing I find, especially
when you are looking at independent music
| | 03:24 | videos, is that the music and
the words don't always match up.
| | 03:27 | Because what happens on a music video
shoot, like when you're shooting the
| | 03:30 | video, is say for example I've directed
this and we're on the middle of nowhere.
| | 03:34 | There's no power or anything.
| | 03:35 | So I had my iPhone in my pocket playing
their song and they are lip-syncing to
| | 03:39 | my iPhone playing in my pocket as we are going.
| | 03:43 | And so, and that's pretty much the case of
every single music video. Everyone is lip-syncing.
| | 03:47 | And so what you need to do when you
come in here and postproduction is you need
| | 03:51 | to sync up the video with the audio.
| | 03:54 | Now if you are really intelligent, which
I was not, you will set up some kind of
| | 03:57 | click or some kind of system, so that
you will allow yourself to sync up that
| | 04:01 | audio when you come here to edit.
| | 04:03 | I did not do that and so what I needed
to do is match up the words to the music.
| | 04:09 | Now again, because this process
has been to be done in post, a lot of
| | 04:12 | independent music videos, if you watch
them closely, the lips don't exactly match.
| | 04:16 | They get in the ballpark,
but they are not quite there.
| | 04:18 | And that's the case that we have here.
| | 04:19 | I am actually just going to move this
clip back for the time being and re-extend
| | 04:23 | this clip, so we can see
a little bit more of it.
| | 04:25 | But watch his lips.
| | 04:26 | It's close but it's not quite there.
| | 04:29 | (Rapper: Time is money. Before
owning it, time is blowing?)
| | 04:32 | Okay so it's close but again
not quite exactly on target.
| | 04:36 | Here is a good way to tell if it's on target.
| | 04:39 | I am going to go to my Preferences and on
the PC that would be under the Edit menu.
| | 04:43 | But I am going to go to Premiere Pro >
Preferences, and then I'm going to go to
| | 04:47 | my General Settings right now.
| | 04:49 | You see we have different
categories of Preferences that we can adjust.
| | 04:54 | I am going to click on Audio to go
to the Audio category of Preferences.
| | 04:57 | And this is one that really helps.
| | 04:59 | While I am doing tutorials I like to
leave this off because it gets annoying.
| | 05:02 | But when I am actually working I like to
have this selected, Play audio while scrubbing.
| | 05:07 | I am going to go ahead and click OK here.
| | 05:09 | Now when I drag the Current Time
Indicator I am actually going to hear the audio.
| | 05:13 | (Inaudible )
| | 05:16 | And before you really get into editing,
like when you're learning about editing
| | 05:19 | this just sounds like a bunch of gibberish.
| | 05:21 | It just sounds like blah, blah, blah, blah.
| | 05:22 | But actually when you get into editing
and you get familiar with that scrubbing
| | 05:26 | sound, it really tells you a lot.
| | 05:30 | And so what I can do is click on this
and I could slowly scrub and see if the
| | 05:34 | words match up a
little bit more accurately.
| | 05:37 | (Rapper: Time is money. Before
owning it, time is blowing in the?)
| | 05:45 | So I could see that the video comes
first, that the video is a little bit too
| | 05:49 | early because I scrubbed it.
| | 05:51 | It's almost like playing
in slow motion in a sense.
| | 05:54 | So what I can do here, I'm actually just
going to move this clip out of the way, is
| | 05:58 | take this clip and drag and move this clip
until we could scrub it and see this match up.
| | 06:04 | Okay, so even there it's
still a little bit early.
| | 06:09 | (Music Playing)
(Rapper: Time is money. Before?)
| | 06:15 | So now you could see that if we go back to
the first frame here, it's about on right now.
| | 06:19 | And we were eight frames off initially.
| | 06:22 | So what didn't seem like that big of a
deal at first, once you get in there and
| | 06:25 | you start scrubbing you realize, wow,
| | 06:27 | that was really, really off.
| | 06:28 | To the tune of eight frames off, that's a lot.
| | 06:31 | So now as we scrub this we
could see that it actually works.
| | 06:34 | (Rapper: Time is money. Before owning it...)
| | 06:38 | So now if we play this back real
speed it's going to look amazing.
| | 06:41 | (Rapper: Time is money. Before owning it,
time is blowing in the wind.)
| | 06:45 | Very cool!
| | 06:46 | Now the last tool to be aware of
is one that we've already covered.
| | 06:50 | That tool is the Slip Edit tool.
| | 06:52 | Oftentimes when I am editing to music--
Let's say for example I trim this here
| | 06:57 | and I'll trim this here.
| | 06:59 | So I know I want it to go between these beats.
| | 07:02 | I know I wanted to exist, this
clip here, between these two beats.
| | 07:06 | So I might have, for example, some like B
-roll footage or just kind of a clip of
| | 07:09 | them like hanging out or something like that.
| | 07:11 | And so I know I want it to happen between
these beats, so that those cut points happen.
| | 07:15 | But I might not have it synced up exactly.
| | 07:18 | So what I can do then is go and
select the Slip tool and click and drag on it
| | 07:23 | and that allows me to change the footage
but still keep those cut points where they are.
| | 07:30 | So those are a few of my favorite tools
and techniques when editing to music or
| | 07:36 | audio of any type actually.
| | Collapse this transcript |
| Changing audio volume over time| 00:00 | Now, we are going to look at a couple
of different ways to change the volume
| | 00:04 | of a clip over time.
| | 00:06 | Now, here is the finished product
that we have been looking at, our
| | 00:08 | little project here we have been
using throughout this training series.
| | 00:11 | I am just going to resize the video
and audio portions here, so we could see
| | 00:14 | this a little bit better.
| | 00:15 | Audio track 2, we have our
music but it's just too loud.
| | 00:19 | So, I brought the audio down and
then I animated it getting quieter.
| | 00:23 | Because while he is talking, we definitely want
this to be in the background and not too loud.
| | 00:29 | And then at the end while I animated
this fadeout getting a little bit louder.
| | 00:32 | I will explain why that is later.
| | 00:33 | But these little dots indicate that
we are changing the volume over time.
| | 00:36 | So, that's what we are going to be doing.
| | 00:37 | Again, I am going to be showing you a
couple of methods of how to do this.
| | 00:40 | Let's first listen to our project with the
audio as is and see if you can hear the problems.
| | 00:46 | Listen to the guy speaking and see how
the music is a distraction.
| | 00:50 | (Music Playing)
| | 00:52 | (Male speaker: Beautiful scenery.)
| | 00:55 | (Male speaker: Plenty of places to ride.)
| | 00:58 | (Male speaker: Beautiful weather.)
| | 00:59 | Okay, that's probably as far as we need to go.
| | 01:00 | Because we could really
barely even hear what he is saying.
| | 01:03 | Also, if we notice these audio
meters, this is huge over here.
| | 01:06 | The Audio Master Meters panel, it gives
us display of the volume and if you have
| | 01:12 | at any point the audio getting up
into the red here, these two little dots,
| | 01:16 | these squares at the top.
| | 01:17 | If those turn on or turn red, then you
are in trouble and you need to turn down
| | 01:22 | your audio, because it's going to
distort when you play it somewhere else.
| | 01:26 | So, that's really bad news.
| | 01:28 | No matter what it sounds like in your
headphones or in your speakers or on your
| | 01:31 | computer, that's not a good guide.
| | 01:33 | The guide that you need to use
are these little dots right here.
| | 01:37 | Now, again I am going to use the
audio waveforms as a guide to my editing.
| | 01:42 | I know that these little waveform
little dots here are when the guy talks.
| | 01:46 | So, I am going to use that as a
reference for editing the volume or animating
| | 01:50 | the volume of this music track.
| | 01:53 | The first thing I am going to
do is click on this rubber band.
| | 01:56 | The default value for the rubber band
for audio tracks-- actually I am going to
| | 01:58 | just resize this really quick-- is volume level.
| | 02:01 | So, I am going to click on the rubber band.
| | 02:02 | I am going to drag this down till it's about -3.
| | 02:05 | The -3.19 is what I am
getting here and that's fine.
| | 02:09 | If I want to get it more fine-tuned,
again I could hold down the Command key on
| | 02:13 | the Mac or the Ctrl key on the PC.
| | 02:15 | But that's fine wherever that is.
| | 02:16 | Then what I am going to do is I am
going to hold down the Command key and I am
| | 02:20 | going to click before the cut point.
| | 02:22 | That will be the Ctrl key on the PC.
| | 02:24 | Then after the cut point
I am going to click again.
| | 02:27 | The reason why I am doing this is
because I want this intro to be kind of loud.
| | 02:31 | Even though we've reduced the volume of
-3, it's still going to be plenty loud.
| | 02:36 | But then I want to reduce it
again when he starts speaking.
| | 02:39 | So, I am going to drag this
keyframe, which is what we've created by
| | 02:42 | Command+Clicking or Ctrl+Clicking on this.
| | 02:44 | Take this down to about a -13 or so.
| | 02:48 | Again, -12.62 or somewhere in that
ballpark is going to be just fine.
| | 02:52 | Now, if we play this back we'll hear
the audio coming strong at first, because
| | 02:56 | that's the first thing
that we hear and that's good.
| | 02:58 | Then the speaking comes in and then
when the speaking comes in our audio is
| | 03:03 | begun to fade down a little bit.
| | 03:06 | (Music Playing)
| | 03:07 | (Male speaker: Beautiful scenery.)
| | 03:10 | So, I like that much better and also
too because the audio starts strong, we
| | 03:14 | don't really need to hear it that strong.
| | 03:17 | Because as it fades away
we kind of get that sense.
| | 03:19 | We could actually be very,
very quiet in the background.
| | 03:22 | Because it's started loud, we kind of
are looking for it and mentally our ears
| | 03:26 | are listening for it.
| | 03:27 | So, it doesn't have to be as
prominent as it was in the beginning.
| | 03:31 | Now, at the end here I want the grand
finale of the music to be played while
| | 03:36 | this guy says his final comment.
| | 03:38 | That's going to give us
the most emotional impact.
| | 03:41 | (Male speaker: It just
doesn't get any better than this.)
| | 03:45 | But then it kind of fades out.
| | 03:46 | The audio fades out and it plays there.
| | 03:49 | It just shows like the logo.
| | 03:50 | I want the fadeout to be a
little bit louder during the logo.
| | 03:53 | So, what I am going to do is I am
going to Command+Click another point, right
| | 03:57 | about here after the guy's
done saying what he is saying.
| | 04:00 | So, basically it will make it so that
from this keyframe all the way to this
| | 04:05 | keyframe at the end, there is not
change in volume, which is what we want.
| | 04:08 | Then I am going to click a point here,
about at the end of that last clip.
| | 04:14 | Basically, when we are looking at this logo.
| | 04:16 | I am actually going to bring that up,
bring that up maybe to zero or so.
| | 04:19 | So, that way we have this little like
ding, ding, ding, ding, ding, little
| | 04:23 | fadeout at the end there.
| | 04:24 | We'll be looking at the logo and that
will be something to listen to while we
| | 04:27 | are looking at the logo.
| | 04:28 | (Male speaker: It just
doesn't get any better than this.)
| | 04:32 | So I like that.
| | 04:34 | That's kind of cool.
| | 04:34 | But we do need to actually fade out.
| | 04:37 | So, what I am going to do is then
Command+Click or Ctrl+Click another point.
| | 04:41 | Then drag that all the way down, and if
you drag it all the way down you'll see
| | 04:45 | this -00. That's supposed
to be like the infinity sign.
| | 04:48 | So, it basically means
negative infinity, which means muted.
| | 04:51 | So, I am going to backup.
| | 04:53 | Now, let's play that
final little sequence here.
| | 04:56 | (Male speaker: It just
doesn't get any better than this.)
| | 05:01 | So, maybe that fade out a little bit too abrupt.
| | 05:03 | I don't want to drag this keyframe
over to the right, so the fade out, it's a
| | 05:06 | little bit more
gradual not as jarring.
| | 05:09 | (Male speaker: It just
doesn't get any better than this.)
| | 05:14 | And maybe that last keyframe right
here when it gets loud, maybe it's a
| | 05:17 | little bit too high.
| | 05:18 | So maybe I want to drag that down
to -1.50 or somewhere around there.
| | 05:22 | So, basically now we have
this really controlled audio.
| | 05:26 | A lot times like this is the way I
find myself using audio where you kind of
| | 05:30 | like riding the controls and
changing it and bring it up and down.
| | 05:33 | Of course, you got to be subtle about it
because the viewer can't recognize that.
| | 05:36 | But if you have these gradual fades.
| | 05:39 | I might want to drag this apart a
little bit farther so that the changes
| | 05:42 | happen more subtly.
| | 05:43 | That's a good idea.
| | 05:44 | This is again a very common workflow.
| | 05:46 | We are constantly changing the audio
based on whatever else happens to be going on.
| | 05:50 | With the music video, you
probably want to fiddle with the audio.
| | 05:54 | But because we have multiple things
vying for our audio attention here.
| | 05:58 | We have a speaker and a music track.
| | 06:00 | Then we kind of have to balance that and
shift that balance as we go through the program.
| | 06:04 | Now, I am going to do
something unthinkable here.
| | 06:07 | I am going to hit the Home key and
select the clip here and then go to the
| | 06:10 | Effect Controls panel, open up Volume.
| | 06:13 | What I am going to do is I am
going to click the Stopwatch for Level.
| | 06:17 | That is going to get rid
of all of our keyframes.
| | 06:19 | I want to show you another
way to adjust audio in Premiere.
| | 06:22 | I am going to go to the Audio Mixer panel.
| | 06:26 | I am going to, If you are not seeing
that, then you go to Window > Audio Mixer
| | 06:29 | and then choose the sequence for
which you want to open up the Audio Mixer.
| | 06:33 | But this is very much like a
traditional recording studio's Faderboard and we
| | 06:37 | have these individual controls.
| | 06:39 | But notice like let's say for example,
Audio 2 this refers to this Audio 2 track.
| | 06:44 | If I drag this audio down, we'll not
see any change to this rubber band.
| | 06:49 | That's because this rubber band refers
to the volume of this clip and the Audio
| | 06:53 | Mixer panel refers to the
volume of the entire track.
| | 06:57 | So, let's say we had one little clip
of a song here and then another clip of
| | 07:01 | some other audio here.
| | 07:02 | Maybe this is like a dialogue track
and this is where all the dialogue goes.
| | 07:06 | The Audio Mixer panel controls
the volume of the entire track.
| | 07:10 | Now, it's really cool.
| | 07:11 | It remembers what you're doing.
| | 07:12 | So, let's say we decided to control
the volume or animate the volume of this
| | 07:16 | track using only the Audio Mixer.
| | 07:19 | What I want to do is first I want to
name the track a little bit better.
| | 07:22 | So, I'll just name this
Music instead of Audio 2.
| | 07:25 | Notice that changes it here
and Timeline panel as well.
| | 07:28 | What I am going to do is change
underneath Music it says Read.
| | 07:31 | This is the Automation mode.
| | 07:32 | I am going to click this and I
am going to change this to Write.
| | 07:36 | What that's going to do.
| | 07:37 | That's going to allow me to just
manually set the volume however I want.
| | 07:40 | I know that I want this to be let's say
zero for right now, because I've already
| | 07:43 | reduced the volume of the
clip itself. So, that's okay.
| | 07:47 | Then I am going to play this back and
then as I play this back, I am going to
| | 07:51 | change the fader, the volume by
clicking this little fader here.
| | 07:54 | I am going to move it up and down as I
want it to move up and down in the program.
| | 07:58 | So instead of setting keyframes, I am just
going to manually grab this as I see fit.
| | 08:03 | (Music Playing)
| | 08:05 | (Male speaker: Beautiful scenery.)
[00:008:07.60]
(Male speaker: Plenty of places to ride.)
[00:008:10.60]
(Male speaker: Beautiful weather.)
[00:008:13.60]
(Male speaker: It just
doesn't get any better than this.)
| | 08:18 | Okay, so there it has able to
give a little bit more control.
| | 08:21 | So, now as I scrub through this, you'll
see that the Fader automatically moves
| | 08:27 | as I moved it when I was
listening to the program.
| | 08:31 | So, I decided to do something else.
| | 08:32 | I dropped it a little bit too
drastically in the beginning.
| | 08:36 | Then I slowly raised it up, and then
actually for this grand climactic by this
| | 08:41 | guy when we were looking at him,
I brought the music up a little bit more.
| | 08:44 | So there is a gradual increase.
| | 08:46 | Watch this Fader as I drag through this.
| | 08:52 | Then it got a little bit louder
and then we could fadeout at the end.
| | 08:55 | So, basically if you want to
manually adjust the volume of entire track.
| | 08:59 | You can do so with the Audio Mixer panel.
| | 09:02 | You can control the panning as well
if we want this to go left or right.
| | 09:05 | If we wanted to solo this by
clicking this little trumpet icon.
| | 09:09 | We could even record actually.
| | 09:11 | If you have a system to get audio into
your computer, you can hit the Record
| | 09:15 | button and actually record
audio to a track from Premiere.
| | 09:18 | In some of my previous Beyond the
Basics training for Premiere on lynda.com,
| | 09:23 | I go really in depth into the
audio capabilities of Premiere.
| | 09:26 | It really boggles the mind.
| | 09:28 | It's a little bit more advance and we
need to get into in the Essential training
| | 09:31 | series, but just be aware that
there's a lot of power and control here.
| | 09:35 | So again, if you want to adjust the
volume of a clip, you can use the rubber
| | 09:38 | band here in the Timeline panel.
| | 09:40 | You could also use the volume
control to manually set keyframes.
| | 09:44 | The way that we do all the
other properties in Premiere.
| | 09:47 | And we could do that again
in the Effect Controls panel.
| | 09:49 | Or if you want to adjust the volume
for entire track, you could use the
| | 09:53 | Audio Mixer panel.
| | Collapse this transcript |
| Fixing audio problems| 00:00 | In this movie, we're going to look at a
few ways to fix some common audio problems.
| | 00:04 | We're going to start by
doing this using effects.
| | 00:07 | If you go to the Effects panel
down here, open up Audio Effects.
| | 00:10 | You'll see that we have three
categories, 5.1, Stereo and Mono.
| | 00:13 | If we look at our track here in
the High Pass sequence, we'll see two
| | 00:17 | little speakers here.
| | 00:18 | If this were a Mono track,
there would be one speaker.
| | 00:21 | If it was a 5.1 Surround
Soundtrack, there would be a 5.1 here.
| | 00:25 | Since we know this is a stereo track,
this is a stereo clip, let's go ahead and
| | 00:29 | open up the Stereo area of Effects.
| | 00:32 | As you could see here, there are loads
of audio effects that we could use to
| | 00:35 | sweeten and adjust our audio.
| | 00:38 | Premiere definitely understands the
significance of audio to a quality video.
| | 00:44 | The effects here are really top-notch.
| | 00:45 | I should also point out that if you
have third-party VST Filters or audio
| | 00:50 | plug-ins installed, you could
also use them here from Premiere.
| | 00:54 | Now, there is a wide range of effects here.
| | 00:57 | There is stuff like Reverb,
which adds kind of like a mild echo.
| | 01:01 | So, if you have some voiceover work,
you need to give it more space if it
| | 01:04 | sounds too flat and dead.
| | 01:05 | You could apply some Reverb to that.
| | 01:08 | Everything else from Reverb to crazy
effects like Chorus, and even like a
| | 01:13 | Flanger to make you sound like you're
under water, but there is also some really
| | 01:16 | great effects here for cleaning up
audio such as the De effects, the DeClicker,
| | 01:20 | DeCrackler, DeHummer, DeNoiser.
| | 01:23 | These definitely help clean up if you
have clicks, pops, hums, that type of thing.
| | 01:28 | What I'm going to use to fix our
current audio situation, unless what we've
| | 01:32 | looked at before is we have this
low roll of ocean here, if we play that.
| | 01:37 | (Waves crashing)
| | 01:38 | (Male speaker: Beautiful scenery.)
| | 01:40 | Now, his voice is higher
in pitch than the ocean.
| | 01:45 | So, what I'm going to do is I'm
going to use an effect called Highpass.
| | 01:50 | Highpass allows high pitches to pass through.
| | 01:54 | That's why it's called Highpass.
| | 01:56 | So, what it's going to do is it's
going to eliminate low frequencies.
| | 02:00 | So, I'm going to drag-and-drop
that on to my audio clip here.
| | 02:04 | Open up Highpass in the Effect Controls panel.
| | 02:07 | If we play this, the results
by default are not all that great.
| | 02:10 | (Male speaker: Beautiful scenery.)
| | 02:12 | It removes too much of the low frequencies.
| | 02:15 | So, his voice sounds like it's on an AM Radio.
| | 02:18 | Now, that could be what we're looking for.
| | 02:20 | This is a great effect for that.
| | 02:21 | But of course, that's not we're
not looking for, in this case.
| | 02:23 | So, what I'm going to do is I'm
going to take the cutoff down.
| | 02:26 | I'm going to try to do this while I am
playing it back to give you a sense of
| | 02:29 | what this value does.
| | 02:31 | (Male speaker: Beautiful scenery.)
| | 02:33 | (Male speaker: Plenty of places to ride.)
| | 02:35 | So, could you get a sense of what that was
doing when we adjusted the Cutoff parameter?
| | 02:39 | Basically, everything
below the Cutoff gets removed.
| | 02:42 | Because it's Highpass, so everything
above that Cutoff point passes through,
| | 02:46 | everything below it's cut off.
| | 02:47 | So, we have a lot of human-speaking
tones underneath this current value.
| | 02:51 | What we want to do is I am going to
actually click in here and type in 110.
| | 02:55 | So, everything below 110, which is a
really deep set of pitches, is going to be
| | 03:01 | cut out and everything above is
going to be allowed to pass through.
| | 03:04 | So, if we play this back --
| | 03:05 | (Male speaker: Beautiful scenery.)
| | 03:07 | It sounds pretty much the same.
| | 03:09 | But if we click this Bypass switch,
we can see the before and the after.
| | 03:14 | So, Bypass basically turns the effect
off and then on, as we have it unchecked.
| | 03:20 | So, I'm going to play this back now and
listen to the difference when the effect
| | 03:25 | is played back without Bypass, meaning
the effect is on and working, and when I
| | 03:29 | select Bypass and
turn the effect off.
| | 03:32 | (Male speaker: Beautiful scenery.)
| | 03:34 | (Male speaker: Plenty of places to ride.)
| | 03:36 | (Male speaker: Beautiful weather.)
| | 03:38 | (Male speaker: It just
doesn't get any better than this.)
| | 03:41 | Now, because you're probably watching
this over the Internet, you might not
| | 03:44 | have heard that difference, but there is a very
deep low rumble that is removed by this effect.
| | 03:49 | So, if you have situations where
you're filming like outside or maybe in a
| | 03:53 | warehouse or something like that,
there is a like a deep low rumble.
| | 03:56 | This is a good way to get rid of
that by using the Highpass effect.
| | 04:00 | Conversely, we could also use the
Lowpass effect for high-pitched whines.
| | 04:05 | Just like the Highpass effect
creates a threshold and then throws away
| | 04:08 | everything beneath a certain threshold,
Lowpass throws out everything above a
| | 04:13 | certain threshold and allows
low frequencies to pass through.
| | 04:16 | As we'll see, this is great
for whines and things like that.
| | 04:20 | I'm going to play this clip that we've
looked at previously from the House on
| | 04:23 | Haunted Hill cutaway's clip.
| | 04:25 | This clip, for whatever reason, the
way that this was encoded this has a very
| | 04:28 | high-pitched whine in it.
| | 04:30 | (Male speaker: We're all locked in now.)
| | 04:33 | Really just grating, though hopefully
you can hear that, so you could tell how
| | 04:37 | incredibly annoying that is.
| | 04:38 | So, I'm going to apply the Lowpass
effect to and just drag-and-drop it to the
| | 04:42 | audio clip there and we open up Lowpass.
| | 04:45 | Let's just give it a preview here.
| | 04:47 | (Male speaker: We're all locked in now.)
| | 04:49 | Okay, that's good, but it's
cutting off a little bit too much.
| | 04:53 | Because it's removing everything
above this frequency, there are a lot of
| | 04:58 | overtones in the human voice
that are just kind of getting lost.
| | 05:00 | So, I'm actually going to click on
this value, take this up to 2800.
| | 05:05 | Then now if I preview this,
it's going to sound pretty good.
| | 05:08 | (Male speaker: We're all locked in now.)
| | 05:10 | (Female speaker: But I don't want to stay.)
| | 05:11 | Now, I'm going to do the same thing
before where I'm going to click Bypass to
| | 05:15 | turn the effect off and on again.
| | 05:17 | Notice the difference.
| | 05:18 | (Male speaker: We're all locked in now.)
| | 05:20 | (Female speaker: But I don't want to stay.)
| | 05:22 | (Male speaker: I'm sorry, my dear,
but it's too late now.)
| | 05:25 | So, again, really irritating
without the Lowpass effect.
| | 05:29 | So if you want to get rid of low hums
or high whines, you can use these filters
| | 05:33 | to get the job done.
| | 05:35 | Now, for extra super hard jobs, if you
have like some kind of really big audio
| | 05:39 | pop or somebody says a word and they
should know when you really just can't edit
| | 05:43 | around it, you can go to Adobe Soundbooth.
| | 05:46 | I'm going to right-click on this
audio clip in the High Pass sequence.
| | 05:51 | I'm going to choose Edit in Adobe
Soundbooth > Render and Replace.
| | 05:57 |
| | 05:57 | Now, what that does is opens this
clip up in Adobe Soundbooth, which is a
| | 06:01 | separate audio application that comes
with Adobe Production Premium or the
| | 06:05 | Adobe Master Collection which is -- Adobe
Production Premium is Adobe's kind of video suite.
| | 06:11 | Now, Adobe Soundbooth is a
very simple audio editing program.
| | 06:15 | But it really is built for video
editors to be able to fix little audio
| | 06:20 | problems, just like the ones we've been having.
| | 06:22 | Let me show you this.
| | 06:23 | This is our sample here.
| | 06:24 | Again, just like Premiere, we hit
the Spacebar to start up and start the
| | 06:27 | playback of audio --
| | 06:28 | (Waves crashing)
| | 06:29 | (Male speaker: Beautiful scenery.)
| | 06:31 | So, same clip that we're looking at.
We're just looking at the waveform here.
| | 06:34 | I know that this first little section
here, as you see this flat waveform,
| | 06:38 | almost flat waveform, this is the ocean.
| | 06:41 | So, what I'm going to do is I'm going
to click-and-drag over the ocean noise.
| | 06:45 | Then I'm going to go to Clean Up Audio
in the Tasks panel, click Clean Up Audio.
| | 06:50 | One of the brilliant things that
Soundbooth does and has a few really magical
| | 06:54 | tricks here-- I'm going
to capture the noise print.
| | 06:57 | So, what it's going to do is going to
look at this noise, and basically, by
| | 07:01 | selecting only the noise, I have told
Soundbooth that this is bad stuff that I don't want.
| | 07:05 | Then what I could do is
click on the Noise button.
| | 07:08 | It will go through and it will take
this noise out of the entire clip.
| | 07:14 | Now, sometimes, this works beautifully,
as a matter of fact, most of the time it
| | 07:17 | works really, really well.
| | 07:18 | But a lot of times, and I chose this
example specifically for this, it's not as
| | 07:22 | great as it might seem, because the
frequencies that we want to keep overlap the
| | 07:27 | frequencies of what we want to throw away.
| | 07:30 | But even still, it's going to
sound like he is in a cave here.
| | 07:33 | But if I click Preview, and actually, I
just realize that by having this audio
| | 07:38 | selection still in play when I did the
noise cleanup here, it only cleaned up
| | 07:42 | that little section.
| | 07:43 | So, I'm going to go ahead and hit
Cancel here and then click here.
| | 07:46 | Then let's go ahead and make sure you
don't have a selection in which you can
| | 07:49 | get by just clicking anywhere in here.
| | 07:51 | Then click Noise and
then we can preview this.
| | 07:55 | (Male speaker: Beautiful scenery.)
| | 07:57 | (Male speaker: Plenty of places to ride.)
| | 07:59 | So again, we're seeing some of the
frequencies that we want taken out, which is
| | 08:03 | not what we want, of course.
| | 08:05 | But even still, it's pretty amazing
that the sound of the ocean has just gone.
| | 08:10 | (Male speaker: Beautiful scenery.)
| | 08:12 | So, what we could do is take this
Reduction from Aggressive to the right and
| | 08:16 | take it to the left to be Light.
| | 08:18 | We could actually do this while
we're previewing it too.
| | 08:20 | (Waves crashing)
| | 08:21 | (Male speaker: Beautiful scenery.)
| | 08:23 | (Male speaker: Plenty of places to ride.)
| | 08:25 | (Male speaker: Beautiful weather.)
| | 08:27 | (Male speaker: It just
doesn't get any better than this.)
| | 08:29 | We could also choose the Reduce By amount.
| | 08:32 | So, basically at the top we are
choosing what we are getting rid of and then
| | 08:36 | at the bottom, we are talking
about how loud the noise reduction is.
| | 08:40 | In this case, it's a pretty tough job.
| | 08:41 | So, I'm not sure if there is
anything that's going to be perfect.
| | 08:44 | I might want to take this down to Light
and take this down to Light a little bit
| | 08:49 | more and preview this.
| | 08:50 | (Waves crashing)
| | 08:51 | (Male speaker: Beautiful scenery.)
| | 08:53 | So, it still sounds a little warbly in the
background, but it is reduced quite a bit.
| | 08:57 | So, I guess, I'm going to be happy with this.
| | 08:59 | That's the best we're going to get,
so I'm going to go ahead and click OK.
| | 09:02 | Now, if I go back to Premiere through
the magic of magicness, and the way that
| | 09:06 | Premiere and Soundbooth work together,
Soundbooth created an additional audio
| | 09:10 | file out of the audio file from the video,
brought it into the Project panel and
| | 09:15 | swapped it out with our original audio here.
| | 09:18 | So, this is linked to what
we are having in Soundbooth.
| | 09:21 | So, now if we play this back --
| | 09:24 | (Waves crashing)
(Male speaker: Beautiful scenery.)
| | 09:26 | We'll see the same audio clip from Soundbooth.
| | 09:29 | So, any changes that we make in Soundbooth
and then save will show up then in Premiere.
| | 09:35 | I should also point out here that
if you do have some really hard audio
| | 09:40 | problems, if there is like a pop
that you can't get rid of in Premiere or
| | 09:43 | something like that, I recommend
checking out the Soundbooth training on
| | 09:46 | Lynda.com, really top-notch.
| | 09:48 | A lot of these things that you'll
learn about in Soundbooth can just bail you
| | 09:52 | out of so many problems as
far as audio goes in Premiere.
| | Collapse this transcript |
| Censoring audio| 00:01 | A lot of times when you're editing
footage or some project, it will be your job
| | 00:05 | as an editor to censor the footage
to make sure that there's nothing
| | 00:08 | inappropriate or to make sure that
there's not like something advertised that
| | 00:13 | should not be advertised.
| | 00:15 | In this case, we have a clip from Ron,
giving us a tour of the olive oil area here.
| | 00:20 | (Male speaker: From there,
we'll come back here to the olive barn.)
| | 00:25 | So that's basically what he says, "from
there we'll go here to the olive barn."
| | 00:28 | Well, we're going to pretend that the
word olive, when he says olive barn, should
| | 00:32 | not be said for whatever reason.
| | 00:34 | You could pretend that as a swear word
or that's a product placement that we
| | 00:37 | shouldn't be saying or whatever it is.
| | 00:38 | But we just need to get rid of that word.
| | 00:40 | So that's what we're going to do here.
| | 00:41 | First step is I want to expand
the vertical height of the waveform.
| | 00:47 | So that way I could see all of these
words and again as we play this, you'll
| | 00:51 | be able to see that each one of these
little blobs here represents a different word.
| | 00:56 | (Male speaker: From there,
we'll come back here to the olive barn.)
| | 00:59 | Okay. So we need to get rid of "olive barn."
| | 01:02 | So what I'm going to do is
put my cursor right about here.
| | 01:05 | I think that's where he started
talking about the olive barn there.
| | 01:09 | I'm going to hit Command+K, go to
where I think the word ends, and hit
| | 01:13 | Command+K or Ctrl+K again, and that
will split the audio track, so that we
| | 01:20 | could isolate that word and that's
where the first step in this process is, to
| | 01:24 | isolate the offending word.
| | 01:26 | The video was split as well
because I had the video track targeted.
| | 01:29 | That was not necessary and
that might not be a good idea.
| | 01:32 | But here it doesn't matter.
| | 01:33 | So I went ahead and allowed that.
| | 01:35 | Again you'll need to make sure that this
track is targeted so that it will split.
| | 01:38 | Next up, we will grab the rubber band
from the part that I want to edit out, and
| | 01:43 | I will drag this all the way
down to infinity to mute it.
| | 01:47 | So let's go here and back up a little
bit and preview this and see how it sounds.
| | 01:51 | (Male speaker: From there,
we'll come back here to the -- barn.)
| | 01:54 | Okay. So that worked out pretty good.
| | 01:56 | If I cut it a little bit too close on
either direction, on either side, again I
| | 02:00 | could select the Rolling Edit
tool and move this in any direction.
| | 02:05 | If I cut off too much of the audio or
not enough of the audio, I don't have to
| | 02:08 | undo and then re-cut.
| | 02:10 | I can simply use the Rolling Edit tool
to move the edit points to the right spot.
| | 02:14 | So I'm going to go back and select the
Selection tool again and now what we want
| | 02:17 | to do is create a bleep there, so
that our audience knows that there was
| | 02:21 | something that was cut out, that we
know what we're doing, we did our job.
| | 02:25 | We captured the audio appropriately, but that
is a word that we did not want them to hear.
| | 02:29 | So what we're going to do
is go to the Project panel.
| | 02:32 | Since there is not really a bleep
effect, I'm going to go down to Project
| | 02:35 | panel and create a new.
| | 02:36 | Instead of creating a new sequence or
anything else here I'm going to create a
| | 02:39 | new Bars and Tone and I go ahead and
accept the defaults here, and click OK.
| | 02:43 | Now I'm going to double-click the Bars
and Tone in the Project panel to open it
| | 02:47 | in the Source Monitor.
| | 02:49 | Basically what Bars and Tone are is
often time before your project, at the very
| | 02:53 | beginning here, you'll want to put
this at the beginning, so that those
| | 02:56 | distributing your video,
can calibrate their systems.
| | 03:01 | Basically, if you sit up watch late-
night TV, especially a public access TV,
| | 03:04 | you've seen this (BEEP), and that's really
loud and annoying, I apologize, but just
| | 03:10 | trying to show you what that is.
| | 03:12 | Now, we don't care about the video in this case.
| | 03:14 | But we do want this audio bleep.
| | 03:16 | That will be our tone.
| | 03:18 | So I'm going to just go out.
| | 03:20 | It doesn't matter. I just want a few
frames of this here and I'm going to
| | 03:22 | click in outpoint here.
| | 03:24 | Then I'm going to actually resize, scroll
down so I could see another audio track here.
| | 03:30 | Then just grab the speaker icon
because I only want the audio.
| | 03:33 | So I'm going to drag the audio from
the Bars and Tone to the next audio track
| | 03:37 | beneath that layer here.
| | 03:39 | And I'm going to go ahead and trim it
so that the tone only happens with the
| | 03:43 | word we want to censor out,
and that is the trick.
| | 03:47 | Actually before I do that I'm going to
open up this audio track just because
| | 03:49 | it's so loud and annoying, then drag
the rubber band down a lot to maybe like
| | 03:54 | -22ish, -20, somewhere around there, and
then I'm going to back up and let's see
| | 03:59 | our newly censored audio.
| | 04:02 | (Male speaker: From there,
we'll come back here to the BEEP! barn.)
| | 04:07 | It's kind of amusing for some reason
but we basically edited out that word and
| | 04:11 | we made it sound as if olive was
something very offensive. Of course it's not.
| | 04:14 | But if we ever did run into something
where we needed to take out a word and we
| | 04:18 | wanted to let our audience know that
there was something removed intentionally
| | 04:22 | there, then this is the
way to create censored audio.
| | Collapse this transcript |
|
|
12. Applying Video EffectsCreating censored video| 00:00 | In this chapter we're going to look
at the exciting world of video effects.
| | 00:04 | In this movie, we're going to look at how to
apply a few effects and some tricks as well.
| | 00:09 | And specifically what we're going to
try to be doing is trying to make this guy
| | 00:12 | anonymous by blurring out his face.
| | 00:14 | There is a few different ways to
do that so this is just one way.
| | 00:18 | The first thing we need to do is
we need to isolate just his face.
| | 00:22 | So what I'm going to do is I'm going to
do a search for Matte in the Effects panel.
| | 00:28 | What I'm looking for here is the
Eight-Point Garbage Matte Effect.
| | 00:33 | This will give us some points to create a mask.
| | 00:35 | So I'm going to apply.
| | 00:36 | I'm just going to drag-and-drop
this little Plug icon where it says
| | 00:39 | Eight-Point Garbage Matte, and drag-
and-drop this onto our video clip, just
| | 00:44 | like we do with audio effects.
| | 00:46 | So if we click this here, go to the
Effect Controls panel, and you could see
| | 00:51 | that we have Eight-Point Garbage
Matte here in the Effect Controls panel.
| | 00:54 | Now, in the Effect Controls panel
when you see this little icon here, those
| | 00:57 | little dots with an arrow, that means
that if we click the effect to select it,
| | 01:02 | then we have these points to adjust
and these are the Effect Control points.
| | 01:07 | Now I might want to get this a little
bit smaller so I could see the edges.
| | 01:10 | Then I'm going to drag these points, these
little circles with Pluses on them there.
| | 01:13 | I'm going to click-and-drag and move
this around or move these points around
| | 01:20 | till I've got the face isolated.
| | 01:22 | So it's a good way to create a mask
and the purpose of these effects, the
| | 01:26 | Garbage Matte effects as you'll see
there's 4 points, 8 points and 16 points is
| | 01:30 | when you're creating a green screen to
create an initial mask to get rid of the
| | 01:35 | extra stuff like if there's like a boom
mike or something like that to get that
| | 01:39 | out of the shot before
removing the green screen.
| | 01:41 | This also can be used for purposes
just like this where we're isolating a
| | 01:45 | component of the video.
| | 01:47 | Now, the obvious problem here of course
is that the mask has actually not only
| | 01:51 | isolated the face but removed
the entire background as well.
| | 01:54 | We still need the background there.
| | 01:56 | So what we're going to do is make a
copy of this and what we're going to do is
| | 01:59 | have the top copy be just the face and
edited version of the face and the bottom
| | 02:04 | copy below is going to be the regular video.
| | 02:06 | So what I'm going to do to copy this
clip is to select it in the Timeline panel
| | 02:10 | and then hit Command+C or Ctrl+
C on your keyboard to copy it.
| | 02:14 | Then I'm going to click the Video 1
track here to deselect it, or untarget it
| | 02:19 | and then I'm going to click video
track 2 to target it because you could only
| | 02:22 | paste in to targeted tracks.
| | 02:25 | Then I'm going to hit the Home key, so
I'm at the first frame of my Timeline,
| | 02:29 | and then making sure that I do not
have video track 1 selected and I do have
| | 02:33 | video track 2 selected or targeted, I'm
going to hit Command+V or Ctrl+V on the
| | 02:38 | PC to paste this clip and so now
we have two copies of the same clip.
| | 02:43 | Now we're going to select the bottom
one, making sure that the top one is not
| | 02:47 | selected and then I'm going to delete
the Garbage Matte effect by selecting it
| | 02:51 | in the Effect Controls panel
and hitting Delete to remove it.
| | 02:54 | So now we have it seems like the
original clip, but really we have a masked
| | 02:58 | version on the top and
the original on the bottom.
| | 03:02 | So if we were to take off the
visibility of the bottom track, we have the face
| | 03:06 | on the top here, and then
everything on the bottom.
| | 03:09 | Now, we can go ahead and
distort or alter this top clip.
| | 03:12 | Let's go ahead and do another search here.
| | 03:14 | I'm just going to click in the
Search field to highlight this.
| | 03:17 | Let's just do a search for Mosaic.
| | 03:19 | What I want is in the Video
Effects, Stylize category, Mosaic.
| | 03:24 | Go ahead and drag-and-drop this onto
the A-roll clip on the top, not the
| | 03:29 | bottom here, on the top.
| | 03:30 | Now that's what we are going for.
| | 03:32 | But we do need to adjust this
because we could kind of still see through
| | 03:35 | underneath and these
blocks aren't all that great.
| | 03:38 | So I'm going to open up the Mosaic
effect here in the Effect Controls panel
| | 03:41 | again making sure that the top clip that
we've applied to Mosaic to is selected,
| | 03:44 | open up Mosaic and here we can control
how many horizontal blocks there are and
| | 03:48 | how many vertical blocks there are.
| | 03:50 | I'm going to go ahead and click this
right facing chevron here, so I could see
| | 03:53 | this a little bit better.
| | 03:54 | I'm going to go ahead and increase the
number of horizontal blocks and increase
| | 03:58 | the number of vertical blocks.
| | 04:00 | Now, we don't want it too much
because then we could see who it is.
| | 04:03 | But we could obscure it something like
this maybe, and that's looking pretty good.
| | 04:08 | If you wanted to get more intense colors,
you can choose sharp colors, obscure
| | 04:12 | things a little bit better in
this case, so we can leave it there.
| | 04:14 | Now as we preview this, then we can
see that our character is obscured.
| | 04:19 | We don't know who he is.
| | 04:21 | Now there are times like this where his
face moves outside of where the Mosaic
| | 04:25 | is because he moves and we
are not moving the Mosaic area.
| | 04:30 | So what we might need to do in those
cases is to actually change the position or
| | 04:33 | animate the position of this clip.
| | 04:37 | So maybe like what we're right here,
and that works, we can go open up Motion,
| | 04:40 | click the stopwatch for Position, and
then as it moves outside a little bit, we
| | 04:45 | can move this layer over a little bit
to make sure he is all covered up there.
| | 04:50 | So this is just a one way to do it.
| | 04:52 | We could also go back to our Eight-
Point Garbage Matte, and just make it a
| | 04:55 | little bit bigger to encompass more of
this area, so we don't have to animate
| | 04:58 | it, if we want to do that.
| | 05:00 | So that's how to censor a video.
| | 05:01 | If you need to again get rid of like
product placement, if there's something
| | 05:04 | visually that you're not seeing or
you're not wanting to see or if you need
| | 05:07 | to keep a character or maybe an
interviewee anonymous, this is a great way to do it.
| | 05:11 | It's also a good exercise as we've
learned how to apply effects, how to delete
| | 05:15 | effects, how to adjust effects,
and also how to copy and paste clips.
| | 05:18 | So, a lot of information
in this one little trick.
| | Collapse this transcript |
| Creating a lens flare| 00:01 | Lens Flares are really popular phenomena
that we see in videos and film all the time.
| | 00:05 | They can occur naturally through the
lens or we can make them artificially in
| | 00:10 | Premiere, which I'll show
you how to do momentarily.
| | 00:13 | Here's an example of a real Lens Flare.
| | 00:14 | This is from the music video that I did,
and you could see here as we pan across
| | 00:19 | through this building that the sun is
creating these cool streaks, and that is
| | 00:23 | referred to as Lens Flare.
| | 00:25 | It definitely adds a lot to the shot.
| | 00:27 | It just looks very cool to have
these streaks of light coming in.
| | 00:31 | Here's another one from the footage
we've been looking at here, throughout the
| | 00:35 | training series, of these guys riding the bike.
| | 00:37 | We see the sun, but the camera lens is
making these flares shootout like that.
| | 00:42 | Again that's a Lens Flare.
| | 00:43 | So what we're going to do is we're
going to add a fake digital Lens Flare to
| | 00:46 | this shot right here.
| | 00:47 | So I did a search for lens fla.
| | 00:50 | You must do a search for lens.
| | 00:52 | I'm sure it'd come up with Lens Flare as well.
| | 00:54 | Then once it pops up underneath the
Generate category in the Video Effects
| | 00:58 | area, drag-and-drop the Lens Flare effect to
the footage and then we see the Lens Flare pop up.
| | 01:04 | What's cool about these is that when you
actually get a real Lens Flare, you get
| | 01:08 | these rings and circles and all kinds
of stuff, not just the flare itself.
| | 01:12 | Premiere creates those also for you.
| | 01:14 | So I'm going to go to the Effect
Controls panel, I'm going to open up the Lens
| | 01:17 | Flare effect, and see all the
properties that we can adjust here.
| | 01:20 | I'm also going to click on Lens Flare.
| | 01:23 | So I can get this effect control
point and move this flare where I want.
| | 01:27 | Again you're seeing that the rings move
around in a very organic and realistic way.
| | 01:32 | So we actually don't have to figure
out what would happen if the rings of the
| | 01:34 | flare were over here or on the glasses
or whatever, those rings just naturally
| | 01:39 | go where they ought to go, which is really cool.
| | 01:41 | So let's put this in the sky.
| | 01:42 | Let's say this is like the sun or what have you.
| | 01:44 | We could adjust the Brightness,
the Flare Brightness property.
| | 01:47 | Take this down or up, again
Flare Center is where it is.
| | 01:51 | We can also adjust the Lens Type and
for that I'll move this in the center so
| | 01:54 | you can see it a little bit more clearly.
| | 01:55 | You can change this from 50-300mm Zoom.
| | 01:58 | Again, this is a function of the
camera lens so the different types of flares
| | 02:02 | that we're seeing here are result of
these lenses, which are simulated here.
| | 02:05 | 35mm Prime and 105mm Prime.
| | 02:09 | Typically, I just leave
the default 50-300mm Zoom.
| | 02:12 | So I can just click it on that and
move it over, and there you have a cool
| | 02:17 | little quick Lens Flare effect.
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| Creating a logo bug| 00:00 | These days it seems like most of the
video clips you see have some kind of
| | 00:05 | branding or station ID on
them often called a Logo Bug.
| | 00:08 | Usually when you're watching TV,
it's in the lower right-hand corner.
| | 00:10 | There is the TV
identification that's always there now.
| | 00:13 | Well, because of that and because
that's so popular, often times even video
| | 00:18 | podcasts and even viral videos on
Internet often times have these little logo
| | 00:23 | bugs that you know where they came from.
| | 00:25 | So what we're going to do is talk
about how to make a regular logo bug.
| | 00:29 | By default, our logo here is far too
colorful and it's very distracting from
| | 00:33 | what else is going on now.
| | 00:35 | If we were to play this back, this logo
here just seems to get in the way far too much.
| | 00:40 | So the first thing that's distracting
here are the colors, far too vibrant.
| | 00:44 | So I'm going to go to the
Effects panel and get the Tint effect.
| | 00:47 | Do a search for Tint and then
drag-and-drop the Tint effect here.
| | 00:51 | That allows you to tint footage, but by
default it turns it black-and-white, and
| | 00:54 | that's good enough for right
now so that's looking awesome.
| | 00:56 | Let's just go to the Opacity of this clip here.
| | 00:59 | I'm going to open up Opacity.
| | 01:00 | Let's take the Opacity,
click in there and type-in 50%.
| | 01:04 | So it's 50% opaque there.
| | 01:07 | I might decide to take that down a
little bit more, but that's looking okay for
| | 01:09 | my liking at least for the time being.
| | 01:10 | Now, what I want to do is make this
embossed like a 3D embossed thing.
| | 01:15 | That's really common trick for logo bugs.
| | 01:17 | So I'm going to select this clip and
copy it and again un-target the Video 2
| | 01:22 | track, target the Video 3 track, and hit
Command+V or Ctrl+V to paste this clip.
| | 01:27 | Now, for the copy on top, click that clip,
and then we're going to do a search for emboss.
| | 01:34 | So in the Stylize category there is
Color Emboss and just regular old Emboss.
| | 01:38 | So go ahead and just grab regular old Emboss
and drag-and-drop that onto the top clip there.
| | 01:43 | What Emboss seeks to do if we open it
up and look at its properties here is
| | 01:47 | create kind of like a 3D look and feel.
| | 01:50 | So what I'm going to do is take the
Zoom here from Fit to 100% so that way we
| | 01:55 | could really see this logo and
the emboss that's happening here.
| | 01:59 | We could change the Direction of the
lighting, which we're really not concerned about.
| | 02:02 | We could change the Relief to make
this a little bit more intense like that.
| | 02:06 | We could also increase the Contrast
if we wanted to, but I'm thinking that
| | 02:11 | keeping a mild contrast level, taking
the Relief down just a bit will create
| | 02:16 | this nice three-dimensional look here.
| | 02:18 | It's still a little bit strong, so I
might take this back and lower the Opacity
| | 02:22 | even more here, and that's
looking pretty good there.
| | 02:26 | I am just taking the Opacity out and
having the layer on top show through.
| | 02:29 | What we could also do is change the
blend mode and that's right below here.
| | 02:33 | I can take this drop-
down from Normal to Overlay.
| | 02:37 | Now, we'll talk about blend modes
a little bit more later on in this
| | 02:40 | Training Series, but for now just
realize that it help blend these colors
| | 02:44 | into the background.
| | 02:46 | So now as we change this from 100% to fit, we
have a logo bug that does not bug quite so much.
| | 02:53 | If you want to tilt this down even
further which actually might be the case, you
| | 02:56 | can click on the top clip.
| | 02:58 | That maybe take down the Opacity of
that top clip a little bit more, and maybe
| | 03:02 | even change the blend mode of that clip.
| | 03:04 | But for now I think
that's a pretty good logo bug.
| | 03:06 | I should point out that most of the
time when you actually see logo bugs on TV
| | 03:09 | stations that's done at the TV level.
| | 03:12 | That's not something that
like the editor would add.
| | 03:15 | But if you're going to be working on
some kind of commercial or promo or an
| | 03:19 | infomercial or something that would go
out virally on the internet, then you
| | 03:23 | might want to create your own
bug and that's how to do it.
| | Collapse this transcript |
| Creating background textures| 00:01 | In this movie we're going to look
at creating textures from scratch.
| | 00:03 | Now, the textures that we
create can be used for backgrounds.
| | 00:06 | Let's say I have some green screen footage.
| | 00:07 | You remove the background and you
can put this texture that we'll be
| | 00:10 | creating back there.
| | 00:11 | You also might want to use these
backgrounds for lower thirds or for titles.
| | 00:15 | So, open up the Video Effects category
in the Effects panel, and you'll see all
| | 00:19 | these different categories here.
| | 00:20 | If you open up Generate, the Generate
category is full of stuff that allows you
| | 00:26 | to make stuff from scratch.
| | 00:28 | However, if we want to let's say use
Cell Pattern which we're going to be
| | 00:30 | looking at, and you can just drag-
and-drop it and apply it to nothing.
| | 00:34 | So, what we can do here is go to the
Project panel, and end at the bottom of the
| | 00:38 | Project panel the same where we create
new everything, we create new sequences
| | 00:40 | this way and new Bars and Tone.
| | 00:41 | We can also create Black Video and
Black Video as well as Color Matte and
| | 00:46 | Transparent Video very similar to a
Black Video just creates a black nothing.
| | 00:51 | So I'll click Black Video, set the
default settings, drag-and-drop this Black
| | 00:56 | Video in my Timeline, hit the
Backspace key to expand this, and we will see
| | 01:01 | there is just Black Video and we
could use this to apply effects to
| | 01:06 | So we could apply the Cell Pattern
effect now to this Black Video and I've
| | 01:11 | hereby created something from nothing.
| | 01:13 | Because this is just a dummy video
clip we can extend this as far as we want
| | 01:18 | to or trim it as much as we want,
and that's not really going to effect
| | 01:21 | anything, because it's almost as if
it were a still image that we now can
| | 01:25 | apply video effects to.
| | 01:26 | Now, let's look at this Cell
Pattern effect for a second.
| | 01:29 | I can open up Cell Pattern
look at all of these properties.
| | 01:32 | This is meant to generate kind
of like cellular looking patterns.
| | 01:35 | But you can play with it and generate
stuff that doesn't look anything, like
| | 01:39 | anything cellular or whatsoever.
| | 01:40 | We can change the Cell Pattern from
Bubbles to something like Crystals or Plates
| | 01:45 | and there is a variety of options here.
| | 01:48 | Tubular which is kind of interesting.
| | 01:50 | We can check Invert to flip that,
which is very interesting, and you can see
| | 01:55 | throughout the other options here like
Bubbles and Crystals that Invert makes
| | 01:59 | quite a big difference.
| | 02:00 | I can increase the
Contrast, which is interesting.
| | 02:04 | It tends to isolate the objects as we
increase the Contrast these little dots
| | 02:09 | appear to be less connected and
more on their own which is interesting.
| | 02:13 | We could also increase the Disperse
value, which actually causes them to mush
| | 02:17 | together more as we take this
Disperse value to a lower number.
| | 02:21 | Let's say I'll click in here and just
take this to 0, then they appear to just
| | 02:25 | kind of be more orderly which also
might be helpful in some instances.
| | 02:29 | Now, because these cells are being
created from scratch in Premiere, we can
| | 02:34 | increase the size infinitely
without any loss in quality.
| | 02:38 | We can also take this down.
| | 02:39 | Make this very small if we wanted to.
| | 02:41 | It's also a cool little pattern.
| | 02:43 | We could move this pattern
without moving the actual clip itself by
| | 02:46 | adjusting the Offset values.
| | 02:48 | Now, I'm going to go ahead and reset
this whole effect taking every value back
| | 02:52 | to its default by clicking
this button here, which is Reset.
| | 02:56 | Now, I'm going to click Invert only
and one of the coolest parameters of this
| | 03:00 | whole effect is this Evolution value.
| | 03:02 | Evolution might as well be called
the Spring to Life Value, because as we
| | 03:06 | click-and-drag it and move this value,
these cells appear to just come to life.
| | 03:12 | Now, unless you're making a medical
show or something this might not come in
| | 03:16 | handy, but if you ever
did that'd be really cool.
| | 03:19 | But we can still use like say Crystals
here or Plates and still brings these to
| | 03:24 | life regardless and create
cool looking backgrounds that way.
| | 03:29 | Now, of course Cell Pattern isn't
the only texture generator here.
| | 03:32 | I could select Cell Pattern, hit the
Delete key on my keyboard to remove it and
| | 03:35 | we could play with several
others here such as Grid.
| | 03:39 | Select that and delete that.
| | 03:40 | There's Lightening for the
times if we need lightening.
| | 03:43 | This is also an auto-animating effect so
we can just press Play, we can see that
| | 03:46 | the lightening animates,
select that and delete that.
| | 03:49 | And there's also a Checkerboard if we
ever need a checkerboard, and we can
| | 03:54 | adjust all these parameters of the
checkerboard as we move this around, just the width.
| | 03:59 | So, a lot of control here, a lot of
stuff to play with, a lot of these patterns
| | 04:03 | you've been looking at so far in this
movie have been black-and-white, they've
| | 04:07 | been grayscale, and you can colorize
them with several effects here as well.
| | 04:11 | I can go into Color Correction and there
are some effects like Tint that we could use.
| | 04:16 | I'll just drag-and-drop Tint here.
| | 04:18 | And as you could tell again that we can
just keep piling effect on after effect,
| | 04:22 | after effect and there's really no
limit as much as our computer can hold.
| | 04:26 | I'll open up Tint and you could map
black to black by default and map white
| | 04:31 | to white by default, but I might click on
white and change this to a bright green color.
| | 04:38 | I select the Hue, the basic color
family from this tall skinny bar right here
| | 04:43 | and then I select the Brightness
vertically and then I select just the
| | 04:47 | Saturation from left to right.
| | 04:49 | So, it's desaturated to the left and
saturate to the right and dark up top and
| | 04:53 | bright towards the bottom.
| | 04:55 | So, I'll drag this to the lower right
so we have a bright saturated lime green
| | 04:59 | color and you see now we have a
black and lime green checkerboard.
| | 05:02 | Now, if you find yourself really wanting
to get into cool backgrounds and motion
| | 05:07 | graphics and that type of thing, if
this is kind of turn you on, but you're
| | 05:10 | wanting more, I advice you to checkout
Adobe After Effects which is really built
| | 05:14 | for this type of thing.
| | Collapse this transcript |
|
|
13. Basic CompositingIntro to compositing| 00:00 | In this chapter we're going
to take a look at compositing.
| | 00:03 | Another word for compositing is combining.
| | 00:06 | Basically, it's the process of
combining multiple elements into the same scene.
| | 00:11 | So in this case we have this background
here and I've combined some green screen
| | 00:16 | footage and this is very common and
we'll talk about what the deal is with this whole
| | 00:20 | green thing in the next movie.
| | 00:22 | What I did is I added the garbage
matte, which I've talked about how to do, and
| | 00:26 | then I added the new effect called
Ultra Key, which we'll look at in the next
| | 00:29 | movie, which as you could see
pretty clearly remove this green screen.
| | 00:32 | Then I edit a few color adjustments,
which we'll look at in the next chapter.
| | 00:37 | And basically made it so that he looks
like he belongs more in the same scene
| | 00:41 | with the background and I added
another video clip and made it so it is about
| | 00:45 | the same size as the monitor in the
background, and here we have our composite.
| | 00:50 | So, this is the art of compositing,
taking multiple elements combining them
| | 00:55 | together in the same scene.
| | 00:56 | Premiere is not a powerhouse at this.
| | 00:58 | If you want some real power over
compositing you want to go over to something
| | 01:01 | like Adobe After Effects, but still
there are some tools in here that if
| | 01:05 | you're in a pinch and you need to pull
things together like this, Premiere can
| | 01:09 | get the job done.
| | Collapse this transcript |
| Removing a green screen background| 00:00 | Oftentimes if you want to put people in
a different environment, let's say on a
| | 00:04 | virtual set like this,
| | 00:06 | we'll film them in front of a green
screen, and then in Premiere as we talked
| | 00:11 | about in the last movie
we'll remove that green screen.
| | 00:14 | Why is it green you asked?
| | 00:15 | Because green's opposite is magenta,
which is very strongly found in flesh tones.
| | 00:23 | So, green is kind of like the
opposite and so the thought is that we would
| | 00:26 | remove the green and keep in
what is there in our subject.
| | 00:30 | Also, green tends to be a color that
video cameras can handle pretty good.
| | 00:34 | So, the process of removing green
screen is referred to as keying.
| | 00:38 | If we go to the Effects panel, open
up Video Effects and scroll down, we'll
| | 00:42 | actually see that there is
a category called keying.
| | 00:45 | If we open this up, there is a series
of effects to help you key and you can
| | 00:49 | just key out the green screen, but you
can also key out blue, or red, or white,
| | 00:54 | or black or whatever, there are
several effects to help out here.
| | 00:57 | And there is a new one here in
Premiere Pro CS5 called Ultra Key and that's
| | 01:01 | really what we're going to be focusing on here.
| | 01:03 | That is an amazing effect, absolutely amazing.
| | 01:06 | But what I want to show you here is
the old way to key just so you don't
| | 01:10 | forget to use Ultra.
| | 01:11 | We used to have to use the Color Key effect.
| | 01:14 | If I apply the Color Key effect, open
up Color Key and select the Key Color.
| | 01:19 | Let's say I'm going to
select a green color here.
| | 01:23 | So, once we click the green, we have to
increase the Color Tolerance value and
| | 01:28 | then we get this really chunky ugly outline.
| | 01:31 | Look it, how terrible that looks.
| | 01:33 | If I'm going to take this drop-down here
to 100% so we could see a little bit better.
| | 01:37 | Look how atrocious that is.
| | 01:38 | That's what we have to deal
with before Premiere Pro CS5.
| | 01:41 | So, I'm going to select the Color
Key effect, delete that, good riddance,
| | 01:46 | scroll-down now and apply the Ultra
Key effect to this Podcast Pt.1_3 clip.
| | 01:52 | Now we can go back to Ultra Key,
open that up and the same thing we're
| | 01:55 | looking for the Key Color.
| | 01:56 | It's asking us what color I want this
to remove and notice it could be any
| | 02:00 | color if we want to.
| | 02:01 | So, I'm going to click the eyedropper again and
what we want to do is select an average color.
| | 02:05 | Now, this is a pretty perfect green
screen, I got to be honest with you.
| | 02:08 | Usually, if you're working freelance
on a job, usually whoever is doing the
| | 02:11 | green screening it doesn't really know
what they are doing as much and you don't
| | 02:14 | get a green screen that's this professional.
| | 02:16 | So, you want to try to do when you have
a green screen with varied tones is get
| | 02:20 | when this kind of
representative of all tones, kind of average.
| | 02:23 | Thankfully again, we don't really have
too much difference in tones so pretty
| | 02:27 | much in anywhere in this
green area you can click.
| | 02:30 | Now, if we zoom out to Fit here, I will
select Fit so we could see everything,
| | 02:34 | pretty darn good key, looks like the
backgrounds but instantly dissolved and our
| | 02:39 | guy here looks like he belongs on
those background now, pretty impressive.
| | 02:43 | However, almost never, do you ever, ever,
ever want to just accept the default
| | 02:49 | settings of the key, no matter how
good it looks initially there are always
| | 02:53 | problems beneath the surface.
| | 02:55 | So, what we want to do is open up our
Effects here and under Output next to
| | 03:00 | Ultra Key or underneath the Ultra Key,
change Output from Composite, which is
| | 03:04 | kind of like the final view, to Alpha Channel.
| | 03:06 | Now, Alpha Channel view is just a
working view, a temporary working view for
| | 03:11 | your own benefit so you could see what
the keyer is really doing, and white are
| | 03:17 | the pixels that are going to be
completely opaque which is our subject which is
| | 03:21 | good, and black is what's going to be
completely transparent, and some of our
| | 03:25 | background pixels are
completely black which is good.
| | 03:27 | But when you see gray pixels like this,
it's indicating that these pixels are
| | 03:32 | going to be partially transparent.
| | 03:34 | And actually if I take this view back
to Composite, you'll see little flakes of
| | 03:37 | the original background here.
| | 03:39 | It's not too powerful but that
would definitely be a problem.
| | 03:42 | So, I'm going to take this back to
Alpha Channel and we're going to open up
| | 03:45 | Matte Generation, and these settings
in Matte Generation will allow us to
| | 03:50 | clean the stuff up.
| | 03:51 | Mainly, we're going to go down to Shadow.
| | 03:54 | Transparency refers to the
transparency of the subject.
| | 03:59 | Beware that this is not Opacity.
| | 04:00 | Opacity and Transparency
are exactly the opposite.
| | 04:03 | So, 100% Opacity would mean that
something is completely there, but 100%
| | 04:08 | Transparency -- if we took this up to 100
%, would mean that it'll be completely gone.
| | 04:12 | So, I'm going to click in this,
leave this at the default 50 for now and
| | 04:16 | again go down to Shadow.
| | 04:18 | With the Shadow value we can
adjust the blackness of the background.
| | 04:22 | So, I'm going to take Shadow down pretty much
all the way, looks like to about a value of 15.
| | 04:26 | Generally, you want to go pretty easy
on these controls because if you go to an
| | 04:31 | extreme amount this is going to start
messing up your key in other places.
| | 04:35 | And already just taking our shadow
down all the way we start getting holes in
| | 04:39 | our original subject that we have to go
back and fix which we'll do momentarily.
| | 04:43 | We could adjust the Highlight as well
which we need to clean up this background here.
| | 04:47 | We also might need to adjust the
Tolerance and so we play with these settings
| | 04:51 | until we get the right values
to get rid of that green screen.
| | 04:56 | We're also wanting to adjust Pedestal here.
| | 04:59 | Increasing the Pedestal just a
wee bit, just as much as you need.
| | 05:04 | That looks like I am modest here with
the value of 6 here and that gets rid
| | 05:08 | of that green screen.
| | 05:09 | Now, I need to fix these little dark
spots on my subjects here, because again
| | 05:13 | the dark areas are holes and
we definitely don't want holes.
| | 05:16 | So, I want to reduce the transparency
of my subject and I'm going to do that by
| | 05:21 | taking the Transparency value down.
| | 05:22 | You see if I do it too much then we get
that junk back, so we don't want that.
| | 05:27 | So, I'm going to increase this until I
get the holes in my key and then back off
| | 05:33 | a little bit and that's
looking pretty good right there.
| | 05:37 | Usually, Keying is a back-and-forth
process, so we'll adjust Transparency
| | 05:42 | and then we might go back and adjust
Pedestal or Shadow and then we go back
| | 05:45 | and adjust Transparency some more, go back
and adjust Pedestal some more or whatever.
| | 05:49 | We keep going back-and-forth until we
get a pretty much white key and black key,
| | 05:54 | or in other words white area and black area.
| | 05:57 | And by the way it is okay to have those
gray pixels along the edges of your subject.
| | 06:02 | Now that our keys are pretty good,
let's go back to Output and change this from
| | 06:06 | Alpha Channel to Composite, and we'll
see now that we have a pretty good key.
| | 06:10 | I want to take the zoom ratio in the
program monitor to 100% so we can get in a
| | 06:16 | little bit closer and look at our edges here.
| | 06:18 | We have a little bit of a faint greenness
along the edges that's referred to as Spill.
| | 06:24 | Also some of the green light gets on
our subject, or maybe just some of the
| | 06:28 | background gets on these partially
transparent pixels here and it's just gives
| | 06:31 | us like a little green halo that -- if
we get rid of that, it's going to make it
| | 06:34 | so that the composite is a
little bit more believable.
| | 06:37 | So, what I'm going to do is I'm
going to close up Matte Generation.
| | 06:40 | We have Matte Cleanup, which we don't
really need to worry about, but Choke
| | 06:44 | allows you to kind of scale
back the edges of the key.
| | 06:48 | You got to be careful with this because
a lot of people, they are amateurs, they
| | 06:50 | would go in and they will start keying
something and they will see these problem
| | 06:54 | areas around the edges and they will
say okay I will just increase some Choke
| | 06:57 | and what that does, it actually softens
the edges and it makes it so that it's
| | 07:01 | not as realistic and believable
because as we're increasing the Choke we're
| | 07:04 | shaving off the edges.
| | 07:06 | So, that's not typically what we want to do.
| | 07:08 | So, again I want to take that down.
| | 07:10 | If you ever do need to use
Choke use it very sparingly.
| | 07:13 | We could also soften or
feather the edges just a little bit.
| | 07:17 | And sometimes it's good to have just
a little bit of feathering along the
| | 07:20 | edges so that it looks like the
subject is kind of blending in with the
| | 07:23 | background a little bit more.
| | 07:24 | If we want to we can play with the
contrast of the edges, increase that, if we
| | 07:28 | felt so inclined we can also use
the Mid Point to adjust that as well.
| | 07:32 | I'm going to close up Matte Cleanup.
| | 07:34 | I want to go to Spill Suppression and
as I mentioned before when you have green
| | 07:37 | along the edges of your subject
that's referred to as spill, and Spill
| | 07:42 | Suppression is the process by
which we get rid of that green.
| | 07:46 | So we might take down Desaturate just
a little bit and I say that looks like
| | 07:50 | what we need to do there.
| | 07:51 | If we take it down all the way or
increase it all the way, it's going to make up
| | 07:55 | completely black-and-white subject.
| | 07:57 | So, again you might need to play with
this setting, kind of go back-and-forth a
| | 08:00 | little bit until you get
something that works for you.
| | 08:03 | So all in all, if we close up Ultra Key here
you can see that we have a pretty decent key.
| | 08:08 | One of the processes that I did
before I started the movie is I added this
| | 08:12 | Four-Point Garbage Matte.
| | 08:14 | Oftentimes you'll have extra junk in
the shot, maybe again like a boom mic or a
| | 08:18 | camera or whatever and you'd want to use
a Garbage Matte effect to clean that up
| | 08:23 | so that your mask goes only around the
subject as close as possible, and that
| | 08:27 | will make the keyer's job easier as well.
| | 08:30 | Because a lot of times when you go
farther away from the subject whoever was
| | 08:33 | filming this just didn't bother to get the
entire shot perfectly green all the way around.
| | 08:39 | So, it's going to be harder for Ultra
Key to do its job if it has to process the
| | 08:43 | darker greens over here and the
brighter greens closer to the subject.
| | 08:47 | But the Ultra Key effect is just a
really great edition perhaps the best edition
| | 08:52 | to the Premiere Pro CS5 set
of new tools to play with.
| | 08:57 | With this Ultra Key you can put
somebody flying in front of a green screen in
| | 09:01 | outer space or whatever you choose to do.
| | 09:03 | If you want to do something a little
bit more standard and professional like a
| | 09:06 | Podcast here you can do that as well.
| | 09:09 | There is really no end to what you can
do creatively by using a green screen.
| | Collapse this transcript |
| Compositing with blend modes| 00:00 | There are a lot of times when keying
effects like the Ultra Key are great, but
| | 00:03 | they really don't get the job
done, such as this clip right here.
| | 00:06 | We have a white background.
| | 00:07 | We have some live smoke and an explosion
being filmed in front of that white background.
| | 00:13 | And Ultra Key just really could pull
this off, but we can use blend modes, which
| | 00:18 | actually are an easier way to get
rid of flat colored background sometimes.
| | 00:23 | What we have to do is select the
top layer, the layer we want to remove
| | 00:26 | the white background of, and go into the
Effect Controls panel with that clip selected.
| | 00:32 | Open up Opacity, and we have the
Opacity. We can adjust the Opacity here, but
| | 00:37 | right below Opacity are our blend modes.
| | 00:40 | These are ways that allow you to take
this layer and blend it with the footage
| | 00:44 | beneath it in different ways.
| | 00:46 | Now it's a little beyond the scope of
this training series to explain all of
| | 00:49 | these blend modes and what they do.
| | 00:51 | But suffice it to say, this
first group removes light tones.
| | 00:55 | It removes white and brighter tones.
| | 00:57 | This group removes black and dark tones.
| | 01:01 | This group, quite peculiar actually,
removes 50% gray, that's midtone gray, and
| | 01:06 | tends to brighten highlights and darken shadows.
| | 01:09 | These two tend to create
very weird psychedelic effects.
| | 01:12 | The final blend modes blend
just what their name implies.
| | 01:15 | For example, Hue would take the hue of
the top layer, the blend layer, and
| | 01:20 | blend that into the layers beneath it.
| | 01:22 | Saturation would blend the saturation of
the blend layer into the layers beneath it.
| | 01:27 | So what I want to do is get
rid of this whiteness here.
| | 01:30 | So I'm going to choose Multiply.
| | 01:33 | When I do, boom, it's just
that easy. The white is gone.
| | 01:38 | It takes away a little bit of the layer as well.
| | 01:41 | There is no control here, but with
things like smoke and fire, oftentimes
| | 01:46 | these blend modes get you where you want to go
faster and better than a keying effect would.
| | 01:51 | So now as we play this, we have
a very cool little simulation.
| | 01:55 | Nice little composite of this
house appearing to kind of blow up.
| | 02:03 | Really, a great look.
| | 02:04 | The edges are perfect.
| | 02:05 | It's just the white that goes away.
| | 02:08 | It's a phenomenal look. It looks great.
| | 02:10 | What we could do is add some color
adjustment to the houses here, and some
| | 02:14 | color adjustments to the smoke to make
them look like they belong in the same
| | 02:17 | scene a little bit more.
| | 02:19 | But for the time being, this is pretty awesome.
| | 02:21 | Now one quick word here, this black
smoke cloud is from detonationfilms.com.
| | 02:27 | If you're independent filmmaker and
you're looking for things like explosions
| | 02:31 | and fire, bullet shots, blood
spatter, that type of thing.
| | 02:34 | If you're looking for good footage of
that and you're looking for it really cheap,
| | 02:38 | definitely checkout
detonationfilms.com as seen in the beginning.
| | 02:43 | If I double-click this here,
detonationfilms.com, and they have really cheap,
| | 02:48 | oftentimes free video clips like
this that they give away for very cheap.
| | 02:52 | Sometimes, just a few dollars, really
high quality stuff that you could use
| | 02:56 | in your projects.
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|
|
14. Color CorrectionAdjusting white balance| 00:00 | When shooting video, directors of
photography often spend a long time getting
| | 00:04 | the color temperature correct.
| | 00:07 | They want the colors to look accurate,
but a lot of times, when we get footage
| | 00:11 | to play with, it is not
accurate and we need to correct it.
| | 00:15 | This is referred to as
adjusting the White Balance.
| | 00:17 | The White Balance actually refers
to the color of the footage here.
| | 00:21 | As we could see, there is a kind of
like an orangish tint to everything.
| | 00:25 | I can't really put my finger on why this
is, but it just does look too warm to me.
| | 00:30 | So what we can do is we can go to the
Adjust category inside the Video Effects,
| | 00:34 | and there are several
color correction effects here.
| | 00:38 | There is a several in Color Correction
and Image Control as well. They're kind of
| | 00:42 | spread all over the place,
which is a little confusing.
| | 00:44 | So we're going to take this chapter and
look at some of these color adjustment
| | 00:47 | tools, because really, as far as the look
of your video is concerned, these color
| | 00:52 | adjustment effects could
really make a huge difference.
| | 00:55 | So these auto effects actually
work very well for correcting simple
| | 00:59 | problems instantly.
| | 01:01 | So all you've to do is just drag and
drop, let's say, Auto Color onto a clip and
| | 01:04 | it's improved a little bit.
| | 01:05 | I'm not sure that really did the trick enough.
| | 01:08 | We can click this Effects icon
to see the before and the after.
| | 01:12 | So there is a little bit of difference.
| | 01:14 | If you look at these olives right here,
you can see that before, they're much
| | 01:17 | more a yellow orangish and then,
as we click this, that goes away.
| | 01:21 | We could also see some difference in the jeans.
| | 01:23 | I'm just going to go ahead and
click Auto Color and delete it.
| | 01:26 | Auto Levels is actually the effect
that's going to help me out most here.
| | 01:29 | I think I'm going to drag and drop
this onto my clip, and there we go.
| | 01:33 | This looks like a much more
realistic representation of what those
| | 01:38 | olives probably look like.
| | 01:39 | If you want to, you could open up Auto
Levels and adjust some of the settings.
| | 01:44 | If it's a little bit too strong, you can
increase the Blend With Original value.
| | 01:48 | You'll see this Blend with
Original property in many effects.
| | 01:52 | Basically, what that is it's kind of like a
reverse Opacity slider for the effect itself.
| | 01:58 | If it's at 0, then we're just seeing the effect.
| | 02:00 | But if we take it up to 100, then
we're seeing the original footage.
| | 02:04 | So we can click and drag until we find a
good balance that we like with this effect.
| | 02:10 | I actually kind of like the way
that Auto Levels corrected this.
| | 02:14 | It looks pretty good to me now.
| | 02:15 | So if you feel that your footage has a
tint in one direction, then you can go
| | 02:20 | ahead and use one of these
Auto effects to correct that.
| | Collapse this transcript |
| Increasing contrast| 00:00 | Another color-related property that you'll
probably want to adjust frequently is Contrast,
| | 00:04 | basically how strong the brights
are and how strong the darks are.
| | 00:09 | In this clip, we already
have great natural contrast.
| | 00:12 | We have our biker here, contrasted
with this kind of a sunset-y-looking
| | 00:16 | colored background.
| | 00:18 | Again, there is good contrast here,
but we could still see parts of what our
| | 00:22 | biker is wearing here.
| | 00:23 | I think this will look even more
awesome, if there was increased contrast.
| | 00:27 | So we're going to go to Video
Effects in the Effects panel.
| | 00:30 | We're going to open up Color
Correction, and we're going to drag and drop
| | 00:32 | Brightness & Contrast onto our clip here.
| | 00:35 | To increase Contrast, all we have to do
is go to the Effect Controls panel, open
| | 00:39 | up the controls for Brightness & Contrast and
| | 00:41 | take the Contrast value and increase it.
| | 00:44 | As we increase it, you could
see increased contrast here.
| | 00:48 | That's looking pretty good.
| | 00:50 | If it starts to get a little bit too dark,
we could increase the Brightness to
| | 00:53 | kind of balance that out.
| | 00:55 | Also, as we increase Contrast, one of
the result oftentimes are as we decrease
| | 00:59 | Brightness, it increases the Saturation.
| | 01:01 | So we want to kind of keep that in mind,
because this looks a little cartoony
| | 01:04 | and fake, because it's so saturated.
| | 01:07 | So we've got to kind of balance
things out just a little bit with that.
| | 01:10 | And fiddling with these settings, it's not hard
to get a really awesome result. I'm liking that.
| | 01:16 | Now, this might be a little
bit too saturated with the dirt.
| | 01:18 | We might want to apply another effect
to tone that down a little bit, but if
| | 01:21 | we click on the Effects icon for Brightness
& Contrast, we see the before and the after.
| | 01:25 | It's much more stark and
powerful in the after version.
| | 01:29 | This figure here is definite silhouette.
| | 01:31 | We can't see anything on this person,
which again makes this look so much more
| | 01:35 | potent and powerful.
| | 01:36 | Now as with editing itself, when you
are making color corrections, you want to
| | 01:40 | make sure that you color correct
with a purpose, including Contrast.
| | 01:44 | What I see a lot of people doing is
taking a shot like this that doesn't have
| | 01:48 | tons of contrast as far as color goes.
| | 01:50 | But as far as the bright brights and
the dark darks, it's not super contrasty.
| | 01:53 | So if we were to go add
Brightness & Contrast to this,
| | 01:56 | open up Brightness &
Contrast and increase the Contrast,
| | 02:00 | this definitely makes it much more contrasty.
| | 02:03 | We could take down the
Brightness or up the Brightness.
| | 02:05 | But we have to ask ourselves what
kind of story are we trying to tell here?
| | 02:08 | This is flowers from this Hansel and
Petal flower shop that we're trying to
| | 02:12 | promote as like this really
sweet, warm, friendly place.
| | 02:16 | What feels more friendly and warm and
inviting to you, this or the original?
| | 02:21 | Even though this is less contrasty,
this is more welcoming and friendly.
| | 02:25 | So if we did want to add some contrast, I'm
going to go ahead and click the Reset button,
| | 02:29 | we probably want to do so with
great subtlety, like that much.
| | 02:33 | So like there is the before, and there is
the after, just a little, little tiny bit.
| | 02:38 | Because this was shot very well and it
really speaks, naturally just on its own,
| | 02:43 | it speaks to the message we're trying
to just send out here that this is a
| | 02:46 | warm, comfortable place.
| | 02:48 | So again, if you are advertising a
product, for example, or have a podcast or
| | 02:52 | something warm and friendly,
be careful with the Contrast.
| | 02:54 | On the other hand, if you have a
scene with intense drama, with really high
| | 02:58 | highs or really low lows, you might
want to consider reflecting that in the
| | 03:01 | colors and bumping up the contrast.
| | Collapse this transcript |
| Adjusting luminance| 00:00 | Another Color Correction task that
you'll perform quite frequently is that of
| | 00:04 | adjusting luminance, or in other
words, the brightness of a clip.
| | 00:08 | Oftentimes, it's tough to get the
right exposure when you're shooting video,
| | 00:11 | especially if it's kind of like a
run and gun situation, where something is
| | 00:13 | happening in front of you and you don't
have time to set up a big lighting crew
| | 00:16 | and everything for it.
| | 00:17 | You've just kind of got to shoot.
| | 00:18 | So we've got this clip here
that's a little bit underexposed.
| | 00:21 | Now previously, we've been
using Brightness & Contrast.
| | 00:24 | If you just search for that in the
Effects panel and just apply that here, you
| | 00:27 | can work with it.
| | 00:28 | Open up Brightness & Contrast and there
is Brightness value here, but typically,
| | 00:32 | you would not want to use that.
| | 00:34 | I kind of broke my own rule in the last
movie, just so I could explain Contrast.
| | 00:37 | But here is why this effect is a no-no, usually.
| | 00:41 | I want you to watch these shadow areas.
| | 00:43 | If I increase Brightness, it's
going to make all of the pixels
| | 00:47 | universally bright.
| | 00:49 | If we take this to a negative value,
it's going to take our highlights and make
| | 00:53 | them a little bit darker.
| | 00:54 | It usually does a little bit better
when you're darkening footage, as you could
| | 00:57 | see these highlights remain
bright, which is kind of cool.
| | 01:00 | So, if you wanted it seem like it was
very dark in here, we still have these
| | 01:03 | cool little highlights here.
| | 01:04 | But again, if we're going to brighten it, it's
going to make all these values be bright as well.
| | 01:07 | So, I like to have a little bit
more control over my luminance changes.
| | 01:12 | So I'm going to select
Brightness & Contrast and hit Delete.
| | 01:14 | The real powerhouse effect for
color correction - and actually, let me
| | 01:18 | resize the Effects panel.
| | 01:19 | I want to close out this Search result.
| | 01:21 | Open up Video Effects > Color Correction.
| | 01:23 | There is two of them here.
| | 01:24 | There is Fast Color Corrector
and Three-Way Color Corrector.
| | 01:28 | Three-Way Color Corrector is just a
more advanced form of Fast Color Corrector,
| | 01:32 | but as you'll see, Fast Color Corrector
is plenty complex for our purposes, and
| | 01:36 | most of the Color Correction tasks that
we'll talk about in this chapter can be
| | 01:40 | performed with the Fast Color
Corrector, or through a Color Corrector effect.
| | 01:44 | So I'll just go ahead and drag and
drop and apply Fast Color Corrector.
| | 01:48 | As we open this up here in the Effect
Controls panel, we'll instantly see this
| | 01:52 | is significantly more complex and
powerful than anything that we've seen so far.
| | 01:56 | Here, there is White Balance
built into the Fast Color Corrector.
| | 02:00 | There is Saturation adjustment
built into the Fast Color Corrector.
| | 02:04 | We could also adjust a Tint,
which we'll look at in the next movie.
| | 02:08 | We could also adjust
Luminance and Brightness here.
| | 02:10 | So what I could do is come down
here to where it says Input Levels.
| | 02:13 | If I find that I'm not getting a lot
of bright highlights, if I'm not getting
| | 02:17 | pure white, then I can grab this slider on
the right-hand side and drag this to the
| | 02:21 | left ,and that will brighten our highlights.
| | 02:23 | Now, that's not really the problem here.
We have really bright highlights up
| | 02:27 | here in the left-hand side and these
highlights on the bowl, but what we really
| | 02:31 | need to do is just brighten the midtones,
and not the shadows, the shadows are
| | 02:34 | good where they are, but
brighten just the middle ranges.
| | 02:37 | So what we need to do is click and
drag on this Midtone slider and drag
| | 02:41 | this over to the right.
| | 02:42 | Now we don't want to drag it too far,
because it's going to wash everything out.
| | 02:45 | But you'll notice that even as we
do so, that the darker shadow areas
| | 02:49 | remain kind of dark.
| | 02:50 | If they don't, then we could grab this
left Input Levels slider and drag this to
| | 02:55 | the left to make sure
those dark areas remain black.
| | 02:58 | But we don't want to drag either one of
these end sliders too far, because once
| | 03:01 | we do, it crushes, as they refer to it as, the
highlights or the shadows. It crushes them.
| | 03:06 | It forces them all to white, if we
adjust this slider on the right, and it
| | 03:10 | forces them all to black, if
we adjust this left slider.
| | 03:13 | So, notice how there is a little bit
of detail here on the bag on the right.
| | 03:16 | If we keep dragging this Input Black
slider to the right, it's going to crush
| | 03:20 | all those values to pure black.
| | 03:22 | We're going to lose all that detail, all the
texture in that bag, and that's not what we want.
| | 03:27 | So, use those end ones sparingly but
feel free to be a little bit more liberal
| | 03:31 | with this middle one.
| | 03:32 | So we can move this up here a little
bit and even if we wanted to, we can drag
| | 03:36 | on the Saturation value. I think
it's a little bit more saturated there.
| | 03:39 | So, we can go back up to the top of
our effect, and we have the fx icon, so we
| | 03:43 | can turn off the visibility of
this effect by clicking it there.
| | 03:45 | So there is the original, and
here is what we changed it to.
| | 03:49 | Now, one thing I should also point
out is that when you underexpose video
| | 03:54 | footage, and it's dark
like this, it gets noisy.
| | 03:57 | So you saw that as we try to get it
bright, that you could see a lot of this
| | 04:02 | grain, a lot of this noise here.
| | 04:05 | That kind of makes things
look a little less attractive.
| | 04:08 | This is actually shot with a really
powerful camera, a really expensive camera.
| | 04:11 | So if you had a less expensive camera,
like a DV camera or something like that,
| | 04:15 | you're going to have even more
noise when you try to brighten it.
| | 04:18 | So again, if you have any say in how
stuff is shot, make sure that when it's
| | 04:22 | underexposed, it's not too dark,
because again, the grain is almost
| | 04:26 | impossible to get rid of.
| | Collapse this transcript |
| Creating cinematic color| 00:00 | We're now going to look at how to
use the Fast Color Corrector effect to
| | 00:03 | create cinematic color.
| | 00:05 | So, let's go ahead and go to the
Effects panel, do a search for the Fast Color
| | 00:09 | Corrector effect and apply that to our footage.
| | 00:12 | Now, if we were doing a documentary,
or something based in reality, maybe a
| | 00:16 | Reality TV Show or
something, these colors are fine.
| | 00:19 | These are very realistic.
| | 00:20 | There's a good balance
of highlights and shadows.
| | 00:23 | There are some black blacks here and some
pretty white whites and everything in between.
| | 00:28 | So, it's really pretty
good, right out of the gate.
| | 00:31 | But if we were using this footage to
tell a story, then we would want to change
| | 00:35 | the colors a little bit to
fit the mood of the story.
| | 00:38 | So, let's open up the Fast Color
Corrector effect, and we're going to look at
| | 00:41 | this Hue Balance and Angle.
| | 00:43 | If we want to add a certain tint to
this, at first, we're going to make this
| | 00:47 | look kind of nostalgic and warm and friendly.
| | 00:49 | So I'm going to go ahead and click on
this circle on the inside of this bigger
| | 00:52 | circle, and I'm going to
drag this up to the warm areas.
| | 00:56 | You see it's going to take on whatever
color that we pick here around this wheel
| | 01:01 | and the more we drag it to the edge,
the more intense the color tint will be.
| | 01:05 | So I'm going to drag this to the edge
there, and this is looking good as far as
| | 01:09 | colors go, but it's a little bit too intense.
| | 01:11 | So I'm going to scroll down a little
bit to Saturation and take this down
| | 01:16 | considerably, maybe to about 60 or so.
| | 01:18 | So basically, we've added this nice,
warm tint to what's going on, and we've made
| | 01:23 | it kind of nostalgic by
removing some of the saturation.
| | 01:26 | But this is not completely black and
white. We could still tell that these
| | 01:28 | leaves were originally green, but
there is this kind of warmhearted
| | 01:33 | nostalgia with this clip.
| | 01:34 | So already, just looking at a frame of
this, we're telling viewers how to feel
| | 01:39 | about this particular clip.
| | 01:40 | Again, with the documentary or with
the Reality Show, you might not want to
| | 01:44 | be so heavy-handed.
| | 01:45 | You might not want to try to force
the viewers to feel a certain way about
| | 01:49 | your subject matter.
| | 01:50 | But when you're telling a story, a
lot of times this can help shape things.
| | 01:54 | If we go back up to the Fast Color
Corrector name of the effect, there's this
| | 01:57 | little fx icon, so we can
click this to turn it off and on.
| | 02:01 | So, here's the before the Color
Correction and then after the Color Correction.
| | 02:05 | Pretty cool effect!
| | 02:06 | Now, let's take this in the opposite direction.
| | 02:08 | Let's go ahead and click the Reset
button. Let's go ahead and spin this so
| | 02:12 | that it's going to be a dark, spooky
place, which is going to be kind of
| | 02:15 | challenging, because this looks just
kind of like a friendly, artsy, crafty type
| | 02:20 | place, but we can do it with our colors.
| | 02:21 | So, I'm to go to Hue Balance and
Angle, and we're going to take things in
| | 02:24 | the opposite direction.
| | 02:25 | So instead of being kind of orangish
magentaish up here, we're going to go the
| | 02:29 | opposite side where we're
going to make this kind of cyan.
| | 02:32 | So I'm going to drag this down to this corner.
| | 02:36 | That's looking mighty creepy already.
| | 02:38 | We could take down the Saturation a
little bit, and already this is looking
| | 02:43 | much more frightening.
| | 02:45 | Now, if we wanted to make things even
more intense, as far as color tinting goes,
| | 02:49 | we can take this little line
that's in the center of the circle,
| | 02:53 | it doesn't really look like too much,
| | 02:54 | we can click and drag that down towards the end.
| | 02:56 | You could see if we drag this all the
way here, it's going to be completely just
| | 03:00 | cyan and black and white, essentially.
| | 03:03 | So if we take this down so it's just
kind of a little bit more of a tint there,
| | 03:08 | that's looking pretty good, and then we
might want to go to our Levels area here
| | 03:12 | and drag this Midtone slider over to the left.
| | 03:17 | We can create this really
dark, creepy place here.
| | 03:21 | Then we might want to go to Saturation.
| | 03:22 | One of the things that's important to
keep in mind here is that as you're doing
| | 03:25 | cinematic color correction,
it's usually a back and forth.
| | 03:28 | So we might play with the Levels a
little bit, then play with the Saturation a
| | 03:31 | little bit, and then go back and fiddle
with the color, as we keep pushing and
| | 03:34 | pulling all these different aspects,
all of our footage, until we come up with
| | 03:38 | the final product that we like.
| | 03:39 | So now, I'm liking the Saturation, but I
feel like I've lost a little bit of the
| | 03:43 | greenness, the cyan-ness that I like.
| | 03:45 | So I might want to take this line out
to make this a little bit more cyan, but
| | 03:49 | again, that color tint might
be a little bit too intense.
| | 03:52 | So again, we'll kind of
tweak this and go back and forth.
| | 03:54 | But the point is that we've created
something that is much more dark and much
| | 03:59 | less welcoming than it originally was.
| | 04:01 | So if we could go back here to Fast
Color Corrector, click the fx icon, the
| | 04:04 | before, happy, friendly.
| | 04:07 | After, not so much.
| | 04:09 | Now we're going to delete this really, quick.
| | 04:10 | Let me just show you one thing very fast.
| | 04:12 | I'm just going to do a search on
Corrector, and you could see that there are
| | 04:16 | several Corrector effects,
| | 04:17 | with the two most powerful being the
Fast Color Corrector, which we've been
| | 04:20 | looking at, and the more powerful
older brother of the Fast Color Corrector
| | 04:23 | effect, the Three-Way Color Corrector effect.
| | 04:26 | Now, typically, I use the
Fast Color Corrector effect.
| | 04:29 | It gets me most of what I want.
| | 04:31 | But the Three-Way Color Corrector
effect really is the more powerful of the
| | 04:36 | color correctors, and actually
probably is the most powerful color
| | 04:39 | correction tool in Premiere.
| | 04:41 | I'm not sure that this is really that great.
| | 04:43 | A lot of times as I'm fiddling with this,
it just ends up looking kind of weird
| | 04:47 | and not getting me the results that I want.
| | 04:48 | But we still can use this to adjust
shadows, midtones and highlights, using
| | 04:53 | these three wheels, and that's why
it's called the Three-Way Color Corrector.
| | 04:55 | So we might want to add some cyan to
the shadows, and you see that as I do
| | 04:59 | this, the guitar, for example, goes
from just being like a regular black or a
| | 05:03 | warm black to being kind of like a cyan.
| | 05:06 | Again, a lot of times, I get this type
of look where it's kind of poster-ized.
| | 05:10 | So you've got to tone it down a
little bit, and tweak it in order to get
| | 05:13 | what you're looking for.
| | 05:14 | So, I generally just prefer to use the
Fast Color Corrector, but this is here
| | 05:18 | for you to play around with and explore as well.
| | Collapse this transcript |
| Creating a vignette| 00:00 | Continuing where we left off with
cinematic color, another way that we can add
| | 00:04 | great cinematic quality to the
visual aspect of our film is by creating
| | 00:08 | something called a vignette.
| | 00:09 | Basically, we're just
going to darken the edges here.
| | 00:11 | It's amazing what a difference that makes.
| | 00:13 | To do this, I'm going to go to the
Project panel, and I'm going to create
| | 00:16 | some new, black video.
| | 00:18 | I can go ahead and click OK here.
| | 00:19 | Drag this down to video track 2
above our footage and extend this for the
| | 00:25 | duration of our footage here.
| | 00:26 | We're actually, believe it or not,
going to apply an effect in the Generate
| | 00:30 | category of our Video Effects, called Circle.
| | 00:33 | Just stay with me here, I'm not insane.
| | 00:35 | Drag this Circle effects to the Black
Video, and it creates this little white
| | 00:39 | dot kind of in the middle here.
| | 00:41 | That's the purpose of this is to create maybe
circles for our motion graphics or what have you.
| | 00:45 | But if we open up the parameters for
Circle, and first we're going to choose
| | 00:49 | Invert Circle - yeah, we're
getting a little closer now.
| | 00:51 | I'm going to go ahead and click like the
white color swatch here to get the Color Picker.
| | 00:55 | And then anywhere in the very top row
until RGB reads 0, 0, 0, I'm going to
| | 00:59 | choose black and go ahead and click OK.
| | 01:01 | Next, we'll increase the Radius value.
| | 01:04 | I'm looking about 450, somewhere around there.
| | 01:08 | I'm going to open up Feather, and I'm
going to increase the Feather Outer value.
| | 01:12 | As I do that, then our circle gets all
nice and feathered, softer on the edges,
| | 01:18 | and we have a quite beautiful vignette.
| | 01:21 | If we wanted to, we could take the
Opacity of this layer down to soften the
| | 01:25 | effect a little bit more.
| | 01:26 | I actually kind of like it full strength there.
| | 01:29 | So I'm going to leave that alone.
| | 01:30 | Now, this doesn't seem like it's that
big of a difference, but if we go down to
| | 01:34 | our video track 2 here, and if we
take off the visibility for the layer by
| | 01:39 | clicking this Eye icon, we'll see
that there definitely is a big difference
| | 01:44 | between before and after.
| | 01:45 | What vignettes tend to do, aside from
being kind of trendy right now and being
| | 01:50 | just kind of a cool look, and also it's
good for like nostalgia, or that type of
| | 01:53 | thing, but it's also really good for any
type of project where you want to focus
| | 01:57 | the viewer's attention.
| | 01:58 | That's why we have shallow depth of
field and all those type of things, to be
| | 02:02 | able to control where the viewer is looking.
| | 02:05 | So, we don't want them looking in these corners.
| | 02:07 | We don't want them looking at
these lights at the top here.
| | 02:10 | There actually is a lot
of contrast in this area.
| | 02:13 | This is a really beautiful part of the shot.
| | 02:16 | Because of the strong contrast, our
eye has a tendency to go where there
| | 02:19 | is strong contrast.
| | 02:21 | So, by adding the vignette here, we're
basically saying don't look there and
| | 02:25 | don't look in the corners, don't look over here.
| | 02:27 | This is where we want your focus.
| | 02:29 | It's a way of, again,
controlling viewer attention.
| | 02:32 | And as we go through this video, you
can see that this vignette really does
| | 02:36 | focus where our viewer is looking.
| | 02:40 | Again, here is this particular frame
with the vignette and without the vignette.
| | 02:45 | It's much more visually chaotic and distracting,
and this, with the vignette, much more focused.
| | 02:51 | Now, kind of like lens flares,
this effect can be overdone.
| | 02:55 | So you want to make sure you use it with tact.
| | 02:57 | So again, if you're shooting a documentary,
you might not want to use the vignette.
| | 03:01 | It might not be appropriate.
| | 03:02 | It might take people out of the movie,
because it is kind of like this forced
| | 03:06 | storytelling technique.
| | 03:07 | So use it with tact, but be aware that
that's how you can create a vignette.
| | Collapse this transcript |
| Creating a day-for-night shot| 00:01 | Shooting at night is expensive.
| | 00:03 | Usually, the crew has shot for the
full day, and so if you want to shoot
| | 00:08 | something at night, people
have to be paid overtime.
| | 00:10 | It's also more
challenging to light stuff at night.
| | 00:13 | So, oftentimes, what happens is
we create a day for night shot.
| | 00:17 | And that is when it is shot during the
day, and then in postproduction, we have
| | 00:22 | to go and take that scene and make
it look as if it was shot at night.
| | 00:26 | Now, we're going to be
doing that with this clip.
| | 00:28 | The results are going to
be pretty good, I think.
| | 00:30 | But one of the reasons why this doesn't
always work out that great, especially
| | 00:34 | if it's a sunny day, you see the sun
has very powerful directional light.
| | 00:38 | So if you look at this building down
here, we could see that the sun is very
| | 00:42 | clearly coming in this direction,
because these surfaces that are facing this
| | 00:45 | way are very bright.
| | 00:46 | And these surfaces that are
facing this way are very dark.
| | 00:49 | That contrast is very strong.
| | 00:51 | Now, moonlight can give you some of that
contrast as well, but not nearly as much.
| | 00:57 | So it's ideally best to not have
day for night shots, but sometimes you
| | 01:02 | just can't avoid it.
| | 01:03 | So, that's what this tutorial is for here.
| | 01:05 | Now, our tasks are twofold.
| | 01:06 | We need to change the color tone, and
we need to change the brightness level.
| | 01:10 | So let's go ahead and apply
the Fast Color Corrector effect.
| | 01:14 | What we're going to do is we're going to
open it up, and we're going to go to the
| | 01:18 | wheel, and we're going to make this very blue.
| | 01:21 | Now, we also need to darken this quite a bit.
| | 01:24 | So I'm going to scroll down here.
| | 01:26 | And we could do this using Levels.
| | 01:28 | We could click on the
Midtone slider, drag this down.
| | 01:31 | But the problem is that if you use
the Midtone slider here, although we've
| | 01:36 | darkened pretty much everything, a
lot of these areas that are pure white
| | 01:41 | are still pure white.
| | 01:42 | And they wouldn't be like that at nighttime.
| | 01:44 | So we could adjust the Output Levels
white slider and drag this down to darken
| | 01:49 | that, if we wanted to.
| | 01:51 | But I'm really just not liking
the look I'm getting is here.
| | 01:53 | So I'm going to undo this by
hitting Command+Z multiple times.
| | 01:56 | So we're just going to use the
blue tint of the Fast Color Corrector.
| | 02:00 | And I'm going to close that effect up.
| | 02:02 | Next, I'm going to go back to my
Effects panel, and I'm going to do a search for
| | 02:05 | an effect called Curves.
| | 02:07 | So I'm going to apply RGB Curves to my clip.
| | 02:11 | Now, if we open this up, we'll see that
we have several curves here, one for the
| | 02:15 | Master value and then one for each
of the Red, Green and Blue channels.
| | 02:19 | If you're familiar with Photoshop,
these curves work in the same way, and you
| | 02:23 | probably also know that Curves is one
of the most powerful and advanced ways
| | 02:27 | that we can adjust color luminance in Photoshop.
| | 02:30 | So, my purpose here is not to
explain to you the ins and outs of Curves.
| | 02:34 | Basically, this is essentially a map
of the shadow areas on the left and the
| | 02:38 | highlight areas on the right.
| | 02:41 | As we drag points downwards, we darken them.
| | 02:44 | So this upper right-hand corner point
represents the brightest parts of the image.
| | 02:49 | So what I could do is drag that down
and then we take those bright whites that
| | 02:53 | we were talking about
before and take those down.
| | 02:55 | Then we could click somewhere in the middle
of this line and click and drag this down.
| | 02:59 | This will also darken the midtone values here.
| | 03:02 | So, what we need to do then is balance
this so that we flatten this out, darken
| | 03:08 | the midtones, and also reduce the
values of the highlights, so that they are
| | 03:13 | fairly dark as well and it becomes
a fairly believable nighttime scene.
| | 03:17 | Now, if we needed to, we could go back
to our Fast Color Corrector effect and we
| | 03:21 | could maybe reduce some of the Saturation.
| | 03:22 | But I'm thinking this looks pretty good.
| | 03:24 | Let's go ahead and go back up here.
| | 03:26 | If we take off the visibility of these
effects by clicking the fx icon here in
| | 03:30 | the Effect Controls panel, we could see
the original and then what we did to it
| | 03:34 | to change it to make it
look like a nighttime shot.
| | 03:37 | Now again, although this does look
fairly believable, and we could probably
| | 03:40 | continue to tweak this to make it look
more believable, you're still going to
| | 03:43 | have a lot of these bright highlights
here that are dead giveaways that this
| | 03:46 | was not shot at night.
| | 03:48 | So, ideally, if you can help it, shoot
at night, but if not, that is your task
| | 03:52 | to take things and make them more blue,
because night light tends to be more
| | 03:57 | bluish in color, and then also to
darken not only the midtones, but also to
| | 04:02 | darken the highlights as well.
| | Collapse this transcript |
|
|
15. Making Titles, Credits, and Lower ThirdsCreating titles| 00:01 | In this chapter, we're going to look at
Premiere's Title Creation tool, which as
| | 00:04 | we'll see, as we go throughout this
chapter, can be used for a variety of things.
| | 00:07 | Now to create a title, I'm going to go
down to the bottom of the Project panel,
| | 00:11 | the same way we create a new
sequence or a new Black Video.
| | 00:14 | I'm going to create a new Title.
| | 00:16 | I'm going to title this Ron's Credit.
| | 00:18 | And I'm going to go ahead and hit Enter,
and that opens up what is called the Titler.
| | 00:23 | Now, if you have a current sequence, it
will show you the frame, the background
| | 00:28 | video of that particular frame, as
long as this button is depressed.
| | 00:31 | If you click it to deselect it,
then you can just get a blank slate.
| | 00:35 | But we're actually
creating a title for this guy.
| | 00:37 | So I'm going to go ahead and click that back on.
| | 00:39 | I'm going to go ahead and click
this button, which is the Type tool.
| | 00:42 | And this is what you'll be using most
of the time when you open up the Titler.
| | 00:45 | So I'm going to click this.
| | 00:45 | And I'm going to click and drag a
text box that our text will exist in.
| | 00:51 | I'm just going to go ahead and type
Ron and then hit Enter or Return to go
| | 00:55 | to the next line.
| | 00:57 | And I'm going to type Tour Guide.
| | 00:59 | Now, it's not showing up because
this is referred to as overset text.
| | 01:03 | It's text that doesn't fit inside of
the box that we've made because it's
| | 01:07 | a little bit too big.
| | 01:08 | I'm going to go ahead and select the
Selection tool, which will allow me to go
| | 01:11 | in here and resize this box temporarily.
| | 01:15 | And then, I can double-click
inside of it to get a cursor again.
| | 01:18 | And I'm going to click and
drag to select all of our text.
| | 01:21 | And then we can go over here to the
right-hand side at the Title Properties
| | 01:24 | panel and click and drag the Font
Size to the left to reduce it until we're
| | 01:29 | getting something about the size
of what we're looking for here.
| | 01:32 | Then I can go back to the Selection tool
to again the resize this box, because I
| | 01:38 | do want things to fit
inside of this little area here.
| | 01:42 | Now ideally, I would like Ron's name to
be bigger, and I would like his title to
| | 01:45 | be a little bit smaller.
| | 01:46 | So what I'm going to do is let's
start by changing the justification.
| | 01:50 | I'm going to click the
Center button to center this.
| | 01:52 | Now, I'm going to double-
click in this text again.
| | 01:55 | Click and drag to highlight Tour Guide.
| | 01:58 | And then, we'll bring this down a little bit.
| | 02:01 | Bring it down in size.
| | 02:03 | I don't have an exact number for you.
| | 02:04 | Just depending on the font you're
using, just change the size until it
| | 02:07 | looks right to you.
| | 02:08 | I'm going to click and drag to select Ron.
| | 02:10 | I'm going to make this a little bit
bigger until Ron takes up about the
| | 02:14 | same size as Tour Guide.
| | 02:16 | And actually, I might go back to Tour Guide
and make that a little bit smaller. There we go.
| | 02:21 | Now, I want to change the
font of the whole thing.
| | 02:23 | So I'm going to click and drag from the
beginning of the R before Ron to the end
| | 02:27 | of Tour Guide and then we could go
to the Font Family drop-down in the
| | 02:31 | Properties area and we
could change the font here.
| | 02:33 | Actually, I want to scroll
up here through my fonts.
| | 02:36 | And of course, we'll have different
fonts on our different systems here.
| | 02:40 | I'm going to look for a font
that looks a little bit more regal.
| | 02:44 | I'm actually going to use Adobe Caslon Pro Here.
| | 02:47 | But again, you could use
whatever font you prefer.
| | 02:50 | And now, after the change in font, we
might want to go back and tweak our sizes
| | 02:54 | adjust this a little bit more, so
things match up a little bit better.
| | 02:58 | And actually, what I want to do is make this
look even more classy by making these small caps.
| | 03:03 | In other words, I am going to take the
letters that I've capitalized: R, T and G,
| | 03:07 | and keep them capitals.
| | 03:08 | But I want to capitalize
the other letters as well.
| | 03:11 | But I want them to be smaller capital letters.
| | 03:13 | So I'm going to select all these letters.
| | 03:16 | And then I'm going to check
this Small Caps check box.
| | 03:19 | So again, it's made every letter
capitalized, but it's made the ones that I've
| | 03:23 | capitalized myself bigger than the
other letters, so I can get a better view of
| | 03:28 | what I've done with my text here
| | 03:30 | by clicking the Selection Arrow tool and
then clicking away from my text just to
| | 03:33 | get a feel again of what
this is going to look like.
| | 03:36 | It's good, but I'm thinking Tour
Guide is a little bit too thin.
| | 03:39 | It's not showing up quite enough.
| | 03:41 | So what I could do is click my text again.
| | 03:43 | And then scroll down here in the Title
Properties panel on the right-hand side,
| | 03:46 | and I'm going to add a shadow here by
checking the Shadow check box, which adds a
| | 03:49 | little bit of a shadow behind it.
| | 03:52 | We could adjust the Opacity.
| | 03:53 | We might want it to be a little bit more opaque.
| | 03:56 | We could adjust the Angle where
the light source is coming from.
| | 03:59 | We can also adjust the
Distance to the original text.
| | 04:02 | I kind of like it just kind of medium
as the default was, about 10 there.
| | 04:06 | And we can increase the Size of the
shadow and the Spread of the shadow.
| | 04:11 | I think the defaults are
working pretty good for me though.
| | 04:13 | And I'm just going to leave it like that.
| | 04:15 | And what we could do once we're done is
go ahead and click the little x here in
| | 04:18 | the upper left-hand corner to close the Titler.
| | 04:22 | And then, we have a completed title,
but it's still on our Project panel.
| | 04:25 | So what we need to do now is
drag it to the video track 2.
| | 04:30 | And because this is just a still video
clip essentially, we can go ahead and
| | 04:34 | drag this as if it were in image and
make that the duration of our project here,
| | 04:40 | our video clip, beneath it.
| | 04:41 | And then now we have this cool Ron
the Tour Guide title next to his name.
| | 04:47 | And that's how you create a
basic title in Premiere Pro.
| | 04:49 | But as we see, as we go throughout this
chapter, there's a lot more you can do
| | 04:53 | with that little Titler area.
| | Collapse this transcript |
| Creating a lower third| 00:00 | During many sporting events and
interviews, you'll often see a little bar come
| | 00:03 | across the bottom of the screen
that will describe what's going on,
| | 00:07 | like this dude is flying on the
snowboard or this person is talking about this
| | 00:11 | and they have this authority, or whatever.
| | 00:13 | And that bar, typically at the bottom
or towards the bottom of the screen, is
| | 00:16 | referred to as a lower third.
| | 00:18 | Now don't let the name fool you.
| | 00:20 | Lower third does not mean that it's
going to be like at that third mark, or
| | 00:23 | it's going to take up a third of
the screen, or anything like that.
| | 00:25 | It could be above the subject.
| | 00:27 | Typically, it's just a line at
the bottom stating what's going on.
| | 00:31 | Now ideally you want to design
something like this in a design program like
| | 00:35 | Photoshop, or Illustrator,
or even Adobe After Effects.
| | 00:38 | But if you don't have access to those
things in a pinch, you can actually use
| | 00:41 | the Titler in Premiere to create titles.
| | 00:44 | We are going to be looking at making
a lower third in the Titler right now.
| | 00:47 | So let's go to the Project
panel, create a new Title.
| | 00:50 | I am going to call this
title Lower Third and press OK.
| | 00:56 | Now in the last movie we created Type.
| | 00:58 | But now we are actually going to go
down below those tools, and we are going to
| | 01:02 | create a lower third using these shapes here.
| | 01:05 | So I am going to click on the Wedge
tool, otherwise know as Triangle Maker.
| | 01:09 | And if I hold the Shift key on any
of these shapes, it will constrain the
| | 01:13 | proportions, so that the
width and height are the same.
| | 01:16 | So I can do that here.
| | 01:18 | And I am going to make a triangle
about yea big, and then I am going to
| | 01:23 | select the Rectangle tool above it, and I am
going to click and drag to make a rectangle.
| | 01:30 | Looking pretty good.
| | 01:32 | I'm going to select the Selection tool here.
| | 01:33 | I'll click the triangle and
move this up and over a little bit.
| | 01:37 | And I actually want to make it so that
the bottoms of the triangle, or the wedge,
| | 01:44 | are lined up with my rectangle.
| | 01:46 | And actually I can click this little
center dot right here at the top, to
| | 01:49 | resize this vertically.
| | 01:51 | I could also resize it
vertically using the one at the bottom.
| | 01:53 | Resize it horizontally using middle
dots or anchor points on the right hand
| | 01:57 | and left hand sides.
| | 01:58 | And if I click and drag on the
corners, I could resize vertically and
| | 02:02 | horizontally at the same time.
| | 02:04 | So I am going to make this about
as wide, but a little less tall.
| | 02:07 | They are not lined up now, but what I could
do is go back to the Selection tool and
| | 02:11 | I can click on one and then Shift+Click.
| | 02:14 | I'll hold the Shift button down and click
on the other, so they are both selected.
| | 02:16 | Now once you have more than one Shift
selected then you have these cool Align
| | 02:20 | options that are all laid up for you.
| | 02:21 | So I actually I want to
align their vertical bottoms.
| | 02:24 | So I am going to click on
the Vertical Bottom button.
| | 02:27 | So now their bottoms are aligned.
| | 02:30 | And actually I might want to also click
this button, which will align their left
| | 02:34 | edges, and let's go ahead and do that.
| | 02:37 | Now I want to create another triangle
that's kind of like the opposite of this
| | 02:42 | on the right-hand side,
maybe a little bit smaller.
| | 02:45 | So I am going to click the Wedge tool.
| | 02:48 | Click and drag to create a
triangle holding the Shift key.
| | 02:50 | I'll make this one a little bit smaller.
| | 02:52 | That looks pretty good.
| | 02:53 | Now as we have talked about in the
last movie, we can adjust stuff, including
| | 02:57 | text, in the right-hand side of the
Title Properties panel here, and we can
| | 03:01 | adjust Shapes the same way.
| | 03:02 | So I am going to actually fiddle with
rotation until it flips upside down here, 180 degrees.
| | 03:10 | Select the Selection tool
and move this into place.
| | 03:14 | And then I'll actually, while this
is selected, Shift+Click the rectangle.
| | 03:19 | Then I'll do the Vertical Align of
their tops and of their right edges, kind of
| | 03:25 | like we did with the left wedge.
| | 03:27 | Now we have the cool basis of a lower third.
| | 03:30 | And actually now that I am looking at, I
am going to click this and resize it.
| | 03:33 | Make a little bit taller, so we
have more room for our text in here.
| | 03:36 | Now this is looking pretty cool, but I
could continue to fiddle, and actually I
| | 03:40 | am going to continue to fiddle.
| | 03:42 | I want the angle of the wedges to
kind of mimic this mountain here.
| | 03:46 | So I am going to go back to Rotation.
| | 03:48 | And I'm going to click and drag this to
the left just a little bit and tell
| | 03:52 | the Rotation we are
creating some parallel lines here.
| | 03:54 | Do the same thing with this other Wedge.
| | 03:57 | I want to make something a
little bit more rough and frenetic.
| | 03:59 | So if there are some extra edges
popping out here, that's okay, and if it's not
| | 04:04 | perfectly aligned, that's also okay.
| | 04:06 | I am going to click this front wedge,
and I am going to hold down the Option key
| | 04:10 | on the Mac, Alt key on the PC.
| | 04:11 | Notice when I do that I get
a little buddy arrow there.
| | 04:14 | And that indicates that if I click and
drag, while holding the Alt or Option key,
| | 04:18 | I'm going to make a copy, which
is actually what I want to do.
| | 04:20 | So I click and drag this out, and move
this up a little bit, so we have some
| | 04:23 | kind of staggered action there.
| | 04:25 | Same thing with this Wedge, except I
am going to drag a copy down and to the left.
| | 04:31 | So again, what this is doing is making
it so that our design is a little bit
| | 04:34 | more jagged and rough and
has little bit more energy.
| | 04:37 | Now what I could also do is select the
Line tool, and I am just going to click
| | 04:42 | and drag to give this a motion, and that looks good.
| | 04:46 | I'll make a line at the top here, kind
of shooting out and going up a little bit.
| | 04:52 | And then I am going to make another
couple of little lines on top here.
| | 04:57 | Actually let's start there,
click in the line up top.
| | 05:00 | It's a little bit too high, so I am
going to select the Selection tool, and drag
| | 05:05 | that down and move that over just a little bit.
| | 05:08 | I am actually going to takes the
Line Width down to 2, on that extra one.
| | 05:13 | I just kind of want to add some extra
sketchy lines for some extra motion, and
| | 05:17 | actually I am going to click on this
line here, and rotate it a little bit less because
| | 05:21 | it's looking like it's a
little bit too rotated there.
| | 05:24 | Then same thing on this one, I am
going to rotate it back the other direction,
| | 05:29 | and then I could use my Arrow keys to
nudge it upwards, and I'll go back and
| | 05:33 | create another line here,
| | 05:35 | just another little
frenetic line just to show energy.
| | 05:39 | Click the Selection tool and then
use the Arrow keys to bump that up.
| | 05:44 | Move it over to the right a little bit,
and I also might want to take this Line
| | 05:48 | Width to 2 and maybe rotate it a
little bit more in that direction.
| | 05:53 | So now we have a pretty cool-looking
title that we can add some text to.
| | 05:57 | So now I could go ahead and select my Type tool.
| | 06:00 | And actually, I am going to click and
drag in this blank spot up here, and I am
| | 06:04 | going to fiddle with my text up here.
| | 06:05 | And then once I get the text the way I
like it, then I am going to drag and drop
| | 06:08 | it on top of these other shapes.
| | 06:09 | If I actually create it in place, the
chances are that if I want to go back
| | 06:13 | and adjust it, I am inadvertently going to
click a shape, and I don't want to do that.
| | 06:17 | So the first thing I am going to do
is I am going to lower the Font Size.
| | 06:20 | I want something much smaller here.
| | 06:21 | I am actually going to change the Color,
which you actually could do by any of
| | 06:24 | these shapes as well.
| | 06:25 | But I am going to go ahead and click
the Color Swatch here, and I am going to
| | 06:28 | get an orange that kind of mimics the
snowboard going on there, maybe a little bit
| | 06:34 | brighter and go ahead and click OK.
| | 06:38 | And then I could start typing my text here.
| | 06:41 | Let's go ahead and type in capital PRO SNOW.
| | 06:44 | So I am going to go ahead and
click and drag to select all this text.
| | 06:47 | I might reduce the Font Size a little bit.
| | 06:50 | I also might increase the Tracking, which will
stretch out the space between the letters there.
| | 06:56 | And then I could select the Selection
tool and drag this into place, and I'll
| | 07:02 | probably change the Rotation just to make
this a little screwy, a little off a little bit.
| | 07:08 | There we go and contrast the lines around it.
| | 07:13 | And I might polish up these lines
just a little bit, rotate those back,
| | 07:19 | a little bit more crazy.
| | 07:22 | There we have our awesome Titles, and
actually select my Pro Snow and rotate a
| | 07:28 | little bit more and make the
Font Size a little bit bigger.
| | 07:33 | I might need to increase the
Size of the Textbox to do that.
| | 07:36 | But we can do that.
| | 07:39 | And there we have a pretty interesting Title.
| | 07:41 | I might change the Font and kind
of play with this a little bit more.
| | 07:44 | But I am kind of liking what I have here.
| | 07:46 | And we could again close out the Titler
and then drag and drop this onto video
| | 07:51 | track 2, and there we have our lower third.
| | 07:55 | Now this is a regular old layer, a
regular old clip that we can click to select
| | 08:00 | and then open up Motion, and we
could adjust and animate the position
| | 08:03 | if we want to animate it like coming
onscreen or going offscreen, or if we
| | 08:07 | wanted to open up Opacity and have it
fading in or out, we can totally do that.
| | 08:13 | So while it's not the most
professional graphic you have ever seen created,
| | 08:18 | I mean really, your creativity's the limit
on what you come up with, because you
| | 08:20 | have so much control with those basic shapes
| | 08:23 | and all those other parameters on the
right-hand side to adjust, that you really
| | 08:27 | can come up with some interesting designs.
| | 08:28 | By the way, if you did want to
go back and fiddle with this,
| | 08:31 | for example, you might want to change the font here,
| | 08:33 | this is the terrible
looking font for this project,
| | 08:36 | what I could do here is double-click
lower third, the title in the Project panel.
| | 08:40 | That will open you're the Titler again,
and then I could go ahead and select my
| | 08:44 | text and then select something a little
bit more suited to our subject matter,
| | 08:48 | maybe something with stencils, something a
little but more intense like this Cracked Font.
| | 08:54 | And then we could increase the Font
Size, and there is magic all around.
| | 09:00 | So looking good, close this.
| | 09:03 | We could see our changes show up in our
Project automatically, and that is the
| | 09:08 | way to create shapes and
objects inside the Titler.
| | Collapse this transcript |
| Animating rolling credits| 00:00 | Once your movie is done,
it's time to roll the credits.
| | 00:02 | Give credit where credit is due to all the
people that work so hard with you on your movie.
| | 00:07 | And the Title in Premiere can help you do that.
| | 00:09 | Go ahead and double-click Rolling
Credits here in the Project panel.
| | 00:12 | I went ahead and I created some text for you.
| | 00:15 | And what we are going to do is make
this text automatically roll for us.
| | 00:19 | We could just type it and then animate
the position of it as a clip in Premiere.
| | 00:24 | But that's a waste of time and
Premiere is going to do this for us.
| | 00:27 | So I am just going to drag this downwards.
| | 00:29 | Here is all my cast and crew and whatnot.
| | 00:31 | I am just going to drag this down
here and put this about where I want it.
| | 00:36 | That looks about centered.
| | 00:37 | Then what I am going to do is I am
going to this button here, which is the
| | 00:41 | Roll/Crawl Options button. Click that.
| | 00:44 | And then, what Type of Title is it?
| | 00:46 | We are going to roll these credits, and roll
means start from the bottom and go to the top.
| | 00:51 | If we want it to start off screen, we'll
check this button, which we do and if we
| | 00:54 | want to end off screen, which we do,
we are going to click this button.
| | 00:58 | And that's all we have to do.
| | 00:59 | I am going to go ahead and click OK.
| | 01:01 | Once I did that, you'll notice that
the icon for our rolling credits changed.
| | 01:05 | It changed from what's typically the icon for
an image and changed into the icon for a movie.
| | 01:11 | It's a filmstrip here.
| | 01:12 | So I am going to close out the Titler
and drag this down to my sequence here.
| | 01:17 | And if we play this, we'll see
that it actually goes pretty quick.
| | 01:24 | The cool thing about this video is
it automatically stretches for us.
| | 01:27 | Let's say we wanted to make this go longer.
| | 01:29 | I can grab the end of this.
| | 01:31 | I am not time stretching.
| | 01:32 | I am just trimming it.
| | 01:33 | It automatically will lengthen out the
time that it takes to go from the bottom
| | 01:38 | of the screen to the top of the screen.
| | 01:43 | Pretty awesome credit rolling feature that,
again, we can customize and change just by trimming it.
| | 01:50 | That's going to automatically make it
so that the credits will happen faster or
| | 01:54 | slower based on the
duration all of the credits here.
| | Collapse this transcript |
|
|
16. Exporting VideoExporting sequences from Premiere| 00:00 | So you've reached the point where you
are all done with your work in Premiere
| | 00:03 | and now its time to export your project.
| | 00:06 | So the first thing you need to
do is actually choose a sequence.
| | 00:09 | We can't export our project to a video.
| | 00:12 | We need to choose a
sequence in which to do that.
| | 00:14 | So I am going to select the
Explore California Ad sequence.
| | 00:17 | We can do that here in the Timeline
panel, or we can do it here in the Project
| | 00:21 | panel, by opening up
Sequences and clicking this here.
| | 00:24 | And then we go to the File
menu and choose Export > Media.
| | 00:29 | This opens up the very powerful Export
Settings dialog box, which allows you to
| | 00:33 | actually preview your project with the
little Current Time Indicator here, which
| | 00:36 | actually scrubbed through,
give that a second to render.
| | 00:41 | And so here is a frame
from earlier in our project:
| | 00:43 | 7 frames and 18 seconds in, to be exact.
| | 00:46 | I'll show you, later on in this chapter,
how you can customize the amount or the
| | 00:50 | portion of your sequence that you export.
| | 00:52 | Now, one of the most important
features here is choosing a format.
| | 00:55 | If we go to the Format dropdown, you
can see we have a variety of formats to
| | 01:00 | export to, including still image file
format such as DPX, JPEG, PNG, Targa and
| | 01:05 | TIFF and video formats, of
course, and also audio formats.
| | 01:09 | So there is Audio Only, and there is a
Wave Audio File, there is MP3 down here.
| | 01:15 | So a lot of formats to choose from.
| | 01:17 | Now, you might be wondering why would you
want to export to a still image file format?
| | 01:21 | What that's going to do is actually
create something called an image sequence,
| | 01:24 | which is a series of images, and it's
going to produce one image for every single
| | 01:28 | frame of the sequence.
| | 01:30 | So the sequence is 24 frames per second.
| | 01:33 | It goes on for 15 seconds.
| | 01:35 | So that would be 24 times 15, roughly.
| | 01:38 | That's a lot of images.
| | 01:39 | However, image sequences are very helpful,
and again, also later in the chapter,
| | 01:43 | I'll explain that as well.
| | 01:45 | So we need to pick a format here.
| | 01:46 | I am just going to leave
this set to QuickTime for now.
| | 01:48 | And once we choose a format, most of
these formats have associated presets that
| | 01:52 | you can choose if you like to.
| | 01:54 | These can be especially helpful if you
are new to the world of video and aren't
| | 01:57 | sure exactly which format to choose.
| | 01:59 | So if you know you are going to create a
widescreen project for NTSC, you could
| | 02:03 | just choose NTSC DV Widescreen, for example.
| | 02:06 | To choose a name for your file output
and to choose where to save it, click on
| | 02:10 | Output Names hot text, right here,
click that and we could change the name and
| | 02:14 | also choose where to save it.
| | 02:16 | Now, this is really critical.
| | 02:18 | There are these two check boxes
here: Export Video and Export Audio.
| | 02:22 | Make sure you take a double-check at
these before you go ahead and do your
| | 02:26 | final render because oftentimes, for
whatever reason, one of these might get unchecked.
| | 02:31 | So if you want to render audio and
you spend all of this time, maybe hours,
| | 02:35 | rendering video and you only export the
video when it's all said and done, you
| | 02:40 | are going to be very frustrated to
find out that there is no audio there.
| | 02:43 | So again, just double-check to make sure
that you export video and audio, if that's what
| | 02:46 | you want, or again, you could
selectively choose what you want.
| | 02:49 | You might want just audio, or you might
want just video, which is fine as well.
| | 02:53 | So again, be aware of these two check boxes.
| | 02:56 | Now, if you want to maintain the same
format as was brought into your project,
| | 03:01 | you could choose Match Sequence
Settings, and you will not be able to then
| | 03:04 | customize the format or the preset,
because it will get that information from
| | 03:09 | the Sequence Settings.
| | 03:10 | So for example, if you create a DVC Pro
HD sequence using those settings, it's
| | 03:15 | going to render this using DVC Pro HD.
| | 03:18 | I'm just going to uncheck
that for the time being.
| | 03:20 | Last thing to be aware is that we have
these tabs down here for more advanced users.
| | 03:25 | And again, later on in this chapter,
I am going to be getting into these.
| | 03:28 | So once we are all ready and our
project is done, we are done with the Export
| | 03:32 | Settings dialog box, now we have two
buttons here that we can choose to use.
| | 03:35 | If we are just going to have Premiere
render this, you can click the Export button.
| | 03:39 | That will tie up Premiere and
keep Premiere busy for a while.
| | 03:43 | If you have a lot going on and you want
this to render in the background and you
| | 03:47 | still want to be able to use Premiere,
you can use the Queue button, which will
| | 03:51 | add this to our render queue using a
product called the Adobe Media Encoder,
| | 03:55 | which we'll look at in the next movie.
| | Collapse this transcript |
| Exporting with the Adobe Media Encoder| 00:00 | We are going to continue where we
left off here with the same project.
| | 00:02 | I am going to select my sequence in
the Timeline panel, go to File > Export >
| | 00:07 | Media, and as I mentioned in the
last movie, we have two options.
| | 00:10 | We have the Export button, which will
allow you render from Premiere, or you can
| | 00:14 | press the Queue button.
| | 00:16 | And once you press that, it will open up
this project in the Adobe Media Encoder.
| | 00:21 | Actually, it'll launch it for you as well.
| | 00:23 | What the Adobe Media Encoder allows
you do is to queue different project.
| | 00:27 | Let's say you had five or six
different sequences you're working on, maybe
| | 00:30 | different commercials, and you're done
with all of them, and you want it to just
| | 00:34 | render them while you're on break, or something.
| | 00:36 | You can queue them up in the Adobe
Media Encoder, and it could keep rendering those
| | 00:40 | while you still worked in Premiere.
| | 00:42 | If you reader them from Premiere,
you would have render one at a time.
| | 00:44 | If you render one, and go back, set the
other one up, render that and the Adobe
| | 00:48 | Media Encoder allows you just to queue
it, and if you need to keep working in
| | 00:51 | Premiere, you can, and it'll also just
keep rendering these tasks for you.
| | 00:54 | You also can change things from the
Adobe Media Encoder here. You could change
| | 00:57 | the format from the Format dropdown,
the Preset, and we can actually edit the export
| | 01:02 | settings by clicking this button, and
we could also change where we output the
| | 01:05 | file and what we rename it here.
| | 01:07 | This is also great if you
wanted to change the settings.
| | 01:09 | Maybe, you wanted to render this for
the web or something, we could select this
| | 01:13 | task and we can click Duplicate.
| | 01:15 | Now we could change this one maybe to a
different type of file, maybe we change
| | 01:19 | this one to H.264 for the Internet or
something, and so we have a high quality
| | 01:23 | QuickTime and then a
lower quality one for the web.
| | 01:26 | To remove a task, just click the Remove
button, and once you are ready to start
| | 01:31 | queuing things up and rendering,
just click the Start Queue button.
| | 01:33 | Now you might be wondering why don't you
use the Adobe Media Encoder all the time?
| | 01:37 | Well in CS4, the previous version
of Premiere, that's all you could do.
| | 01:40 | You had to use the Adobe Media
Encoder, and it drove me nuts, and I actually
| | 01:44 | missed some deadlines and some
important projects because we had to render
| | 01:47 | through the Adobe Media Encoder, which
was sometimes a little bit unreliable.
| | 01:51 | If you had the third party plug-in
installed, sometimes it wouldn't render
| | 01:55 | the video, it would crash, and it was much
more frustrating than rendering from Premiere.
| | 01:59 | So while the promise of what it does is
much better than rendering in Premiere,
| | 02:05 | it's not quite as reliable.
| | 02:06 | So then you have your choice between
Premiere and the Adobe Media Encoder now,
| | 02:11 | in CS5.
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| The most common formats and codecs| 00:00 | One of the questions I get most from
people that are new to Premiere and new to
| | 00:04 | video in general is, 'What
format should I use?' and oh
| | 00:07 | how I wish that there were a
very simple answer to that question.
| | 00:11 | Unfortunately, there is not.
| | 00:12 | I am going to again go to File > Export >
Media, and let's talk about this a little bit.
| | 00:17 | We know that there different formats,
| | 00:19 | let's say QuickTime or H.264, MPEG-4,
MPEG-2. These are different video formats,
| | 00:25 | and if you're on PC, you might
have Windows media, like AVI or WMV.
| | 00:28 | But what matters most with almost all
of these formats is the Video Codec.
| | 00:33 | Codec is short for Compressor Decompressor.
| | 00:37 | So basically it's a way that Premiere
will crunch your video down, and it'll
| | 00:41 | compress it, squash it down.
| | 00:42 | It'll lose a little bit quality, but it
will also reduce the file size greatly.
| | 00:47 | Now the reason why it refers to
compression and decompression is that the same way
| | 00:51 | that you compress the video here in
Premiere now, whoever watches your video,
| | 00:56 | has to decompress it in the same way.
| | 00:58 | And if the codec, not the format, that
makes the biggest difference in the way
| | 01:04 | that your video turns out and how big it is.
| | 01:06 | Now if you click the Video Codec here
for QuickTime, we have tons of codec.
| | 01:09 | Now you might not have all of these,
because I have some extra programs
| | 01:12 | installed giving me some extra
codecs here, but basically there are a few
| | 01:17 | familiar codecs that we use.
| | 01:18 | Animation is a good codec
that's very, very high quality.
| | 01:21 | However, it will result
in really large file sizes.
| | 01:24 | If you are going to output something to
the web, to let's say YouTube or some other
| | 01:27 | video sharing site, Vimeo or whatever,
I would really, really recommend you go
| | 01:32 | to that website and look at their rules,
| | 01:34 | They will tell you the best
way to compress your videos.
| | 01:38 | both format and codec, and follow their
rules and that will produce the best results.
| | 01:43 | One of the darlings of the video
compression world right now is H.264.
| | 01:48 | Most of the videos that I use in the
training series have been compressed using H.264.
| | 01:53 | It's a little confusing,
but H.264 is a video codec,
| | 01:57 | it's a way to compress
video, but it's also a format.
| | 02:00 | So either way, you could use H.264 for
a video, also referred to as H.264, and
| | 02:06 | that compresses video a lot and still
maintains really good file quality.
| | 02:11 | As you could tell here,
| | 02:12 | you could also use H.264 for Blu-ray, which
is the high-definition disc format out now.
| | 02:17 | When outputting to DVD, you need to use MPEG-2.
| | 02:20 | But when Blu-ray came along,
it uses MPEG-2 and H.264.
| | 02:25 | So H.264 is used in really high-quality,
home-theater situations with Blu-ray.
| | 02:30 | It's also used on iPhones and iPods and
cell phones and the web and all kinds of
| | 02:35 | smaller formats as well.
| | 02:37 | So, unfortunately, the bad news is that
there is no silver bullet, and that's why
| | 02:42 | I like to use image sequences a lot of
times, because a lot of times when you send
| | 02:45 | somebody a movie with a certain,
let's say I'll send the QuickTime with a
| | 02:49 | certain video codec maybe
photo JPEG or something like that,
| | 02:53 | I might send them that video with this
codec, and they might not be able to open it.
| | 02:57 | If I send this to my grandma, she's
probably not going to be able to watch that
| | 02:59 | video on her computer.
| | 03:00 | But if I send an image sequence, then
most people on most computers can
| | 03:06 | open this with a video editing program,
assuming that that's what I'm sending them to watch.
| | 03:11 | My grandma also would not be to open up a TIFF
sequence or a Targa sequence on her computer.
| | 03:16 | Another cool thing about exporting
an image sequence is that they can be
| | 03:19 | broken up into batches.
| | 03:20 | If I had a really, really high quality
video, it might be 10, 15, 20 GB
| | 03:25 | in size, and that's kind of tough to
move around it. I can't put it on a DVD.
| | 03:29 | But if I had a series of images,
those series of images might add up to 20
| | 03:33 | GB but individually, they
are not going to be 20 GB.
| | 03:37 | So I could break them up and do a
little bits and pieces, burning them onto
| | 03:39 | DVD, and then whoever I'm sending the
video to on those multiple DVDs can
| | 03:43 | then assemble those image sequences
in Premiere, or whatever video editing
| | 03:47 | program you're using.
| | 03:48 | It's actually quite easy.
| | 03:49 | You just select the first video of the
sequence, Premiere will recognize it as a
| | 03:52 | sequence and it'll import
basically as a movie file.
| | 03:55 | I should also point out if you want
to use FLV, F4V, this is Flash video,
| | 04:00 | FLV is a little but more common F4V is
newer and so it's less compatible but
| | 04:05 | is a more optimal compression method
resulting in better quality video at lower file sizes.
| | 04:10 | Now if you've been working in a
certain format and you want to maintain that
| | 04:14 | format, you could just simply choose
Match Sequence Settings, and you'll lose all
| | 04:18 | power to control the format presets,
all that kind of stuff, but it's already
| | 04:22 | done for you based on the
settings of your initial sequence.
| | 04:25 | So again, I apologize that
there is no magic formula in video.
| | 04:28 | It's based on like what the client needs
are and where things are going, and even
| | 04:32 | then, it can vary and change depending
on the situation and what's going on.
| | 04:36 | But the rules and ideas that we
discussed here will hopefully get you what you
| | 04:40 | need to get on your way.
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| Exporting portions of a sequence| 00:00 | Sometimes, you only want
to export portions of video.
| | 00:03 | Maybe you just want to do like a test
of the compression method that you're
| | 00:06 | going to be using, as we talked about
in the last movie, or maybe you want to
| | 00:09 | send a sample to somebody of certain
effects or how things are working out.
| | 00:12 | What you can do is grab this bar here
that is above the Timeline panel, or at the
| | 00:17 | top of the Timeline panel.
| | 00:18 | You can grab the handle here, and
drag this to the left to shrink what is
| | 00:23 | called the Work Area.
| | 00:24 | We can actually grab this middle
area and move it around, or whatever.
| | 00:27 | So let's say I wanted to export
just this one StandingAround clip.
| | 00:32 | I can move the Work Area bar over so
that the end of it is lined up with the
| | 00:36 | end of this clip, and click and drag to
beginning so the beginning is lined up
| | 00:39 | with just this clip.
| | 00:40 | Now we can go to File > Export > Media.
| | 00:44 | It'll launch the Export
Settings dialog box, as before.
| | 00:47 | But now if come down here to our little
Timeline, we can see that's been cropped
| | 00:50 | a little bit, and our
Source Range is set to Work Area.
| | 00:53 | So if we wanted to, we can just
simply choose Entire Sequence from here.
| | 00:56 | But if we choose Work Area, then we can
manually go in and just export just this one section.
| | 01:01 | If we want to change it here in the
Export Settings dialog box, we can do that, too.
| | 01:04 | So if we decide to add
more to this, we can drag.
| | 01:08 | Now we're getting a live update in
that window there of where this is.
| | 01:12 | I can change at the right-
hand side here, that area.
| | 01:15 | So now we only export this particular section.
| | 01:18 | You can also, almost, set
in points and out points.
| | 01:21 | Let's say I want this to be end of
the Work Area that I'm going to Export.
| | 01:24 | I can click this little Out Point
triangle here, and that will force that point,
| | 01:28 | where my Current Time
Indicator is here, to be the Out Point.
| | 01:31 | If you're new to Premiere, this might
not be that important of a feature, but
| | 01:34 | as you start working in production
environment, you're going to want to do
| | 01:36 | little test sample renders and pass
them off to clients, or for your own
| | 01:41 | benefit maybe just like a little rough
cut, or a rendering of just a scene of a
| | 01:45 | certain like editing sequence.
| | 01:47 | So you're going to want to be able to
edit little pieces without rendering an
| | 01:50 | hour, or two hours worth of footage.
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| Rendering letterboxed footage| 00:00 | Sometime when you output video, you want
these black bars at the top and the bottom.
| | 00:04 | This is referred to as Letter Boxing.
| | 00:07 | We associate these bars with the
experience of going to a movie.
| | 00:11 | So it seems very cinematic.
| | 00:12 | So a lot of places, like I've been in lot
of film competitions, and they require
| | 00:17 | this letter boxing at the
top and bottom of your footage.
| | 00:19 | Some people hate it, but let me show you
how to do it, whether you like it or not.
| | 00:23 | So I'm going to select this
clip and actually delete it.
| | 00:25 | The way this is done is we're going
to take an HD clip, and this clip is
| | 00:28 | actually much wider than it is tall.
| | 00:31 | It's 1920 x 1080, almost
twice as wide as it is tall.
| | 00:36 | What I have here is a Standard NTSC DV sequence.
| | 00:39 | This is full screen regular standard
definition television here, 720 x 480, not
| | 00:45 | quite double as wide as it is tall.
| | 00:48 | So I put this footage
into my 720 x 480 sequence.
| | 00:52 | It's obviously way too big, but
I'm going to select the clip here,
| | 00:56 | then in the Effect Controls panel, open
up Motion, and take the Scale value and
| | 01:01 | click and drag to the left on this to reduce it.
| | 01:04 | Once we get to, in this case 35%,
it's going to be perfectly the right size
| | 01:09 | where we can see now all of our footage.
| | 01:12 | We get the top bars and bottom bars.
| | 01:14 | So we don't actually build those bars per se.
| | 01:17 | We just shrink our widescreen footage
down into a sequence that's not quite as
| | 01:22 | wide, and then it automatically creates
these bars at the top and bottom for us.
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17. Working with Other ApplicationsExamining the other apps that come with Premiere| 00:00 | It's good to know that when you
purchase Premiere, even if you just purchased
| | 00:03 | Premiere by itself, you actually get a
load of several other applications that
| | 00:08 | are very helpful as well.
| | 00:09 | One of those we have already talked
about is Adobe Bridge, which is a great
| | 00:13 | file browsing application, and as we have
talked about, it's a great file importer as well.
| | 00:18 | As you see a click that you
like, just double-click it.
| | 00:21 | If you have launched Bridge from Premiere,
all you have to do is double-click it
| | 00:25 | and you will import files.
| | 00:27 | To launch Bridge from Premiere, just
go to File and then Browse in Bridge.
| | 00:32 | Another very interesting application that
comes with Premiere is Adobe OnLocation.
| | 00:36 | This is a Capture program.
| | 00:38 | So if you hook up your camera to your computer,
| | 00:42 | let's say you have a laptop in the
field, you can actually record directly to
| | 00:46 | disk from OnLocation,
| | 00:48 | It's almost like capturing footage
with tape, except instead of capturing to
| | 00:53 | tape, you are recording directly to the computer.
| | 00:56 | So you don't have to worry about expensive
media and that type of thing for your camera.
| | 01:00 | Here in OnLocation, you can also create
a Shot List, and you could create a Shot
| | 01:04 | Placeholder, and you could
make your Shot List here.
| | 01:08 | Then as you shoot in the field, you
could link up what you have shot with these
| | 01:12 | empty placeholders to make
sure you don't miss anything.
| | 01:15 | It's here in OnLocation that you could
also add metadata to the clips that you
| | 01:18 | have recorded, so as you bring them
into Premiere from OnLocation, that you can
| | 01:24 | automatically search for certain
lines of dialog, and that type of thing.
| | 01:28 | There is a few Camera Calibration
tools, such as the Waveform and the
| | 01:31 | Vector Scope here, which allow you
to look at what your camera is looking
| | 01:35 | at, not through the Viewfinder, but
through a really intelligent analysis
| | 01:40 | of what's going on there.
| | 01:41 | So you can make the necessary changes.
| | 01:43 | There is, of course one, of
my favorite applications.
| | 01:45 | That's Adobe Encore.
| | 01:46 | Adobe Encore is a very high-end DVD
and Blu-ray authoring application.
| | 01:52 | It actually creates Flash video websites,
which are pretty cool, too, from the same project.
| | 01:57 | So I love Encore.
| | 01:59 | I do a lot of the Encore training on lynda.com.
| | 02:02 | So feel free to check out that application.
| | 02:04 | It's very easy to use.
| | 02:05 | If you have used Premiere, and you feel
even slightly comfortable with Premiere,
| | 02:09 | Encore will be a breeze.
| | 02:11 | And before you know it, you will be
making very complex DVD projects with
| | 02:14 | the drop of a button.
| | 02:15 | It comes with this huge library,
with several sets of different types of
| | 02:19 | Projects: already-made DVD, menus, and buttons,
and shapes, and all kinds of cool things.
| | 02:25 | So Premiere isn't just Premiere,
Premiere is this huge suite of applications,
| | 02:29 | even if you just buy Premiere by
itself, without Production Premium or the
| | 02:33 | Adobe Master Collection.
| | 02:34 | Now, one other application I want to
tell you about that's not really an
| | 02:37 | application technically,
| | 02:39 | it's called Adobe Story.
| | 02:40 | If you are in the video world, Video
Story might be a real benefit to you.
| | 02:45 | It's a new developing technology. It's free.
| | 02:48 | It's online.
| | 02:49 | You can find it here at
labs.adobe.com/technologies/story.
| | 02:54 | Basically, it's made for screenwriters.
| | 02:56 | It's made for the
preproduction phase of creating a video.
| | 03:00 | The intelligence behind this is that you
will create your script in Adobe Story.
| | 03:06 | Then you will take your Adobe Story
text, the script that you have created in
| | 03:10 | Adobe Story, you will be able
to take that into OnLocation.
| | 03:14 | Then when you are in OnLocation,
you could link up the clips with the
| | 03:19 | script from Adobe Story.
| | 03:21 | Then that script that you have written,
the dialog, that will stay attached to
| | 03:25 | those clips throughout the editing
process, and you could reference that
| | 03:28 | throughout OnLocation, throughout Premiere,
throughout Encore, throughout After Effects.
| | 03:32 | So Adobe is really trying to create a
very kind of futuristic workflow, where
| | 03:37 | everything is connected, and if you want
to find character or a prop or anything,
| | 03:42 | you can just do a Search, and
all that data will be in the clips.
| | 03:46 | It will be embedded in the metadata of the
clips, and that starts here in Adobe Story.
| | 03:51 | So while that does not
necessarily come with Premiere,
| | 03:56 | everybody has access to Adobe Story.
| | 03:58 | And as for right now, it's free.
| | 04:00 | I have seen this work, and
it's pretty intelligent.
| | 04:02 | It goes through your script, and it can
actually recognize different characters
| | 04:05 | by the formatting, based on
screenplay formatting, recognizes characters,
| | 04:09 | locations, and that type of thing.
| | 04:11 | It can organize the stuff and get you ready
to create a Shot List, and that type of stuff.
| | 04:15 | So it's a really great little
application, especially with that free price tag.
| | 04:19 | So anyways, just a little brief
introduction here to the other applications
| | 04:23 | that come with Premiere.
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| Working with Final Cut Pro| 00:00 | Premiere Pro CS5 adds the amazing
ability to both Import and Export
| | 00:05 | projects from Final Cut Pro.
| | 00:08 | Final Cut Pro is a video
editing application put out by Apple.
| | 00:12 | Yes, that Apple, the iPod Apple.
| | 00:14 | And Final Cut Pro is perhaps one of
the most, if not the most, popular video
| | 00:19 | editing software tool out
there on the market today.
| | 00:22 | So being able to Import and Export
projects from Final Cut makes you a lot more
| | 00:26 | versatile and useful, because if you
are working with an editor that works in
| | 00:31 | Final Cut, you can actually bring in
their project, and although it might not be
| | 00:34 | perfect, it's definitely a lot farther
along the way than it would have been.
| | 00:39 | So it makes you as a
Premiere user a lot more versatile.
| | 00:42 | So what I am going to do is I am
going to go to File > Export, with my
| | 00:45 | sequence selected here, Export, and I am going to
go, and I am going to choose Final Cut Pro XML.
| | 00:51 | Now, I have already done this here,
because it takes a little bit of time, so I
| | 00:53 | went over into Final Cut Pro, and in
Final Cut, you go to File > Import > XML.
| | 01:00 | Then you navigate to the XML created
for you by Premiere, which is in the Misc
| | 01:04 | Files folder, which is in the Media
folder, in the Exercise Files folder, in
| | 01:07 | the Exercise Files.
| | 01:08 | Go ahead and hit Cancel here.
| | 01:10 | And so here we see our same project,
all of our same clips and everything, here
| | 01:14 | in Final Cut, just like we saw in Premiere.
| | 01:17 | Now, there are some minor changes here.
| | 01:19 | For example, this B-roll_RideBy
clip was flipped in the other one.
| | 01:23 | I wanted them to be going from left to
right, kind of like a forward progressive
| | 01:26 | motion from the left side to
the right side of the screen.
| | 01:30 | So that is a little bit different,
because the effect used to flip this
| | 01:34 | horizontally is actually called
Horizontal Flip in Premiere, and that effect does
| | 01:37 | not exist in Final Cut.
| | 01:39 | So you have some issues like that,
where things do not quite carry over
| | 01:43 | perfectly. But that being said, all of
our video clips, audio clips, everything
| | 01:47 | came over intact, and so if we needed to
do some fine-tuning or tweaking here in
| | 01:51 | Final Cut, at least we got the project here.
| | 01:54 | Now, if you wanted to take your project
from Final Cut to Premiere, you could go
| | 01:58 | to File, and then you could go to Export,
and then you could go to XML, and Save
| | 02:04 | this as Final Cut XML, and
then bring it into Premiere.
| | 02:08 | So it's the XML file that we are exchanging.
| | 02:11 | Basically, the XML says that there are
these clips in these different places, and
| | 02:15 | here they go in the Timeline, and this
is how they are edited, and these are the
| | 02:18 | transitions that are used, et cetera, et cetera.
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ConclusionGoodbye| 00:00 | Well folks, I hate to say it, but this
is the end of the road, the sad end of
| | 00:04 | the training series.
| | 00:05 | I appreciate, very much, you sticking
around with me and watching this training
| | 00:08 | series, and even this crazy goodbye movie.
| | 00:11 | And on behalf of lynda.com, I am Chad Perkins.
| | 00:14 | Again, thank you so much for
watching, and best of luck in your
| | 00:18 | editing endeavors.
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