IntroductionWelcome| 00:00 |
(MUSIC).
Hi, I'm Abba Shapiro, and I'd like to
| | 00:07 |
welcome you to Adobe Premiere Pro
essential training.
| | 00:12 |
(MUSIC) In this course I'll take you
through the entire process.
| | 00:16 |
Creating a complete video program using
Adobe's most advance video editing
| | 00:20 |
software, Premier Pro.
>> I'm so excited to welcome you to our
| | 00:25 |
test kitchen.
>> I'll not only show you editing basics,
| | 00:28 |
but you'll see how to use Premier's robust
trimming tools to make precise cuts.
| | 00:33 |
You'll also see how to use the audio
mixing tool to create a perfectly balanced soundtrack.
| | 00:39 |
>> To learn how to make a amazing gluten
free.
| | 00:41 |
>> I'll show you some of the best
practices when importing pictures,
| | 00:45 |
graphics and Photoshop files.
And then I'll show you how to adjust and
| | 00:50 |
animate both video clips and photographs
to bring your program to life.
| | 00:55 |
We'll be covering all these basics, plus
plenty of other advanced techniques, such
| | 01:01 |
as creating the perfect chroma key, using
the ultra keyer, and smoothing out shaky
| | 01:06 |
footage with the warp stabilizer.
Now let's get started with Adobe Premiere
| | 01:12 |
Pro Essential Training.
| | 01:14 |
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| Using the exercise files| 00:01 |
If you're a premium member of the
Lynda.com library, you have access to the
| | 00:05 |
exercise files used throughout this
course.
| | 00:08 |
These files can be found on the Exercise
Files tab on the main course page.
| | 00:15 |
Now, I've placed the downloaded Exercise
folder on my desktop, so it's easier for
| | 00:21 |
me to access and show you where files are.
You can place this Exercise folder
| | 00:27 |
wherever it's appropriate on your system.
Now, once you open the Exercise files folder.
| | 00:33 |
You'll see there's a lot of folders
contained inside.
| | 00:36 |
Two main folders are the Media folder and
the Projects folder.
| | 00:40 |
The Projects folder contain projects that
you can launch for each of the chapters
| | 00:46 |
where appropriate.
And the Media will refer to all the media
| | 00:51 |
that you will use when following along
with the course.
| | 00:57 |
Now, to launch any of these files, you can
simply select them and open them by double
| | 01:03 |
clicking and that will not only launch the
application but that specific project.
| | 01:09 |
I'm going to show you a couple of things
that may occur depending on the system
| | 01:14 |
that you're using when you launch these
projects.
| | 01:22 |
In some cases, you may get a dialogue box
that may warn you when the project was
| | 01:27 |
last saved, there was an accelerated
graphics card available, and if you don't
| | 01:32 |
have accelerated graphics card.
It will inform you that it will use
| | 01:36 |
software and the CPU to process all your
real time effects.
| | 01:44 |
Let me close this project and open another
project to show another situation you may encounter.
| | 01:50 |
Another situation you may encounter may
look like this.
| | 01:57 |
In this case the graphics card or lack
thereof matches the system where this
| | 02:03 |
project was created.
However the project does not know where
| | 02:08 |
the media is located.
And more likely you're going to encounter
| | 02:13 |
this scenario.
Now, Premiere Pro allows you to reconnect
| | 02:17 |
the media very easily.
All you need to do is click on locate.
| | 02:24 |
You'll get a new dialogue box.
And I want you to locate your exercise
| | 02:28 |
files folder that you downloaded from
lynda.com.
| | 02:32 |
And simply press Search.
Premiere Pro will search that folder, and
| | 02:37 |
its sub folders, and when it finds the
missing clip, it will highlight it.
| | 02:43 |
You can select it, and say OK.
Premiere will then link up all associated
| | 02:49 |
missing media, that is found within that
folder.
| | 02:52 |
Now, if you don't have access to these
exercise files, you can follow along from
| | 02:57 |
scratch with your own assets.
| | 03:00 |
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| What is Premiere Pro CC?| 00:01 |
Adobe Premiere Pro is an application used
to edit, enhance and share video projects.
| | 00:06 |
Premiere Pro is used to import media from
video cameras, DSLR cameras, phones, and
| | 00:13 |
media on your hard drives.
With its sophisticated organizational and
| | 00:18 |
editing tools, it allows video
professionals and enthusiasts to realize
| | 00:23 |
their vision.
Whether you're cutting a commercial,
| | 00:26 |
training, a cooking show, or a family
video, Premiere Pro is a one stop solution.
| | 00:33 |
It allows you to easily combine video
clips, images, music, and voice to create
| | 00:41 |
Professional quality movies.
With titling and animation tools built
| | 00:46 |
directly in to the program, you can
achieve amazing results.
| | 00:50 |
You can effortlessly sync up multiple
cameras using their audio tracks, and then
| | 00:56 |
switch between footage from those cameras
on the fly.
| | 01:00 |
And when you're done, Premiere Pro can
export your video projects so they can
| | 01:06 |
easily be viewed on computers, over the
Internet, and on personal devices.
| | 01:11 |
Premiere Pro integrates seamlessly with
other creative cloud applications, like
| | 01:17 |
Photoshop, After Effects, and Illustrator,
for both video professionals and enthusiasts.
| | 01:23 |
Premiere Pro offers a sophisticated, yet
easy to use editing solution.
| | 01:29 |
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|
|
1. Up and Running with the Premiere Pro WorkflowWhy you should watch this fast-track chapter| 00:00 |
In this chapter we're going to very
quickly look at most of the steps you need
| | 00:04 |
to do to create a basic video.
It's for those folks out there that are
| | 00:08 |
just eager to just start editing.
So what we're going to do is very quickly
| | 00:12 |
cover everything and, then in the later
chapters, I'll go in to a lot more detail
| | 00:15 |
on each of these actions.
The first thing I want to do is play for
| | 00:19 |
you the video that we're going to create.
I'm going to simply go back to the head of
| | 00:23 |
the show, and press the space bar.
(MUSIC).
| | 00:33 |
>> Welcome to Delight Gluten Free Eats.
I'm Vanessa Weisbrod, executive editor of
| | 00:37 |
Delight Gluten Free Magazine, and I'm so
excited to welcome you to our test kitchen.
| | 00:41 |
My friend Ave.
>> So, as you can see, the things we're
| | 00:44 |
going to cover are basic editing.
We're going to put in some graphics.
| | 00:48 |
We're going to put in a title, and some
transitions, as well as music.
| | 00:52 |
And then, at the end, we're going to
export the video.
| | 00:56 |
The first thing I want to talk about
before we go into important footage is
| | 01:00 |
just the layout.
There are four primary windows.
| | 01:03 |
The lower left hand corner is your project
bin that has all the footage that you'll use.
| | 01:09 |
The upper left hand corner is your source
files, or where you are going to mark your outpoint.
| | 01:14 |
The upper right hand side is your final
show, and the bottom right hand corner is
| | 01:18 |
your timeline or the sequence of events
that you're going to cut together.
| | 01:24 |
Now that you have a sense of the
interface, and what the movie will look
| | 01:27 |
like when it's done, let's start our whirl
wind tour of editing video in Premier Pro.
| | 01:32 |
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| Importing media| 00:00 |
The first step when you start cutting
together any video is bringing your media
| | 00:04 |
into your project.
Now in this case I've already created the
| | 00:08 |
project and created a timeline.
Now, if you're just following along and
| | 00:13 |
watching that's okay.
If you're working with your own media
| | 00:16 |
you'll learn how to do all of these tasks
in the following chapters as we really dig
| | 00:20 |
in deep.
So, to import media, go ahead and click on
| | 00:24 |
the panel that says Media Browser and
we're going to dig down and find the
| | 00:29 |
footage that you downloaded with the
project files.
| | 00:32 |
Now, I've put all the media on the desktop
so, I have to dig down and find that.
| | 00:37 |
In this drop down window I can simply go
to my home directory, and then find my
| | 00:43 |
desktop, there's the folder that says
exercise files, the media, and then you'll
| | 00:49 |
see a folder called Chapter 1 Media.
If I step into this folder, there's my
| | 00:54 |
graphics, music, and video.
Now I've already organized them, and the
| | 00:58 |
nice thing about this I can simply select
all of them by drawing a box around them,
| | 01:02 |
right clicking and say import.
Now, there's a lot of different ways that
| | 01:07 |
you're going to be bringing media in
whether it's already on your computer or
| | 01:11 |
it could be on some sort of a video card
or even on tape.
| | 01:14 |
And again we'll explore that later on.
If you step over back into the Project
| | 01:18 |
pane, you'll see that all of these folders
have been imported and if I click on the
| | 01:23 |
little triangles I can see the contents
and that's what we'll be working with.
| | 01:27 |
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| Selecting shots| 00:00 |
Once you have all your media imported into
your project, it's time to actually take a
| | 00:05 |
look at it, and decide what part of each
clip that you want to put into your show.
| | 00:10 |
To load a clip from the lower left hand
corner of the project area, into the
| | 00:14 |
source area in the upper left hand corner,
you can simply double-click on any of the
| | 00:19 |
footage, and then move your mouse up, and
simply skim through it By dragging the
| | 00:25 |
play head, left or right.
You can also hit the Spacebar to play your video.
| | 00:31 |
Now, this is our opening graphic.
And, we're probably going to take that
| | 00:35 |
whole thing, and we'll look at bringing
that in a little later.
| | 00:37 |
But I'm actually going to go down, and
actually select part of one of my video
| | 00:41 |
sources that I want to import.
I'm going to go down to my video folder.
| | 00:46 |
Click on this little triangle here, to
show the contents of the bin, and we''re
| | 00:50 |
going to simply open up camera one, by
double clicking on it.
| | 00:54 |
Now if I hit the space bar to play this, I
see there's a little bit of extra media at
| | 00:59 |
the beginning while we're waiting for
Vanessa to start speaking.
| | 01:07 |
>> Action.
>> Welcome to.
| | 01:10 |
>> So that's the point that I want to
bring the video into my timeline.
| | 01:13 |
I'm going to back it up just a little bit.
And, I want to point out that, once you
| | 01:19 |
bring a clip into the timeline, you can
still refine your edit.
| | 01:22 |
And we're going to be doing that a little
bit later.
| | 01:24 |
Now I'm going to go ahead and mark it as
an end point.
| | 01:27 |
Now I'm going to use the keyboard shortcut
of i for in.
| | 01:32 |
But if you like to press buttons, you can
simply go over here and press Mark In.
| | 01:37 |
If you want to know what any of these
buttons do, simply float your mouse on top
| | 01:41 |
of them and Premiere Pro will show you
what that button does.
| | 01:46 |
Let me go ahead and play a little bit more
of this video and mark a point where I
| | 01:51 |
want to cut to my next shot.
>> Welcome to Delight Gluten Free Eats.
| | 01:55 |
I'm Vanessa Weisbrod, Executive Editor of
Delight Gluten Free magazine, and I'm so
| | 01:59 |
excited to invite you to our test kitchen.
>> So she's about to turn.
| | 02:03 |
I think that's a good place to make a cut.
And I'm going to press the O key to mark
| | 02:06 |
the out point.
Now, we're not looking at the entire clip
| | 02:11 |
on this timeline here.
We're only looking at a little part of it.
| | 02:14 |
And if I want to I can simply stretch out
the work area.
| | 02:18 |
Which gives me more of a 10,000 foot view
of my clip.
| | 02:21 |
If I can see both my endpoint and out
point.
| | 02:25 |
If I stretch this all the way to the end,
that's the first four minutes that we
| | 02:30 |
recorded and there's the first clip that
I'm going to bring in to my timeline.
| | 02:34 |
And as we continue to edit, we'll simply
open up the clip that we want, find the
| | 02:39 |
best place to start.
The best place to stop and mark in and out
| | 02:44 |
points and do it over and over again.
| | 02:47 |
| | Collapse this transcript |
| Editing to the Timeline| 00:00 |
Once you have selected your in and your
out point for your first clip, you're
| | 00:04 |
ready to bring it into your time line.
Now there is a lot of different ways you
| | 00:08 |
can bring clips into a timeline, you can
drag them, you can use keyboard short
| | 00:12 |
cuts, you can press buttons.
For now because we are going to edit
| | 00:15 |
kind of quickly, we're just going to mark
in and out points and drag them into our timeline.
| | 00:19 |
So I have my in and out point marked I'm
going to simply click.
| | 00:23 |
And drag and bring this clip into the
timeline.
| | 00:28 |
Now we can go back and play the out point
in our timeline.
| | 00:32 |
>>Light Gluten Free magazine and I'm so
excited to welcome you to our test kitchen.
| | 00:36 |
>>So, she's just about to turn and let's
go to camera three which is a close up of Vanessa.
| | 00:45 |
I'm going to look for the part of the clip
where she turns her head and introduces me
| | 00:49 |
and mark an in and an out point and bring
that into my timeline also.
| | 00:53 |
(SOUND) So there's the point where she's
turning her head.
| | 01:00 |
Now, remember I'm going to find this a
little bit later so if not quite matching
| | 01:05 |
the action, don't worry.
I'll mark an end point by pressing the I
| | 01:08 |
key again.
>> My friend Abba is here today to learn
| | 01:11 |
how to make an amazing, gluten free main
dish.
| | 01:15 |
>> So, that's a good enough chunk of
time, about three or four seconds.
| | 01:19 |
I'm going to simply press O to mark an out
point, and now I'm going to bring it down
| | 01:23 |
into my timeline.
You'll notice when I bring it to the
| | 01:27 |
Timeline, that there's a function called
Snapping so the clips will snap right to
| | 01:32 |
each other.
If for some reason they're not snapping on
| | 01:35 |
your computer, simply go over here to the
Magnet and click on it, or press the S key.
| | 01:41 |
Now let's see how that edit looks.
>> So excited to welcome you to our test kitchen.
| | 01:45 |
My friend Abba is here today.
>> I was pretty lucky on that, that's
| | 01:49 |
pretty spot on on the match.
The only difference is the audio doesn't
| | 01:53 |
match from one camera to the other.
And we'll look at fixing that in a
| | 01:57 |
subsequent movie.
Let's go ahead and bring in the third clip
| | 02:01 |
and then we'll bring in the title.
>> To learn how to make a amazing gluten
| | 02:06 |
free main dish.
>> So, if she's looking back at the
| | 02:09 |
camera, it's time to cut back to that main
shot.
| | 02:12 |
Once again, we'll double click to load
camera one.
| | 02:15 |
The wide shot Into our source panel.
And as you see, we still have the old in
| | 02:20 |
and out points marked, which is good,
because I know that she's going to come
| | 02:23 |
back to camera about right here.
There she is looking at the camera.
| | 02:29 |
I'll mark an in point, and as soon as I
press the I key, you'll notice that the
| | 02:34 |
original in and out points disappear.
I can press the Space Bar to play and
| | 02:39 |
watch her until she finishes her line.
>> The main dish.
| | 02:41 |
So we're making one of my favorite things
right now.
| | 02:45 |
And this is a honey-barbecued chicken
pizza.
| | 02:47 |
>> Wait.
>> I'll simply press O to mark an out-point.
| | 02:50 |
And once again, drag the clip to the
timeline.
| | 02:54 |
This time, I think we might not have as
good of a cut.
| | 02:58 |
>> Free main dish.
Free main dish.
| | 03:00 |
So we have a little bit of repeating
action there, and we'll learn to refine
| | 03:03 |
that in a later movie.
Now if I want to bring a clip in, in front
| | 03:09 |
of say another clip or this case at the
very beginning of my timeline.
| | 03:12 |
I can do that also by dragging and
dropping.
| | 03:16 |
Let's go ahead and load our opening
graphic called opening 1280 mp4 into our
| | 03:23 |
source monitor.
We're going to take the entire clip, so
| | 03:26 |
I'm not even going to mark an in and an
out point.
| | 03:28 |
And I'm going to drag it down to my
timeline.
| | 03:31 |
Now, if I let go at this point, it's
going to do an overwrite edit and actually
| | 03:35 |
replace the clip that's on the timeline.
But I don't want to overwrite the clip, I
| | 03:41 |
want to insert it.
And if you notice in the lower left-hand
| | 03:44 |
corner of the screen, you'll see that
Premier Pro actually will give you some
| | 03:49 |
tips on using modifier keys to change the
way the editing works.
| | 03:54 |
You see, it says command.
And that's going to change it from an
| | 03:58 |
insert to an overwrite.
Now, if you're on a Windows machine, you
| | 04:03 |
don't have a command key, but the tip will
tell you what key you need to use.
| | 04:09 |
I'm going to hold down the modifier key.
And you'll notice that underneath my
| | 04:12 |
cursor, the icon changes from pointing
down to pointing to the right.
| | 04:17 |
And now, when I let go of my mouse, it
will insert the opening clip and push
| | 04:22 |
everything down the timeline to allow it
to fit.
| | 04:25 |
Now, as I'm editing, I always go back and
play the previous clip, to the next clip,
| | 04:31 |
to see how the timing is.
>> Welcome to Delight Gluten Free Eats.
| | 04:37 |
>>Getting the clips on the timeline in the
right order is only the first step.
| | 04:43 |
The nexus rep is refining your edit and
making sure when you cut from shot to shot
| | 04:48 |
everything works smoothly.
| | 04:49 |
| | Collapse this transcript |
| Refining the edit| 00:00 |
>> Now that we have a few clips on our
timeline, let's take a look at the edit
| | 00:04 |
between shots three and shot four.
>> Amazing gluten free main dish, free
| | 00:10 |
main dish.
>> Now, as you can see, she repeats
| | 00:12 |
herself from the closeup and in the wide
shot.
| | 00:15 |
So I need to either trim off the end of
the first clip, or trim off the beginning
| | 00:19 |
of the second clip.
Now the audio doesn't match, but we'll
| | 00:23 |
explore refining audio in a later chapter.
And also you may not be cutting a scene
| | 00:30 |
that was shot with three cameras but the
techniques are pretty much the same of
| | 00:34 |
marking in points and out points and then
doing a fine trim in your timeline.
| | 00:39 |
The first thing I'm going to do is zoom in
on my timeline and I can do that by
| | 00:43 |
pressing the plus key just so that I don't
have to stare so closely at my monitor.
| | 00:48 |
I can actually finesse it without having
to use my new action.
| | 00:53 |
I'm going to go ahead and play it one more
time and make a decision where I want that
| | 00:57 |
edit to happen.
>> Gluten-free main dish, free main dish.
| | 01:01 |
>> I like the fact that she's turning to
the camera so I want to just trim off the
| | 01:05 |
end of shot number three, and I can simply
go down and place my cursor over the end
| | 01:10 |
of that clip and you'll notice that the
cursor changes and now I have a red roll
| | 01:15 |
edit tool and that allows me just to grab
the end of the clip.
| | 01:19 |
And drag it to the left, and I can shorten
it.
| | 01:23 |
So I'm going to pull it toward the left.
Right where she turns towards the camera,
| | 01:29 |
because cutting on action is always the
best point to make an edit.
| | 01:33 |
And then I'm going to go over to the next
edit and just see what her head's doing.
| | 01:38 |
And there it is, she's about to turn.
And I think that's going to be perfect.
| | 01:43 |
I have a huge gap here, and I can simply
grab the clip and slide it over to the
| | 01:47 |
left and let it snap closed.
Now remember if your clips don't snap make
| | 01:53 |
sure you turn on snapping by hitting the s
key.
| | 01:56 |
Let's see how the action looks and not
worry too much about the audio.
| | 02:00 |
>> Today, to learn.
To make an amazing, gluten free.
| | 02:03 |
>> We're pretty close there.
And I think, if the audio matched, it
| | 02:08 |
would be a perfect edit.
Now, if it wasn't quite right, I can
| | 02:11 |
always undo that by hitting Cmd+Z, or on a
Windows machine, Ctrl+Z.
| | 02:18 |
Or, if I was getting closer, I might want
to zoom in a little bit more.
| | 02:23 |
Use the Up or Down arrow keys to get to my
edit point and do the same steps to refine
| | 02:29 |
my edit.
Now we'll learn a lot more refining
| | 02:32 |
techniques later on in this course, but
for now this should give you a good idea
| | 02:37 |
of how to start fine-tuning your edit.
| | 02:41 |
| | Collapse this transcript |
| Adding transitions| 00:00 |
Now up until this point, it's pretty much
the proper order.
| | 00:03 |
You import clips, you mark the in and out
points, you bring them into your timeline,
| | 00:07 |
and you've finessed your timeline.
In the next movies I'm going to be doing a
| | 00:10 |
variety of steps that might happen in a
variety of orders.
| | 00:13 |
So don't worry if you put transitions in,
or you put graphics in, or you work with
| | 00:19 |
the audio at different points during your
edit.
| | 00:22 |
The bottom line is just understanding how
to do them.
| | 00:25 |
So, what we're going to do here, is we're
going to put a transition from the opening
| | 00:29 |
graphic to the opening shot.
Now, if I play this, it's relatively
| | 00:33 |
smooth by just watching it.
>> Welcome to Delight Gluten Free.
| | 00:37 |
>> But I want to smooth it out even a
little bit more, so we're going to put a
| | 00:41 |
dissolve in.
Now, the dissolve is the default transition.
| | 00:45 |
And we'll learn how to change that later
on tin the course, but I can do that by
| | 00:49 |
simply floating my mouse over the edit
point, right clikcing, and choosing the
| | 00:54 |
option of Apply Default Transitions.
In this case, it's simply going to put in
| | 00:59 |
a cross dissolve in, but I'll go ahead
press the Spacebar and see how it looks.
| | 01:05 |
(SOUND) Now that seemed to work very
nicely.
| | 01:11 |
If you want to put an different type of
transition in you can find them in the
| | 01:15 |
effects tab that's located right in the
same area as your project bin.
| | 01:20 |
There is a folder here called video
transitions and if I click on the triangle
| | 01:24 |
and open that up, you can see the variety
of transitions that you have available to you.
| | 01:30 |
So if you really didn't want to use the
dissolve, maybe you wanted to do some sort
| | 01:35 |
of a wipe transition.
I can simply select any of these
| | 01:40 |
transitions and drop it directly on the
timeline.
| | 01:43 |
Now, if I had a transition there already
it would replace it, but for now I'm going
| | 01:48 |
to go ahead and delete the transition that
I put on by simply making sure I have my
| | 01:53 |
selection tool.
I'm going to go here, and I want to select
| | 01:57 |
the transition, but I'm not quite zoomed
in enough to really be able to grab the transition.
| | 02:02 |
You see that my cursor has changed to that
ripple edit tool.
| | 02:05 |
I'm going to press the Plus key a few more
times, then I can use the Up and Down
| | 02:09 |
arrow key to find my transition.
And now it'll be easier for me to select
| | 02:14 |
the transition instead of doing a ripple
or a roll type edit.
| | 02:19 |
Once it's selected, I can press the delete
key and remove that transition from my timeline.
| | 02:25 |
Now let's go ahead and grab the barn doors
wipe and drop it directly onto my clip and
| | 02:31 |
see how that looks.
>> Welcome to Delight Gluten.
| | 02:36 |
>> As you can see, it's very simple to
drag and drop a transition into your timeline.
| | 02:41 |
If I really didn't like the barn door
wipe, I could just grab any other transition.
| | 02:47 |
We're going to get right on top of the one
that's already there and swap them out.
| | 02:51 |
>> Welcome to delight gluten
>> I like that a little bit better, and
| | 02:57 |
we'll explore how you can modify
transitions later on in this course.
| | 03:01 |
| | Collapse this transcript |
| Adding titles| 00:00 |
Now let's take a look at how you can put a
title in your program.
| | 00:03 |
In this case, we're going to identify the
host when she says her name.
| | 00:09 |
And to do this, we're going to use two
separate elements.
| | 00:11 |
We're going to use a prepared graphic,
with the bars, which is simply a Photoshop
| | 00:17 |
document, or a TIFF document.
And we're also going to use a pre-built title.
| | 00:23 |
If you go over to your Project folder,
you'll see that inside the Graphics folder
| | 00:28 |
is an item labeled Lower Third DGF, for
Delight Gluten-Free.
| | 00:32 |
If I double-click to load that into my
source monitor, I'll see two lines on top
| | 00:38 |
of a black background.
Now that black background is actually transparent.
| | 00:43 |
So when this graphic was built, they said,
there is no background, I can just lay it
| | 00:47 |
on top and I'll see whatever is below on a
lower track.
| | 00:52 |
To bring this clip into your timeline,
once again, simply grab it and drag it and
| | 00:57 |
instead of putting it onto track one,
you're going to put it onto track two.
| | 01:02 |
And when I let go of my mouse, and I'll
move my play head over a little bit, we
| | 01:06 |
can see those lines and we can see through
the graphic to the host introducing herself.
| | 01:14 |
Once we've done that we want to finesse
our lower third so it comes on right when
| | 01:19 |
she says her name.
And it will fade off when she's done.
| | 01:22 |
>> Gluten free eats.
I'm going to
| | 01:24 |
>> So that's pretty good, she's saying I'm
Vanessa, and since we're going to
| | 01:30 |
ultimately fade up, I actually want to
start a little bit early.
| | 01:34 |
>> I'm Vanessa Weissbrod, executive editor
of Delight Gluten Free magazine, and I'm so.
| | 01:39 |
>> And by the time she says and I want to
be out.
| | 01:42 |
So I'm going to grab the end of that clip
and drag it over to the left, and let it
| | 01:46 |
snap to where my playhead is parked.
Now I'm going to do the same thing with
| | 01:51 |
the next line, and this is actually a
title graphic, and if you scroll down
| | 01:55 |
you'll see there's a folder called titles.
Now, if you've been following along in
| | 01:59 |
creating your own timeline, you'll need to
open up the project file, 01_07, so you'll
| | 02:07 |
have the pre built title that I created.
Later on in this course, we'll learn how
| | 02:12 |
to create titles from scratch, but for
now, I just want you to get a feel for how
| | 02:16 |
you would build this.
I'm going to go ahead and Double Click it.
| | 02:20 |
Now the reason I did this is I want you to
see that if you Double Click on a Title,
| | 02:25 |
it actually opens it up in its own
separate window where you can modify it.
| | 02:31 |
In our case, it's perfect so I'm going to
go ahead and Close that window.
| | 02:35 |
Now instead of double clicking it to load
it into the source monitor, I'm going to
| | 02:39 |
simply grab it and drag it and drop it
into the source monitor and I can see
| | 02:44 |
exactly what it looks like.
Now, if I wanted to I could've grabbed it
| | 02:48 |
directly from the project pane and dragged
it into my timeline but let's keep
| | 02:53 |
following the same paradigm.
It already is positioned properly and
| | 02:57 |
everything is typed out.
So, I could simply grab it.
| | 03:00 |
Drag it and now put it on the third video
track and the line it up with the very
| | 03:05 |
beginning of the lower third and let go.
Now to make sure that there the same
| | 03:10 |
length, I'm going to zoom by pressing the
plus key.
| | 03:14 |
If you overshoot and need to zoom out a
little bit you can press the minus key.
| | 03:18 |
And I'll drag the edge so they'll both end
at exactly the same time.
| | 03:23 |
Now these will perfectly line up because
I've kind of pre-baked them for you, but
| | 03:28 |
one more thing that you may want to do is
fade in and fade out the titles.
| | 03:32 |
And as we learned in an earlier movie, you
can simply right-click and apply your
| | 03:38 |
default transitions.
So I'm going to put a fade out on both of
| | 03:41 |
those layers.
I'm going to stretch this out a little bit
| | 03:44 |
so I can see the beginning of my clip, and
do the same thing so they will fade on as
| | 03:50 |
she says her name.
Now let's take a look at the completed
| | 03:53 |
lower third.
>> Free eats.
| | 03:55 |
I'm Vanessa Weissbrod, executive editor of
Delight Gluten Free magazine, and I'm so
| | 03:59 |
excited to welcome you to I think that
timing and the fade in and fade out looks
| | 04:03 |
pretty good, and I'm ready to put more
titles in to my show.
| | 04:07 |
| | Collapse this transcript |
| Adding and adjusting music| 00:00 |
Now to flesh out our movie, and add a
little bit of excitement, I'm going to add
| | 00:04 |
some music to the beginning and let it
flow into the opening shot, and then fade
| | 00:08 |
it down so we can actually hear the host
and myself speak.
| | 00:14 |
If you look over in the Project pane,
there's a folder called Music.
| | 00:17 |
And once again, I can either double-click
it, or drag it into the source monitor.
| | 00:22 |
Or I can actually even right-click it, and
there's an option towards the very bottom
| | 00:27 |
of the drop-down menu that says open in
source monitor.
| | 00:31 |
And as you can see, this is the wave-form
of the audio file that I'm going to go
| | 00:35 |
ahead and bring into my show.
Let's briefly take a listen to the opening
| | 00:40 |
of the song.
(MUSIC).
| | 00:47 |
I think that's nice it sets the mood that
we're going to be making some sort of
| | 00:50 |
Italian dish.
I'm ready to bring it into my timeline.
| | 00:53 |
I can simply grab the audio wave form
here.
| | 00:57 |
And drag that down and drop that on to
track two.
| | 01:02 |
>> Now if you notice if I just dragged it
and let go, anywhere it might not be at
| | 01:05 |
the beginning of my show so I need to make
sure that I drag it all the way to the
| | 01:09 |
left Let's listen to how this sounds while
watching the video.
| | 01:16 |
>> (MUSIC) Welcome to Delight Gluten Free.
>> Well, I like the music but it
| | 01:25 |
definitely has to be lowered when Vanessa
starts speaking and I may want to raise
| | 01:30 |
the volume of her voice up a little bit
higher.
| | 01:35 |
This is very easy to do in Premiere Pro.
What I want to do is open up the audio
| | 01:41 |
tracks a little bit, or make them taller
so I can see the audio waveform.
| | 01:45 |
To do this, I can place my cursor directly
over where it say A1, and I'm simply using
| | 01:52 |
my scroll wheel.
And I'm making the track taller and now I
| | 01:56 |
can actually see the way form for Vanessa
and then I'm going to scroll down a little bit.
| | 02:02 |
So, I can see audio track two which is on
music and do the same thing.
| | 02:07 |
If I wanted to I could hold down the Shift
key and that would expand all of the
| | 02:11 |
tracks at the same time.
To see this a little better, let me adjust
| | 02:16 |
my window so we see more of our timeline
and less of the video.
| | 02:22 |
Now, depending on the resolution of your
computer screen, you probably can see both
| | 02:27 |
the audio tracks and the video at the same
time without having to change your layout.
| | 02:33 |
So as you can see, I now have my music and
I have my voice.
| | 02:37 |
And if I want to change the levels here,
all I have to do is hover my mouse between
| | 02:43 |
the left and right channel and I can
actually make them louder or softer by
| | 02:48 |
simply dragging my cursor up or down.
I'm going to go ahead and bring the audio
| | 02:54 |
down to where it says about minus 19 or 20
db.
| | 02:58 |
Db stands for decibels.
And if I go ahead and play that and look
| | 03:01 |
at my meters, now that's a little bit too
soft.
| | 03:05 |
I want to bring that up a little bit, just
so that the meters on the far right hit
| | 03:10 |
about minus 12 (MUSIC)
>> Now, you can simply guess, or you can
| | 03:16 |
actually do that while the music is
playing.
| | 03:19 |
I'll do the same thing to Vanessa's voice
because I want her to be a little bit
| | 03:23 |
louder, and I will do that while I'm
playing.
| | 03:25 |
I'm going to place my cursor on top of
that middle line Press the Spacebar, (SOUND).
| | 03:30 |
So, her voice is a little bit louder and
the music is good at the beginning, but
| | 03:42 |
when she starts to talk, I'm going to have
to put in what's called a key frame, or
| | 03:46 |
break the audio so it dips down underneath
her voice.
| | 03:51 |
I'm going to go ahead and press the
Backslash key.
| | 03:53 |
That will allow me to see my entire
timeline, and what I want to do is put
| | 03:57 |
what's called a keyframe right at this
point and break the line.
| | 04:02 |
Now if I continue to scroll a little bit
more to widen this out you'll see as I
| | 04:08 |
scroll down, in addition to seeing the
audio wave forms I also get two little arrows...
| | 04:14 |
And a button that allows me to add or
remove my key frames.
| | 04:18 |
So what I want to do is simply slide the
play head over here when we start fading in.
| | 04:26 |
And I want the music to start dipping
under right when we start seeing Vanessa.
| | 04:30 |
And I'm going to go over here to press
this button.
| | 04:32 |
Now, if the button is grayed out, make
sure that clip is selected, click on the
| | 04:38 |
little diamond, add a keyframe, and then
move the play head over a little bit, and
| | 04:43 |
you can click that button again, and now
you have two keyframes.
| | 04:48 |
If I want to lower my audio, you
definitely need two keyframes to create
| | 04:52 |
that ramp or that brick.
If you only have one keyframe, you'll
| | 04:55 |
bring the volume down for the entire clip.
I'll simply move my mouse over lower this dramatically.
| | 05:04 |
Oh I guess about minus 30 minus 35 db and
simply hit the Play button and see how it sounds.
| | 05:12 |
Well I think that's a little bit too soft
and probably a little too dramatic so let
| | 05:17 |
me go ahead and make it a little bit
louder.
| | 05:21 |
>> And see how it sounds next to her
voice.
| | 05:24 |
(MUSIC)
>> Welcome to Delight Gluten Free Eats,
| | 05:28 |
I'm Vanessa Wastebird, Executive Editor of
Delight Gluten Free Magazine.
| | 05:31 |
>> Now, I want to sneak the audio out, so
I'm going to bring it down to an absolute
| | 05:36 |
volume of 0 and I can do that by once
again.
| | 05:39 |
>> Putting in a keyframe, moving forward a
little bit, putting in another key frame
| | 05:45 |
and dragging that all the way to the
bottom to where is says minus infinity db
| | 05:51 |
and you'll see the music fades out.
>>I'm Vanessa (UNKNOWN) executive editor
| | 05:54 |
of delight gluten free magazine and I'm so
excited to welcome you to our test kitchen.
| | 05:59 |
>> If that seems a little too abrupt I can
simply drag that over to the right And it
| | 06:03 |
will fade out slowly.
>> Executive editor of the weigh gluten
| | 06:06 |
free magazine, and I'm so excited to
welcome you to our test kitchen.
| | 06:09 |
My friend ave.
>> Now, let me scroll over and adjust the
| | 06:13 |
height of the line a little bit, and the
location so we can see on track one, that
| | 06:19 |
the volume has gotten unusually loud,
because from that angle we just had a
| | 06:23 |
camera mic on.
>>Now ultimately I would actually replace
| | 06:27 |
that audio with clean audio from camera
one but for now I just want to reduce the
| | 06:32 |
volume level so it doesn't leap out when
I'm working on my rough cut.
| | 06:37 |
Again to do that I would simply grab the
line over here and pull it down and take a listen.
| | 06:43 |
>> To our test kitchen, my friend.
>> So that's pretty loud, let me bring it
| | 06:48 |
down a little bit more.
If you can't quite grab it, go ahead press
| | 06:51 |
the Plus key to zoom in.
And we'll bring that down to about 13 and
| | 06:55 |
see what that sounds like.
So that actually kind of smooths it out a
| | 07:02 |
little bit And I want this audio here to
match with this audio here.
| | 07:07 |
So I'll simply visually grab that and
bring that up so I can kind of see where
| | 07:11 |
it is.
Hit Play Back.
| | 07:13 |
And we'll learn how to finesse that audio
so that it matches later on in the course.
| | 07:22 |
As you can see, adding music to a program
is pretty simple.
| | 07:27 |
It's just dragging it to an unused track,
adjusting the volume, and fading it out
| | 07:33 |
when necessary.
| | 07:33 |
| | Collapse this transcript |
| Outputting your show| 00:00 |
Once you've finished your program, you're
ready to export it so you can deliver it
| | 00:05 |
via the web, or to a disk, or to tape.
To export any finished video, make sure
| | 00:11 |
that your time line is selected.
Simply go up to the File menu, press
| | 00:16 |
Export media, and you'll be presented with
a dialogue box from Adobe Media Encoder.
| | 00:22 |
Now, you can export your video exactly to
match your sequence, same frame size, same
| | 00:28 |
frame rate, same codec by simply clicking
Match Sequence Settings or you could
| | 00:33 |
re-encode it for a variety of different
devices or locations.
| | 00:38 |
First thing you would do is choose what
format.
| | 00:40 |
So in this case, we're going to choose
H.264 because we're going to the web.
| | 00:45 |
And then you're presented with a dialog
box.
| | 00:47 |
And you can target the specific device
that you'll want to play your movie on.
| | 00:52 |
In this case, let's go ahead and choose an
iPad or an iPhone, version 4 or newer.
| | 00:59 |
Once you have that done, go to the lower
left-side.
| | 01:01 |
Make sure that you've switched from
sequence in to out, to the entire
| | 01:06 |
sequence, if you want to export your
entire movie, and simply press the Export key.
| | 01:13 |
If you want to export multiple movies at
the same time, instead of pressing export,
| | 01:18 |
you could actually hit the Q key so you
could queue them up and get back to work
| | 01:22 |
in Premier Pro.
| | 01:23 |
| | Collapse this transcript |
|
|
2. Getting StartedLaunching the application for the first time| 00:01 |
Before you can start editing you're going
to have to launch the application.
| | 00:04 |
So let's take a look at what happens the
first time you launch Premiere Pro.
| | 00:09 |
I'm going to go ahead and launch it from
my dock because I'm on a Macintosh.
| | 00:14 |
On a Windows machine you may launch it
from your task bar.
| | 00:17 |
Or in either system directly from your
applications folder.
| | 00:21 |
Now when you launch Premiere Pro the first
thing you'll be greeted with Is this
| | 00:25 |
welcome screen.
And if you've been playing around with
| | 00:28 |
Premiere prior to watching this course,
you may have some projects listed under
| | 00:33 |
Recent Items.
If this is absolutely the first time you
| | 00:37 |
launched the application, that will be
blank.
| | 00:40 |
Now in the upper left-hand corner there is
an option for syncing your settings to the
| | 00:45 |
creative cloud.
If you've already synced your settings, or
| | 00:49 |
you've already logged in, your name will
be here.
| | 00:52 |
But the first time you launch, it's going
to ask you to put your email address and
| | 00:58 |
your password that you use when you
subscribe to the cloud.
| | 01:02 |
Once you do that, it will log you in.
And many of the custom settings that you
| | 01:07 |
create within Premiere will have a
duplicate on the cloud, allowing you to
| | 01:12 |
launch Premiere from almost anywhere in
the world that you have internet.
| | 01:17 |
And work with Premiere just like you would
be working with your desktop or laptop at
| | 01:23 |
your home or office.
Now if somebody else is logged in already,
| | 01:28 |
you can just go to use settings from a
different account and then log in with
| | 01:33 |
your user and password.
Now of course you can open previous
| | 01:38 |
projects from within Premiere with the
open projects folder or you can just
| | 01:42 |
double-click on any projects that already
exists in your hard drive.
| | 01:46 |
We're going to create a new project and
when you do that you're greeted with the
| | 01:51 |
following new project screen and there's
really only a few things you need to know
| | 01:55 |
about this before you can hop in and start
editing.
| | 01:57 |
The first thing is give your project a
title.
| | 02:00 |
You can't have 2,500 projects all named
untitled in your computer or else you're
| | 02:06 |
going to get confused.
We're learning how to cook a gluten-free
| | 02:10 |
pizza in this project, so I'm going to
name that delight gluten-free pizza.
| | 02:16 |
And by default, Premiere likes to store
your project files inside you documents folder.
| | 02:22 |
But you can change that.
I'm going to actually store them in a
| | 02:25 |
projects folder in my desktop.
I'll simply hit browse, go to my desktop,
| | 02:33 |
choose that projects folder.
And you'll notice that now it's updated.
| | 02:39 |
And that's where my project will reside.
The next choice you may need to make is do
| | 02:45 |
you just want to use the CPU and the RAM
in your machine to give you real time playback?
| | 02:51 |
Or perhaps you might have a video card
that allows you to accelerate playback for
| | 02:57 |
less rendering.
Depending on what type of video card you
| | 03:00 |
have in your machine, you may never need
to render with Premiere Pro.
| | 03:05 |
Let me go head and choose my video card.
And if I choose a video card that hasn't
| | 03:11 |
been certified by Adobe.
I can still try to use it anyway, and the
| | 03:17 |
reason a card might not be certified is
perhaps it's too new and they haven't had
| | 03:22 |
a chance to test it or it's so old that
it's not worth their time to see how well
| | 03:28 |
it works.
Basically I always turn this on, and if
| | 03:32 |
the card you have can make things playback
faster and in real time...
| | 03:37 |
All the better.
These other choices can be changed anytime
| | 03:42 |
during the editing process.
But I do want to point out that, next to
| | 03:45 |
general, you have your scratch disks.
Again, by default, Premiere likes to store
| | 03:50 |
things with the project file.
So all of these are going to be stored in
| | 03:55 |
that folder that I just targeted, which is
great, because it's going to help me clean
| | 03:59 |
house when I'm done.
If for some reason my workflow demands
| | 04:03 |
that I save, for instance, my media to an
external media drive, I can target them
| | 04:09 |
individually by just clicking and choosing
a custom location.
| | 04:15 |
Let's go ahead and press OK and launch the
Premiere Pro interface.
| | 04:20 |
Before we start editing I do want to point
out that in the lower left hand corner of
| | 04:24 |
the screen is where you would access your
sync settings.
| | 04:27 |
And these are the same sync settings that
we were greeted with in the opening
| | 04:31 |
dialogue box.
So if you didn't change them then, you can
| | 04:35 |
change them now.
And if you want to manage how Premier Pro
| | 04:39 |
handles your sync settings, and what it
actually synchs, you can go in and choose
| | 04:45 |
whether you want to have your settings,
your layouts, and your shortcuts all
| | 04:49 |
synced to the cloud so access them.
Are only some of those elements.
| | 04:55 |
And, of course, if you're sharing your
machine, you may want Premiere to
| | 04:58 |
automatically clear your settings when you
quit the application.
| | 05:02 |
Let me go ahead and press the okay button
and close that dialogue box.
| | 05:07 |
And now you know what you're going to be
greeted with when you launch Premiere Pro.
| | 05:12 |
| | Collapse this transcript |
| Touring the interface| 00:00 |
In this movie, we're going to take a quick
tour of the interface.
| | 00:04 |
Now there's two things I want to point
out.
| | 00:06 |
First, your screen may look a little bit
different than mine because I'm recording
| | 00:10 |
this at a lower screen resolution than
probably you have.
| | 00:14 |
So you may see more audio tracks, and the
icons may be a little bit smaller, and you
| | 00:18 |
can see more of them, for instance, in the
lower left hand side.
| | 00:23 |
Another reason things may look a little
bit different is if you've been playing
| | 00:26 |
around with Adobe Premier and using it to
edit a show, you may have changed the
| | 00:30 |
screen layout.
Well I can change the resolution of my
| | 00:34 |
screen and still have you be able to
understand and view it, but we can put us
| | 00:38 |
all in the same starting point, and to do
that you're going to go up to Window > Workspace.
| | 00:44 |
Editing should be checked, and then you're
going to go ahead and reset your current
| | 00:48 |
workspace through the default for editing.
On the Macintosh, it's Option+Shift+0.
| | 00:56 |
Simply say yes to this dialog box and your
screen will reset to the default layout.
| | 01:03 |
So I was already at the default layout so
there was no change in my screen, but
| | 01:07 |
yours might have updated.
Now let's go ahead and take a tour of the interface.
| | 01:12 |
In the upper left hand corner is the
source monitor, and that's where you're
| | 01:17 |
going to be placing clips and deciding
what part of the clip going into your show
| | 01:20 |
and marking in and out points.
Going around clockwise is the program
| | 01:26 |
monitor on the right side.
This is where our final show will appear.
| | 01:30 |
So if you do any kind of graphics, or
color correction or effects, you'll see
| | 01:36 |
them on top of your clips.
Directly below that, is the timeline, and
| | 01:40 |
you can have one or more sequences in this
area.
| | 01:45 |
Now, a timeline and a sequence, I'll be
using those terms almost interchangeably.
| | 01:48 |
It's basically a graphically view of your
show from beginning to end.
| | 01:54 |
Now, I'm going to go ahead and with this
window selected, press the back slash key,
| | 01:59 |
and it will actually allow me to view my
entire timeline.
| | 02:03 |
So, here I basically see a graphical
representation of the beginning, middle,
| | 02:07 |
and end of my program.
We'll go into a lot more detail about this
| | 02:12 |
in later lessons.
Finishing out the four main windows, is in
| | 02:16 |
the lower left, is your project file.
And this is where you access all of the
| | 02:20 |
media that you'll use to cut together your
program.
| | 02:24 |
There are also two smaller windows that
you're going to take advantage of.
| | 02:27 |
On the far right side are audio meters.
If I go ahead and play the program, and
| | 02:33 |
I'll do this by simply pressing the
Spacebar, you'll see the audio levels rise
| | 02:36 |
and fall based upon the volume of the
speaker and the music.
| | 02:41 |
>> And I'm so excited to welcome you to
our test kitchen.
| | 02:44 |
>> In between the timeline and the project
panes is a really thin window that has
| | 02:50 |
your toolbar.
Now these are all the different tools that
| | 02:53 |
you can use when cutting your show.
Now if you've used a word processor,
| | 02:57 |
you're already familiar with tools that
when you click on them allow you to do
| | 03:01 |
different things in a program.
In this case, it's everything from
| | 03:05 |
selecting a clip to cutting a clip to
moving a clip around your timeline.
| | 03:10 |
Again, we'll look at each of these buttons
in more detail as we need them throughout
| | 03:15 |
the course.
Now, you may have noticed that in each of
| | 03:19 |
these 4 primary panes, there is some
additional tabs; such as, a media browser,
| | 03:24 |
info about your clips, and effects drop
down pane and if I go up to the upper
| | 03:28 |
level, you can see effects controls.
An audio clip mixer, and so on.
| | 03:33 |
What's more important to notice is this
thin bar.
| | 03:36 |
If you're working on a lower resolution
screen and everything is kind of squeezed
| | 03:41 |
together you may run out of space for all
of these tabs.
| | 03:44 |
If you grab this bar and you slide it
right or left you can actually see all of
| | 03:48 |
the tabs that would normally be in that
pane...
| | 03:52 |
Now, we're going to explore most of these
throughout the course.
| | 03:55 |
So I'm not going to go into what each one
of these tabs do.
| | 03:59 |
Finally, switching back to the source
window as well as you can see in the
| | 04:03 |
program window, there is a series of
buttons below your video.
| | 04:07 |
These buttons are much like the buttons
you would find on your dvd player or even
| | 04:11 |
you're streaming box.
You can hit play, fast forward, rewind,
| | 04:16 |
jump to the beginning of the show, the end
of the show as well as additional editing
| | 04:20 |
tools such as marking in and out points.
And now you should have an overall sense
| | 04:26 |
for the default interface for Premiere
Pro.
| | 04:29 |
| | Collapse this transcript |
| Customizing windows and panels| 00:00 |
One thing I really like about Premiere
Pro's interface is the ability to
| | 00:04 |
customize it to the way that I like to
work.
| | 00:07 |
I can very easily adjust the size of the
windows and move the individual tabs to
| | 00:12 |
different panels.
Let's take a look at how that would work.
| | 00:15 |
If I place my cursor between any 2 windows
or any 2 pains, I can simply slide them up
| | 00:21 |
or down.
So if I needed more real estate in my
| | 00:24 |
timeline because I had lots and lots of
layers or lots and lots of tracks, it's
| | 00:28 |
very easy for me to adjust that by just
clicking and dragging.
| | 00:31 |
I can also do the same thing between
windows left and right, let me go ahead
| | 00:36 |
and move this down a little bit.
And as you can see, if I need more or less
| | 00:40 |
space, I can simply move these around and
adjusted to exactly the size that I want.
| | 00:46 |
If I was working on audio and I wanted my
meters to be really big, I simply would
| | 00:51 |
stretch them out.
This is really good if you're doing any
| | 00:54 |
kind of 5.1 surround sound or multiple
track editing.
| | 00:59 |
Now, in addition to being able to resize
each of the individual panes, I can also
| | 01:05 |
not only just select this tab but I can
relocate them.
| | 01:09 |
So, for instance, if I'm used to having
all of my media that's in my project pane
| | 01:14 |
in the upper left hand corner of my
screen, I can simply grab it and drag it
| | 01:19 |
and drop it into that area.
I want you to note that depending on where
| | 01:23 |
you like go you're going to get a
different result.
| | 01:25 |
I can drag it to the middle and if you
notice you'll see a purple highlight dead
| | 01:29 |
center or I could actually drag it to each
of the edges.
| | 01:33 |
Now if I drag it to the middle and let go
what happens is that tab now gets moved.
| | 01:40 |
Into the panel in the upper left hand
corner.
| | 01:42 |
And in an earlier video we learned that
this slider allows us to see all of the
| | 01:47 |
tabs in the panel in case you have more
tabs than the panel will reveal.
| | 01:53 |
Now, what would happen if I grabbed it and
dragged it and put it into one of the corners.
| | 01:57 |
Let me go ahead, click on this, bring it
back to where it was originally.
| | 02:01 |
And you'll notice that when I dragged it
back it didn't immediately jump to the
| | 02:05 |
left side where it was before, it actually
went to the very end of that pane.
| | 02:09 |
Well, I can rearrange any of these tabs
simply by dragging them left and right,
| | 02:14 |
and positioning them exactly where I need
them to be.
| | 02:18 |
Now if I took and dragged it Into the
upper left hand corner but instead of
| | 02:22 |
dropping it in the middle I dropped it
either on the top or say the left side
| | 02:26 |
I'll get a different result.
By dropping it onto one of these flaps, I
| | 02:31 |
actually create a new pane, so now I have
two adjacent elements and that might be an
| | 02:37 |
easier way for me to work, so when you
drop something in the center it adds that
| | 02:41 |
tab to the pane.
And if you drop any of the flaps, it will
| | 02:45 |
create a new pane.
Now, if I did that by accident, I could
| | 02:48 |
simply grab it, drag it over, and drop it
on here, and we can get the result that we anticipated.
| | 02:54 |
Not only does this work with your four
primary panels, you can do this with,
| | 02:59 |
both, the audio panel, as well as the tool
panel.
| | 03:04 |
So, for instance, if I grab the tool panel
and drag it all the way to the top, and
| | 03:08 |
see that thin little flap.
When I let go, I now have a wonderfully
| | 03:12 |
large space where I can easily find my
tools.
| | 03:15 |
Now of course, that's not what I would
really do.
| | 03:17 |
I would actually grab this, and re-size
it, so now all my tools are in the top
| | 03:22 |
part of my user interface.
A lot like some of the word processing
| | 03:26 |
programs you might already be using.
Now, I'm working on a single screen, but
| | 03:31 |
this becomes very valuable if you have a
dual screen, or dual monitor setup.
| | 03:35 |
You can set up your interface exactly how
you like it.
| | 03:39 |
Now once you've created the perfect
interface for your needs, simply go over
| | 03:43 |
to Window > Workspace, and select New Work
Space.
| | 03:49 |
Give it the name that you want and press
Okay.
| | 03:53 |
I'm going to go ahead and cancel this so
that for the rest of the course your drop
| | 03:57 |
down menu will match mine.
In addition to creating new Workspaces, as
| | 04:02 |
you can see, there are seven preset
workspaces, that are already defined for
| | 04:07 |
basic editing needs.
Some of these are audio, or color
| | 04:10 |
correction, working with effects, or even
working with metadata.
| | 04:14 |
Primarily, you're going to be using the
editing workspace, and if you like to go
| | 04:19 |
back in time, you could use the 5 5
layout.
| | 04:24 |
I would only do that if you're going out
to play pong at the video arcade.
| | 04:28 |
So, let's go ahead and reset to the
default work space for editing.
| | 04:33 |
The keyboard shortcut for this on a Mac
would be option shift 0, and on a Windows
| | 04:40 |
machine, it would be alt shift 0.
You'll see a dialog box that asks do you
| | 04:47 |
really want to reset your windows, so you
don't actually do this by mistake.
| | 04:51 |
We'll click Yes and return to our default
setup.
| | 04:54 |
| | Collapse this transcript |
| Choosing your editing style| 00:01 |
The good thing about premiere Pro is
there's five or six ways to do everything.
| | 00:05 |
The bad thing about Premiere Pro is
there's five or six ways to do everything,
| | 00:10 |
and that can be a little bit confusing.
In this video, I'm going to show you
| | 00:15 |
examples of the different ways you can
drive Adobe Premiere Pro.
| | 00:20 |
The first thing we're going to do is bring
a new clip into our Swiss monitor.
| | 00:24 |
And we'll go down to the project folder.
And I want you to take a look at something.
| | 00:27 |
I can look at the clips and folders in my
project panel.
| | 00:31 |
Either as icons or in a more traditional
view such as a list.
| | 00:35 |
And to do that I'm going to simply click
on this list View button.
| | 00:40 |
So, the first way to drive is clicking on
buttons, and you'll see there's buttons
| | 00:44 |
all over the screen, whether they're at
the bottom of the project panel or at the
| | 00:49 |
bottom of your source or program panel
such as Play, Rewind, go to your end point.
| | 00:56 |
And one thing I love about the buttons is
that when I hover my mouse over any of them.
| | 01:01 |
I'll get a tool tip that tells me exactly
what that button does.
| | 01:04 |
It also tells me a keyboard shortcut.
But first, let's go ahead and select a
| | 01:11 |
clip that we want to bring into our source
monitor.
| | 01:15 |
Now, as you see, I have a small amount of
space because of my screen real estate and
| | 01:19 |
one of the coolest things I found in
Premiere Pro Is that if I press the Tilde
| | 01:23 |
key, it will actually enlarge whatever
window my mouse is hovering over to full screen.
| | 01:29 |
And this is awesome if I want to just
quickly find something and then shrink it
| | 01:34 |
back down again.
Now, let's say I want to grab one of my
| | 01:38 |
graphics at the very bottom of the screen.
I can simply click on the triangle and
| | 01:43 |
that will open up and I'm going to use the
scroll wheel on my mouse to take a look at
| | 01:47 |
the contents.
Now if I press the Tilde key again it
| | 01:51 |
shrinks back down to its original
location.
| | 01:54 |
In addition to using the scroll wheel on
your mouse you could grab the slider to
| | 01:58 |
the right side of any panel, define the
specific item that you're looking for.
| | 02:02 |
Lets go ahead and grab The wide shot from
camera 1, I'm going to simply grab
| | 02:09 |
PizzaO1-A-WS.mov and just for your
reference, that's how I've labelled my
| | 02:12 |
shots and cameras, Pizza being the show,
O1 being the scene, A being the camera and
| | 02:21 |
then I had a note to myself WS because
that's a wide shot.
| | 02:25 |
Now I can grab and simply drag it to the
upper left hand window and let go.
| | 02:29 |
And the clip will now appear in that
window.
| | 02:32 |
Now once I'm in that window, and I want to
play the clip, so if I wanted to scrub
| | 02:37 |
through the clip I can simply grab the
yellow play head indicator, and move it
| | 02:41 |
left to right to find the part of the
scene that I want to work with.
| | 02:44 |
>> If I wanted to just play the clip, I
could simply hit the Play button like I
| | 02:52 |
would On a DVD player.
>> Absolutely.
| | 02:55 |
It's a great task for kids.
This dough is so.
| | 02:57 |
>> Or, I could press the Spacebar, to
Start and Stop playback.
| | 03:02 |
Now, in addition to being able to drag
things around, there's other ways to drive
| | 03:08 |
Premiere Pro.
As you noticed when I want it to play I
| | 03:12 |
could hit the space bar.
Well, there's a lot of keys on the
| | 03:14 |
keyboard that are actually short cuts for
a lot of the actions that you would do
| | 03:18 |
with the mouse.
For instance, if I want it to play
| | 03:21 |
backwards I could hit the J key (NOISE) or
if I wanted to fast forward I could double
| | 03:28 |
tap the l key.
(NOISE) And race through my clip.
| | 03:33 |
Now we'll look at a lot of keyboard
shortcuts as we go through this course but
| | 03:36 |
I wanted you to be aware that if you like
to use keyboard shortcuts you can use them
| | 03:41 |
in Premiere Pro.
You can also use what's called contextual menus.
| | 03:45 |
And you get to those by simply right
clicking on specific areas of your screen.
| | 03:49 |
So for instance if I right clicked on a
clip.
| | 03:53 |
In my project panel I would get a drop
down window of all the things I could do
| | 03:57 |
with that clip.
If I right-click in a different area of
| | 04:01 |
the interface I would get a slightly
different drop down window.
| | 04:05 |
So if you get a little bit lost and you're
not exactly sure how to do something, try
| | 04:10 |
right clicking or Ctrl + Clicking if you
don't have a two button mouse to see what
| | 04:15 |
options might be available to do to that
item in the drop down window.
| | 04:20 |
And speaking of drop-down windows, you'll
also notice there's an area on the upper
| | 04:24 |
right hand corner of many of the panes
which also have drop-down windows.
| | 04:29 |
Now these aren't right-clicking.
This is just clicking on the icon and,
| | 04:32 |
again, and this will allow you to modify
the pane, change the contents of what
| | 04:37 |
you're viewing in that window.
Or at overlays to help you with your edit.
| | 04:43 |
We'll find a similar menu at the bottom of
the source and program monitors where
| | 04:47 |
you'll see a small wrench.
By clicking on the wrench, you'll bring up
| | 04:51 |
the same drop down menu that we saw in the
upper right hand corner.
| | 04:56 |
And of course, you can always go to any of
your main menus at the top of the screen
| | 05:01 |
to perform many of the actions that you
would do with the keyboard shortcut or by dragging.
| | 05:06 |
If an element is grayed out, that means
that you can perform that action in the
| | 05:11 |
window or pain that you're in or with the
clip that you have selected.
| | 05:16 |
And to quickly review, Some of the
different ways your can drive Premiere Pro
| | 05:20 |
you can double click in this case we've
loaded a clip that starts off that's black.
| | 05:25 |
I can simply click and drag.
I could right click to open it up or use a
| | 05:30 |
keyboard shortcut.
And when I'm ready to edit I can simply
| | 05:34 |
either drag it from the left window to the
right window.
| | 05:37 |
Drag it down to the timeline and place it
exactly where I want it to go, or I can
| | 05:42 |
even use a keyboard shortcut or button
such as, Period or Comma to do insert and
| | 05:49 |
over write edits.
What's important to remember is the
| | 05:52 |
flexibility of being able to edit the way
that you want, whether it's clicking and
| | 05:56 |
dragging, keyboard shortcuts or drop down
menus, as long as you get the job done.
| | 06:02 |
And the program finished.
It's a success.
| | 06:04 |
| | Collapse this transcript |
| Understanding system requirements| 00:00 |
Now, a big question is, how can I make
Premiere Pro run better on my machine?
| | 00:06 |
Well understanding how Premiere Pro uses
the resources in your machine, will give
| | 00:10 |
you a head start.
The first thing you might have heard is
| | 00:13 |
something called the Mercury Playback
Engine.
| | 00:16 |
And that sounds very confusing.
It's like, is that a physical object?
| | 00:20 |
And, the truth is no, the Mercury Playback
Engine is actually a combination of
| | 00:24 |
several items in your computer.
It's a combination of how Premier Pro uses
| | 00:30 |
the ram that you have, the processor, or
processors that are in your system, as
| | 00:36 |
well as the video card.
Now let's take a look at the system I am
| | 00:40 |
working on.
Now, we're on a Mac, so I can find out the
| | 00:43 |
details about my system under about this
Mac.
| | 00:47 |
You can find out similar information on
your PC, and the first thing I want to
| | 00:52 |
look at is memory.
Now, this system has eight gigabytes of memory.
| | 00:56 |
That's okay, but the more memory you have,
the more memory Premiere will take
| | 01:02 |
advantage of.
And that's one essential part of the
| | 01:05 |
Mercury Playback Engine.
It loves memory, and unlike older
| | 01:08 |
software, which usually had an upper limit
of using only four gigabytes of ram.
| | 01:12 |
The more ram that you throw at it the more
RAM it will use, so you can use an 18 16
| | 01:16 |
32 64, even up to 192 gigabytes of RAM and
it will leverage that.
| | 01:23 |
Now personally I think investing in 192
gigabytes of ram might be a little excessive...
| | 01:27 |
But I like to use 12 or 16 GB of RAM, and
some machines come direct from factory
| | 01:34 |
with 32 GB of RAM installed.
In this case more is better.
| | 01:39 |
The next thing to keep in mind are the
processors.
| | 01:42 |
Now you can have dual core processors and
quad core processors and multiple of these processors.
| | 01:48 |
The more processors you have and the
faster these processors run, the more
| | 01:52 |
robust performance you'll get out of
Premiere Pro.
| | 01:56 |
The third part of the equation is your
video graphics card.
| | 02:00 |
Over time, these cards have gotten faster
and they have their own memory installed.
| | 02:06 |
You may here the term GPU, or graphics
processor unit, to determine the speed of
| | 02:11 |
the card.
And since each of these cards has memory,
| | 02:14 |
it may be 512 megabites, or a gigabite, or
two gigabites, the more RAM that the video
| | 02:22 |
card has and the faster it is The more
real time playback you're going to get
| | 02:27 |
from your machine.
So how can you leverage this knowledge to
| | 02:31 |
make your current machine faster?
Well, the first thing you can do is add
| | 02:35 |
more RAM.
If you can swap out from say 8 to 16,
| | 02:40 |
you'll see a performance increase right
there.
| | 02:42 |
You can also swap out the video card in
many desktops and some laptops.
| | 02:47 |
And again, the faster the video card, the
more responsive the application's going to be.
| | 02:52 |
Of course, a brand-new computer is always
going to be faster, but these are some
| | 02:56 |
ways that you can get some more mileage
out of your current systems.
| | 03:00 |
| | Collapse this transcript |
| Adjusting some basic user preferences| 00:00 |
In this video we're going to look at
adjusting some basic user preferences.
| | 00:05 |
Not a lot just to give you an idea of
where you will find your preferences to
| | 00:08 |
change and a couple things I think you
should change to make your life a little easier.
| | 00:13 |
Now on a Macintosh you'll find your
preferences located directly under the
| | 00:16 |
word Premiere Pro in the drop down menu
and if you're on a Windows machine it
| | 00:21 |
would be located under the edit menu at
the very bottom of the list.
| | 00:25 |
Let me go ahead and open up the
preferences and it really doesn't matter
| | 00:28 |
which one I click on as it opens up one
universal window that has all of these
| | 00:34 |
elements in it.
But we're going to go ahead and change a
| | 00:37 |
few things and give you an idea how it
works.
| | 00:39 |
So the first thing I might change is the
duration of my video transitions.
| | 00:45 |
By default, it's thirty frames.
And for most video, thirty frames equals
| | 00:50 |
one second.
Now there are some cameras that shoot
| | 00:52 |
twenty four frames per second .
And there are many parts of the world
| | 00:55 |
where the standard is 25 frames per
second.
| | 00:58 |
So, in the US, I might change this to 15
if I want half second dissolves and half
| | 01:03 |
second transitions.
And in Europe or Australia or most places
| | 01:08 |
around the world, I may change it to 12 if
I want a half second video transition.
| | 01:13 |
I'm going to go ahead and change this to
15, since I'm working in the US with 30
| | 01:18 |
frames per second video.
Now, with audio it's a little bit different.
| | 01:23 |
We're not dealing with frames, we're
actually dealing with real time.
| | 01:25 |
Because that's how Adobe thinks with
sound, because it's dealing with audio by
| | 01:30 |
the sample level.
So if I want to half a second dissolve,
| | 01:34 |
I'll simply type in .5.
Now, don't worry.
| | 01:39 |
You can always change this while you're
editing.
| | 01:41 |
And even once you've added a transition
into your program.
| | 01:44 |
You can still change its duration after
the fact.
| | 01:49 |
Another thing I'd like to point out is
under appearance there's an option to make
| | 01:53 |
the screen lighter or darker.
Now, if you make it lighter it is going to
| | 01:59 |
be easier to see but realize if you're
sitting in front of this screen for six,
| | 02:04 |
eight, ten hours at a time A brighter
screen is going to cause greater eye fatigue.
| | 02:09 |
So, as a general rule of thumb, I like to
keep it at its default setting and
| | 02:13 |
sometimes even a little bit darker.
Now I can truly focus on the images.
| | 02:19 |
In the program as opposed to the program's
interface.
| | 02:23 |
One last change that I want to show you
within the Preferences is under Auto Save.
| | 02:27 |
By default Premier Pro will save a version
of your show every 15 minutes.
| | 02:33 |
With up to 20 versions saved.
Now, if you're new to editing or you edit
| | 02:37 |
quickly and you forget to save, I like to
change this time from 15 minutes down to five.
| | 02:43 |
And you can increase the maximum number of
projects, but 20 is a good number because
| | 02:48 |
that's going to let you go back in time
about 100 minutes, or two hours.
| | 02:53 |
Just make sure you have Automatically Save
Projects checked, because with this
| | 02:58 |
unchecked, and a system crash, you'll lose
everything.
| | 03:02 |
But don't worry, it is checked by default.
Now I'm not going to go into all the other
| | 03:07 |
preferences at this time.
We'll learn about them in context when we
| | 03:11 |
need them.
Let's go ahead and press OK to accept
| | 03:15 |
these preference changes.
There's one other preference I wanted to
| | 03:19 |
talk about, but I need to show you how it
currently works so you can decide what
| | 03:24 |
will work best for you.
And that's when, for instance, you're
| | 03:28 |
inside your project pane and you double
click on one of these folders, which we
| | 03:33 |
also call bins.
Now if I just do a standard Double Click
| | 03:39 |
it will open up a new window for the
contents of that folder, and to me this is
| | 03:46 |
pretty messy.
I really wanted to keep my screen neat, so
| | 03:49 |
what they've done is they have allowed you
to use some modifier keys and let me go
| | 03:53 |
ahead and close this.
And if I hold down the Cmd key when I
| | 03:58 |
double click, you'll notice that it will
open up that folder, but it will attach it
| | 04:04 |
very neatly in the same window that it
came from.
| | 04:08 |
If I close it to click on the X, you'll
notice something has happened.
| | 04:13 |
I've lost my project name, because what's
happened it substituted the new folder for
| | 04:20 |
the old folder.
This will probably happen to you at some
| | 04:24 |
point or another.
I wanted to do this intentionally because
| | 04:26 |
if you lose one of these pains, don't
panic.
| | 04:29 |
You can always go down to this Dropdown
menu, that says Window find the missing
| | 04:35 |
element you're looking for and select it.
And I can slide it from the right side
| | 04:42 |
where it opens up, back to where it
belongs.
| | 04:44 |
If you look closely, we're still looking
inside the folder that I had
| | 04:49 |
double-clicked on.
And if I want to step back into the actual
| | 04:54 |
Master project I can simply click on this
small up arrow inside the folder and it
| | 05:00 |
will take me up a level.
Now the reason I went to his depth is,
| | 05:04 |
because I personally don't like this
floating windows that pop up and you can
| | 05:09 |
change your preference, so that every time
you double click you don't need to hold
| | 05:13 |
down a modifier key.
And it will keep your screen nice and clean.
| | 05:16 |
Let's return back to our preferences now
that we understand how it works normally.
| | 05:21 |
Go ahead and select general.
Now, if you're on a Windows machine
| | 05:24 |
remember it's at the bottom of the edit
menu command.
| | 05:29 |
And you'll notice here where it says bins
I'll refer to these as folders
| | 05:33 |
occasionally because they look like a
folder.
| | 05:35 |
These are the default options.
So instead of opening a new window, and I
| | 05:39 |
double click.
I want to just have it open in either
| | 05:43 |
place or open a new tab.
What I like is to open a new tab.
| | 05:48 |
That way, I always have.
My main project window available to me and
| | 05:53 |
as I click on each of these folders, it
opens them up individually and I can
| | 05:57 |
simply slide back and forth.
Let's select open new tab as the default,
| | 06:03 |
hit okay, and take a look at how it now
works.
| | 06:07 |
So there we've opened up this folder, but
if I scroll back I still have my main
| | 06:13 |
project bin.
So, those were some basic preference
| | 06:17 |
changes and a little bit of how the system
thinks and works as we continue through
| | 06:22 |
the course, you'll learn a lot more
preferences that can enhance your workflow
| | 06:27 |
and make your editing faster.
| | 06:28 |
| | Collapse this transcript |
|
|
3. Importing MediaSetting up a project and sequence| 00:01 |
By now you should have a basic
understanding of how Adobe Premiere Pro
| | 00:04 |
thinks and works.
Let's go ahead and create a new project, a
| | 00:09 |
new sequence, and set it up to edit.
So as we saw in an earlier video, to
| | 00:14 |
create a new project I can double click on
New Project.
| | 00:17 |
We see the same dialogue box that we saw
before.
| | 00:19 |
Let's go ahead and we'll give it the name
New Project.
| | 00:25 |
Now I wouldn't normally name your show New
Project, because you'll always have then a
| | 00:29 |
new, new project.
And a newest, newest project.
| | 00:31 |
And it's kind of like scripts.
You have your final, final final, real
| | 00:34 |
final, and then real final 2 dot L.
So just go ahead, give it a name.
| | 00:38 |
Just so you can practice.
And remember you want to select the
| | 00:41 |
location where it's going to reside or
where it's going to end up.
| | 00:45 |
Now, we created it a folder under desktop
for projects.
| | 00:48 |
If you haven't done this the default
location would've been in your documents folder.
| | 00:52 |
So, I like where it's going, everything is
fine.
| | 00:55 |
I'm going to hit OK just as we did before.
Now this is where the rubber meets the road.
| | 01:01 |
If you've used previous versions of
Premier Pro, or some other editing
| | 01:05 |
systems, a lotta times when you create a
project, it will always create a single
| | 01:10 |
sequence to get you started.
Premier Pro now will open up the project file.
| | 01:16 |
And then you create the sequence that you
need.
| | 01:20 |
Now just like we learned in an earlier
video, there's lots of ways to do
| | 01:25 |
everything and there's lots of ways to
create a new sequence.
| | 01:29 |
One of the ways is simply going to the
File menu, going up under New and choosing Sequence.
| | 01:35 |
And as you can see you can do this with a
keyboard shortcut also.
| | 01:40 |
There are other ways to create a new
sequence and you'll learn those as we go
| | 01:44 |
through the rest of the course.
Now this window may be a little bit
| | 01:48 |
daunting at first and if you're a little
bit afraid of it you can actually hit cancel.
| | 01:55 |
And you're thinking well why did I just go
through this step.
| | 01:57 |
Well I wanted you to see this screen and a
lot of times you know exactly.
| | 02:02 |
The format that the timeline needs to be
such as is it standard definition such as
| | 02:07 |
DV or DV widescreen, or maybe it's a high
definition flavor such as DVC ProHD or
| | 02:14 |
maybe a flavor of XDCAM.
If you already know what format it needs
| | 02:20 |
to be, you can go ahead and select
whichever format you're going to want to
| | 02:24 |
edit in and say okay.
But suppose you don't know the exact
| | 02:29 |
flavor of video that you'll be using.
This is where it gets really nice.
| | 02:34 |
I can simply hit cancel, and then once I
bring in a piece of video, I can use that
| | 02:41 |
piece of video and say make a sequence
Based on the size of the video, the frame
| | 02:47 |
rate and even the Kodak.
I'll talk about importing media in a later
| | 02:52 |
video but for now let me go ahead and
bring in one single clip.
| | 02:57 |
I'm going to do this by right clicking and
selecting import and then I get a dialogue box.
| | 03:04 |
Now, I'm already inside the folder that's
on my desktop.
| | 03:08 |
If you're in a different location, go
ahead on click on desktop to navigate to
| | 03:13 |
this level.
Click on exercise files.
| | 03:16 |
Open that up, and inside there there's a
folder called media.
| | 03:20 |
The exercise files have two additional
folders in the media folder, that we will
| | 03:26 |
use later.
But for now, it's okay just to focus on
| | 03:30 |
the chapter one media folder.
I'm going to go ahead and bring in camera
| | 03:34 |
one wide shot because the bulk of my
footage uses this frame size in Kodak.
| | 03:40 |
Simply double click on it, or select it
and press the Import and it will now
| | 03:45 |
appear in your project pane.
This is where it gets really fun.
| | 03:51 |
I simply want to make a sequence that
matches this footage.
| | 03:55 |
Let me go ahead and double click it so you
can see the shot.
| | 03:57 |
So there it is, and I have no timeline on
the lower righthand corner.
| | 04:02 |
As evidenced by the fact that Adobe is
actually telling me, timeline, no sequences.
| | 04:08 |
So now, I want to take this clip.
I can right-click on it and go to the
| | 04:13 |
Dropdown menu and create a New Sequence
from the clip or I can simply grab any
| | 04:19 |
clip that I want and drop it on this
little piece of paper down here.
| | 04:23 |
And it will automatically create a brand
new sequence, based upon frame size, frame
| | 04:29 |
rates, and codecs.
And now, I don't have to worry that my
| | 04:33 |
footage doesn't match my sequence.
You'll also notice, that it has named
| | 04:39 |
sequence after the shot.
So, you may want to go back in, and change
| | 04:43 |
it to whatever the shot was called.
So, whatever you want to call your sequence.
| | 04:47 |
For simplicity sake I will call this
timeline.
| | 04:50 |
Now you'll notice there is a yellow line
directly above the clip.
| | 04:54 |
If you're coming from other editing
software you might think that this is a
| | 04:57 |
warning but there's a sequence mismatch.
In the case of Premiere Pro this is not a
| | 05:03 |
dangerous sign.
The yellow line is saying that it's going
| | 05:07 |
to have to do some processing on the fly
but you still will have real-time playback
| | 05:11 |
with no dropped frames.
If you're on a faster system, or using
| | 05:16 |
video that is less compressed than the
video that I'm using, you may not see a
| | 05:20 |
yellow line at all.
And finally, if you want to confirm what
| | 05:25 |
the settings are for your sequence, you
can go up to the Dropdown menus on top
| | 05:29 |
click on Sequence and select Settings.
Now you'll notice this is greyed out and
| | 05:37 |
this will probably happen to you a lot and
you'll go, why is it greyed out?
| | 05:40 |
Something must be broken, nothing is
broken.
| | 05:43 |
You need to make sure that you select the
sequence first because you could have
| | 05:48 |
multiple sequences available, each with
its own settings.
| | 05:52 |
So I'm going to select my sequence.
And now when I go to the drop down menu,
| | 05:56 |
Sequence Settings is not grayed out.
I can click on it, and I can see all the
| | 06:01 |
parameters of this sequence based upon my
original footage.
| | 06:07 |
And now I'll click OK to close the window.
As you see you can create a sequence to
| | 06:12 |
specific parameters or you can just base
the sequence on any clip in your project file.
| | 06:19 |
Now keep in mind that it's only the first
clip that you drop in that will allow you
| | 06:25 |
to match the sequence to that clip's
settings.
| | 06:28 |
All subsequent clips will not effect the
sequence settings.
| | 06:31 |
As a matter of fact they will
automatically conform...
| | 06:34 |
To whatever settings are there.
Now, an important rule of thumb is that
| | 06:39 |
first clip should be primarily the format
that you want to work in.
| | 06:43 |
So, for instance, if you have one old
standard definition clip that you may
| | 06:47 |
want to start your show with and you drop
that in first.
| | 06:51 |
Your entire timeline's going to be
standard def.
| | 06:54 |
So, if you know you're going to be using a
lot of high def footage make sure the
| | 06:59 |
first clip that you drop is the sequence
is representative of all your footage.
| | 07:04 |
And you can always delete that later, if
you want to start your show with an old
| | 07:09 |
standard def shot.
| | 07:10 |
| | Collapse this transcript |
| Understanding all the types of media used in creating a video| 00:01 |
And now when putting together a video,
you'll use a variety of media.
| | 00:04 |
Let's take a look at some of the media
that you'll be using and how it appears in
| | 00:09 |
Premiere Pro.
Go to your Project pane, and if you're in
| | 00:14 |
the Icon view, make sure you switch over
to the List view.
| | 00:19 |
Now, I'm going to make this full screen by
pressing the tilde key in the upper left
| | 00:23 |
hand corner and, this way, you can see a
real global big picture of you of all the
| | 00:29 |
different things that you're going to see
in your project pane and all the different
| | 00:32 |
types of media that you're going to work
with.
| | 00:35 |
Now, if you're using the exercise files,
you will notice that some of the media
| | 00:39 |
that I'm pointing out In this video is not
in your exercise file folders.
| | 00:45 |
That's because this media was not used in
the final production and I wanted to make
| | 00:50 |
sure you had the smallest download
possible.
| | 00:53 |
Now, don't worry, there's a version of
everything that I'm pointing out in these
| | 00:58 |
folders, but some specific media you might
see in this video, you won't see in your exercises.
| | 01:05 |
Now the primary type of media is going to
be video and that may be video that has
| | 01:09 |
audio attached.
If you look at Camera 1Charlie, you'll see
| | 01:14 |
several clips that have both a blue film
strip and a green audio wave form.
| | 01:21 |
So this is an indication that this is a
clip that has both video and audio
| | 01:25 |
associated with it.
You'll also notice that it has a label
| | 01:29 |
that's blue, and that's a way you can
quickly determine if it's video only, or
| | 01:33 |
if it's video with sound.
Because if you look further down in the
| | 01:37 |
screen, where I have some of my animated
graphics, those are light purple and you
| | 01:44 |
don't seen the green wave form icon
attached to it.
| | 01:47 |
That's a video only clip.
Above that you'll see a dark purple label
| | 01:54 |
and a slightly different icon.
And you'll see this icon whenever you have
| | 01:58 |
a still image.
That could be a JPEG, that could be a TIFF
| | 02:02 |
file, it could be a photo, or a graphic,
but any way you look at it, it's a still image.
| | 02:09 |
If we scroll further down you'll see that
we have some audio only files.
| | 02:16 |
Underneath music you'll see the Italian
Waltz.
| | 02:19 |
That is just a green icon with a wave form
with a teal label.
| | 02:24 |
If we look down a little bit further
you'll see a small stack and a green label.
| | 02:30 |
And if you look at the very top of the
screen, you'll also see a small stack with
| | 02:35 |
a green label.
These stacks are indications of some sort
| | 02:39 |
a sequence.
We've learned about basic sequences that
| | 02:43 |
you edit into, you can also have sequences
that go into other sequences and those are
| | 02:49 |
called nests.
And that's what you see on top.
| | 02:53 |
And at the bottom where you see pizza_01,
at the very end you see the word multi.
| | 02:58 |
That is actually what's called a multicam
sequence, and it's a situation where you
| | 03:03 |
might've recorded several cameras at the
same time, and you want to automatically
| | 03:08 |
switch between them.
Now why all this is so important, is that
| | 03:12 |
when you edit, you want to be able to
quickly and visually determine, what type
| | 03:16 |
of clip you might be grabbing.
Because you might be going into a graphic
| | 03:20 |
spin, and if you didn't organize them by
animated versus still, you could grab a
| | 03:25 |
still graphic, when you're looking for the
animated graphic, or vice versa.
| | 03:30 |
The last thing I want to show you is
another way that you can determine the
| | 03:33 |
type of media that you're working with.
If I right click on any of the label names
| | 03:39 |
on the top of the project pane.
I'll get a drop down that says metadata display.
| | 03:44 |
Now, don't panic when you see how complex
this is.
| | 03:46 |
We're going to make one simple change.
We're going to go under where it says
| | 03:50 |
Premiere Pro Project Metadata and we're
going to turn on Media Type.
| | 03:56 |
I'll press Okay, and now we have an entire
category which actually says what type of
| | 04:03 |
media we're working with.
Stills, video, folders, which are called
| | 04:08 |
bins in the video world, and, and by the
way, take a look, the video without sound
| | 04:12 |
is called video, but the video that has
audio is called a movie.
| | 04:17 |
One thing that you aren't seeing, that if
the video was offline, which means the
| | 04:21 |
program can't find it, it will be notated
there.
| | 04:25 |
And the icon, to the left, will have a
line through it.
| | 04:29 |
Now, we've been looking at this in the
List view, and this is the most efficient
| | 04:32 |
way to look at the type of media you have,
as well as specific parameters about that media.
| | 04:38 |
But if we switch back to the Icon view,
you'll actually be able to see, in this
| | 04:42 |
case, the folders.
And if I step into any one of the folders,
| | 04:46 |
for instance, the first video folder which
was Camera 1 Charlie, you can actually see
| | 04:53 |
a poster frame from the video clip.
Let's go ahead and press the tilde key and
| | 04:59 |
return our screen back to its default
layout.
| | 05:02 |
Understanding the different icons and
colors that represent the different types
| | 05:06 |
of media that you're using will allow you
to edit faster and more efficiently.
| | 05:11 |
| | Collapse this transcript |
| Importing files already on your computer| 00:01 |
Well now that you have a good sense of
Premier Pro, let's take a look at
| | 00:04 |
importing media.
Before I get started, I do want to
| | 00:07 |
emphasize 1 key thing, and that is, when
you import media into Premier Pro, all
| | 00:13 |
you're really doing is creating a pointer
or a shortcut to the original media,
| | 00:17 |
wherever it resides.
Whether that's on your internal hard
| | 00:21 |
drive, an external hard drive, or a camera
card.
| | 00:24 |
If you eject the external hard drive or
erase the camera card, and you open up
| | 00:30 |
Premiere Pro, it won't have anything to
point at and your media will go off-line.
| | 00:34 |
So it's good to understand that all you're
creating is a shortcut, and if you're
| | 00:38 |
working with a camera card you should
always copy the media off first before you
| | 00:43 |
import it.
Now with that said lets go ahead and bring
| | 00:46 |
some media into our project.
Now you can bring media in a variety of ways.
| | 00:51 |
You can use the Import command which is
underneath the File menu.
| | 00:57 |
You can drag and drop from your desktop
directly into the project pane, but the
| | 01:02 |
best way to bring media in is to use the
Media Browser.
| | 01:06 |
And the reason Media Browser is so useful
because it allows you to actually see a
| | 01:11 |
poster frame or a sample of the footage
that you're bringing in.
| | 01:14 |
Let's go ahead and step into the Media
Browser.
| | 01:18 |
I'm going to press the tilde key to bring
it full screen, and I'm going to dig down
| | 01:22 |
to my desktop.
Now, my desktop has an extra file on it
| | 01:27 |
that you don't have.
Whether you're a premium subscriber And
| | 01:31 |
you have the exercise files or just
following along, this is a special file
| | 01:36 |
that I created just so you can see how the
media browser could work.
| | 01:42 |
Now, what I've done is I've created a
folder called All Media, which contains a
| | 01:47 |
variety of sources including still images,
graphics, and video.
| | 01:54 |
Now the beautiful thing about using the
media browser is that I can see an image
| | 01:59 |
for each piece of my media.
So for instance, the barbecued pizza
| | 02:03 |
photograph, I can see that image, as well
as all the magazine covers.
| | 02:08 |
Now if I go down to any of the video
clips, and just move my mouse left or right.
| | 02:13 |
I can actually scrub through the clip, and
Adobe calls this hover scrubbing.
| | 02:17 |
And this is a great way to find a specific
clip, because you can very quickly search
| | 02:23 |
through the entire piece of media.
And in this case, we have a graphic where
| | 02:28 |
the first frame is actually white.
But as I hover scrub through it, I can
| | 02:34 |
actually see it's my opening animation.
Now once I find the clip that I want to
| | 02:39 |
work with, I can simply right-click on it
and select Import, and that will bring it
| | 02:45 |
directly into my project.
If I stepped over to the project, you can
| | 02:50 |
see that the opening has been imported and
I'm looking at this in the List view.
| | 02:55 |
And if I wanted to, I could simply go down
to the lower left-hand corner and switch
| | 03:00 |
to the Icon view, so I can scrub through
it in my project pane.
| | 03:07 |
Now, I don't have to bring clips in one at
a time from the media browser.
| | 03:10 |
I can select the specific ones I want by
lassoing them.
| | 03:15 |
Or holding down a modifier key.
Which is Cmd on a Mac or Ctrl on a PC, and
| | 03:22 |
select the exact ones that I want to
import.
| | 03:25 |
If I want to bring them all in, I simply
can select all, right-click, and import.
| | 03:33 |
Now these clips were all thrown into a
single folder on my hard drive.
| | 03:38 |
But if you've already organized your media
into distinct folders on your hard drive
| | 03:43 |
such as B roll,, music, graphics, etc.,
and so on.
| | 03:51 |
Premiere Pro will really take advantage of
that and we'll explore that in an upcoming video.
| | 03:56 |
| | Collapse this transcript |
| Importing pre-organized media| 00:01 |
In an earlier video, we learned how to
import media through the media browser
| | 00:04 |
when everything was just in one giant
folder.
| | 00:08 |
But what about a situation where you've
already done the advance work and you've
| | 00:11 |
organized your media on your hard drive?
Let's take a look at a workflow that will
| | 00:17 |
make things smoother and faster.
I'm going to hide Premiere Pro using the
| | 00:22 |
drop-down menu, so we can take a look at
the files that are on our desktop.
| | 00:28 |
Now, if you're a premium subscriber to
lynda.com, you have these exercise files
| | 00:32 |
and you can follow along, or you can use
your own files, or you can just sit back
| | 00:37 |
and watch.
Now, inside the the exercise files folder
| | 00:41 |
are several folders.
There's your media folder and your project folder.
| | 00:45 |
And inside the media folder, I have three
folders.
| | 00:50 |
If you're a premium subscriber, you'll
have four folders because an additional
| | 00:55 |
folder was added after this was recorded.
And 1 is called general media and if I
| | 01:01 |
double click on that to look inside, I see
that I have already organized all of my
| | 01:06 |
media into folders.
I took each of the cameras and put them
| | 01:10 |
inside of a folder, the covers of the
magazine for Delight Gluten Free, both my
| | 01:14 |
animated and my still graphics and so on.
So since I've done all of this work, I
| | 01:20 |
want to be able to leverage this in
Premiere Pro.
| | 01:24 |
I'm going to jump back into Premiere Pro
by simply clicking on it in my dock or if
| | 01:28 |
you're on a Windows machine, you can click
on it in your task bar and now step into
| | 01:33 |
the media browser.
Once I'm in the media browser, I'm
| | 01:37 |
going to press the Tilde key so you can
see what's kind of going on.
| | 01:40 |
And there you can see my general media
folder, and all the folders inside.
| | 01:45 |
Now, you need to be careful how you bring
this in, because all your hard work could
| | 01:50 |
disappear if you do it wrong.
If I right clicked on the general media
| | 01:55 |
folder, and simply said import, Its
going to bring in all my files and once
| | 02:01 |
again you see I have these Photoshop files
and if you're following along just hit OK
| | 02:06 |
each times that pops up.
We're going to look at that later in the
| | 02:09 |
graphics video.
But I'm going to swing over to the project
| | 02:14 |
and there is my general media folder and
inside nothing is organized.
| | 02:19 |
Let me go select all and press Delete.
Stepping back over into the media browser
| | 02:26 |
I'm going to select the group of folders
inside the general media folder.
| | 02:32 |
Select all or if I wanted to instead of
selecting all of them I could simply
| | 02:37 |
select the individual folders that I need
to work with.
| | 02:41 |
Once these folders are elected I can
simply right-click and import them.
| | 02:46 |
Again, any Photoshop documents I can just
for now hit OK and when I step back inside
| | 02:53 |
my Project Pane there are all my files
organized exactly the way they were on my computer...
| | 03:02 |
I really like bringing in media in this
way.
| | 03:04 |
Because it's much easier, usually, for me
to organize everything, before hand, into
| | 03:09 |
folders, on my computer and then keep that
organization later.
| | 03:14 |
It makes it fast and efficient and if
other people are using this media, or if
| | 03:18 |
I'm using this media at a later date, I
already have it organized.
| | 03:22 |
| | Collapse this transcript |
| Importing media from existing Premiere projects| 00:00 |
There's often times when you've already
created a Premiere Pro project, and you
| | 00:05 |
either want to bring in everything from
that project, or just grab some of the
| | 00:09 |
media that you referenced in that project.
And Premiere Pro offers some really
| | 00:15 |
elegant solutions for either of these
cases.
| | 00:18 |
If I'm in a project and I want to bring
in, say, a timeline of an existing project
| | 00:23 |
on all the media, because I may be
recreating a show that I did six months
| | 00:28 |
ago or I might be doing a weekly show and
I want to use all the same elements, I can
| | 00:33 |
simply use the Import command.
Cmd+I on a Mac or Crtl+I on a PC.
| | 00:39 |
And I'll get this import dialogue box.
Now, if I select an existing project, and
| | 00:48 |
I'm going to go ahead and select the
project from Chapter 1, which I know has
| | 00:52 |
some media, so let me go ahead and step
back to my desktop.
| | 00:57 |
Dig into my exercise files into the
project folder, and I'm going to go ahead
| | 01:02 |
and choose Chapter 1 and bring in project
1.
| | 01:06 |
Now by selecting this and clicking Import,
I'll get another dialog box that will ask
| | 01:11 |
me do I want to import the entire project
or perhaps I just want to import a single
| | 01:17 |
timeline and its associated media.
I like this because I can grab everything
| | 01:22 |
or be really specific and say, oh, yeah, I
did 7 seven different timelines in that
| | 01:27 |
project, and I really only want to bring
in timeline number 1.
| | 01:31 |
With this selected I'll hit OK.
It'll show me the timelines that are in
| | 01:35 |
that project.
In this case, it's just 1.
| | 01:39 |
It's also going to show me the folders or
the bins that I had organized my media in.
| | 01:43 |
I'm going to click on timeline and press
OK.
| | 01:49 |
Now, if we look inside our project folder,
there's a new folder labeled after that
| | 01:53 |
project name.
And I'll just click on the triangle to
| | 01:57 |
reveal the contents.
Let's make that full screen by hitting the
| | 02:01 |
Tilde key and pressing icon view and
stepping again inside the folder and we
| | 02:07 |
can see all the elements that I used in
that previous project.
| | 02:12 |
Now what Premiere Pro is doing is creating
new shortcuts or aliases to the existing media.
| | 02:18 |
So if the media in the old project goes
offline or you've moved it and the links
| | 02:22 |
are broken, you're going to have broken
links...
| | 02:25 |
In the imported version.
You can either relink it at this point,
| | 02:29 |
which we'll learn about in a later movie
or open up the original project and
| | 02:33 |
confirm everything is attached.
Now, I like this but I'm going to show you
| | 02:38 |
something I like even better.
Let me go back and step into the main
| | 02:42 |
project pane and delete this media.
Instead of using import, I'm going to use
| | 02:48 |
the media browser to find the footage I
want in my existing projects.
| | 02:54 |
I'll click on Media Browser, and I'm going
to go to my exercise folder, and inside
| | 03:00 |
there, there is the projects folder.
Now as you see, there are all of my projects.
| | 03:06 |
I'm going to go and open up the triangle
for Chapter 1.
| | 03:10 |
I'll select the folder for Chapter 1 and I
can actually see all of the projects that
| | 03:16 |
came with the exercise files.
If you don't have the exercise files, you
| | 03:20 |
can try this with any project that you
might have created.
| | 03:25 |
Now if I select any of these projects,
I'll see folders that contain my media as
| | 03:31 |
well as my timeline, and I can once again
hit the triangle to disclose the folders
| | 03:37 |
on the left side of the project pane, or
if I wanted to, I can double-click on any
| | 03:43 |
of the folder icons on the right side to
reveal the contents.
| | 03:47 |
Let's take a look at the Video folder.
I'm simply double-click on it, there's all
| | 03:52 |
the footage that I use, and I can bring in
just one clip that I might be looking for.
| | 03:58 |
Or if I want to bring in all of those
elements, I can step back up a level, so
| | 04:03 |
it'll let me click on the one project
select video, right click.
| | 04:09 |
Import and if we go back to our project,
there are the clips already organized in a
| | 04:15 |
folder, ready for me to use.
The great thing about this is I don't have
| | 04:21 |
to reinvent the wheel.
If I've done work in an existing project,
| | 04:24 |
I can either grab media, I can grab the
entire folder, or, I can even grab the
| | 04:31 |
existing timeline or timelines and bring
them into my new project and get a running
| | 04:36 |
start on my new show.
| | 04:38 |
| | Collapse this transcript |
| Importing card-based media| 00:00 |
In this movie were going to talk about
importing media off a camera card.
| | 00:05 |
And there's two types of camera cards,
there's the easy and the not so easy.
| | 00:09 |
The easy ones, are like some of the DSLR
camera cards, which actually record the
| | 00:15 |
video Inside of a wrapper and you can
simply copy it onto your hard drive and
| | 00:20 |
then import it just like any file that you
would be importing into Premiere Pro and
| | 00:25 |
we've already learned how to do that.
And then there's the not so easy.
| | 00:29 |
Let me go ahead and hide Premiere Pro
because I want to show you one of these
| | 00:33 |
cards would look like when you copy it
onto your hard drive.
| | 00:37 |
Now if you're a premium subscriber to
lynda.com, included with the exercise
| | 00:41 |
files is a folder called card.
And if I open this folder up, you can see
| | 00:48 |
that the contents of this card are a
little bit confusing.
| | 00:52 |
Instead of having a bunch of movie files,
there's a variety of folders such as
| | 00:58 |
audio, clip, icon, proxy, video, voice.
Containing not only the media that you
| | 01:04 |
shot but also a bunch of meta data and
sometimes depending on how these
| | 01:09 |
manufactures have designed this format,
the video might be separated from the audio.
| | 01:14 |
You may have additional meta data sorted
in another folder with camera information
| | 01:19 |
or date and time information.
So it's important to realize you need all
| | 01:24 |
of this and it can get to be kind of
confusing and kind of a pain to bring it
| | 01:29 |
in until you start using Premiere Pro.
Now let's jump back into Premiere Pro.
| | 01:34 |
But before I do that, I can't emphasize
this enough, whenever you work with these
| | 01:39 |
cards, always copy the card onto your hard
drive.
| | 01:44 |
Not just part of the card, not just the
part of the card that might say video.
| | 01:47 |
A lot of inexperienced editors might just
open up the card, dig inside, and find the
| | 01:53 |
folder labeled video, and drag that to
their desktop.
| | 01:56 |
And they may end up with video without
sound.
| | 01:59 |
Video that they can't even open are
missing meta data.
| | 02:03 |
And even worse, what some people do is
they import directly off the card that's
| | 02:09 |
in their machine.
Then they eject the card, record over it
| | 02:14 |
without realizing that all they have are
the pointers, or the shortcuts, to the
| | 02:19 |
media that was on the card.
Because you'll never get it back once you
| | 02:24 |
record over it.
Always copy the entire card to your hard
| | 02:29 |
drive and then import.
Stepping back into Premiere Pro we're
| | 02:34 |
going to jump over to the project pane.
If I do a traditional import, Cmd + I or
| | 02:40 |
Ctrl + I.
You'll see that if we try to bring in this
| | 02:44 |
card, and in this case it's a p two card,
I'm going to have some problems.
| | 02:48 |
I'm going to click on Import.
It's going to start importing the files,
| | 02:53 |
and I get the generic error.
Of all the errors you can have, the
| | 02:58 |
generic one is the most scary.
I'll click OK, and if I stepped inside
| | 03:05 |
this folder, I have bits and pieces of
separate audio and video, not what I want.
| | 03:10 |
Let me go ahead, step back up, delete this
folder and show you the best way to bring
| | 03:17 |
in media off of a camera card.
I want you to switch over from the project
| | 03:22 |
pane to the media browser.
And once we're in the media browser, I'm
| | 03:27 |
going to press the Tilde key, so it's full
screen.
| | 03:30 |
And I'm going to use the shortcut to jump
straight to my home directory, so I can
| | 03:35 |
open up my desktop.
Now, inside the exercise folder.
| | 03:40 |
Is my media folder and I can see this here
in my drill down menu and inside there is
| | 03:47 |
my card.
Now this is the cool part.
| | 03:50 |
When I double click to open up the card
instead of seeing all of those files.
| | 03:55 |
The media browser will analyze what type
of card it is and just show me the
| | 04:01 |
complete video clips.
And I can actually hover scrub through
| | 04:05 |
these to make sure I bring in just the
footage that I want.
| | 04:08 |
I don't have to import the whole card, I
can import individual clips, or multiple clips.
| | 04:14 |
And oftentimes, I have a clip of 20
minutes of me recording the lens cap, or
| | 04:19 |
me looking at the GoPro camera and all you
see is my face, or my feet as I'm running along.
| | 04:25 |
There's a lot of footage I shoot that I
don't want to bring in, so it's nice that
| | 04:29 |
I can isolate and just bring in the clips
that I want.
| | 04:34 |
Now I want to point out one other area to
the right.
| | 04:37 |
And that's this little eyeball.
When I click on that I'll get a Dropdown
| | 04:41 |
menu, and you can see from this drop down
menu the variety of formats that Premiere
| | 04:46 |
Pro can import and work with without any
kind of transcoding.
| | 04:51 |
As you notice, it did determine that it
was a Panasonic P2 card.
| | 04:56 |
But you'll also see that I can click on
File Directory.
| | 04:59 |
If I choose file directory, I'm actually
going to look at the card exactly the same
| | 05:05 |
way that we looked at it on the hard
drive.
| | 05:08 |
With all those folders and all that
confusion.
| | 05:11 |
Now, I can't see a reason that you would
want to do this, but perhaps you use the
| | 05:16 |
same card to store some additional media
and information and you want to be able to
| | 05:21 |
open up the file structure to get to
something.
| | 05:24 |
But in general, let Premier Pro default to
the format that it thinks is best and
| | 05:30 |
import it that way.
Now you'll notice that p2 is great out,
| | 05:34 |
and that's because I'm already inside the
card.
| | 05:36 |
I need to step back up a level, and you
can see that file directory and p2 are
| | 05:44 |
both now available.
Switching over to that, I see my footage,
| | 05:47 |
I'm going to simply (INAUDIBLE) it all,
right click and hit Import.
| | 05:54 |
Switching back to my project file, I can
work with this media immediately without
| | 05:59 |
any transcoding.
I see exactly what I need and I have all
| | 06:03 |
the metadata.
And it's a perfect workflow that
| | 06:06 |
simplifies the complexity of working with
camera cards.
| | 06:10 |
| | Collapse this transcript |
| Importing Final Cut XML files| 00:01 |
Now there might be times that you need to
migrate from another application or a
| | 00:05 |
legacy application into Premier Pro.
One example of that is Final Cut Pro 7.
| | 00:13 |
Now, all you need to do with your old
Final Cut Pro project is export out in
| | 00:18 |
XML, Extensible Markup Language.
Use the latest version that's available to
| | 00:24 |
you, and then open that XML or open that
XML into an existing project.
| | 00:31 |
Now we have a project here that has
nothing in it, and I'm going to go up
| | 00:35 |
under File > Import, and in the same
location as all my other project files,
| | 00:41 |
there is the XML that was exported out of
Final Cut Pro.
| | 00:45 |
All I need to do is select it and click
import, and it's going to give me a
| | 00:51 |
warning box because there are things in
Final Cut Pro that don't translate into Premiere.
| | 00:57 |
But the nice thing is I can read this
report and actually see what the problems
| | 01:01 |
are so I can go back and check it.
For instance there might be one transition
| | 01:05 |
in Final Cut but that may not exist in
Premiere.
| | 01:08 |
Or Premiere might name a transition
differently so there's not necessarily a match.
| | 01:14 |
Let me go ahead and press Okay and we can
see it will import a folder, and if we
| | 01:21 |
look in that folder, I'm going to make
this full screen, and switch from Icon
| | 01:26 |
view to List view.
I can open that up, and I get a timeline
| | 01:33 |
as well as all of my media organized, and
if for some reason it's not connected
| | 01:39 |
because the path might have gotten lost.
I can reconnect it in Premiere Pro.
| | 01:44 |
But before we try reconnecting let me go
ahead and double click on the translation
| | 01:48 |
result and this is the report of what
didn't match.
| | 01:53 |
So it tells me at what timeline or what
clip and I can look at that and determine
| | 01:57 |
if that's truly a problem or just a small
issue that I can correct.
| | 02:03 |
When I'm ready to look at the project,
I'll double-click on the timeline.
| | 02:07 |
And as you see, (SOUND), not only did all
the cuts come through, but it did re-link
| | 02:14 |
all the media that was available.
I will make one When you export the XML
| | 02:19 |
from final cut if in final cut the media
is offline, because the application
| | 02:24 |
doesn't know where the media is, it won't
be able to hand that information off to
| | 02:29 |
premier thus everything will be offline
when you open up the imported sequence.
| | 02:36 |
| | Collapse this transcript |
| Organizing your media| 00:01 |
In the previous videos we learned a lot of
ways to import your media.
| | 00:04 |
What I want to explore here is how you can
organize media that you bring in after the fact.
| | 00:11 |
So the first thing we need to do is get
some media into our project, so let's step
| | 00:15 |
into our media browser and I'm going to
press the Tilde button to bring it fullscreen.
| | 00:20 |
And I'm going to dig back into the
exercise folder to bring the media into
| | 00:24 |
our project.
Now I can quickly jump to my home
| | 00:27 |
directory and once inside my home
directory I'll go to the desktop, open up
| | 00:33 |
exercise files and then the media folder.
Now we're going to work with media from
| | 00:38 |
the general media folder and if we step
inside we can see all of the organized
| | 00:42 |
folders that we had originally.
Well, I don't want to bring those in, I
| | 00:46 |
want to actually bring this in as a
hodgepodge of stills and videos and movies
| | 00:51 |
and graphics.
So to do that, I'm going to step up one level.
| | 00:55 |
I'm going to drag this over a little bit
so you can see it better.
| | 00:59 |
And I'll click on the folder that says
media.
| | 01:01 |
And now, under general media I'm going to
just right click Choose Import.
| | 01:07 |
And this will import all my files.
Now there are a couple of Photoshops
| | 01:11 |
within one of these folders.
And we'll examine in a later video how to
| | 01:15 |
specifically work with Photoshop
documents.
| | 01:18 |
But for right now, if you encounter any
Photoshop documents simply press OK and
| | 01:23 |
select the Default.
Once everything has been imported, I'm
| | 01:28 |
going to step back into the Project tab.
Now let me step inside the General Media folder.
| | 01:33 |
I'm going to press Cmd before I double
click.
| | 01:37 |
That way I won't have a floating window.
You can do the same thing on Windows by
| | 01:40 |
pressing the Ctrl key, and I see all the
footage that I brought in.
| | 01:45 |
And this is a variety of JPEGs, and movie
clips, and graphics.
| | 01:49 |
And if I scroll down, you'll see there's
additional graphics.
| | 01:53 |
And if you don't see all the images, go
ahead and use the Slider at the lower
| | 01:58 |
left-hand side, just to make sure you see
everything.
| | 02:01 |
Now I want to be able to put all of these
clips into their own folders.
| | 02:05 |
Now the first thing I want to do is.
Instead of looking at them in an icon view
| | 02:10 |
is to go down to the lower left hand
corner and switch to a list view.
| | 02:15 |
This is really nice, because I can sort my
clips by a variety of methods.
| | 02:20 |
I could sort them by their name either
alphaetically or reverse alphabetically.
| | 02:25 |
I can sort them by the label type.
So for instance, I can see all audio clips
| | 02:31 |
which are green, I can see movie clips
which basically are video and audio clips combined.
| | 02:37 |
And if I scroll down there are some video
only clips as well as some grafic clips.
| | 02:43 |
But sometimes it's hard to see the blues
to the purples to the Light pinks.
| | 02:49 |
So I'm going to add one more element to my
list, I'm going to add one more sorting
| | 02:54 |
piece of metadata.
And to do that, all I need to do is right
| | 02:58 |
click on any of the headers and I'll get
the option to click on the word metadata display.
| | 03:04 |
Now once I'm in this window I can simply
open up premier pro project metadata.
| | 03:10 |
And I'm going to add a check next to the
word media type.
| | 03:15 |
I'll go ahead and press OK, and as we see
there's now a list that defines all the
| | 03:20 |
different media types that were
represented here by the colors.
| | 03:24 |
So there's my movies, video only clips,
still images and if I scroll to the top
| | 03:30 |
you'll see.
That I have my audio files.
| | 03:33 |
So first of all let's put both of our
audio files into an audio folder.
| | 03:37 |
To make a new folder or a new bin you can
do it one of many ways.
| | 03:43 |
Right now we'll just simply go up under
File and New.
| | 03:47 |
And you see there's an option for new bin.
I like to use the keyboard shortcut here.
| | 03:52 |
So it's Cmd + B on a Mac, and Ctrl + B on
a Windows machine.
| | 03:59 |
I now have a new bin.
It's highlighted, ready for me to change
| | 04:02 |
the name.
And I'm going to simply write in Audio.
| | 04:07 |
Now I can select the other two clips, make
sure audio is not selected and simply drag
| | 04:14 |
and drop them into this bin.
As you see, the bin is open so I'm
| | 04:19 |
going to close it just to keep things
organized.
| | 04:22 |
Now, I'm going to make a new folder.
I want a graphics folder of just my covers.
| | 04:26 |
So I'm going to scroll down and I can see
that I've labeled all my covers.
| | 04:31 |
And I just want to sort by them.
I can go ahead and do this by clicking on
| | 04:35 |
the Search box and typing the word Cover
in.
| | 04:40 |
And as you see, I only have the documents
that have the word Cover in them.
| | 04:44 |
And then all of my bins.
I going to go ahead and Create a New Bin
| | 04:49 |
by hitting Cmd + B.
I'm going to change this to graphics,
| | 04:56 |
covers and then grab those four covers and
drop them directly into this folder.
| | 05:03 |
Now, if I want to see all of my other
clips again I can simply press the X, it
| | 05:07 |
removes that search parameter, and I can
see all of my media, once again.
| | 05:12 |
Now I want to show you a really cool
trick, because sometimes you might have a
| | 05:16 |
lot of media, and you're not really sure
what it is, based upon the name.
| | 05:21 |
Now, you could keep hopping back and
forth, between the icon view and the list
| | 05:25 |
view, but if you go over here to the fly
out menu, in the upper right hand corner.
| | 05:30 |
You can go ahead and click on Thumbnails
and what you'll see is a poster frame for
| | 05:34 |
each one of your clips.
If the poster frame isn't large enough for
| | 05:38 |
you to see on your screen, simply Grab the
Slider, move it to the Right and now
| | 05:46 |
you'll see a larger image.
And this is really useful because very
| | 05:51 |
quickly I can see, for instance, My lower
thirds, my graphics, and what each of one
| | 05:57 |
these still images look like.
So go ahead create some new bins, organize
| | 06:04 |
your media.
And remember, you can always make folders
| | 06:07 |
within folders to keep yourself really
organized in preparing for your edit.
| | 06:12 |
| | Collapse this transcript |
| Reconnecting offline media| 00:01 |
In this video we're going to explore
relinking media, and you might need to do
| | 00:05 |
this for a couple of reasons.
One, if your media has gone offline and
| | 00:09 |
you need to reconnect it, and that would
happen if a drive isn't plugged in or
| | 00:14 |
perhaps you've moved from media from one
location on your hard drive to another
| | 00:18 |
location and Premiere Pro doesn't know
where it is.
| | 00:22 |
Another reason you may want to relink
media...
| | 00:25 |
Is if you're using lower quality or lower
resolution media, and you want to
| | 00:29 |
reconnect it to the original high quality
or high resolution media.
| | 00:34 |
Let's take a quick overview of this dialog
window.
| | 00:38 |
First of all, it lists all the clips that
are missing from your project.
| | 00:43 |
If we look in the lower left hand corner,
I can choose which properties I want
| | 00:48 |
Premiere Pro to use when I'm trying to
find the media.
| | 00:52 |
In this case, I'm going to be using all
the defaults, so we're going to look for
| | 00:57 |
the file name as well as the file
extension.
| | 01:00 |
Now a file extension is something such as
.mov, or .mp4, or .wav as you can see in
| | 01:08 |
this window.
They're just different types of files.
| | 01:12 |
And the reason you may want to uncheck
this is perhaps you've recompressed your
| | 01:16 |
media and it went from an mov file to an
mp4 file, and you want to make sure that
| | 01:21 |
Premier says that's okay.
Now if we move over to the right, there's
| | 01:26 |
a couple of other things that you should
leave checked.
| | 01:28 |
Relink others automatically is probably
the most important.
| | 01:32 |
By leaving this checked, when Premiere
finds one missing file in a certain
| | 01:37 |
location, it will automatically relink any
other files that are missing in that same location.
| | 01:43 |
If the original media has time code by
choosing a line time code, it can use time
| | 01:50 |
code to make sure that if the media has
been managed, or cut down, that you choose
| | 01:55 |
the right part of the clip to reconnect.
And finally use media browser to locate
| | 02:01 |
files, allows you to hover scrub and view
files as you locate them.
| | 02:06 |
Now let's just quickly go through the
bottom four buttons.
| | 02:09 |
If I click either offline or offline all,
I'm telling premiere pro that I know this
| | 02:15 |
media is offline and don't bother me
again.
| | 02:17 |
Offline would be for a single clip, and
offline all would be for all my media.
| | 02:21 |
Locate would step us into finding it, but
for right now, I'm going to hit cancel
| | 02:27 |
which allows me to open up the project.
But the media will still continue to be
| | 02:31 |
offline, and the reason we're going to do
that is because I want to show you how to
| | 02:35 |
reconnect an individual clip from inside
your project.
| | 02:39 |
Before we reconnect all of the clips to
our entire project, so if you're a premium
| | 02:44 |
subscriber following along with the
exercise media go ahead and press Cancel.
| | 02:49 |
And if you're using your own media and
media's offline, you can also press Cancel.
| | 02:55 |
Now as you see when we step into the
project, I have a big red box in the upper
| | 03:00 |
right-hand corner that tells me when my
media is offline.
| | 03:03 |
As a matter of fact, if I scroll through
my timeline, I can see that all of the
| | 03:07 |
media throughout the project is offline.
Now if we step over to the left side of
| | 03:12 |
our screen.
Click on the disclosure triangle next to
| | 03:15 |
the, any of these folders I see icons with
question marks.
| | 03:19 |
That's a visual indication that this media
is offline.
| | 03:22 |
To reconnect a single clip I can simply
right click on it.
| | 03:27 |
And in the drop down window I have the
option to link the media.
| | 03:32 |
As you see when I choose that selection,
I'm greeted with the same dialogue box
| | 03:36 |
that we saw earlier on in the video.
Now let's use the Locate button to find
| | 03:42 |
the missing shot labeled pizza underscore
o one underscore close up underscore aba.
| | 03:47 |
I'll press Locate, and the dialogue box
changes.
| | 03:52 |
It tells me the last path where the video
was known to be and now I can start
| | 03:58 |
searching through and finding the right
path to find this video.
| | 04:02 |
Now one thing I love about Premiere Pro is
the ability to search through folders
| | 04:08 |
within folders within folders.
So, for instance if I clicked on users it
| | 04:12 |
would search through all of the user
folders on my hard drive to find this media.
| | 04:18 |
As a matter of fact if I wanted to I could
search the entire hard drive.
| | 04:22 |
Now, if you have a hard drive that's
unusually large that's multiple terabytes
| | 04:26 |
or tens of terabytes big it's going to
take a long time to search through all of
| | 04:30 |
that media to find a single clip.
So, if you have an idea where the media is
| | 04:34 |
located, it's best to refine that
location.
| | 04:38 |
So I'll select the exercises folder, and
I'll click on search.
| | 04:43 |
Premiere Pro finds the media, and because
I'm using the media browser to search for
| | 04:49 |
it I can even hover scrub through it to
verify that it's the right shot.
| | 04:53 |
Once I've done that all I need to do is
press OK, and the media is now back online.
| | 05:00 |
As you can see I can double-click and load
that clip in the viewer.
| | 05:04 |
Now, I can do the same thing for an entire
folder of clips, or multiple folders of clips.
| | 05:11 |
So for instance, if I wanted to connect
all the media, in camera one, through
| | 05:16 |
camera four, I can simply select them all,
right click, and once again go link media.
| | 05:22 |
Now instead of seeing one clip, we see all
the clips that reside in those four folders.
| | 05:28 |
I can once again press Locate, we'll
search again in our exercise folder.
| | 05:35 |
The first clip is found and I'll press OK.
Now what's different than last time, is
| | 05:40 |
that I actually found all the clips in all
the folders, and connected that medium.
| | 05:47 |
Now if you notice, there's still some
medium offline because we only chose some
| | 05:51 |
of the folders.
I want to point out one last great way
| | 05:56 |
that we can reconnect media.
If instead of connecting all the media in
| | 06:00 |
all of your folders you just want to
connect the missing media in your working
| | 06:05 |
timeline, you can right click on the
timeline and choose to just connect the
| | 06:10 |
media in that timeline.
Link media, same steps as before, locate
| | 06:17 |
Pick our location.
We'll choose to search our desktop, click search.
| | 06:24 |
We found the first piece of missing media
and now we'll press OK.
| | 06:29 |
As you can see, all the media in my
timeline is now connected.
| | 06:34 |
Now, I'm going to return from where we
started at the very beginning which is,
| | 06:38 |
what if all of your media is offline?
To do this, I'm going to go ahead and
| | 06:42 |
close my project, but not save it.
Now let's reopen 03-09.
| | 06:53 |
And we'll once again be greeted by the
fact that all of our media is offline.
| | 06:59 |
Now instead of pressing Cancel, I'm going
to locate all of my media, choose the
| | 07:04 |
location where I want to search.
We'll choose the entire desktop, and press Search.
| | 07:12 |
As you see it foiund the first clip.
And this time instead of pressing OK, I'm
| | 07:17 |
simply going to double click directly on
the icon and it will reattach all of the
| | 07:23 |
missing media back into my project file.
As you can see, if I press the Backslash
| | 07:29 |
key, and look at my entire timeline, all
of my media is now online.
| | 07:36 |
Using the link media command, it's easy to
reconnect media that's gone offline.
| | 07:42 |
| | Collapse this transcript |
|
|
4. Marking and Selecting ClipsBasic editing overview| 00:00 |
Well now you have your head wrapped around
what Premiere Pro looks like and how to
| | 00:04 |
bring footage in.
Let's look at some of the basics you need
| | 00:08 |
to know to start editing.
The first thing I want to show you is what
| | 00:13 |
we're going to be cutting over the next
several videos.
| | 00:16 |
And in our project pane inside the
sequence bin I have something called
| | 00:20 |
edited sample.
I'm going to simply double-click to open
| | 00:24 |
that up and just play you the first few
seconds so, you'll have a sense of the
| | 00:28 |
type of video that we're going to be
creating.
| | 00:34 |
>> (MUSIC) Welcome to Delight Gluten Free
Eats.
| | 00:40 |
>> I'm Vanessa Weisbrod, executive editor
of Delight Gluten Free Magazine, and I'm
| | 00:43 |
so excited to welcome you to our test
kitchen.
| | 00:46 |
My friend Ave is here today to learn how
to make an amazing gluten-free main dish.
| | 00:52 |
So we're making one of my favorite things
right now, and this is a honey-barbecue.
| | 00:56 |
>> So what we have here is a cooking show.
And the budget was such that I wanted to
| | 01:02 |
eat the pizza, since I paid for the
product and put myself on the show.
| | 01:07 |
But,what we're going do is we're going to
start off with a graphic.
| | 01:10 |
We're going to have several different
angles of camera and then we'll have some titles.
| | 01:15 |
Initially we want to put some of the video
into our timeline.
| | 01:19 |
Now I have created a default timeline for
you to work with.
| | 01:25 |
But I want to just refresh you on how you
can create a timeline if you skipped over
| | 01:30 |
those videos earlier.
To create a new sequence, you can easily
| | 01:35 |
use the keyboard command, Command+N or
Control+N if you're on Windows.
| | 01:41 |
Now when you do that, you get this giant
window that's very confusing.
| | 01:45 |
And at first blush you think, omigosh, I
have to figure everything exactly as I
| | 01:49 |
need to and I can't even start editing.
Well the truth is you can define things
| | 01:54 |
here, but if you don't want to don't
worry, because Premiere will do the work
| | 01:58 |
for you.
So, no matter what it says just go ahead
| | 02:02 |
and hit OK to create any timeline and in
this case it looks like we're going to
| | 02:07 |
create a standard definition four by three
timeline.
| | 02:11 |
But, I'm not panicked because if I grab
any of my primary clips and drop them into
| | 02:18 |
the timeline, I'll have a chance to
re-conform the timeline so it matches my video.
| | 02:26 |
The thing to remember is the first clip
that you drop in is how you're going to
| | 02:31 |
conform your timeline.
So if you have some old standard
| | 02:34 |
definition footage or a strange size
animation, don't put that in first.
| | 02:39 |
Put in a clip that you're going to be
using in the show.
| | 02:42 |
And in our case, we're going to to go to
Camera 1 (Charlie), and just go ahead.
| | 02:48 |
And drop the first clip that I find
directly into the timeline.
| | 02:52 |
Simply click drag and drop.
You'll be greeted by this dialog box and
| | 02:58 |
its asking me if I want to keep my
existing settings which I know I don't
| | 03:02 |
because they're standard DEF or change
them.
| | 03:05 |
And most of the time you'll want to change
your sequence settings to match your clips.
| | 03:12 |
Once I do that I'm ready to start editing.
Now keep in mind that when you do this its
| | 03:18 |
really just to change the format.
You can always delete or remove this clip
| | 03:22 |
later but its important to know that all
the other clips that you drop into the
| | 03:27 |
timeline after this clip will conform to
the settings of the timeline.
| | 03:34 |
I'm going to go ahead and just grab a
couple more clips and throw them into the
| | 03:38 |
timeline just so you can see a basic
timeline assembly.
| | 03:43 |
To zoom in and out of the timeline, I can
hit the Plus key and the Minus key.
| | 03:47 |
So I'm hitting the Minus key and I'm
zooming back and seeing more of my timeline.
| | 03:51 |
If I hit Plus, I'd be zooming in.
So I'm going to go ahead and zoom back,
| | 03:55 |
just grab a couple of clicks so you can
see how it works.
| | 03:58 |
I drag them right where I want them if I
let go here the clip will land there.
| | 04:03 |
But I'm going to drag it back and it will
snap to the end of the first clip.
| | 04:09 |
And that way I won't have any kind of
space or a gap.
| | 04:12 |
And I can do the same thing with yet
another clip and drop it into my timeline.
| | 04:17 |
You can see these are three completely
different lengths of a clip but the idea
| | 04:23 |
is basically the same.
As we progress through the rest of this
| | 04:27 |
chapter and the rest of the course, you'll
be able to put in the exact scenes you
| | 04:32 |
want and refine them, so the edits are
perfect.
| | 04:35 |
| | Collapse this transcript |
| Previewing and marking media in the Project panel| 00:00 |
Now dragging entire clips into your
timeline is not very efficient.
| | 00:05 |
The ideal way to edit is to go through
your footage and select in and out points
| | 00:11 |
and trim off the extra media that you
don't need.
| | 00:14 |
You know, when people walk in front of the
camera, when you videotape your foot, all
| | 00:18 |
those things.
And you can do that very efficiently in
| | 00:21 |
Adobe Premiere Pro.
What I'd like you to do, if you're a
| | 00:24 |
premium subscriber and you're following
along with the exercise files, is simply
| | 00:29 |
scroll down, and I've scripted a special
folder called Everything.
| | 00:33 |
Now if you don't have the exercise files
you probably have a folder with a variety
| | 00:39 |
or a hodgepodge of footage in it.
And you can follow along using that.
| | 00:44 |
I'm going to go ahead and double click on
this folder to open it up.
| | 00:49 |
Now in an earlier video we did change a
basic preference that said when I double
| | 00:54 |
click on something it doesn't up as a
floating window, it opens up as an
| | 00:58 |
attached tab.
As a reminder, you can make that change in
| | 01:02 |
your preference settings and that's under
Premier Pro on a Mac and at the bottom of
| | 01:08 |
the edit on a Windows machine.
You would go to the Preferences > General
| | 01:13 |
and this is the one that we changed, which
is when you double click open in a new
| | 01:18 |
tab, versus the default, which is a open
in a new window.
| | 01:23 |
Now that I have this tab open I'm going to
press the ~ key so it's full screen, so
| | 01:29 |
you can better see what I'm doing.
I'm also going to grab this slider here
| | 01:33 |
and make the images bigger, because it
will be easier to see them when I hover
| | 01:37 |
scrub through them.
So if I run my mouse over any of these
| | 01:42 |
clips they'll actually scrub and I can see
whats happening.
| | 01:46 |
That middle shot of the pizza is the still
picture, so of course there's no movement.
| | 01:52 |
What I'd like to do is mark the very
beginning of the shot I want to take and
| | 01:57 |
the very end, and I can do this without
having to load this clip into...
| | 02:02 |
Any other monitor such as the source
monitor, I can do it right here and I can
| | 02:07 |
just go to clip by clip by clip and be
very efficient in marking in and out points.
| | 02:13 |
Let me show you how that's done.
Well of course I can use the Hover Scrub
| | 02:18 |
to find a spot and then click.
But at this point I really want to click
| | 02:23 |
on the clip and either use this slider or
use a keyboard shortcut.
| | 02:29 |
Now, if I'm annoyed by the sound it makes
when I'm scrubbing through the clip
| | 02:34 |
(NOISE) I can hit Shift+S and temporarily
turn that off.
| | 02:39 |
But in our case I do want to hear what
we're saying because I'm cutting to audio.
| | 02:44 |
So, I turned it back on and I'm going to
just move over here to right where
| | 02:48 |
Vanessa's about to speak.
(NOISE) I'm going to press the I key to
| | 02:58 |
mark an in point, and you'll notice that
the yellow will now adjust.
| | 03:02 |
Marking that as the in point and then I'll
hit the space bar and let her speak a
| | 03:07 |
little bit and determine where I want to
cut to a close up.
| | 03:10 |
>> Welcome to Delight Gluten Free Eats.
I'm Vanessa Weissbord, executive editor of
| | 03:17 |
Delight Gluten Free magazine and I'm so
excited to welcome you to our test kitchen.
| | 03:21 |
My friend Abba is here today to learn how
to make a amazing gluten free main dish.
| | 03:26 |
So we're making.
>> So that's a good spot, when she turns
| | 03:29 |
her head.
I want it long enough that I can put
| | 03:31 |
actually a lower third with her name and
her position on it.
| | 03:35 |
But I'm ready for that to be the out
point.
| | 03:37 |
So now I'll hit the O key, which is
conveniently located right next to the I key.
| | 03:43 |
So I for in, O for out.
And as I hit that O key take a look at the
| | 03:48 |
bottom right hand corner of that clip.
It will go from 50716 to 1626.
| | 03:51 |
Now that that's telling me is actually the
duration between the in and the out point.
| | 03:57 |
So I've just marked this clip.
It's about 16 seconds long and I can go to
| | 04:03 |
the next clip that I want to mark an in
and out point and do the same thing.
| | 04:09 |
I am going to teach you a very cool
keyboard shortcut trick at this point.
| | 04:14 |
So let's go ahead and cut to a reaction
shot of me talking to Vanessa.
| | 04:20 |
We'll go over here to pizza02b wide shot.
And I'll get close you know, we're setting
| | 04:28 |
up there.
And before I open my mouth which is a very
| | 04:31 |
rare point in time, I will click here, so
now we're on the scrubber bar.
| | 04:36 |
Instead of grabbing the mouse, once I've
actually clicked on the clip, I'm going to
| | 04:41 |
put my fingers on the J, K, and L keys.
If I press J, it will play the clip backwards.
| | 04:47 |
If I press L, it will play the clip
forwards.
| | 04:51 |
>>Sure.
>>And so you see how dramatic that can be
| | 04:57 |
when I actually move my head.
Now, if I want to go faster or slower, I
| | 05:02 |
can still use the same keys.
If I double tap or triple tap the L key,
| | 05:06 |
it's going to fast forward the clip.
(SOUND) And if I double, triple, or even
| | 05:13 |
four times tap the J key, (SOUND) it'll be
fast rewind.
| | 05:19 |
So let me find the exact point, where I
start responding to Vanessa (SOUND).
| | 05:31 |
(SOUND) Okay, so I'm going to go
backwards, J key.
| | 05:34 |
And just to do it pretty quickly, I'm
going to mark and I, I'll hit the spacebar
| | 05:41 |
to play, (SOUND) and then when I get to
the point where I want my out to be, I can
| | 05:49 |
hit the O key.
So very quickly I can mark in points and
| | 05:53 |
out points on my clip directly in the
Preference pane, preparing me to start editing.
| | 06:00 |
Now, depending on the type of program
you're cutting, sometimes you might have
| | 06:04 |
100 different clips and you just really
want to trim off the heads and the tails.
| | 06:08 |
This is a very efficient way of doing it.
| | 06:10 |
| | Collapse this transcript |
| Previewing and marking clips in the Source panel| 00:00 |
Marking in and out points in the preview
pane can be very efficient, but sometime
| | 00:06 |
you need Final Tune control or you may
have really, really long clips so it's not
| | 00:11 |
the most efficient way of marking in and
out points.
| | 00:15 |
In that case you should mark your in and
out points by directly loading your clips
| | 00:20 |
from the project panel into the source
panel.
| | 00:24 |
Let's go ahead and load that first clip
that we marked.
| | 00:27 |
Just to see how that looks in the source
panel where it will be quite big and we'll
| | 00:32 |
have some additional ways that we can
navigate through it.
| | 00:35 |
I'm going to do this first by
double-clicking it to load it into the
| | 00:39 |
source panel.
And as you see, Adobe Premiere Pro
| | 00:43 |
remembered my inpoint and my outpoint that
I had made earlier.
| | 00:48 |
Now, suppose I want to mark a different in
or outpoint.
| | 00:53 |
Well, first off I don't have to erase the
ones that are there.
| | 00:56 |
If I move my playhead to a new location
and mark an in point by pressing the I
| | 01:02 |
key, it will erase the old in and out
points.
| | 01:07 |
A very efficient way, and it saves a lot
of steps.
| | 01:11 |
Another nice thing about this is I can see
the timeline much easier, and if I wanted
| | 01:15 |
to I can even zoom in by grabbing these
little handles at the bottom of the frame
| | 01:21 |
and pulling them in.
Now I'm moving from say a 10,000-foot
| | 01:25 |
level to a 1,000-foot level view, and I
can even come in closer to maybe where I'm
| | 01:31 |
at 100 feet.
So when I'm grabbing this yellow slider, I
| | 01:36 |
can move by much finer increments.
Let's go ahead and mark an in and out
| | 01:41 |
point here, using the same J, K, and L
technique that we learned earlier.
| | 01:47 |
Remember, J let us play backwards, L let
us play forwards, and K was a stopping point.
| | 01:55 |
Now we did learn how to fast-forward and
fast-rewind through a clip, but what if
| | 01:59 |
you want to be able to go through a clip
very slow, a frame at a time or a few
| | 02:03 |
frames at the time.
Using the same keys a little bit
| | 02:07 |
differently can achieve that goal.
If I hold down the k key and just tap on
| | 02:13 |
l, I can move forward one frame at a time.
(NOISE) If I hold down the K key and hold
| | 02:21 |
down the L key at the same time, I'll go
forward in slow motion.
| | 02:26 |
(NOISE) And of course, the reverse works
the same way.
| | 02:34 |
K, and tapping J goes backwards a frame at
a time.
| | 02:39 |
And holding down both J and K
simultaneously, rewinds in slow motion.
| | 02:44 |
(SOUND) And I can still press the I key to
mark an in point.
| | 02:49 |
>> Abba, and then you can turn it up as it
starts.
| | 02:51 |
>> And an O key to mark the out point.
If you look over to the right of the
| | 02:56 |
screen, I can see the duration from my in
point to my out point.
| | 03:01 |
So, this is yet another way you can go
through and mark the best part of a clip
| | 03:07 |
to bring into your timeline.
| | 03:08 |
| | Collapse this transcript |
| Creating subclips| 00:00 |
Now in the previous videos we learned how
to mark in and out points on a clip in
| | 00:05 |
both the project panel and the source
panel.
| | 00:09 |
But in each case we only marked one in and
out point on a certain range of that clip.
| | 00:14 |
Well there's a lot of times that that is
efficient if you have a lot of clips and
| | 00:18 |
you just needed to trip the head and tails
off of them.
| | 00:20 |
But there's other times where you're
working with just a few very long clips
| | 00:24 |
and you really want to mark in and out
points throughout parts of that clip.
| | 00:28 |
For instance in this cooking show or maybe
you're at a sporting event or even at a concert.
| | 00:34 |
So the solution is to create something
called a sub clip where you can mark an in
| | 00:38 |
and out point and then save that range as
its own clip.
| | 00:43 |
Let me show you how easy and efficiently
you can do that.
| | 00:47 |
So I want to have an in and out point for
Vanessa's opening read to camera.
| | 00:51 |
So let's go ahead and find that quickly.
(NOISE) So there she's starting to talk.
| | 01:00 |
I'm going to press I for in, (INAUDIBLE)
and I'll go just a little bit later, and o
| | 01:04 |
for out.
Now, right before I pressed the O button.
| | 01:07 |
I want you to take a quick look here.
Before, it said 11 seconds, and then I
| | 01:11 |
marked an endpoint, so that cut the head
off.
| | 01:13 |
Now, I'm going to press O and mark an out
point.
| | 01:15 |
And you're going to see it drop from nine
and a half minutes, to something much much shorter.
| | 01:20 |
So I've refined it to about 38 seconds in
length of what I really need while she
| | 01:25 |
talks and I pretend to talk on the phone.
So to take this in and out point and make
| | 01:30 |
it into a sub clip is pretty easy.
I'm going to change a few things in my
| | 01:34 |
lower left hand pane just so you can more
easily see the effect of making a sub clip.
| | 01:41 |
I'm going to scroll all the way over to my
project pane and I'm going to go to camera
| | 01:46 |
one and double-click it to load it as its
own tab.
| | 01:50 |
So now we have a fairly clean resource,
and this is what we're making into sub-clips.
| | 01:54 |
And let's go ahead and make sure the
source window is selected.
| | 01:58 |
We'll go up under Clip, and we'll see
there's an option to make sub clip.
| | 02:04 |
Now, I'm using the Dropdown Window,
because it's easier for you to see, but I
| | 02:08 |
would probably use the keyboard shortcut
of Cmd+U on a MacIntosh or Ctrl+U on a
| | 02:15 |
Windows machine to take that in and out
point and make it into a sub clip.
| | 02:20 |
Now, you'll notice when I click to make
this as a subclip, I get a dialogue box,
| | 02:25 |
and it does two things.
First, it creates a name based upon the
| | 02:28 |
original clip's name and adds the suffix
of subclip.
| | 02:32 |
I can change that to something more
appropriate such as intro.
| | 02:36 |
And it gives me the choice of restricting
or non-restricting the trims to sub-clip boundaries.
| | 02:44 |
I'm going to go ahead and restrict the
first one, and then I'll make a second
| | 02:48 |
sub-clip and not restrict it, and show you
the difference in the timeline.
| | 02:52 |
One thing to keep in mind is that Premiere
remembers the state that you last left the
| | 02:57 |
check box.
So if you left it restricted, and you
| | 03:00 |
don't change it.
All your subclips to follow will also be restricted.
| | 03:05 |
Let's go ahead and hit Okay, and you'll
notice that the intro sub clip has been created.
| | 03:11 |
And it has a slightly different shape to
the icon.
| | 03:13 |
And I do want to point out that whenever
you make a sub clip, you're not creating
| | 03:17 |
any new media, you're just creating a new
pointer to part of the existing media on
| | 03:23 |
your hard drive.
Let's quickly jump to another part of the
| | 03:27 |
clip where I'm working on the pizza.
We'll make another in and out point, and
| | 03:31 |
this time, instead of hitting Cmd+U, I'm
going to hold down the Cmd key, and this
| | 03:37 |
is the Ctrl key on Windows, and simply
drag the clip from the Source Panel
| | 03:42 |
directly down into My Project panel.
I get the same pop up window, I'm going to
| | 03:48 |
go ahead and uncheck restrict, and I'll
name this Flatten because that's what I'm
| | 03:53 |
doing to the pizza and I'll hit Okay.
Now let me drag both of these into our
| | 03:58 |
timeline and you'll see how they work a
little bit differently.
| | 04:02 |
I'm going to drag Intro in first and
Flatten in second and I left a space.
| | 04:07 |
Now if you notice, there's a little
triangle at the left and right edges of
| | 04:12 |
our restricted clip.
Whenever you see this little triangle on a
| | 04:16 |
clip, you know that you used all the media
in that clip, and you can't stretch it out
| | 04:21 |
any longer, so I could make it shorter.
But when I stretch it out, that's the
| | 04:26 |
absolute limit of this clip.
Now I know there is more available in the
| | 04:31 |
original clip, but I chose to arbitrarily
restrict how much I can trim it.
| | 04:36 |
On the unrestricted clip, I don't see the
little triangles on either side, and I can
| | 04:42 |
stretch them out as long as I need.
So as you see, creating subclips from
| | 04:49 |
really large clips can make things more
organized and you can find things more faster.
| | 04:54 |
| | Collapse this transcript |
|
|
5. Basic Video EditingMarking and targeting destinations in the Timeline| 00:00 |
Now you've marked most of your clips and
you kind of have an order of what you want
| | 00:04 |
to put it in.
Lets go ahead and bring these clips into
| | 00:07 |
the Timeline again.
Now we know we can drag them into the Timeline.
| | 00:10 |
So let's turn it up a notch.
And talk a little bit about being very
| | 00:14 |
specific where you want things to go.
I'm going to make sure the first clip is
| | 00:18 |
loaded into my timeline.
I'm going to simply double-click to open
| | 00:22 |
it up.
Now I've created a folder called
| | 00:24 |
double-zero closing sequence and threw
some footage in there to work with.
| | 00:28 |
And it's going to be pretty obvious the
order that I want you to put these clips in.
| | 00:33 |
So the first thing is taking the pizza out
of the oven.
| | 00:36 |
And instead of throwing it onto the
timeline and trimming it up there, I'm
| | 00:40 |
going to go ahead and mark an in point
where I want the scene to start but I'm
| | 00:45 |
not going to worry about where it ends
just yet.
| | 00:52 |
(SOUND) (INAUDIBLE) So right when I start
talking I'm going to press an in point.
| | 00:55 |
If I hit Play for a second, you'll see
I'll make some (UNKNOWN) comment.
| | 00:59 |
Now I learned that when you can smell the
food it's done.
| | 01:03 |
>> Is that the best way to do it?
(SOUND)
| | 01:05 |
>> So obviously you can see that I
definitely need cooking lessons, but that
| | 01:09 |
is where the in point should be.
And in the case of not having anything on
| | 01:13 |
the timeline, if I use the keyboard short
cut to bring it in or even if I hit one of
| | 01:19 |
the buttons, it's going to land in the
right place.
| | 01:21 |
But, not if I had moved my play head.
If my play head is over here.
| | 01:27 |
And I go ahead, and I press either an
insert or an overwrite button.
| | 01:31 |
And we'll look at these in more detail in
a later video.
| | 01:34 |
It actually puts the clip where that play
head is parked, and I really don't want that.
| | 01:39 |
It'll be pain and I'm going to have to
drag it all the way back once I put the
| | 01:42 |
clip in.
So, instead of doing it wrong and having
| | 01:45 |
to fix it, let me go ahead and undo this.
Command Z is undo, Control Z on a Windows machine.
| | 01:54 |
And I'll undo that, and I can either make
sure that the play head is at the very
| | 01:59 |
beginning, and press my Insert button.
Or, if I wanted to really be sure, let me
| | 02:07 |
hit undo one more time, I could actually
press the I key to mark an in point on my timeline.
| | 02:15 |
So I have an in point here, I just want
you to see that.
| | 02:20 |
I, and I'm going to drag that out of the
way.
| | 02:22 |
Now if I hit this button, the in point
overrides the play head.
| | 02:26 |
So that's just the thing you really want
to walk away from, is that if there's no
| | 02:30 |
in or out point marked in your timeline,
it will default to the location of the
| | 02:34 |
play head.
And if there is an in point it trumps the
| | 02:37 |
location of the play head.
Let me go ahead and press the Insert
| | 02:41 |
button, and you can see that the clip goes
to the very beginning of the show.
| | 02:45 |
And, as a matter of fact, the play head
then jumps back to the end of the clip
| | 02:50 |
because its lining itself up for your next
edit assuming you just one to slug in one
| | 02:55 |
clip after another clip after another
clip.
| | 02:59 |
Now let's do that one more time, leaving a
space for the second clip.
| | 03:03 |
So I'm going to go ahead and just
arbitrarily move this down.
| | 03:05 |
I'm going to select clip number three, and
mark an in point.
| | 03:12 |
(SOUND).
I think always cutting on action is good,
| | 03:15 |
so just as I'm about to lift it out, I'll
mark an in point.
| | 03:18 |
And now when I press Insert, the clip is
going to go where the play head is parked,
| | 03:25 |
leaving me a nice space for my cutaway.
As you can see, it's very easy to target
| | 03:30 |
in time where you want a clip to go on
your timeline.
| | 03:35 |
| | Collapse this transcript |
| Moving clips in the Timeline| 00:00 |
So once you get a bunch of clips in your
timeline, it's inevitable you're going to
| | 00:04 |
want to move them around.
And it's very easy to do.
| | 00:07 |
It's actually very intuitive.
It's simply dragging and dropping and
| | 00:11 |
really I just want to focus on a couple of
things that could be gotchas.
| | 00:15 |
I can grab any clip I want and just slide
it left or right, or even up and down if I
| | 00:20 |
need to.
Now, what's important to know is that I
| | 00:24 |
can move a clip over another clip.
So if I wanted to switch positions, and
| | 00:29 |
it's also important to know that when I
get close to another clip, it will
| | 00:34 |
naturally snap to the clip next to it.
And this is really important to understand
| | 00:40 |
because it keeps you from accidentally
writing over the end of a clip and also
| | 00:44 |
keeps you from having that extra frame of
black video that will pop up when you just
| | 00:50 |
don't want it.
Now, if this is not working, that means
| | 00:53 |
somehow you've turned snapping off and
that's simply by pressing the S key.
| | 00:57 |
And this happens all the time.
You hit a key by accident and you
| | 01:01 |
deactivate it.
Now, if I bring my clip really close to
| | 01:05 |
the other clip, no magnetism at all.
And now I'm at risk of having a flash
| | 01:10 |
frame, or even overriding the clip that
I'm next to.
| | 01:15 |
So keep your eyes open, and make sure that
if you want snapping on, you see those magnets.
| | 01:22 |
And if it's off, simply hit the S key to
make it work again.
| | 01:26 |
| | Collapse this transcript |
| Trimming edit points in the Timeline| 00:00 |
We've put clips in the timeline.
We've learned how to move them around and
| | 00:03 |
avoid them overriding each other by using
Snapping.
| | 00:07 |
The next thing I want you to understand is
how you can trim a clip in the timeline.
| | 00:11 |
And it's as simple as grabbing the edge of
the clip and pulling it longer, or
| | 00:17 |
grabbing it and pulling it shorter.
You'll notice you get a little red arrow
| | 00:21 |
with a bracket and it will point at the
clip that you're trimming.
| | 00:25 |
So, for instance, if two clips are
actually touching each other.
| | 00:29 |
And if you notice, I don't have them
snapping together.
| | 00:32 |
So I'm going to hit the s key.
And now, it snaps.
| | 00:35 |
I can go ahead.
And whichever way it's pointing, grab that clip.
| | 00:40 |
And maybe trim off a little bit of the
head of it.
| | 00:43 |
If I have too much at the beginning, or if
I need to stretch it out, I could simply
| | 00:48 |
move it over here, and stretch it a little
longer.
| | 00:52 |
I want a little more video, stretch it a
little longer.
| | 00:55 |
One of the great tricks is, if you really
want to do some fine editing, zoom in
| | 01:00 |
using the plus key as far as you need.
And then, when you click and drag, you can
| | 01:06 |
really work in one or two frame
increments.
| | 01:09 |
And you'll also see in the right hand
window, the exact frame that you're now
| | 01:14 |
cutting to.
So, basic trimming in the timeline is as
| | 01:19 |
simple as grabbing the edge of a clip and
making it longer or shorter.
| | 01:23 |
| | Collapse this transcript |
| Splitting and deleting clips| 00:00 |
Well, now that you have your head wrapped
around bringing clips into the timeline
| | 00:04 |
and moving them around, I want to show you
one more very useful technique when
| | 00:08 |
trimming in the timeline.
There's often times that you want to just
| | 00:12 |
lop off a piece of the clip, the head or
the tail, and you don't want to go to all
| | 00:16 |
the effort of actually going to the edge
of the clip and dragging it to the right spot.
| | 00:21 |
What I want to do here is I want to make
an edit Just as the pizza's placed down.
| | 00:26 |
Obviously, we have a lot more footage here
that I'm not going to use.
| | 00:30 |
So I'm simply going to put my Playhead
right at the position where she plops the
| | 00:35 |
pizza down.
And that's a good matching action point.
| | 00:39 |
So, if I want to cut the clip I'll simply
go over here to my tools and select the
| | 00:44 |
razor and the keyboard shortcut for the
razor is c as in cut.
| | 00:48 |
I go back over to where my play head is
parked.
| | 00:53 |
I click and if I move the play head you'll
see I've now made a nice straight cut
| | 00:59 |
between the audio and the video.
I'm going to switch back to my Selection
| | 01:03 |
tool and the keyboard shortcut for that is
v.
| | 01:05 |
And that's probably one of the keyboard
shortcuts you'll use a lot.
| | 01:09 |
And once that's done, I'll simply select
the clip and I'm ready to delete it.
| | 01:14 |
If you press the Delete key, and you can
press either the single Delete key if
| | 01:19 |
you're on a laptop, but if you're on a
desktop with an extended keyboard, you
| | 01:24 |
actually have two Delete keys.
What I call the Macintosh Delete key,
| | 01:27 |
which deletes backwards, and the Windows
Delete key which deletes forwards.
| | 01:30 |
Well, guess what they both do the same
thing.
| | 01:32 |
So if I press the Delete key, I do what's
called a lift edit.
| | 01:35 |
The clip disappears, and the clip is
removed leaving a space behind.
| | 01:44 |
I can then close this space if I want to
by right clicking on that empty space and
| | 01:49 |
doing what's called a ripple delete, and
that will close the empty space between
| | 01:53 |
the two clips.
Now let me go ahead and hit Undo, and I'm
| | 01:57 |
going to do this twice to bring that clip
back in, and this is the clip that we've
| | 02:01 |
already cut.
I can, with a single keyboard shortcut,
| | 02:06 |
not only remove the clip, but also move it
down the timeline, which is commonly
| | 02:11 |
referred to as a ripple delete.
To do that, I would hold down the Shift
| | 02:16 |
Modifier key and press the Forward Delete
key.
| | 02:19 |
You can also do that simply by right
clicking on the clip that you want to
| | 02:24 |
ripple delete, and in the drop down menu
select Ripple Delete.
| | 02:30 |
And in one quick motion we have made the
precise edit that we're looking for.
| | 02:35 |
Let's take a quick look and see how it
flows.
| | 02:38 |
>> I did that.
>> There you go.
| | 02:42 |
You totally did that.
>> So that's perfect.
| | 02:46 |
The audio doesn't match because it's a
cutaway, but we'll learn how to fix that
| | 02:50 |
audio in a later video.
| | 02:52 |
| | Collapse this transcript |
|
|
6. Intermediate EditingPerforming an overwrite edit| 00:00 |
Well we've got some basic editing under
our belt, and by basic I mean you know how
| | 00:05 |
to slug clip after clip after clip into
the timeline.
| | 00:08 |
Let's move onto some intermediate editing
techniques.
| | 00:12 |
And the first one we're going to do is
called an override edit.
| | 00:15 |
And it should look familiar and it's
actually failrly self explanatory.
| | 00:18 |
You simply can put down a clip and weigh
another clip at the end of it.
| | 00:23 |
And cut off the tail of what you don't
need.
| | 00:26 |
Let's go ahead and quickly assemble a clip
onto the timeline.
| | 00:28 |
We're going to go with Abba talking along.
And I already have an in point and an out
| | 00:34 |
point marked.
It's me just generally saying the pizza's ready.
| | 00:38 |
>> Now, I learned that when you can smell
the food.
| | 00:43 |
>> And then we actually have Vanessa
taking the pizza out of the oven, and
| | 00:47 |
we're going to cut to a close-up.
And I have all of the extra footage of me
| | 00:51 |
starting to cut it that we just don't
need.
| | 00:54 |
So I'm going to go ahead and bring this
down to the timeline by just dragging it
| | 00:57 |
and dropping it.
And I'm going to hit the Backslash key.
| | 01:00 |
And that's going to give me a little bit
of extra space at the end of the timeline
| | 01:04 |
to fill my clip.
So, the key here is I want to replace the
| | 01:08 |
shot, or overwrite the shot, where the
pizza actually hits the counter.
| | 01:12 |
So, right there, it hits the counter.
And that's a good edit point.
| | 01:18 |
I'm going to press the I button to mark an
end point.
| | 01:20 |
That was it doesn't matter if I've nudged
my play head because it will allow me to
| | 01:25 |
overwrite at that spot.
Now we're going to cut to a close up of
| | 01:29 |
the pizza landing on the counter.
And that's simply called B Roll Close Up
| | 01:33 |
Pizza Oven.
Double click to load that into the viewer.
| | 01:36 |
Once again, I have marked in and out
points, but if those have changed on
| | 01:40 |
yours, I'm just going to cut to this Right
when it lands on the counter and I hear
| | 01:45 |
that clunk, so I'll mark an end point
there, and again, I don't care about the
| | 01:50 |
out point, because we're going to make a
successive series of overwrite edits, and
| | 01:54 |
they'll just cut off all that extra fluff
that I don't need.
| | 01:57 |
Now, I can drag this down to the timeline.
And I want you to know when you drag to
| | 02:03 |
the timeline it will put the clip wherever
you let go of the mouse.
| | 02:07 |
It doesn't put it at the endpoint, it
doesn't put it at the playhead, it kind of
| | 02:11 |
overrides that because it assumes you know
where you want to drop the clip.
| | 02:15 |
However, you can snap to your endpoint and
that's why that's useful when dragging.
| | 02:22 |
You can use a keyboard shortcut for this
also.
| | 02:24 |
And the keyboard shortcut to do an
overwrite edit is the period key.
| | 02:28 |
And I'll use that next time.
So what we've done is we've placed the
| | 02:32 |
clip onto our timeline.
We've kind of erased everything underneath.
| | 02:36 |
If I move this out of the way, nothing is
there.
| | 02:38 |
Don't worry.
It's all non-destructive.
| | 02:41 |
I could have.
Stretch this back out if I wanted it and
| | 02:44 |
I'm going to go ahead and hit undo a
couple of times and take a look at how
| | 02:49 |
successful we were in placing this clip.
And as you see the timing is absolutely
| | 02:52 |
perfect and sometimes that's by planning
and sometimes you're just lucky.
| | 03:03 |
Luck really helps out when you're editing.
But everything afterwards has kind of been erased.
| | 03:09 |
So, an overwrite editor is very useful to
select things down onto the Timeline and
| | 03:13 |
still keep a rhythm going.
I want to cut back to the wide shot and
| | 03:17 |
we'll do one more Overwrite Edit just to
make sure you have a good understanding of
| | 03:21 |
this editing strategy.
So, once the pizza has been put down and
| | 03:28 |
the oven is closed, we're ready to jump to
the wide shot.
| | 03:31 |
I'll mark an in point by pressing the eye
key, jump back to the same shot that we
| | 03:36 |
had before.
So I'm going to go ahead and double-click
| | 03:40 |
on 01 Abba talking to load that back into
our source monitor.
| | 03:45 |
And find a good place to cut in.
Now, ideally it's going to be after the
| | 03:50 |
pizza comes out of the oven and I'm a
little zoomed in here so let me stretch
| | 03:54 |
this out so I can see more of my video.
I could hit the Minus key.
| | 03:58 |
(NOISE) Pizza comes out and lands, I sniff
it and I talk a little bit too much and
| | 04:05 |
then she offers to let me cut it.
So I'll use the J key to step back a
| | 04:13 |
little bit.
(NOISE).
| | 04:16 |
(BLANK_AUDIO).
>> (INAUDIBLE).
| | 04:23 |
>> Mark an in point and this time instead
of dragging it down I could use one of
| | 04:26 |
these buttons for overwrite or I'll just
press the Period key.
| | 04:31 |
And as you see it replaces that clip and
keeps going.
| | 04:35 |
As a matter of fact, I'm going to go ahead
and delete this by selecting it and
| | 04:39 |
hitting the Delete key because I know I
don't need that extra footage.
| | 04:42 |
(SOUND)
>> So you want to cut it and, and have a slice?
| | 04:48 |
>> Yes.
(CROSSTALK)
| | 04:49 |
>> Now that was pretty good.
I'll probably finesse that edit a little
| | 04:52 |
bit to make the timing right.
So there you see an overwrite edit allows
| | 04:57 |
you to be more efficient in bringing your
clips in and it allows me to cut out some
| | 05:02 |
extra areas of our raw video to shorten my
final program.
| | 05:06 |
| | Collapse this transcript |
| Performing an insert edit| 00:01 |
Now as efficient as an Overwrite edit is,
the Insert edit is even more efficient.
| | 00:07 |
What it allows you to do is insert a clip
into your Timeline and push everything
| | 00:12 |
after that clip further down the timeline,
so you don't lose anything at all.
| | 00:17 |
And this could be useful for putting in
maybe a title opening at the beginning of
| | 00:21 |
a show once it's cut, or in this case I'm
actually going to split a clip in half so
| | 00:27 |
I can add an extra line that kind of just
wraps up the show.
| | 00:31 |
If you take a look at this single clip
that's after the gap in our timeline, I'm
| | 00:35 |
going to play a few seconds so you can see
that there's a point where I kind of want
| | 00:40 |
to cut to a response about how much I
liked the pizza.
| | 00:42 |
>> It totally doesn't matter.
Whatever you're in the mood for.
| | 00:46 |
>> Do you have a box I can take this home
with me?
| | 00:48 |
>> I'm sure we could find something for
you to take it home.
| | 00:50 |
>> That's awesome.
And if people want to get the recipe.
| | 00:52 |
>> So right before, I say, and if people
want to get the recipe, I have this shot
| | 00:57 |
loaded in.
It's the closeup, it's 04 Abba closeup and
| | 01:00 |
I've cued it up, but I'll show you where
the in-point would be marked.
| | 01:04 |
So I just want to get this timed perfectly
so I'm going to hit the plus a few times
| | 01:08 |
so I can be pretty precise.
And let's listen and watch.
| | 01:12 |
>> And something for you to take it home.
>> That's awesome.
| | 01:14 |
And if people want to get the recipe?
>> So likely.
| | 01:16 |
>> Oh right there if people want to get
the recipe I'm going to make an in point
| | 01:22 |
and what we're going to do is we're
going to split that clip in half so let me
| | 01:24 |
zoom out so you can see the end result.
And we'll go to our source clip and I'm
| | 01:29 |
saying this line.
So it's before she responds.
| | 01:39 |
I say it's delicious, and I just want to
squeeze that in.
| | 01:42 |
And instead of razorblading and sliding it
down the timeline, dropping it in and
| | 01:45 |
closing the space, I can do what's called
an insert edit, where it literally slices
| | 01:49 |
it in half.
Puts the clip in and pushes everything
| | 01:52 |
beyond that clip further down the
timeline.
| | 01:54 |
I can do this by pressing this little
button here or the comma key.
| | 02:00 |
I can also do an insert edit with a drag.
Now we've been dragging clips down to the
| | 02:05 |
timeline, and if I let go right now it
would do an overwrite.
| | 02:09 |
But if you notice in the bottom left-hand
corner of your screen, Premier Pro will
| | 02:13 |
give you some other options if you hold
down a modifier key.
| | 02:18 |
So as you see if I hold down the Cmd key
or if you are on a Windows machine the
| | 02:23 |
Ctrl key, the interface changes a little
bit on top of the clip.
| | 02:27 |
Instead of the arrow pointing down, we get
a bunch of arrows pointing to the right.
| | 02:31 |
So then that effect is the same whether
you drag and use a modifier, or keyboard
| | 02:36 |
shortcut, or a button.
Watch what happens when I let go of my mouse.
| | 02:42 |
It actually inserted the clip and moved
everything a little bit downstream.
| | 02:46 |
Now there'll probably be a little bit of
me repeating the awesome word but I can go
| | 02:51 |
ahead and trim that out a little bit
later.
| | 03:07 |
So that edit could probably be finessed a
little bit but you see the idea that if
| | 03:11 |
you want to put a shot between two
existing shots or even at the head of your
| | 03:15 |
show the insert edit is an incredibly
powerful tool.
| | 03:19 |
| | Collapse this transcript |
| Using swap edits| 00:01 |
Well, now that we have override and insert
edits under our belt.
| | 00:03 |
There is a very flexible edit called a
swap edit.
| | 00:07 |
Now, when I was putting this section
together, I just threw down a bunch of
| | 00:11 |
shots that I knew would work.
And back to back I threw the cutting of
| | 00:15 |
the pizza, and the tasting of the pizza.
>> Okay.
| | 00:20 |
>> And there's a big jump cut.
Because I actually don't cut the pizza.
| | 00:23 |
Because I knew I wanted the close up.
And I was in such a hurry, I just threw it
| | 00:27 |
down at the end of those two clips.
And what I really want to do is I want to
| | 00:31 |
move it back here in as few steps as
possible.
| | 00:34 |
And that's what a swap edit allows you to
do.
| | 00:36 |
I don't want to have to literally drag
this over here, and then close this gap
| | 00:42 |
and bring it down.
Let me go ahead and hit Undo.
| | 00:45 |
I just want to be able to grab a clip and
flip-flop the position.
| | 00:49 |
You'll find you'l use this a lot when
you're doing a film, like a narrative,
| | 00:53 |
when you're cutting commercials, cutting
sports, even just swapping around b-roll
| | 00:58 |
on an interview.
So, to do the swap edit, I select the clip
| | 01:02 |
that I want to move and I start to drag it
to its new position.
| | 01:06 |
If I let go at this point I'm going to do
an override and I don't want to do an
| | 01:10 |
overwrite and I don't want to do an
insert.
| | 01:14 |
I want to actually swap the clips and the
trick here is to hold down two modifier keys.
| | 01:21 |
I'm going to hold down the Cmd+Option key,
and if you notice I get a little icon,
| | 01:27 |
that indicates I'm pushing one, and
flopping in another one.
| | 01:31 |
Now, when I let go of my mouse, the two
shots have switched.
| | 01:35 |
Now, it's very important, that you're
precise when you let go of the mouse,
| | 01:40 |
because wherever you let go it'll cut the
clip in half.
| | 01:43 |
It's kind of like a mix between an insert
and a move.
| | 01:45 |
So, let me hit Undo.
We'll grab it again.
| | 01:48 |
I'm going to bring it so it lines it up,
and now hold down Option+Cmd, and I have a
| | 01:53 |
perfect swap edit.
Let's take a look at the play back.
| | 02:01 |
>> Okay.
Neatness does not count.
| | 02:08 |
>> Now, barring that, I'll probably end
up replacing the audio so that it matches.
| | 02:12 |
And maybe a little color grading.
The rhythm and timing works perfectly.
| | 02:16 |
So, as you see, this is a very efficient
way to swap clips in your timeline.
| | 02:22 |
And it's as simple as holding down the
Cmd+Option key on a Mac or the Ctrl+Alt
| | 02:27 |
key on a Windows machine, and dragging the
clip where you want it to be and letting
| | 02:31 |
everything else slide downstream.
| | 02:33 |
| | Collapse this transcript |
| Using multiple tracks| 00:00 |
Another technique when editing, is to
actually put video on multiple tracks.
| | 00:05 |
So, in this video, we're going to actually
put our cutaway on the second track, on
| | 00:11 |
track V2, to hide this edit as well as
give us some flexibility, because it'll be
| | 00:17 |
easier to slide that clip back and forth,
and making it longer or shorter, without
| | 00:21 |
affecting the media on line 1.
So our primary concern is, I cut out a big
| | 00:27 |
chunk of this recording and I have a junk
cut now between shot 02 and 03.
| | 00:34 |
Let's take a quick look.
So I go right from cutting all the way to
| | 00:41 |
taking the pizza and eating it.
So if I cut to a close up of me actually
| | 00:46 |
cutting the pizza, which we actually did
as an overwrite edit earlier, I can hide
| | 00:51 |
that edit point.
So if we scroll down and select Close Up
| | 00:56 |
cutting shaky and load that into our
source monitor I have a nice cut away that
| | 01:01 |
I can work with.
I'll worry about things like audio and
| | 01:04 |
color correction and stabilizing later.
I just want to be able to cover up this
| | 01:08 |
edit point.
Now I've already marked a good in and out point.
| | 01:11 |
The in point is right when I start the
cut.
| | 01:14 |
(SOUND) And then it just goes on but
actually stops before I finish cutting the
| | 01:21 |
last slice.
And I just want to shorten this anyway.
| | 01:24 |
So I'm going to go down and grab it and
drag it to my timeline and we've done this
| | 01:28 |
before but in this case instead of
bringing it down to video 1, I'm going to
| | 01:33 |
bring it down and drop it on track 2, RC2.
Now I'm going to line it up with the
| | 01:39 |
in-point that I already have, but just to
show you the flexibility of working on a
| | 01:45 |
second track, I'll put it a little bit off
and you can see how it doesn't quite work
| | 01:50 |
and how easy it is to adjust it because
it's on a second track.
| | 01:53 |
(SOUND) So obviously there's some
continuity there, I'm going to simply
| | 02:01 |
slide it back and it will snap to the
right point.
| | 02:04 |
Let's take a look at how it feels when we
watch it.
| | 02:07 |
(SOUND) Now the timing is great, but of
course it jump out at us because the
| | 02:17 |
change in audio and I also want to trim
off the end of the first clip on the Track one.
| | 02:27 |
So, let me quickly grab the edge of that
clip, and bring it back.
| | 02:31 |
This is a skill that we learned in a
previous video, and I'll also right-click
| | 02:36 |
and do a ripple delete to bring Shot 03
right next to Shot 02.
| | 02:41 |
And also just so we're not distracted by
the sound, I'm going to mute the audio on
| | 02:46 |
track 2 and we'll learn a lot more about
audio later in the course.
| | 02:52 |
Now let's see how the edit looks with
these slight adjustments.
| | 02:55 |
>>Completely.
>>Okay so.
| | 02:59 |
>> (SOUND) .
Neatness does not count.
| | 03:08 |
>> (INAUDIBLE).
>> Well, neatness might not count when
| | 03:09 |
cutting a pizza, but it surely counts when
editing a video.
| | 03:13 |
And the beautiful thing here, is, I could
move this clip back and forth just a frame
| | 03:18 |
or two at a time.
So my audio matches up perfectly.
| | 03:23 |
Now, I want to show you one more thing
before we finish up with working with
| | 03:27 |
multiple tracks, and I want to show you
what would happen if we put something on
| | 03:30 |
the third track.
So I've created a text file that you can
| | 03:35 |
drag on top, and the text file actually
has some transparency to it.
| | 03:39 |
So you'll see the text and you'll see
through the text to the actual video on
| | 03:44 |
the second layer and its all obscuring the
video on the very bottom.
| | 03:49 |
So we'll scroll down and I have text that
I created in the titling tool called do
| | 03:55 |
not try this at home.
I'll simply throw that on top and stretch
| | 03:59 |
it out and drive home the point that
people shouldn't be cutting pizzas in
| | 04:04 |
their own house.
>> Okay, so.
| | 04:05 |
>> Now we'll learn a lot about creating
titles later on in the course, but this
| | 04:15 |
should give you a general comfort zone
when using multiple tracks or multiple
| | 04:20 |
layers when creating a video.
| | 04:22 |
| | Collapse this transcript |
| Targeting specific tracks in the Timeline| 00:00 |
We've been doing a lot of dragging and
dropping with our editing and occasionally
| | 00:05 |
I've given you a short cut of period or
comma to do an insert or an override.
| | 00:11 |
But in all cases, when we did the insert
and override, we always were putting it on
| | 00:15 |
the main track or track 1.
Well, you can use keyboard shortcuts and
| | 00:20 |
track targeting so you can place the video
on any track of your choosing.
| | 00:25 |
So, in this case, we'll do the same edit
that we've done earlier, which is the
| | 00:29 |
cutaway to the pizza, but I want to make
sure that we go to video track V2 and
| | 00:34 |
audio track A2.
And I can do that simply by moving these
| | 00:40 |
little grey boxes to the track where I
want the video to go.
| | 00:45 |
So now, if I hit the Overwrite button, or
use the keyboard shortcut of period, my
| | 00:50 |
video's going to go exactly where I want
it, and that's track two.
| | 00:54 |
Now I've already marked the end point,
which I have done earlier, so it's just a
| | 00:59 |
matter of, I have an end point on my
timeline, and I'm going to go ahead and do
| | 01:04 |
an overwrite.
As you see, it goes automatically onto
| | 01:08 |
track V2 and the audio track of A2.
Now if you recall from the earlier video,
| | 01:15 |
I had a problem with the audio because it
was just too loud on the close up.
| | 01:22 |
So let me hit Undo, and I want to point
out that in addition to targeting a track,
| | 01:28 |
I can also choose to target no tracks.
So for instance, if I want to just bring
| | 01:34 |
the video in and not the audio, I could
simply click on that and now nothing is highlighted.
| | 01:40 |
So when I hit Overwrite or the Period key,
it just brings in my video track and I
| | 01:46 |
don't even have to deal with the audio.
Now you can do the same type of track
| | 01:51 |
targeting with an insert added but thats
going to leave a large gap underneath.
| | 01:57 |
Now that's not a problem if that is your
intention but I'm going to do an insert
| | 02:02 |
edit onto track V3 so just you can see
what happens in your timeline I'll put it
| | 02:09 |
right here where the play head has ended
up.
| | 02:11 |
After the last edit I'm going to target
track V3 and the clip that I'm going to
| | 02:16 |
choose will be our overlay which is do not
try this at home, however I do want you to
| | 02:22 |
try this type of edit at home.
So, I named the title sequence Do Try This
| | 02:27 |
At Home.
Now I'm going to go ahead and double-click
| | 02:31 |
and something different is going to happen
than you're used to, and I just want to
| | 02:34 |
point this out.
We haven't got to creating a title yet,
| | 02:37 |
but whenever you double-click on a title
that's created in Premiere Pro, it
| | 02:41 |
actually opens that title up for you to
edit with.
| | 02:44 |
And we'll explore how you can create
titles later, but if you doubled-clicked,
| | 02:48 |
don't panic.
Simply close the window, and a great trick
| | 02:52 |
for loading a title into our Source panel
is right-clicking and saying Open In
| | 02:59 |
Source Monitor.
You could also just drag it into the
| | 03:02 |
Source Monitor if you wanted, but either
way would work just fine.
| | 03:07 |
Once a clip is in the source monitor, I
can simply target the track I wanted to be on.
| | 03:11 |
Let's go ahead and put it on to track
three, and we're going to do an insert
| | 03:16 |
versus and overwrite at it.
So you can see how that will split your
| | 03:20 |
entire timeline.
So, this could be a good technique if you
| | 03:25 |
wanted to insert a shot and you didn't
want to insert it onto track one.
| | 03:29 |
You know you'll be using it later or
adding something underneath, but in this
| | 03:33 |
case, it doesn't meet my needs.
So I'll simply do, Undo, switch my play
| | 03:39 |
head back to the closeup of the cutting of
the pizza.
| | 03:42 |
And this time with V1 targeted to V3,
we'll do an override edit.
| | 03:48 |
We have our cutaway, and we're good to go.
So, track targeting is very valuable if
| | 03:54 |
you want to be specific with your video
and audio track.
| | 03:58 |
Land when using a keyboard shortcut or a
button, and it's also very useful when you
| | 04:03 |
want to bring in just a video track, an
audio track, by itself.
| | 04:07 |
| | Collapse this transcript |
| Cutting a B-roll sequence| 00:00 |
One of the things you often have to do
when editing a program is cut B roll into
| | 00:05 |
a voice over or into somebody on camera
explaining something.
| | 00:09 |
So that's exactly what we're going to do
in this video.
| | 00:12 |
We have a background track.
And in the background it's just Vanessa
| | 00:17 |
just telling me what we are going to do
when we really start rolling and I'm going
| | 00:21 |
to use this as a reference because I'll be
able to go through the whole recipe in
| | 00:25 |
about twelve or thirteen seconds.
So if we look at the background track that
| | 00:30 |
I grabbed, we can see just Vanessa telling
me what we will be doing.
| | 00:33 |
>> You're going to add the tapioca flower
the cheese, the eggs, the oil, and the water.
| | 00:38 |
>> huh.
>> The mixer.
| | 00:39 |
>> So let's go ahead and start cutting in
the B roll.
| | 00:43 |
Now, you might have been playing with our
track targeting if you have watched the
| | 00:46 |
previous videos.
So I want to show you a quick way that you
| | 00:49 |
can reset that if you right-click in the
area where you do the track targeting,
| | 00:54 |
there is an option for default source
assignment.
| | 00:57 |
And it will reset everything back to the
way it was when you first launched
| | 01:02 |
Premiere for the very first time.
And this is really useful if you've moved
| | 01:05 |
things all around.
Now, we did learn how to turn off the
| | 01:09 |
audio track before we bring in a clip.
But there's another really great technique
| | 01:14 |
if you like to drag and drop your video
from your source panel into your timeline,
| | 01:20 |
how do you do just the video or just the
audio without actually turning off the
| | 01:23 |
track targeting.
And you can do that very simply by
| | 01:27 |
clicking on either of these icons.
I can bring in just my audio or in this
| | 01:31 |
case just my video.
Now I've already marked an in point where
| | 01:36 |
I want to start putting in my cutaways and
I'm going to simply grab the video only
| | 01:40 |
track and drag it down to the timeline.
Let me play this first part and when she
| | 01:45 |
says the second ingredient, we'll start
our next cut.
| | 01:48 |
>> going to mix it up.
going to add the tapioca flour, the cheese.
| | 01:53 |
>> So right when she says, the cheese.
And if I wanted to I could scroll down
| | 01:58 |
here and make this track a little bit
bigger, so I might be able to see where
| | 02:01 |
she breaks up the words.
And I'm going to simply mark an in point i
| | 02:05 |
in my timeline.
Go grab the cheese, I'll double-click it.
| | 02:09 |
I've already marked in points where I
think good starting points are.
| | 02:13 |
However, I'll be able to finesse this
later with some of the advanced techniques
| | 02:18 |
that we'll learn in later videos.
So let's go ahead, bring in the cheese.
| | 02:22 |
I'm simply doing a drag and drop.
Now, if I let go, because I did not grab
| | 02:26 |
the video only, it would put the audio in
on the lower track.
| | 02:31 |
So let me just make sure that the audio is
turned off.
| | 02:35 |
And I can scroll up to do that.
So I'm just making sure that's turned off,
| | 02:40 |
and grabbing the video.
Dragging that element, hitting play.
| | 02:44 |
(SOUND)
>> The cheese is the
| | 02:45 |
>> (INAUDIBLE).
>> And I've actually already marked in
| | 02:49 |
points or potential in points in all of
these clips.
| | 02:53 |
So I can drag them directly from the
project panel into my timeline and it will
| | 02:57 |
respect the in points that I marked.
And this will make things very quick.
| | 03:05 |
>> (BLANK_AUDIO) Cheese, the eggs, the.
>> The oil.
| | 03:09 |
Now I'll probably smooth these out with
dissolves and some sort of effect, but I
| | 03:13 |
just want to get the timing right.
>> The oil and (BLANK_AUDIO) Water And the
| | 03:21 |
water huh.
>> We're going to put it in a mixer.
| | 03:26 |
>> It's a mixer.
Are you going to mix?
| | 03:28 |
>> We're going to mix it up.
>> Mix it up.
| | 03:33 |
(INAUDIBLE).
>> And let's take a look at the dough ball and.
| | 03:37 |
>> We're going to press it out onto the
pizza.
| | 03:39 |
>> So there's our dough ball.
If you notice I have little pieces of the
| | 03:42 |
previous takes that might have been
longer.
| | 03:45 |
Because I'm simply doing overwrite edits.
But look how fast I can just drag things
| | 03:49 |
in once I've organized my elements.
So, we have the dough ball and then I
| | 03:55 |
want to go ahead and we're going to be
pressing the dough and then putting
| | 03:58 |
toppings on.
This has an incredibly long shot.
| | 04:01 |
So, I'm going to go ahead and not worry
about it.
| | 04:03 |
I'll hit Play.
>> And onto the pizza pan then we're going
| | 04:06 |
to top.
>> Then we're going to top it and I'll put
| | 04:08 |
some sauce on (INAUDIBLE) pizza.
>> And we'll put some cheese on.
| | 04:13 |
The chicken, and I'm just ball parking it
here.
| | 04:23 |
no onions on this pizza today, and maybe
just some parsley.
| | 04:29 |
Okay.
>> And then I can go ahead and hit the
| | 04:33 |
Backslash key, and delete everything off
at the end.
| | 04:38 |
Hit the Backslash key again.
Oops, one delete too many.
| | 04:42 |
And let's take a look at our rough cut of
the b-roll montage.
| | 04:47 |
>> You're going to add the tapioca flour,
the cheese, the eggs, the oil, and the
| | 04:52 |
water into the mixer.
You're going to mix it up.
| | 04:54 |
>> Then we're going to press it out onto
the pizza pan, then we're going to top the pizza.
| | 04:58 |
>> Okay.
>> Super easy.
| | 05:00 |
>> As you see it's very easy to cut the B
roll in.
| | 05:04 |
And now what I would do is I would
probably massage it by putting dissolves
| | 05:08 |
for transitions or even putting in spaces
to let it breathe a little bit, so it's
| | 05:13 |
not so back to back to back.
And then, ultimately, we'd finish it off
| | 05:16 |
with some titles.
But that's the essence of cutting B roll
| | 05:20 |
to a voice-over.
| | 05:21 |
| | Collapse this transcript |
|
|
7. Advanced EditingLooking at three-point edits| 00:01 |
Up until now we've done some basic
editing.
| | 00:03 |
We've marked in points in our timeline or
end points in our source panel, and just
| | 00:08 |
slapped clips into the timeline.
Now we're going to learn how to use a
| | 00:11 |
little more finesse to really put the clip
in the location and for the duration that
| | 00:16 |
you want, and we're going to do something
called a three point edit.
| | 00:20 |
An example of a three point edit would be
I'd choose the in and out point in my source.
| | 00:25 |
And then I choose the in point in my
destination.
| | 00:29 |
And it will use the length of this clip
and throw it in the timeline.
| | 00:33 |
So if I went ahead and I simply did an
override edit.
| | 00:39 |
And let me go ahead and Target my video to
and target audio to and do the override edit.
| | 00:46 |
I have the 3 points chosen and as you can
see the clip that I've put in the timeline
| | 00:52 |
is 6 seconds long and runs over my other
clip.
| | 00:56 |
So it's not as precise as I want.
I could trim it back but there's better
| | 01:00 |
ways to do this.
Let me hit Undo, Command+Z on a Mac and
| | 01:04 |
Control+Z on Windows, and instead of
marking an in and out point in my source,
| | 01:10 |
the three points I'm going to choose will
be an in, in my source, and an in point
| | 01:15 |
and an out point in my timeline.
I'm going to go ahead and mark in and I'm
| | 01:20 |
going to mark out, so I can see the
duration here is about five seconds.
| | 01:24 |
That's my hole.
And then if I go over here, I have an in
| | 01:28 |
and an out point at 6 seconds, so let me
remove the out point.
| | 01:31 |
And I'm simply going to right-click, and
I'm going to clear the out.
| | 01:35 |
And now Premiere Pro will use 5 seconds in
one frame, and only put that much of the
| | 01:41 |
clip into my timeline when I hit the
Override button.
| | 01:45 |
As you see its a perfect fit.
So the basic concept behind a three point
| | 01:50 |
edit is you have four points to choose
from you pick three.
| | 01:54 |
Two in points and one out points or two
out points and one in point.
| | 02:01 |
This is a case where I might want to back
time a clip.
| | 02:04 |
Let me go ahead and hit undo again.
And now, I'll mark an in and an out in my
| | 02:09 |
destination, I'll erase the input in my
source, and back time from where I want
| | 02:17 |
the clip to finish and mark an out point.
Once again, it's only going to be five
| | 02:22 |
seconds long Because that's based upon the
timeline, and when I make this edit, and
| | 02:27 |
this time I'll do it by pressing the
Period key, it will back time the clip to
| | 02:32 |
be exactly five seconds long.
Now, as you can see, the three point edit
| | 02:38 |
technique is very useful when you want to
do precision editing.
| | 02:43 |
But what about if you put four points in.
Let's take a look at what would happen.
| | 02:48 |
I'm going to go ahead and delete this clip
from my timeline by simply selecting it
| | 02:53 |
and pressing the Delete key.
I'm going to mark an in and an out point
| | 02:57 |
that's very short.
And if I want to make sure it's precisely
| | 03:00 |
on this edit point, I could use the up and
down arrows.
| | 03:03 |
It jumps me between edit points.
I'll mark out.
| | 03:06 |
So I have a two second space and I'm going
to put in a huge clip.
| | 03:11 |
I'm going to hit I in the beginning and we
have a four second clip in a two second hole.
| | 03:17 |
What's going to happen when we try to
perform this edit?
| | 03:19 |
Well I'm going to simply click on
overwrite.
| | 03:21 |
I could hit the period key, but this is a
little bit more visual for training.
| | 03:26 |
And I get a dialogue box, and it gives me
a choice of what point I might want to
| | 03:31 |
throw away.
Do I want to ignore the in or the out
| | 03:34 |
point of my source clip, or do I want to
ignore the in or the out point in my destination.
| | 03:42 |
And by the way, Premiere Pro remembers the
last choice you made.
| | 03:46 |
So, if you've seen this box before, and
clicked on a different option, your window
| | 03:51 |
may look a little bit different than mine.
The fifth option, which is at the top of
| | 03:56 |
this window, is Change the Clip Speed, or
Fit to Fill.
| | 04:00 |
So now, it will either speed up or slow
down the source clip to fit in that space.
| | 04:06 |
If I hit OK now, we're going to be putting
a four second clip in a two second hole,
| | 04:12 |
and that's going to create a faster clip.
Let's take a look at how quickly I can cut
| | 04:17 |
a pizza.
I bet I could get a job at any pizza joint.
| | 04:24 |
One last point to consider.
Let me press Undo and show you one more
| | 04:28 |
way that Premiere Pro will think.
We've been using buttons or keyboard
| | 04:33 |
shortcuts to bring our video in, but what
happens if I try to drag a four-second
| | 04:38 |
clip into my timeline which has a
two-second in and out point?
| | 04:43 |
Well it completely ignores the in and out
points in your timeline.
| | 04:47 |
The way Premiere Pro thinks is if you're
going to drag a clip to the timeline I'm
| | 04:52 |
going to put it wherever you drop it.
So if I drop it later it will ignore both
| | 04:58 |
the in and the out points.
Or I can have it snap and decide when I
| | 05:03 |
drag and drop.
Where the clip is going to go.
| | 05:06 |
I can't do a four point edit with drag and
drop from the source to the timeline onto
| | 05:12 |
an empty track.
As you can see, three point editing is a
| | 05:17 |
very powerful tool to use when you want to
make sure that everything goes precisely
| | 05:24 |
where it needs to be.
| | 05:25 |
| | Collapse this transcript |
| Performing replace edits| 00:00 |
One of my favorite editing tools in
Premier Pro is the Replace Edit tool.
| | 00:06 |
It allows me to do a couple things that I
need to do, and it allows me to do it very quickly.
| | 00:11 |
In the first example, I've cut together
three clips and it's a wide shot, a
| | 00:16 |
closeup, and a wide shot.
Take a look.
| | 00:19 |
>> Very simple recipe.
>> Okay.
| | 00:20 |
>> We're going to start with some tapioca
flour.
| | 00:22 |
>> Mm-hmm.
>> Which is a really wonderful textured
| | 00:24 |
gluten free flour.
It's get, it makes this really great.
| | 00:28 |
>> Now, that works just fine.
But when I showed this to a couple people
| | 00:32 |
they said, you know, I really would like
to actually see a closeup of all the
| | 00:36 |
ingredients at this point.
And I agreed with them, so I'm going to
| | 00:39 |
replace this shop the timing is really
good and I want to do it quickly.
| | 00:43 |
So, I'm going to go ahead and open up the
replacement shot which is close up of ingredients.
| | 00:49 |
And I'll queue it up to a good point
where, you know, I see a little bit of action.
| | 00:54 |
And it kind of matches what's happening
with my hand.
| | 00:58 |
And I'm going to mark an endpoint there.
Now, all I have to do is grab the clip and
| | 01:02 |
drag it down to my timeline, and put it
over the clip that I want to replace.
| | 01:07 |
If you'll notice, if I let go at this
point, I'm going to actually override not
| | 01:11 |
only that clip, but everything after it
because I haven't marked and out point.
| | 01:16 |
However, if I hold down the Option key, or
on a Windows machine, the Alt key, you can
| | 01:22 |
see that the application is smart enough
to say, oh, I only want to replace this clip.
| | 01:28 |
Without even having to mark an in or an
out point it just selects the range of
| | 01:32 |
that clip.
Now, I'll simply let go of my mouse and it
| | 01:36 |
swaps out the closeup of Vanessa to a
closeup of the food.
| | 01:41 |
Let's take a look at the new clip that
replaced it.
| | 01:44 |
>> Simple recipe.
>> Okay.
| | 01:45 |
>> We're going to start with some tapioca
flour,
| | 01:47 |
>> Mm-hmm.
>> Which is a really wonderful textured
| | 01:49 |
gluten free flour.
It's got, it makes this really great crust.
| | 01:53 |
>> So, that actually works much better for
me, and it was really easy to do.
| | 01:57 |
So, all you need to do is just mark an in
point, and drag it down and hold the
| | 02:02 |
Option key on a mac, or the Alt key on
Windows, and you can do these replace
| | 02:06 |
edits and really edit quickly.
>> Now, I want to show you another trick
| | 02:10 |
that I like even better with the replace
edit.
| | 02:13 |
We're going to take a look at this series
of clips right over here.
| | 02:16 |
>> Cut it, and, and have a slice?
>> Yeah, sounds good.
| | 02:20 |
we don't want me to burn myself.
>> (LAUGH).
| | 02:21 |
>> And you're going to have to change
children with this.
| | 02:25 |
>> Completely.
>> Okay, so.
| | 02:27 |
>> In the earlier videos, I had a hard
time actually matching the action here,
| | 02:32 |
and I didn't allow the program to do the
work for me, using the replace edit, I can
| | 02:38 |
do this.
So, what I want to do is actually make a
| | 02:42 |
cut point and I'll use the razor blade
tool C key.
| | 02:46 |
So, now I have a space that I can cut from
my wide shot to my close-up, even though
| | 02:52 |
it's the same shot at this point.
I'll switch back to my Selection tool, and
| | 02:56 |
I want to replace this part of the clip
with a close-up of me cutting the pizza.
| | 03:02 |
Another real world example might be, let's
say you had a wide shot of a baseball
| | 03:06 |
game, and you wanted to cut to a close up.
And it's just as the batter hits the ball.
| | 03:12 |
So, instead of matching an in point or an
out point, I want to actually match action
| | 03:19 |
within the scene.
And that would be hard to do, I'd have to
| | 03:22 |
do a lot of math if Adobe Premiere Pro
wasn't so smart.
| | 03:26 |
Now, let me load the shot that I want to
replace into my viewer.
| | 03:30 |
I'm not going to mark an in and out point.
I'm just going to find part of the action
| | 03:34 |
that I think I can catch up with.
So, as soon as I slice across and it just
| | 03:39 |
hits there, that's a good frame for me to
match down here.
| | 03:44 |
I'm going to do the same thing.
I'm going to slide this over.
| | 03:47 |
And just as I hit the end of the pizza, I
want to match that action.
| | 03:52 |
Now, all I have to do is right-click.
No in and out points are needed on the
| | 03:57 |
clip that I want to remove.
I choose Replace With Clip and this is the
| | 04:03 |
magic choice, replace from the Source
Monitor and Match the Frame.
| | 04:07 |
So, it's going to match exactly where the
play head is parked in the Source panel to
| | 04:13 |
where the play head is parked in my
timeline.
| | 04:16 |
Let's see how well that works.
>> You can entertain children with this.
| | 04:28 |
>> Completely.
>> Okay
| | 04:32 |
>> Now, the action's really good, but you
know, I just want to replace the video and
| | 04:38 |
not the audio on this clip.
And I'm going to show you one more trick
| | 04:42 |
with replacing a clip.
You would just want to replace the video
| | 04:45 |
or the audio, you need to lock a track.
I' going to go ahead and hit Undo.
| | 04:50 |
So now, we have our original clip back
here.
| | 04:53 |
And I'll line it up so it hits the right
spot, but I'm going to go down here and
| | 04:57 |
there's a little lock button.
I can toggle this so that I don't
| | 05:02 |
accidentally override anything on that
track, and in this case, it's the nice
| | 05:07 |
clean audio.
Once again, I have this lined up perfectly
| | 05:11 |
where I hit the very end the first time.
Right-click > Replace With Clip from
| | 05:17 |
Source Monitor and Match Frame.
And now, let's take a look and then listen.
| | 05:23 |
>> And you're going to entertain children
with this.
| | 05:25 |
>> Completely.
>> Okay, so
| | 05:31 |
>> So, if you notice, it matches my audio
perfectly and I don't have to worry about
| | 05:35 |
swapping out or cleaning up the audio from
this other camera.
| | 05:39 |
Now, I do want to remember to unlock the
track, otherwise as I continue to edit, I
| | 05:45 |
may not get the audio that I want.
And I know it's locked because I can see
| | 05:49 |
this cross hatching across the track and
I'm just going to go ahead and click
| | 05:55 |
Unlock and I'm back to where I want to be.
So, the replace edit is an incredibly
| | 06:01 |
powerful tool when working with Adobe
Premiere Pro.
| | 06:04 |
| | Collapse this transcript |
| Linking and unlinking audio| 00:01 |
I want to talk to you about linking and
unlinking the video from the audio of your
| | 00:06 |
clips that are in the timeline.
Now, by default Premiere Pro wants to keep
| | 00:12 |
the audio and video together.
So, if I selected this clip and I grabbed
| | 00:16 |
it and moved it some where, the audio and
video won't go out of sync.
| | 00:21 |
Or if I extended the clip the audio and
the video would again stay together.
| | 00:26 |
Let me go ahead and undo that a couple of
times which if you recall is Cmd+Z or
| | 00:33 |
Ctrl+Z if you're on Windows.
And I'm going to show you some real world
| | 00:37 |
reasons why you may want to break those
clips apart.
| | 00:42 |
Now, here we have a cut away, which worked
to our advantage that the audio stayed
| | 00:47 |
with the video because it enhances the
shot.
| | 00:52 |
>> I did that.
>> There you go.
| | 00:53 |
You totally did this.
>> This pizza smells amazing.
| | 00:57 |
>> So in that case when I'm on the close
up it's really good to hear the sound of
| | 01:01 |
the pizza pan hitting the counter and the
sound of the oven closing.
| | 01:05 |
But the next time I went to a cutaway, the
audio wasn't quite as cooperative.
| | 01:11 |
>> (UNKNOWN) with this.
>> Completely
| | 01:15 |
>> Okay, so.
>> It completely overpowers the original
| | 01:19 |
audio, as a matter of fact, it was a DSLR
camera and that was just the camera mic.
| | 01:25 |
So, I want to delete this audio and I
could've brought it in with just the video.
| | 01:31 |
But a lot of times, you'll be editing and
you'll look back and you'll realize I
| | 01:35 |
should've, I could've, if only.
Well, you don't want to have to reedit.
| | 01:40 |
You just want to be able to select the
audio and delete it.
| | 01:45 |
Well, if I try to select the audio, it
also selects the video because these two
| | 01:50 |
clips are linked together.
So, I need to isolate the video from the audio.
| | 01:55 |
I can do that by right-clicking on the
clip and selecting Unlink.
| | 02:02 |
And this will actually break the
relationship between the video and the audio.
| | 02:06 |
Now, you want to be careful when you
unlink a clip because if its not something
| | 02:11 |
you're going to delete immediately.
If I move this audio clip just a little
| | 02:15 |
bit, now that they're not linked together,
I will actually have my video and my audio
| | 02:20 |
go out of sync.
>> (SOUND).
| | 02:25 |
>> So, it's not quite hitting on the right
point.
| | 02:27 |
But what I really want to do is just
delete that audio completely, so once I
| | 02:32 |
have them unlinked, I can select the
audio, press the Delete key and it goes away.
| | 02:37 |
>> Okay.
>> Okay, so.
| | 02:44 |
>> Now, you can do the same thing if you
bring in a piece of media where you just
| | 02:48 |
want the audio.
Maybe it's a voice over recording, and you
| | 02:51 |
really don't need the video, you could
again unlink them and then select the
| | 02:56 |
video and delete it.
Now, I want to show you a really cool
| | 03:00 |
short cut if you don't want to right-click
and select, unlink, and go through all the steps.
| | 03:06 |
As a matter of fact, let's say I wanted to
stretch out the video here but not the audio.
| | 03:13 |
So, if you notice they actually happen at
the same time.
| | 03:17 |
Well, if I Unlink them, life is good.
I can select the video and the audio
| | 03:24 |
separately and create the split edit that
I want, but here's the challenge.
| | 03:29 |
I've linked them, and now they are
permanently unlinked and can go out of
| | 03:33 |
sync unless I reselect both of them,
right-click and Link.
| | 03:41 |
Or, I can link them also in the drop-down
menu underneath Clip.
| | 03:47 |
Here we go, Link.
And now, they're together again.
| | 03:53 |
But most of the time, I forget to relink
them.
| | 03:57 |
So, this is the trick.
If I ever want to temporarily break a
| | 04:01 |
link, all I need to do, is hold down the
Option key, before I select a clip, and I
| | 04:08 |
can select just a video, or just the
audio.
| | 04:12 |
So, let's say I wanted to stretch out the
video of this clip and not the audio.
| | 04:16 |
Well, they're linked right now.
I can simply hold down the Option key,
| | 04:22 |
select the track that I want to work with.
As soon as I let go of the Option key
| | 04:26 |
they're linked again.
So, holding down the Option key allows you
| | 04:30 |
to temporarily unlink video from audio and
either delete it or extend one part and
| | 04:37 |
not the other.
And you'll never have to worry about going
| | 04:41 |
back up into the drop down menu or
right-clicking to relink those clips again.
| | 04:46 |
| | Collapse this transcript |
| Working with markers| 00:00 |
When you're editing, it's nice to be able
to make notes directly in your project.
| | 00:06 |
And one of the tools you can use is
something called markers.
| | 00:09 |
Now, it's easy to put a marker anywhere on
the timeline.
| | 00:12 |
Simply move your cursor where you want to
put a note, such as I need to verify that
| | 00:18 |
the spelling is correct on Vanessa's name.
So I place my play head there.
| | 00:23 |
And I can create a marker by either
hitting this button, or using the M key.
| | 00:28 |
You'll notice now there's a little green
arrow that points down.
| | 00:32 |
And if I click on it, I can add more
detail.
| | 00:35 |
Another way to get into it would be just
to press the M key again.
| | 00:39 |
So if you press the M key twice in a row,
you can create a marker, and open up this
| | 00:44 |
dialog box to add information.
For instance I'm going to name it
| | 00:48 |
Spellcheck, and then in the comments
column I'm going to just write myself a
| | 00:54 |
note to call Vanessa to verify the
spelling.
| | 00:58 |
While we're in this dialogue box I want to
point out a couple of things.
| | 01:01 |
This is a comment marker and that's the
default marker that you'll be making...
| | 01:06 |
Other types of markers you can make are
chapter markers and web links, and flash
| | 01:10 |
cue points.
I'm going to press OK to create the
| | 01:13 |
marker, and what I want to point out is if
I hover my mouse over the marker, I get a
| | 01:19 |
popup, of what this says which is spell
check the time code, and a note that says
| | 01:25 |
call Vanessa and verify spelling.
So it's very useful information.
| | 01:29 |
And I can go through, and I can make
markers throughout my program.
| | 01:33 |
For instance, let's say I go over here.
And if you notice, I have a nice, big
| | 01:37 |
blank space.
And, I want to double check and see if
| | 01:40 |
that's a problem.
So, I'm simply going to zoom in.
| | 01:42 |
Make sure I can position my play head
right over that.
| | 01:46 |
And hit the m key twice to create a
marker.
| | 01:49 |
And I'm going to say, find shot for space.
Now, a marker can't have duration, so if I
| | 01:56 |
wanted to I can type in a duration say
three or four seconds so I can really spot it.
| | 02:02 |
I can also just use my virtual slider to
do this.
| | 02:06 |
Now watch when I press OK.
You'll notice that this marker actually
| | 02:10 |
has thickness, so it's easy for me to
spot, and anywhere I hover over that
| | 02:15 |
marker, I can find the recommendation that
I need.
| | 02:19 |
Now, you can modify markers by stepping
back into them, and it's easy to clear
| | 02:24 |
markers or to remove a single marker from
the marker drop-down window.
| | 02:29 |
Or using keyboard shortcuts.
Now, you could easily navigate between
| | 02:34 |
markers using the shift + m and the shift
+ cmd + m keyboard shortcuts.
| | 02:40 |
So, if I'm in my timeline and I'm going to
zoom out by pressing the Backslash key, I
| | 02:45 |
can press Shift+M and I'll jump forward to
the next marker or Shift+Cmd+M and jump
| | 02:53 |
backwards to the previous marker.
One final note about markers, there is
| | 02:58 |
actually a tab here called Markers in the
project pane and if I click on that, I
| | 03:04 |
will actually see every single markers and
a poster frame from a clip that the marker
| | 03:09 |
is above.
So let me go ahead and add 1 more marker
| | 03:12 |
so you can see it appear in our marker
panel.
| | 03:15 |
I'll place it right over this pizza shot,
I'm going to simply press the M key.
| | 03:20 |
We can see it has created.
I'll press the M key again to write a
| | 03:23 |
note, and this is just for the training.
I'll press OK.
| | 03:31 |
And as you can see we have our three areas
where we have our markers, but what's
| | 03:36 |
really nice about this is I can simply
click on any one of these and my playhead
| | 03:41 |
will jump directly to that market...
So I can see the note that I made for myself.
| | 03:46 |
Now that you know about markers, you can
do away with that pencil and paper to take
| | 03:51 |
notes about your changes.
And do it directly in your project file.
| | 03:55 |
| | Collapse this transcript |
|
|
8. Fine-Tuning Your EditPerforming ripple and roll edits| 00:01 |
Once you've laid down your basic timeline,
you're ready to fine tune your edit, and
| | 00:05 |
there's a couple of tools I want to show
you that can help you with that.
| | 00:09 |
There's a Ripple Edit and the Roll Edit,
and let me just show you the problem and
| | 00:14 |
then I'm going to show you how these tools
can very easily fix them.
| | 00:17 |
>> Take a look and see if you can see
what's wrong here.
| | 00:21 |
>> Pizza.
Gluten free pizza.
| | 00:23 |
>> That, that's, that's going to be
awesome.
| | 00:25 |
>> Gluten free pizza.
>> That, that's, that's going to be awesome.
| | 00:27 |
>> So, obviously when I cut it together I
repeated the line in both the wide shot
| | 00:33 |
and close up and I want to trim this down.
I'm going to go ahead and press the plus
| | 00:36 |
key to zoom in, so you can really focus on
it.
| | 00:39 |
And at first blush, you might want to just
stretch this one over and stretch this one
| | 00:44 |
over, and then you're going to have to go
ahead and delete that empty space.
| | 00:48 |
You can do this in a lot fewer steps.
There's actually an edit a Ripple Trim
| | 00:55 |
Edit,and that's slightly different than
the Trim Edit that we learned earlier.
| | 00:59 |
If I go over here and select the Ripple
Edit tool, keyboard shortcut B, I get a
| | 01:05 |
slightly different icon.
Instead of seeing that as a red arrow, I
| | 01:10 |
see it as a yellow arrow.
And it works very differently.
| | 01:13 |
When it was a red arrow, and let me switch
back to that, if I grab this and made it
| | 01:17 |
shorter, it just left a gap.
But, let me undo that, Cmd+Z or Ctrl+Z
| | 01:23 |
depending on your system.
But if I switch to the Ripple Edit tool
| | 01:28 |
with the yellow icon, now as I drag the
clip to the right, and let go, not only
| | 01:35 |
does it trim it, it deletes the space.
Now, I'm going to go ahead and undo and
| | 01:40 |
redo because it might have looked like
nothing happened, but take a look at the
| | 01:43 |
end of the timeline.
You'll see it gets shortened.
| | 01:45 |
I'm going to go ahead and undo that, and
as I pull to the right, it removes that
| | 01:50 |
part of the clip.
But if I did it the other way, again, it
| | 01:54 |
snaps the track closed.
So, this is a great way that I can remove
| | 01:59 |
that extra footage.
Let me undo back to the state that it was
| | 02:03 |
in when we came to it.
>> That would be awesome.
| | 02:04 |
>> Gluten free pizza.
>> That, that's, that's going to be awesome.
| | 02:06 |
>> So there, that's going to be awesome,
that's going to be awesome.
| | 02:09 |
I'm going to go over here and scroll down
right on the A, so I can actually see my
| | 02:16 |
audio wave forms.
So, let me go ahead and just cut it out of
| | 02:19 |
one the two scenes, and I can then fine
tune that with the roll tool.
| | 02:23 |
So, I'm going to go ahead and pull this to
the right.
| | 02:25 |
Now, I want you to see what happens, not
only to the wave forms underneath, but see
| | 02:29 |
what appears in the Program panel as I
pull it to the right.
| | 02:33 |
I actually see the last frame of the first
clip and I see what I'm trimming off of
| | 02:39 |
the second clip.
Now, let me let go after that line is red.
| | 02:42 |
And let's listen.
>> That's, that's going to be awesome.
| | 02:47 |
>> Yes, so it's super, super easy.
>> So, did you see how super, super easy
| | 02:51 |
that was to not only remove the line, but
close the gap.
| | 02:57 |
Now, the other tool, that's very useful is
the Roll tool.
| | 03:01 |
Now, I'm going to hit the backslash key so
you see the entire timeline.
| | 03:04 |
>> And I'm going to show you an example of
a problem that we need to fix, and how the
| | 03:08 |
role tool can do it.
>> Vanessa Weisbrod, executive editor of
| | 03:12 |
Delay Gluten Free magazine and I'm so
excited.
| | 03:14 |
>> So, it's obvious that we cut to
Vanessa's close-up camera before she even
| | 03:17 |
turns to look at me, which she'll do in
about a moment.
| | 03:20 |
>> Ready to welcome you to our test
kitchen.
| | 03:22 |
My.
>> So I really should've made the cut at
| | 03:25 |
this point.
I could've used the Trim tool.
| | 03:27 |
And I'll get back to that with the V key,
by just grabbing that over, and then
| | 03:31 |
finding this and pulling that over, and
it's two steps, and it takes a little bit longer.
| | 03:36 |
Let me undo that.
What I want to do is, switch to the
| | 03:38 |
Rolling Edit tool, keyboard shortcut N,
and now I'm simply going to click on the
| | 03:43 |
edit pointer.
I'm going to zoom in a little bit, so you
| | 03:45 |
can see it more closely.
If I click on the edit point it highlights
| | 03:49 |
the video and the audio.
And I just literally move the out point of
| | 03:53 |
the first clip and the in point of the
second clip.
| | 03:55 |
And if you notice in the upper right hand
window.
| | 04:00 |
As I do this, I can actually see the last
frame so I know exactly when she's going
| | 04:05 |
to turn her head.
I'll let go of my mouse, the edit is done,
| | 04:09 |
and let's take a look at playback.
>> Welcome you to our test kitchen, my
| | 04:13 |
friend Audrey is here today.
>> And as you see, the Roll Edit tool is a
| | 04:16 |
very elegant way that we can make that
edit work.
| | 04:20 |
Now, earlier on in this video, we fixed a
redundancy, we fixed the fact that I
| | 04:26 |
repeated a line.
I'm going to use the up arrow to jump
| | 04:29 |
right back into that edit point and show
you how the role tool can make this cut
| | 04:34 |
even better.
>> That's going to be awesome.
| | 04:37 |
>> Yes.
So it's.
| | 04:38 |
>> So, instead of cutting right on the
moment that I stop talking and she starts
| | 04:44 |
talking it'd be much smoother if we
actually cut in the middle of a line where
| | 04:49 |
there's some action.
So, I'm waving my hands here and her eyes
| | 04:52 |
are closed, I don't think that will work,
but I bet if I cut when her hands are
| | 04:56 |
coming up, it'll be a little better.
So now, using the Roll tool, I can take
| | 05:01 |
that edit, move it over to the right, and
see how much more transparent the cut is.
| | 05:07 |
>> That's, that's going to be awesome.
>> Yes, so it's super, super easy, I'm not
| | 05:11 |
one of those people.
>> So, as you see, it is a lot smoother.
| | 05:15 |
Now, I'm going to do one more trick here
before we finish.
| | 05:17 |
And that there was a little bit of an
audio hiccup as we cut from one clip to
| | 05:21 |
the other.
We learned in an earlier video, that if I
| | 05:25 |
wanted to unlink these clips temporarily,
I could hold down the Option key.
| | 05:29 |
And by holding down the Option key, I can
now move that edit over to the right.
| | 05:34 |
>> Right when our hands are moving but
leave the audio cut where it was.
| | 05:38 |
>>
>> That, that, that's going to be awesome.
| | 05:41 |
>> Yes, so it's super, super easy.
I'm not one of those.
| | 05:44 |
>> So, the audio is smooth, the video is
smooth and we successfully achieved that
| | 05:49 |
with both the Ripple tool and the Roll
tool.
| | 05:51 |
| | Collapse this transcript |
| Using slip and slide edits| 00:01 |
Two other very valuable tools to use when
fine tuning your edit are the slip tool
| | 00:06 |
and the slide tool.
Now, there are also probably two of the
| | 00:10 |
tools that are really tough to get your
head wrapped around of why you use them
| | 00:15 |
and how you use them.
I've created the same scene 5 different
| | 00:20 |
times, so I can better explain this and
show you how you can leverage these tools
| | 00:24 |
to quickly fix problems in your edit.
Now, let me play the first section.
| | 00:30 |
And, I've highlighted the clip we'll
working with by changing its color to green.
| | 00:44 |
(SOUND) Well, it's pretty darn obvious
that the problem there is that you see my
| | 00:47 |
head turn twice.
Now I'm going to zoom in by pressing the
| | 00:50 |
Plus key, and reposition this clip to see
if I can get the timing of the head turn.
| | 00:55 |
>> Oh, to about right there to match some
action.
| | 01:03 |
Now I've over shot a little bit, so let me
bring it back and see how that plays.
| | 01:07 |
>> One of those people who like to wait
for my dough to rise, you know I hate
| | 01:11 |
having to add.
I'm Not 1 of those people who like to wait
| | 01:15 |
for my dough to rise.
>> You know I hate having to add.
| | 01:17 |
>> So I was pretty lucky there.
It worked out pretty well.
| | 01:21 |
And it was easy to do.
And you may be asking yourself, well if I
| | 01:25 |
can do that why do I need the slide tool?
Let's jump to the next part of our timeline.
| | 01:30 |
And this is more likely the way that you
would discover the problem.
| | 01:34 |
The clip is already embedded into track
one.
| | 01:37 |
And so if I need to move this clip, and I
move it to the left, I'm erasing what's
| | 01:43 |
there, which is okay but then I have to
either stretch this or stretch that and if
| | 01:47 |
you have a lot of tracks this could get
quite complicated.
| | 01:51 |
So the trick here is to use the slide
tool, and not only is it more efficient,
| | 01:56 |
it gives you better visual feedback.
Now, I'm going to turn on the slide tool.
| | 02:00 |
There's a button for it, which is right
over here.
| | 02:03 |
You can also use the keyboard shortcut of
U.
| | 02:05 |
And when I switch to that, and click.
And just start moving it a little bit.
| | 02:10 |
Take a look at my program panel.
I'm seeing 4 images.
| | 02:14 |
The bottom two are the last frame of the
first clip, what we're cutting out or
| | 02:19 |
adding, and the first frame of the third
clip.
| | 02:23 |
So these are the things that are getting
changed.
| | 02:25 |
The head turn is perfect.
I like the length.
| | 02:28 |
I like part of the action that I'm
getting.
| | 02:30 |
I just want it to happen earlier or later
in my sequence.
| | 02:33 |
So, the beauty of this is as I slide to
the left, I can actually see when my head
| | 02:40 |
turns, and I can also see Vanessa's hand.
I know just when I want to make that cut.
| | 02:47 |
So, if I let go at this point It slides
the clip further down the timeline.
| | 02:52 |
Doesn't affect the duration of my show.
I don't have to pull things out of the
| | 02:56 |
sequence to fix it.
And now let's take a look at the timing
| | 02:59 |
when I play it back.
(SOUND) I might want to slide it a little
| | 03:03 |
bit more back just because I think the
rhythm feels a little bit better when I'm
| | 03:12 |
nodding my head.
Yeah, I'm not one of those people who like
| | 03:15 |
to wait for my dough to rise.
You know I hate having to add the yeast.
| | 03:18 |
>> And I like that, the rhythm is very
good and it works out very very well.
| | 03:21 |
So, using the slide tool can save you a
lot of time, and energy.
| | 03:26 |
Now let's take a look at the slip tool.
I'm going to hit the Backslash key, just
| | 03:29 |
so you can get your bearings.
And we're going to look at this third setup.
| | 03:33 |
>> And when I hit play.
>> (CROSSTALK) Free pizza.
| | 03:36 |
>> That, that's, that's going to be
awesome.
| | 03:38 |
>> Yes, so it's super, super easy.
I'm not one of those people who likes to
| | 03:41 |
wait for my dough to rise.
You know, I hate.
| | 03:44 |
>> Now I wanted a cut away, and I just
threw one into the timeline and it was
| | 03:48 |
completely wrong in that I never look up.
Other than it being like a hand held shaky
| | 03:53 |
shot, I never look up.
So I need to actually change what part of
| | 03:58 |
the clip I'm looking at.
I don't want to change anything to do with
| | 04:01 |
the first and the third clip.
I like where they're located.
| | 04:03 |
I like where they cut out.
I like where the new one cuts in.
| | 04:06 |
I just have to change the in and out
point.
| | 04:09 |
Of that middle shot.
So if I had loaded this into the timeline,
| | 04:12 |
I'm going to press the Selection tool or
the V key, and what we can see is, I have
| | 04:18 |
my in and out point here.
I'm going to stretch this out so you can
| | 04:21 |
see it.
And I literally want to move the out point
| | 04:24 |
and the in point at the same time.
In essence, what I'm doing is.
| | 04:29 |
Keeping everything the same, and think of
this little spot here as a window.
| | 04:32 |
I'm going to select my timeline and zoom
in a little bit, so you can see better
| | 04:36 |
what we're doing.
So, there's my whole, there's my window.
| | 04:41 |
And as I move this left and right, I'm
going to see different parts of the clip.
| | 04:47 |
Turn my head there, but I turned it back
and start talking, so I can slide it back
| | 04:53 |
and forth and eventually get there.
But again, just like in the previous
| | 04:57 |
example, in the real world it might be
inside the same track and moving it back
| | 05:03 |
and forth will just be doing a lot of
erasing of what's around, and I'll just
| | 05:08 |
get into worse trouble.
Let me undo that twice and get back to
| | 05:12 |
where we want to be.
So this time instead of choosing the slide
| | 05:16 |
tool I'm going to go up one more button
and choose the slip tool keyboard shortcut
| | 05:21 |
Y, and now when I click and start moving
this clip take a look at what happens in
| | 05:26 |
the upper right hand program panel.
I now see the end of the first clip, which
| | 05:32 |
won't change; the beginning of the third
clip, which won't change; and my middle
| | 05:38 |
clip, which is going to keep the same
exact length.
| | 05:41 |
But I can move the in and out point at the
same time.
| | 05:46 |
And I have visual reinforcement so I can
get the timing just right.
| | 05:50 |
If I move too far over, you can see I
start talking in the bottom right window.
| | 05:55 |
So I want to make sure that I'm still
looking at her.
| | 05:58 |
It looks like it kind of matches the upper
right side.
| | 06:01 |
And then I look at the lower left.
And that seems to match also.
| | 06:05 |
And I can simply let go.
>>And watch playback.
| | 06:09 |
>>Super easy.
I'm not one of those people who likes to
| | 06:11 |
wait for my dough to rise.
You know I hate having to add the yeast-
| | 06:14 |
>>So it was very quick to make the change.
Much quicker to make the change than to
| | 06:18 |
explain what a slip and slide edit are.
The slip and slid edits are techniques
| | 06:23 |
that you think you may never use.
But once you use them you'll use them over
| | 06:28 |
and over again and you won't know how you
actually edied without them.
| | 06:34 |
| | Collapse this transcript |
| Performing J and L cuts| 00:00 |
The trick of doing a really good job
editing is to make your edits transparent,
| | 00:06 |
or seamless, which means the viewer
doesn't see that you've created an edit.
| | 00:11 |
Now, J cuts and L cuts will allow you to
make your transitions more seamless.
| | 00:16 |
>> Now, I'm going to play the clip as I
cut it, which is I speak, and then I cut,
| | 00:21 |
and then Vanessa speaks.
And you'll see, though the transition is
| | 00:24 |
smooth, it's not transparent.
>> And I think because we made that dough
| | 00:29 |
from fresh.
Made it from scratch.
| | 00:31 |
>> It really gives it that wonderful.
>> Now, what you see a lot in television
| | 00:34 |
and movies, is a situation where you might
here the person speak before you actually
| | 00:40 |
cut to them.
Or you cut to their reaction as they're
| | 00:43 |
listening before they start speaking.
This is very natural.
| | 00:47 |
If somebody speaks in a room, you'll hear
them before you see them.
| | 00:51 |
So, that's why we edit what are called J
and L cuts and they're called that because
| | 00:54 |
it kind of makes the shape of the letter J
or the letter L.
| | 00:58 |
So, what I want to do here is I want to
actually cut to Vanessa's voice before I
| | 01:06 |
cut to her face.
What I want to do is hear Vanessa's voice
| | 01:10 |
before I see her.
So, I actually want to move the edit point
| | 01:15 |
of the video, a little bit to the right.
Now, to do that I'll switch over to the
| | 01:20 |
rolling edit tool.
And I want to just isolate the video track.
| | 01:24 |
So, I'm going to hold down the Option key,
click, and just drag it a little bit to
| | 01:28 |
the right.
And I don't need to be that long.
| | 01:30 |
Second or so is good.
And then, look what happens when I play it.
| | 01:34 |
>> No, it wasn't gluten free, and I think
because we made that dough from fresh.
| | 01:39 |
Made it from scratch.
>> It really gives it that wonderful
| | 01:42 |
homemade element and you know you feel
really.
| | 01:44 |
>> So, that's more natural, maybe I would
cut away a little bit before I start smiling.
| | 01:49 |
So, I could move that back a hair and I'm
good to go.
| | 01:53 |
Now, if you looked at the raw footage it's
fairly continuous in that my speaking and
| | 01:57 |
Vanessa's speaking nothing is taken out.
So, I could've actually done a role edit
| | 02:02 |
without switching over to the video and
achieve the same effect.
| | 02:06 |
But what happens when you remove something
and that's what I did in the next example
| | 02:11 |
in the timeline.
I remove that phrase from fresh because I
| | 02:15 |
didn't like the way it sounded.
So, we'll just do this one more time and
| | 02:19 |
you'll see how valuable being able to
break apart the video and the audio, to do
| | 02:23 |
a J or L cut, would work.
>> I didn't know it wasn't gluten free.
| | 02:27 |
And I think, because we made that dough
from scratch.
| | 02:29 |
>> It really.
>> So, we made that dough from scratch.
| | 02:32 |
We don't hear from fresh anymore.
So, I can go ahead, once again, hold down
| | 02:35 |
the Option key, and move this over a
little bit.
| | 02:38 |
I'll zoom in with the plus key, so I have
a little more fine control.
| | 02:43 |
And let's go ahead and play that back.
>> Because we made that dough from scratch.
| | 02:47 |
>> It really gives it that
>> Okay.
| | 02:49 |
I have a little bit of lip flap there.
And this is what I wanted to point out.
| | 02:53 |
Is that when you do these J and L cuts you
could actually trick your viewer.
| | 02:56 |
My lips are still saying fresh but because
we hear the word scratch, they won't even notice.
| | 03:00 |
>> That dough from scratch.
>> It really gives that wonderful homemade elements.
| | 03:07 |
>> So, that's one of the tricks and the
art of doing an L cut or a J cut.
| | 03:13 |
Now, of course, I'd led the audio before
the video, but I could've just as easily
| | 03:19 |
led with a reaction shot of Vanessa.
Hearing my voice and then cut to her.
| | 03:26 |
J cuts and L cuts are one of the secrets
of making transparent edits.
| | 03:30 |
| | Collapse this transcript |
| Looking at the Trim Monitor window| 00:01 |
As you get more experienced using Adobe
Premiere Pro, you'll want to leverage some
| | 00:05 |
of the other tools that are available to
you, and one of these is the Trim Monitor window.
| | 00:11 |
Now, what this does is it allows you a
little more fine control when cutting
| | 00:15 |
between one clip and another clip, so for
instance, if I double-click between this
| | 00:20 |
edit point.
And I want to play it first because you'll
| | 00:24 |
see there's a repeat of action.
>> From fresh, made it from scratch and
| | 00:28 |
gluten free and I think because made that
dough from fresh.
| | 00:32 |
>> So, I want to trim that.
Now, I could trim it down here, but let me
| | 00:35 |
show you what happens when I double-click.
I actually open up this Trim Monitor
| | 00:39 |
window and it allows me to do either a
roll edit by clicking between the two clips.
| | 00:45 |
So, watch what happens when I just move my
mouse left and right.
| | 00:49 |
And then, as soon as I let go on the cut
point, it moves it to a new location.
| | 00:53 |
Or if I click on just one side, I can do a
ripple trim delete, or a ripple trim add,
| | 01:02 |
to my video.
So, in this case, I want to remove the
| | 01:05 |
redundancy of me saying it in both the
close up and the wide shot.
| | 01:08 |
>> So, I'll simply click on the right side
and drag to the right until I see Vanessa
| | 01:14 |
start responding.
Now, I can step back here in my timeline
| | 01:20 |
and see how that worked.
>> I think because we made that dough from
| | 01:23 |
fresh, we made it from scratch.
>> It really gives it that wonderful home.
| | 01:27 |
>> So, very easy to use the Trim Monitor
window to be able to make find edits.
| | 01:33 |
Now, I'm going to step inside just one
more time.
| | 01:37 |
I can also use these little buttons here
to edit by one or five frames.
| | 01:43 |
Some really fine tuning of my edit.
And if, I want to jump from edit to edit
| | 01:47 |
point, I can simply make the edit I want
and then use the up and down arrow keys to
| | 01:52 |
jump to the next point, and the next
point, and the next point.
| | 01:56 |
Now, if you're migrating from another
editing system and you want even more
| | 02:00 |
information about your clips and a lot
more control, you can actually go to the
| | 02:04 |
drop-down window and open up a Trim
Monitor window that has a lot more detail.
| | 02:11 |
It's pretty much the same as we just saw.
But it allows us a little more flexibility
| | 02:16 |
in seeing what handles we have in the
clip, as well as controlling what we're
| | 02:21 |
going to edit in reference to video and
audio.
| | 02:25 |
And for those who have come from another
editing system, Premiere Pro provides
| | 02:29 |
dynamic trimming using the J, K, and L
keys.
| | 02:34 |
So, whether you use the more complex Trim
Monitor from the drop-down window or the
| | 02:38 |
simplified interface by double-clicking on
an edit point, you'll be able to refine
| | 02:44 |
your edit with true precision.
| | 02:46 |
| | Collapse this transcript |
| Increasing trim efficiency| 00:01 |
There is one preference that I do
recommend you change that will actually
| | 00:05 |
improve the efficiency of trimming.
When we've been using trimming prior to
| | 00:10 |
this, we've always needed to switch over
to the Trim tool when I've wanted to do
| | 00:14 |
any kind of a Ripple trim where I actually
not only trim the media but I also delete
| | 00:20 |
the gap.
And this can be rather cumbersome because
| | 00:23 |
as you become more experienced in editing,
you'll want to always do these two steps
| | 00:28 |
back to back.
So, why do two steps?
| | 00:31 |
If you go to the preferences and that's
under Premier Pro on a Macintosh and under
| | 00:35 |
the Edit menu on a Windows machine, it
would be right here at the bottom.
| | 00:40 |
You can change the way trimming works in
Premiere Pro.
| | 00:45 |
So, I'll select Preferences and choose
Trim.
| | 00:49 |
Now, there's two things that I want to
show you you can modify here.
| | 00:52 |
First of all, you can change the Large
Trim Offset.
| | 00:55 |
The default is five and, and if you recall
when we went into the Trim Monitor, that
| | 01:01 |
was one of the default durations for the
buttons.
| | 01:04 |
So, if you always wanted to say one second
trims you can enter either 30 frames if
| | 01:10 |
you're doing 30 frames a second.
24 frames if you're doing film style or 25
| | 01:15 |
frames if you're cutting footage that was
shot in PAL.
| | 01:19 |
But this is the checkbox that will save
you lots of time.
| | 01:22 |
And that is Allow Selection tool to choose
Roll and Ripple trims without the Modifier key.
| | 01:29 |
So, if I click on this and I hit OK, when
I put my cursor over one of these clips to
| | 01:35 |
do a trim, it automatically chooses the
yellow ripple trim.
| | 01:43 |
Instead of just the plain red trim.
Rolling, of course, stays exactly the same.
| | 01:48 |
And if I do need to do just the
traditional trim, when I put my cursor on
| | 01:54 |
top, I can simply hold down the Cmd key,
or the Ctrl key on Windows, and
| | 01:59 |
temporarily toggle back to a traditional
red trim tool.
| | 02:04 |
So, I suggest you make that change in your
Preferences and you'll find that trimming
| | 02:09 |
will go even faster.
| | 02:10 |
| | Collapse this transcript |
| Tips and tricks for trimming| 00:01 |
Now, we've learned a lot of ways to
fine-tune our edit using all of the trim tools.
| | 00:06 |
And I really wanted to point out some of
the great keyboard shortcuts that are in
| | 00:11 |
Adobe Premiere Pro that will really speed
up this whole act of trimming.
| | 00:15 |
And they're worth learning because this is
what's going to make you fly through the
| | 00:20 |
fine-tuning process.
So, the first one that I want to show you
| | 00:24 |
is, simply by pressing the T key, you will
jump to the closest edit point.
| | 00:30 |
And that's very useful.
And if you hit the wrong one because maybe
| | 00:33 |
it was closer to the previous or the
following.
| | 00:34 |
The up and down arrow keys will allow you
to jump to the exact edit point that you
| | 00:40 |
want to work on.
Now, Ctrl+T on a Mac or Shift+T on a
| | 00:46 |
Windows machine will allow you to toggle
between the five different types of trim tools.
| | 00:52 |
Such as trim edit, left and right, Ripple
trim, left and right, as well as a Roll edit.
| | 01:00 |
And this is very efficient because once I
do this, I can type in numbers to move
| | 01:04 |
that edit point back or forward.
Or use a keyboard shortcut to really fine
| | 01:09 |
tune that edit.
Now, for instance, if I hold down
| | 01:12 |
Option+left arrow key on a Mac, or
Ctrl+left arrow key on Windows, I can
| | 01:18 |
actually start trimming precisely one
frame at a time.
| | 01:23 |
And you can take a look in the upper right
hand corner and see where that roll edit
| | 01:28 |
is going.
Another Ctrl+T on a Macintosh, I switch to
| | 01:30 |
a different type of edit, now the
Option+left arrow is starting to trim the
| | 01:36 |
end off that reverse angle shot of
Vanessa.
| | 01:40 |
And if trimming one frame at a time isn't
quite quick enough, I can hold down the
| | 01:45 |
Option and Shift key on the Mac, or the
Control and Shift on a Windows machine.
| | 01:52 |
And then, using the left and right arrow
jump by multiple frames.
| | 01:57 |
And that's the default that you would set
under your Preferences.
| | 02:00 |
As you see here, it's jumping back or
forward by five frames.
| | 02:05 |
That's the large frame offset.
So, that's really cool but I haven't even
| | 02:11 |
begun to tell you some of my favorite
trimming shortcuts.
| | 02:15 |
I'm going to go ahead and deselect my edit
point.
| | 02:19 |
And simply position the play head in the
middle of the clip.
| | 02:22 |
If I want to trim off everything at the
head, maybe this is all me talking before
| | 02:28 |
the camera starts rolling, I can do what's
called a Top and Tails edit.
| | 02:33 |
So, the keyboard shortcuts for this are Q
and W, and they're right next to each
| | 02:36 |
other on the keyboard.
If I hit the Q key, it will lop off
| | 02:41 |
everything before the play head to that
edit point.
| | 02:44 |
So now, we just have the back half of the
clip.
| | 02:47 |
Let me undo that, Cmd+Z.
And if I hit the W, it will lop off
| | 02:51 |
everything to the right of where the play
head is parked.
| | 02:56 |
And this is really quick when you have
extra media at the beginning or the end of
| | 03:00 |
a clip.
And finally, one of my favorite keyboard
| | 03:02 |
shortcuts is the extend edit.
And you do this by selecting the edit
| | 03:07 |
point that you want.
And you're playing along and you say you
| | 03:11 |
know something that's where the beginning
needs to be.
| | 03:14 |
And depending on the type of edit you've
selected, if you hit the E key, it will
| | 03:19 |
move that edit point to that location.
And that's really useful when fine tuning
| | 03:25 |
role edits.
Because I could be watching and say, this
| | 03:28 |
is exactly where I want the cut point to
be and instead of grabbing the Roll Edit
| | 03:33 |
tool and moving it, I can simply hit the E
key and roll the cut to that exact point.
| | 03:40 |
That was a lot of keyboard shortcuts in a
short amount of time.
| | 03:43 |
But it merits rewatching this video to
learn those because those are some of the
| | 03:48 |
techniques that will make your trimming
fly.
| | 03:51 |
| | Collapse this transcript |
|
|
9. Improving Your EfficiencyTaking control of your Timeline| 00:00 |
By this point you should have a pretty
good handle on bringing clips into your
| | 00:03 |
timeline and how to trim them and kind of
get them where you want them to be.
| | 00:08 |
I want to step back and actually talk to
you about how you can take more control
| | 00:14 |
over your timeline.
The first thing I'm going to do is enlarge
| | 00:18 |
my timeline by hitting the tilde key.
And showing you some of the basics that
| | 00:23 |
you'll need to know.
The primary thing is the plus and the
| | 00:26 |
minus keys to zoom in and zoom out.
Now, if you're on a laptop, no problem.
| | 00:30 |
If you're on a computer with an extended
keyboard, you're not using the plus and
| | 00:36 |
minus keys that are on the numerical
keypad.
| | 00:40 |
You're using the ones that are above the
letters.
| | 00:43 |
So, you might also see instead of plus and
minus, it could be the equal sign and minus.
| | 00:49 |
But my eyes always go to the fact that
there's a little plus symbol.
| | 00:53 |
Every time I hit the plus, I will zoom in.
Every time I hit the minus, I will zoom out.
| | 00:58 |
And if you press the backslash key that's
directly under the Delete key on a Macintosh.
| | 01:06 |
And it's called the Backspace key on a
Windows machine.
| | 01:10 |
Now, what that key will do, it will zoom
your timeline in or out to show everything
| | 01:16 |
on the timeline all at once.
It's great for getting your bearings, or
| | 01:20 |
sometimes if you've thrown a clip off to
the end of the timeline to use later, you
| | 01:25 |
can find it because it might be about 45
minutes downstream.
| | 01:28 |
And you don't even know that it's there.
So, I use these a lot and I just want you
| | 01:33 |
to practice that, the plus and the minus.
Additionally, you may want to change the
| | 01:39 |
height of the tracks and this is actually
very cool.
| | 01:43 |
If I want to see more detail, I can simply
go over to either the audio or video track
| | 01:50 |
and using the scroll wheel on my mouse.
Simply make the track taller or shorter.
| | 01:57 |
Now, if I reduce its height enough I don't
see any of those details such as wave
| | 02:02 |
forms and picture icons.
Let me zoom in a little bit closer so you
| | 02:07 |
can really see what happens when I start
stretching out the height with my scroll wheel.
| | 02:13 |
At first, I start seeing my audio wave
forms.
| | 02:16 |
If I keep scrolling, you'll notice that
over here, in this section to the left,
| | 02:21 |
you can see some additional detail.
Such as, the name of the track which can
| | 02:26 |
be changed from audio one, to say
narrator, or the person speaking.
| | 02:30 |
As well as additional controls for key
framing and controlling what audio tracks
| | 02:37 |
you see.
On the video side, if I scroll up, I can
| | 02:42 |
see poster frame of the first image in
that clip.
| | 02:46 |
And that allows me to quickly know what
shot is what without having to look at the name.
| | 02:53 |
But you'll also notice that when I scroll
up, it does give me the name of the clip
| | 02:58 |
that I'm using.
Now, if you hold down the Shift key when
| | 03:02 |
scrolling on the video, you'll notice that
I can increase the height of all my video
| | 03:06 |
tracks at the same time.
And, of course, I can do the same thing
| | 03:10 |
with my audio tracks.
So, this is a very efficient way to be
| | 03:15 |
able to see More detail in your timeline.
To navigate between clips, you can use the
| | 03:22 |
up and down arrow key on your keyboard,
and the up key will jump you backwards to
| | 03:29 |
your previous edit, and the down key will
jump you forwards to the following edits.
| | 03:35 |
If you want to go all the way to the
beginning of your timeline, you can press
| | 03:39 |
the home button if you have a full
keyboard.
| | 03:41 |
And if you're working on a laptop just
press the Function key or the fn button
| | 03:47 |
and the left arrow and that will take you
home or to the beginning of your show.
| | 03:53 |
And to go to the end of your show on a
full keyboard it's the End key and on a
| | 03:57 |
laptop it would be the Function key and
right arrow.
| | 04:02 |
Now, let's press tilde and return to our
traditional interface.
| | 04:06 |
| | Collapse this transcript |
| Adding video and audio tracks| 00:00 |
As you continue to edit, you may find
yourself needing additional audio tracks,
| | 00:05 |
or additional video tracks.
Let me go ahead and change my view a
| | 00:09 |
little bit, so you can really see my
timeline.
| | 00:12 |
We're really not concerned with our
source, or our program panels, at this point.
| | 00:17 |
But I want to just illustrate that if
tracks are already there, I can just drag
| | 00:22 |
a clip, and drop it on, and I'm good to
go.
| | 00:25 |
But what if I need to add another track?
Well, there's several very easy ways to do this.
| | 00:30 |
If I took any clip and I simply dragged it
to the empty space above my upper most
| | 00:37 |
track, Premiere Pro is smart enough to
create the track for me and put the clip
| | 00:43 |
in that location.
And this is true of both video and audio.
| | 00:49 |
So, if I go ahead and grab an audio track
such as my music and drag it down to the
| | 00:54 |
bottom and let go, it actually adds a
track.
| | 00:57 |
Now, you'll notice that it did not add
that track at the very bottom because at
| | 01:02 |
the very bottom is your master audio
track, which is a little bit different.
| | 01:07 |
It added where it should have put it,
which is directly under the existing track
| | 01:11 |
of A5, it created A6.
So, adding tracks, pretty easy by dragging
| | 01:17 |
and dropping, but what if you want to add
a track before you bring your clip in, for
| | 01:22 |
other reasons.
Well, you can add them one of a couple ways.
| | 01:25 |
You can right-click in this area.
Now, this is for the area specific because
| | 01:31 |
if I right-click over here I don't get the
option to add a track.
| | 01:34 |
Or if I right-click over here I don't get
the option to add a track, because it's
| | 01:37 |
context sensitive.
I need to make sure I'm in the right
| | 01:40 |
location, and I can simply do one of two
things.
| | 01:43 |
I can add a single track.
Or I can add multiple tracks.
| | 01:48 |
Now, this is where you really get some
power because it's easy to add a track
| | 01:53 |
above everything else, but what if I
want to add a track down here.
| | 01:56 |
I want to squeeze something in between.
Maybe I want a new background track
| | 02:00 |
because I'm doing a chroma key.
Well, if I right-click on any track and
| | 02:04 |
I'll use the second one because I think
that's more illustrative.
| | 02:08 |
And I go Add Track, you'll notice that it
actually puts that track in above the
| | 02:13 |
track that I selected.
So, I was able to squeeze in a new V3
| | 02:18 |
pushing everything else up.
I can also delete a track that way.
| | 02:23 |
So, if I have an empty track and I want to
close down my vertical space, I can
| | 02:27 |
right-click and I can also Delete a track
that way.
| | 02:30 |
And finally, if I want to add multiple
tracks, I can get to this in a couple of
| | 02:36 |
different ways.
I could go to my Sequence and go down here
| | 02:40 |
to Add and Delete Tracks.
Or if my hand is already on the mouse and
| | 02:44 |
I'm already working in my Timeline, I can
right-click, and I can say Add Tracks.
| | 02:51 |
And by saying Add Tracks, I get this
dialog box.
| | 02:55 |
And I can choose how many video tracks I
want to add.
| | 02:58 |
So, if I need to add three or four tracks,
I don't have to do it all at once.
| | 03:02 |
And I can also tell it where to put those
tracks.
| | 03:05 |
So, for instance, maybe I need to add a
track at the very bottom of my timeline
| | 03:10 |
below all my other video tracks.
So, I can simply say before the first
| | 03:15 |
track, and I can do the same thing with my
audio tracks.
| | 03:19 |
Now, audio tracks are a little bit more
complex.
| | 03:23 |
And we'll explore that in the audio
section of this course, but there are
| | 03:27 |
different track types that you can add but
the default is probably where you want to go.
| | 03:34 |
I'm going to go ahead and hit Cancel
because I want to show you one last way
| | 03:38 |
that you might be able to use this
dialogue box to do a little bit of house cleaning.
| | 03:41 |
Let me go ahead and delete these clips
that I brought in.
| | 03:45 |
We still have those tracks available, and
our timeline looks rather cluttered.
| | 03:49 |
As a matter of fact, let me go and hit the
Backslash key so you can see the whole timeline.
| | 03:53 |
And what I want to do is just remove all
those empty tracks and consolidate
| | 03:58 |
vertically my timeline.
So, I can simply right-click and choose
| | 04:03 |
Delete Tracks.
I get a similar dialog box to what we saw
| | 04:07 |
earlier and I can check Delete Video and
Delete Audio and have it choose All Empty Tracks.
| | 04:15 |
Now, there are some other choices if I
want to just delete specific tracks but
| | 04:20 |
I'm going to use all empty tracks now.
And look how much cleaner my timeline will be.
| | 04:25 |
No extra spaces, no extra tracks, clean
and efficient.
| | 04:31 |
| | Collapse this transcript |
| Changing track visibility and locking tracks| 00:00 |
Let's take a look at two things you can do
in your timeline that can improve your
| | 00:05 |
work flow and efficiency.
One is the ability to turn off the
| | 00:09 |
visibility or turn off the sound of
tracks.
| | 00:12 |
And the other is locking tracks.
Now, the advantage of being able to turn
| | 00:16 |
off a video track is, for instance, let's
say I wanted to put out a version of my
| | 00:22 |
show without the lower thirds.
I could simply click on any of the
| | 00:26 |
eyeballs at the head of a track and that
track will no longer be visible.
| | 00:30 |
And when I export the video that track
won't be exported.
| | 00:35 |
This is very useful in situations where
say you need to put out a version without
| | 00:38 |
lower thirds, you can also put out a
version say without the narrator track.
| | 00:44 |
So, for instance, if I wanted to turn off
some of my audio, I would go down here but
| | 00:49 |
instead of seeing an eyeball I see the
letters M for mute and S for solo.
| | 00:54 |
Mute actually would turn off a track, so
in this case we would no longer hear any
| | 00:58 |
of the audio on track one.
And in this situation, that would be
| | 01:02 |
myself and Vanessa speaking.
If you're in a newsroom you may need to
| | 01:07 |
send out a version of your show without a
narrator.
| | 01:10 |
So that the receiving station can put
their own anchor or narrator into the program.
| | 01:14 |
Now, complementing Mute is Solo.
This just simply isolates a track so I can
| | 01:21 |
hear that track all by itself.
Very useful when mixing audio.
| | 01:26 |
And perhaps I want to listen or export a
version without say, my music.
| | 01:32 |
Now, let me go ahead and turn back on
those two video tracks.
| | 01:35 |
And I want to show you one more very
useful technique.
| | 01:38 |
First, let me zoom in a little bit, so you
can see what I'm doing a little closer.
| | 01:42 |
I'll press the plus key.
Now, I can right-click on this track.
| | 01:46 |
And I can choose to uncheck Enable.
And that will make that clip invisible.
| | 01:52 |
That way, you don't have to turn off an
entire timeline to see what's below a clip.
| | 01:58 |
Now, you can do that by right-clicking.
Or you can select all of the clips that
| | 02:04 |
you may want to enable or disable.
And use the keyboard shortcut Shift+Cmd+E,
| | 02:12 |
as in enable on a Mac or Shift+Ctrl+E on a
Windows machine.
| | 02:18 |
So, I can very quickly turn on and off
multiple clips.
| | 02:23 |
Instead of turning on and off tracks or
going through one at a time enabling or
| | 02:29 |
disabling them.
Another technique that's very useful is
| | 02:33 |
the ability to lock a track.
Now, we saw this in an earlier video.
| | 02:37 |
And I can do that by simply clicking on
this little open lock icon, when it closes
| | 02:43 |
I see cross hatching on my video track
which means I can't make any modifications
| | 02:48 |
to it.
And this is very useful if I want to do
| | 02:51 |
some editing, and I don't want to
accidentally either shift my video, or
| | 02:55 |
override it.
Now, I can do the same thing with my
| | 02:59 |
audio, and I often do this when I'm
cutting anything to music.
| | 03:04 |
Now, whether I do an insert or an
override, that audio track won't be affected.
| | 03:09 |
As you can see, locking and unlocking
tracks, as well as turning on the
| | 03:13 |
visibility or muting and soloing a track
can be very useful when cutting together
| | 03:20 |
your video.
| | 03:22 |
| | Collapse this transcript |
| Rendering media in your Timeline| 00:00 |
I want to talk to you about something
called render files.
| | 00:03 |
Now, some of you may already know what a
render file is, but let me try to quickly
| | 00:07 |
explain what that is all about.
As you edit a program and you start
| | 00:12 |
putting more effects and more filters onto
a clip, sometimes the computer cannot keep up.
| | 00:18 |
And what happens is, you'll drop frames on
playback.
| | 00:22 |
Now, that can be very frustrating.
So, a render file is simply the computer
| | 00:27 |
calculates in advance, all those complex
mathematical formulas, to convert pixels
| | 00:33 |
to other pixels.
And writes that file down, so when I play
| | 00:36 |
the other clip, it plays back smoothly.
Now, if you look at my time line, you'll
| | 00:41 |
notice there are some red and some yellow
lines above the tracks.
| | 00:47 |
And your first impulse might be, well,
yellow is a warning and red is a full stop.
| | 00:52 |
But that's not the case in Premiere.
What a yellow line indicates is that
| | 00:57 |
Premiere Pro will have to do some sort of
translation or rendering on the fly, but
| | 01:03 |
it won't drop any frames.
What red indicates is that it may play
| | 01:09 |
back without dropping any frames, but
they're not guaranteeing anything.
| | 01:14 |
Let's take a look at the playback of this
green screen at the very end of this sequence.
| | 01:22 |
>> In addition to being on news stands in
the United States and Canada you could
| | 01:26 |
also find.
>> Well, it doesn't appear that any frames
| | 01:29 |
are dropping but I want to make sure.
And there's a nice feature in Premiere Pro
| | 01:33 |
that allows me to turn on something called
the drop frame indicator.
| | 01:36 |
And this is a little green button that
when stays green says we've played every frame.
| | 01:43 |
If it goes to yellow, it means that some
frames are dropped.
| | 01:47 |
And then, if it goes to red you know you
have a problem, and in this case you'll
| | 01:52 |
actually need to pre-render or render the
files because it can't play back in real time.
| | 01:57 |
Let's go ahead and hit Play on our green
screen.
| | 02:01 |
And this is pretty complex.
This has multiple layers, a chroma key, a
| | 02:05 |
color correction, I'm generating a
background, and even doing a blending mode
| | 02:10 |
to get some transparency.
>> On The Pages of Delight on newsstands
| | 02:13 |
in Greece, Finland, Germany, Spain.
>> Now, I still didn't drop any frames,
| | 02:19 |
and this is a relatively moderate machine.
It's a several year old Macintosh with
| | 02:25 |
only eight gigabytes of RAM and a medium
video card and I'm still getting some
| | 02:30 |
fairly robust playback.
Now, just to prove to you that this can
| | 02:34 |
change colors, I did create an insane
piece of video that may drop some frames.
| | 02:41 |
As a matter of fact, I put so many filters
on this that I would never use this in a
| | 02:46 |
show but let's see if we can get that
green to change to at least yellow.
| | 02:51 |
>> Which I hate it, you're sitting there
eating with a fork and knife while
| | 02:52 |
everyone else is picking it up, so I like
that.
| | 02:53 |
>> So, there you go I drop some frames and
if I put my cursor on top of that little
| | 03:00 |
indicator, it even tells me how many
frames I dropped during playback.
| | 03:04 |
Technically, if I can visualize what the
effect looks like in my head I don't have
| | 03:10 |
to worry about dropped frames during
playback while I'm editing.
| | 03:13 |
But if my producer is sitting there and
they want to see it with its natural flow,
| | 03:17 |
I may need to render.
Premiere will always render anything that
| | 03:22 |
it needs to on export to make sure you
don't need to drop frames.
| | 03:26 |
So, let's talk about rendering.
You'll find the render command underneath
| | 03:31 |
sequence in the drop-down menu.
And there's a couple of choices here.
| | 03:35 |
You can render effects into out, and just
render into out.
| | 03:40 |
I'm going to explain what that is.
But first of all, let me actually mark an
| | 03:43 |
in and out point that's not the entire
timeline so you can see the net effect.
| | 03:48 |
As a matter of fact, I'm going to mark it
with an in point in the yellow and an out
| | 03:53 |
point in the red area.
Now, if I go up under here and I choose to
| | 03:59 |
Render Effects In to Out, Premiere will
render only things that have a red line
| | 04:06 |
above them.
>> Those onions actually smell good.
| | 04:09 |
>> As soon as the render is done, you'll
see it will start playing back, but if you
| | 04:14 |
notice that the yellow line is still
there.
| | 04:19 |
The red line has turned green, which says,
oh, I've created a render file so you have
| | 04:25 |
real time playback.
>> This is really good.
| | 04:31 |
>> One of my favorites.
>> So as you can see, the green dot won't
| | 04:34 |
change to yellow because it's looking at
the render file, and not having to do all
| | 04:38 |
the math on the fly.
Now, if I had chosen the other option
| | 04:44 |
which is Render In to Out.
Premier Pro will actually look at both
| | 04:50 |
yellow and red lines.
So, its real time playback functions as
| | 04:54 |
well as its effects functions and render
everything.
| | 05:02 |
>> This onion smells really.
>> Now, that went pretty quick because it
| | 05:05 |
only had to render the yellow section.
The red section was already done.
| | 05:08 |
So, even if you, by accident, select the
same area to render over again, Premier
| | 05:14 |
Pro is smart enough to know that it's
already done the work once.
| | 05:18 |
So that's an idea how render works.
If you want to use a keyboard shortcut for
| | 05:23 |
that, as you can see, underneath the
Sequence settings for Render Effects In to Out.
| | 05:28 |
Well, it's the return key on a Macintosh,
or the enter key on a Windows machine.
| | 05:33 |
| | Collapse this transcript |
| Using the History panel to undo multiple actions| 00:00 |
They used to say time travel was
impossible but the beauty of Premiere Pro
| | 00:04 |
is that you actually can go back in time
to fix mistakes.
| | 00:08 |
Now, you could do a series of undos and
that's Cmd+Z or Ctrl+Z, depending on your
| | 00:15 |
operating system.
And of course, you do have the undo in the
| | 00:19 |
drop-down menu.
But what if I'm not sure exactly what I've
| | 00:22 |
done or how far back I need to go.
And that's where the History tab in the
| | 00:28 |
Project panel comes into play.
Now, you won't have a project file for
| | 00:33 |
this video because whenever you close a
project.
| | 00:38 |
Your history is completely erased.
So, just watch along, or if you have an
| | 00:42 |
open project that you've been working on,
you can see something very similar to what
| | 00:48 |
I'm showing you.
The History panel is all the way on the
| | 00:51 |
far right if you have the default screen
layout.
| | 00:54 |
And if I click on that, I can see the
recent edits I did in sequence.
| | 01:00 |
So, that helps me in one of two ways.
Maybe I forgot how I did something and I
| | 01:05 |
can look back and say, oh yeah, I forgot I
did that Ripple Delete.
| | 01:09 |
Now, I know why I'm where I'm at or I
want to step back because somehow I've
| | 01:14 |
messed things up and maybe my audio is now
out of sync or suddenly video is not
| | 01:20 |
showing up.
So, I can go back here and simply select
| | 01:24 |
the point in time before I made that
mistake.
| | 01:28 |
And if you notice when I clicked on Ripple
Trim, it changed my timeline to that point
| | 01:34 |
or that moment in time.
And I can go forward if I went too far back.
| | 01:39 |
So, that's great, and I can continue on
from here.
| | 01:42 |
One thing to keep in mind is, as soon as I
make a new edit, everything that happened
| | 01:47 |
after that Ripple Delete will disappear
and all my new edits will start from that point.
| | 01:54 |
If you are a science fiction buff, think
of it as a parallel timeline that you
| | 01:58 |
can't go back and change.
So, after the Ripple Delete, I'm going to
| | 02:03 |
go ahead and make a new change.
I'm going to go and remove this shot right here.
| | 02:10 |
If you notice, everything now has changed
beyond the ripple delete.
| | 02:14 |
I can right-click do another Ripple Delete
and I can start building a whole new
| | 02:20 |
history and a whole new future.
| | 02:21 |
| | Collapse this transcript |
| Creating keyboard shortcuts| 00:00 |
There's no need for a project file for
this video.
| | 00:04 |
You can follow along with any project that
you might have opened.
| | 00:07 |
One of the things that I like about
Premiere Pro is the fact that there are a
| | 00:11 |
lot of keyboard shortcuts.
I also like the fact that I can modify the
| | 00:16 |
existing ones or add keyboard shortcuts in
situations where there isn't already assigned.
| | 00:22 |
To modify the keyboard shortcuts you will
go under the Premiere Pro menu on a
| | 00:27 |
Macintosh and you'll see keyboard
shortcuts.
| | 00:30 |
Or, on a Windows machine it will be under
the edit menu at the bottom.
| | 00:36 |
Let me go ahead and launch the keyboard
shortcuts dialogue box and give you a
| | 00:41 |
quick tour.
First of all, I want to point out that
| | 00:44 |
there's a default set of keyboard
shortcuts.
| | 00:46 |
But if you click on this drop-down menu,
you'll see that there's also one for Adobe
| | 00:51 |
Premiere Pro 6 as well as for Media
Composer and Final Cut Pro.
| | 00:56 |
So, if you're migrating from one of those
editing systems, you can use the keyboard
| | 01:01 |
shortcuts that you're used to.
Personally, I recommend taking the time to
| | 01:05 |
learn the keyboard shortcuts that are
designed for this application because I
| | 01:10 |
find them pretty intuitive.
And also, if you're ever in a situation
| | 01:14 |
where you're hopping on to somebody else's
computer, you'll be able to edit with
| | 01:18 |
their default Adobe keyboard
configuration.
| | 01:22 |
Now, I use the keyboard shortcut menu a
lot of different ways.
| | 01:25 |
Sometimes I use it just to find out what a
keyboard shortcut is.
| | 01:29 |
So, if I want to find out all the trimming
keyboard shortcuts, I'll type in the word
| | 01:33 |
trim and as you can see there is all the
different ones already assigned to trimming.
| | 01:41 |
T for the Trim Edit tool, W and Q for
Ripple Trim edits, as well as the options
| | 01:49 |
to trim forward or backwards by a single
or many frames.
| | 01:54 |
Now, let's suppose there's a menu item
that I use all the time but there is no
| | 01:57 |
keyboard shortcut.
Revert is something that I do all the time.
| | 02:03 |
What revert does is it actually goes back
and opens up the project the way it was
| | 02:09 |
when you last saved it.
So, if you've been saving all along.
| | 02:13 |
And you say, you know something?
I messed everything up.
| | 02:16 |
You can hit Revert.
And the project will change to the last
| | 02:19 |
time you physically hit Cmd+S or Ctrl+S or
the state it was in when you first
| | 02:26 |
launched it if you hadn't saved it.
Why would I use this?
| | 02:29 |
Well, a lot of times I'll review with the
producer and show them lots of changes.
| | 02:33 |
And at the end of the session they'll go,
you know, it was just fine the way it was
| | 02:38 |
And I'll go back and go to the File menu,
and select Revert.
| | 02:43 |
Well, I do this a lot.
So, it would be nice to have a keyboard
| | 02:46 |
shortcut for that.
So, I'm going to go ahead and assign a
| | 02:49 |
keyboard shortcut.
And to do that, I'll simply double click
| | 02:52 |
where it says shortcut.
And I'm going to try the letter r.
| | 02:56 |
Because r is a good way for me to remember
revert.
| | 02:59 |
So, I'll press r.
And I discover that r is already taken.
| | 03:04 |
The shortcut is being used for the Rate
Stretch tool, so if I choose r for a
| | 03:09 |
revert I'm going to use a pretty useful
keyboard shortcut, so let me try a variation.
| | 03:15 |
I'm going to try using a modifier key.
So instead of using r what about Shift+R.
| | 03:23 |
Well, Shift+R is not taken, so that's
going to work perfectly.
| | 03:26 |
You'll also notice at the top, now that
I've modified the default keyboard, it's
| | 03:32 |
going to save this as a custom.
I could go in and save it as my own
| | 03:37 |
keyboard layout, such as Abba's custom key
set.
| | 03:42 |
I'll not use the apostrophe s just to keep
it simple and I will hit Save.
| | 03:49 |
Now, in the drop-down menu I can quickly
jump from the default to my own custom key
| | 03:54 |
set which has a revert keyboard shortcut.
Let me go ahead and hit OK and I want to
| | 03:59 |
point out now under the File menu, under
Revert it says Shift+R.
| | 04:06 |
Prior to this there was no keyboard
shortcut assigned at all.
| | 04:11 |
Creating keyboard shortcuts is quick and
easy and can really increase the
| | 04:15 |
efficiency of your editing.
| | 04:18 |
| | Collapse this transcript |
| Creating buttons| 00:00 |
Now, depending on your style of editing,
you may or may not like to use the buttons
| | 00:05 |
that are below both the Source and the
Program panels.
| | 00:10 |
Now, one thing I do like is that no matter
what my style is, I can customize the
| | 00:15 |
interface to work best for me.
If I don't like to use any buttons at all
| | 00:20 |
and I don't even want to see them, I can
go to this wrench here and uncheck Show
| | 00:26 |
Transport Controls.
It gives me a little more screen real
| | 00:29 |
estate for my image and I'm not distracted
by the buttons.
| | 00:34 |
On the flip side, if I do like to use
these buttons, or as they're referred to
| | 00:38 |
the Transport controls, I can turn them
back on.
| | 00:41 |
And with this little plus button, I can
edit which buttons I see and even add some
| | 00:47 |
buttons that aren't there by default.
Now, I'm going to step over to the Program
| | 00:52 |
panel because there's actually a few more
buttons that I can add and modify my options.
| | 00:57 |
When I click on this, I see all the
buttons that are available.
| | 01:01 |
If I hover my mouse over any of these
buttons, it will tell me what that button
| | 01:05 |
does, and also if there is a keyboard
shortcut that might go along with that button.
| | 01:11 |
So, if I wanted to add buttons to the
layout, I can simply drag them to the
| | 01:16 |
location where I want them to reside.
So, one of the ones that I do use a lot is
| | 01:21 |
I like to toggle my multi-camera on and
off and I don't want to use a keyboard shortcut.
| | 01:25 |
So, I'm going to go ahead and just drag
that down here, and let's see what else
| | 01:30 |
would I like to add.
I think want to be able to start and stop
| | 01:32 |
my multi-camera cord.
And the other thing I like is seeing Safe Margins.
| | 01:38 |
That allows me to very easily see if my
graphics or my titles will be cut off when
| | 01:45 |
they're aired on television.
I can also put in or remove spacers.
| | 01:50 |
And in this case, I'm going to go ahead
and remove some elements.
| | 01:54 |
I think I'm going to remove my mark in and
my mark out because I'll just use the I
| | 01:59 |
and the O key for that.
And I can do that by just simply dragging
| | 02:03 |
them outside the box.
When I'm all done, I can simply hit OK and
| | 02:09 |
as you see, my buttons have been updated
to the ones that I use.
| | 02:14 |
If I make my window smaller than the
available button space, I'll actually get
| | 02:19 |
a new button to replace all the missing
buttons.
| | 02:22 |
And when I click that, it's simply a
drop-down window, with text showing me
| | 02:27 |
what actions I can perform.
Let's go ahead and stretch out our window
| | 02:33 |
and test out one of our buttons.
I think we're going to look at Safe Margins.
| | 02:37 |
As you see, it's very effective, it's
showing me title safe and action safe.
| | 02:43 |
And if you notice, there's a couple of
extra lines, that would be for center cut.
| | 02:47 |
So, if I'm showing a high-definition image
on a standard-definition television, I can
| | 02:52 |
see where the sides are cut off.
And to remove the visual clutter for now,
| | 02:57 |
I'm going to go ahead and turn that back
off.
| | 03:00 |
So, no matter what your editing style,
Adobe Premiere Pro will adapt to your needs.
| | 03:05 |
Whether it's extra buttons, the buttons
that are there by default, or no buttons
| | 03:11 |
at all.
| | 03:11 |
| | Collapse this transcript |
|
|
10. Working with AudioExploring audio in Premiere Pro| 00:00 |
Before we get into actually mixing our
audio and working with different levels I
| | 00:05 |
want to talk to you a little bit about
dealing with audio that is stereo, audio
| | 00:10 |
that is mono and maybe audio that the
program thinks is stereo, but is truly
| | 00:17 |
mono and vice versa.
Now we have three clips, in our project
| | 00:22 |
pane, just a plain music clip which is
stereo, and a couple of camera clips.
| | 00:27 |
Now I'm going to go full screen by hitting
the Tilde key, and in the far right side
| | 00:32 |
of my screen, I see it says audio info.
And for convenience, I'm going to drag
| | 00:36 |
that all the way over and put it to the
left of label And I want to point out, how
| | 00:42 |
these are different.
If you notice, our music is normal 441,
| | 00:49 |
which is what, like CD audio is, 16 bit,
which means it's high quality and it's stereo.
| | 00:55 |
So when we put it in our show, if
different instruments are playing out of
| | 00:59 |
different speakers, it will continue to
maintain being stereo.
| | 01:04 |
Camera 2 is a little different.
That's split audio.
| | 01:07 |
And you see it says 2 Mono, or you might
hear is as Duel Mono.
| | 01:12 |
And, in this case, both Vanessa and myself
have separate microphones and each of our
| | 01:17 |
mikes were recorded to a discrete channel.
That way, when edited, you could turn
| | 01:24 |
Vanessa's volume up without affecting
mine, and vice versa.
| | 01:28 |
The third clip was compressed so it would
be easier to download.
| | 01:34 |
And when it was compressed, it got
switched from dual mono to stereo.
| | 01:40 |
And Premiere's going to be confused when I
use this.
| | 01:43 |
Because if I bring down the volume, or try
to bring down the volume, of my voice.
| | 01:48 |
It's going to bring down the volume of the
entire clip.
| | 01:52 |
I want to show you how you can use this to
your advantage, and how you can modify it
| | 01:58 |
if necessary.
Let' s go ahead a press the Tilde key and
| | 02:02 |
get back to our main editing screen.
I do want to point one thing out in our timeline.
| | 02:09 |
Two of the tracks have no icon and two of
the tracks have a single speaker.
| | 02:14 |
This indicates that this is a standard
track, which means anything I put in
| | 02:21 |
there, it will adapt, in that if I drop a
stereo clip in both channels will fit into
| | 02:27 |
one track and it will come out stereo.
If I drop a mono clip in, it would also go
| | 02:34 |
in and it would come out dead center
between the two speakers.
| | 02:38 |
A mono track would take the stereo and mix
it together so that every thing was equal
| | 02:45 |
and it would just come out the same on
both speakers.
| | 02:48 |
And that's true whether I drop a mono clip
in there Or a stereo clip in there.
| | 02:54 |
For the most part you'll want to use
standard tracks and that's the default.
| | 03:00 |
So, if you are going to make a track you
could do that underneath your sequence settings.
| | 03:06 |
Choose add tracks and when you add a
track, there are options of where you
| | 03:12 |
want to put it And the type of track
you're making.
| | 03:16 |
So, as you see, there's standard, and
there's mono.
| | 03:20 |
There's two other types of tracks, 5.1 for
surround sound, and adaptive, which is
| | 03:26 |
usually used in Broadcast when you need to
import or export more channels.
| | 03:32 |
As a matter of fact sometimes the standard
is eight or 12 channels of audio for one
| | 03:37 |
piece of video.
But I don't think it's necessary to
| | 03:40 |
explore that now.
Let's just keep it simple.
| | 03:44 |
I'm going to go ahead and drop our music
directly into our first track.
| | 03:50 |
And when I drop it in, you can see it's in
there, but I can't really tell what's
| | 03:54 |
going on.
If I want to see what's happening inside
| | 03:57 |
of one of these tracks, I can use my
Scroll key and open up and see more detail.
| | 04:03 |
Now let me press the Plus key, and you can
see the waveform of this track and I can
| | 04:08 |
also see how the track has been labeled
standard.
| | 04:11 |
And I did this myself normally it might
just say audio one.
| | 04:16 |
When I play this take a look at the audio
levels meter and you can see that left and
| | 04:20 |
right channels are slightly different.
(MUSIC).
| | 04:28 |
Now let's go ahead and drop.
The other clips into this stereo track,
| | 04:33 |
and you can see how they work a little bit
differently.
| | 04:36 |
I'm going to select and delete this clip,
and now bring in the split audio.
| | 04:43 |
Now, since this is the first clip that I'm
bringing in, Premier notices that there's
| | 04:48 |
some differences between this clip and my
sequence settings.
| | 04:52 |
I don't want to change them, I want to
keep the existing settings and I want to
| | 04:56 |
scroll up here.
And what you see is that, even though this
| | 05:02 |
was a standard track which took both sides
earlier because this clip is dual mono, it
| | 05:08 |
actually put 1 channel of audio on A1 and
the other channel, and I'll scroll to get
| | 05:14 |
it open.
On A2, and now I can work with these independently.
| | 05:19 |
I'm going to go ahead and delete this clip
and bring in this 3rd clip, which is Pizza
| | 05:26 |
wide shot, and this was a clip that was
compressed and if I bring it in.
| | 05:32 |
I see that I have both the left and right
channel there, but because it thinks it's
| | 05:37 |
stereo, I can't work with Vanessa's and my
voice individually.
| | 05:42 |
I can fix that very easily.
All I need to do, is before I bring it in,
| | 05:47 |
so let me delete that, is right click on
that clip, go up under modify An audio channels.
| | 05:55 |
And here I'm going to tell Premier to use
this as Mono instead of interpreting the file.
| | 06:03 |
And right there, it says number of audio
tracks two, channel format Mono.
| | 06:08 |
Watch what happens when I bring this clip
in now.
| | 06:12 |
They go on separate tracks, and I can
bring up one track and it doesn't affect
| | 06:18 |
the other.
So it's important to understand whether
| | 06:21 |
you're working with stereo or mono clips,
because down the line when you have to
| | 06:27 |
start mixing your music and mixing your
sound, you'll need this control.
| | 06:31 |
| | Collapse this transcript |
| Adjusting audio levels of clip| 00:00 |
The program is basically organized and cut
together, but I haven't looked at any of
| | 00:05 |
my audio mix.
In other words I just brought the clips in
| | 00:08 |
regardless of what their levels were.
Its important for me to be able to see a
| | 00:13 |
couple of key things in my timeline.
One I want to increase the height so I can
| | 00:18 |
see the waveforms.
I can do this by holding down the Shift key.
| | 00:23 |
And using the scroll wheel on my mouse to
make each of these larger.
| | 00:27 |
So you can better see what I'm doing I'm
going to adjust the layout of my screen
| | 00:33 |
focusing much more on the audio section.
If you're following along with the
| | 00:38 |
exercises you probably have a higher
resolution screen and all you need to do
| | 00:42 |
is hold down the shift modifier use the
scroll wheel and then you can see all of
| | 00:45 |
the waveforms.
Let me go ahead and play just about three
| | 00:51 |
or four seconds of this video.
(MUSIC) (INAUDIBLE).
| | 00:58 |
Well, I see immediately, that if I had
just dropped in the original clips, the
| | 01:02 |
music is too loud, Vanessa's voice is too
soft.
| | 01:06 |
And there might even be times where we're
getting louder and softer depending on how
| | 01:11 |
excited we're getting about the food and
I'm going to need to fix all of that.
| | 01:16 |
Well the first thing I want to do is make
everything a neutral level, a target
| | 01:21 |
level, and for most of you that will be
hitting this number here of minus 12.
| | 01:28 |
That means that generally your audio
should hit around minus 12.
| | 01:31 |
But you could peak up to minus 6, or you
could go down to minus 18, or even below.
| | 01:37 |
The key is, you never want to exceed zero,
because your audio will get distorted.
| | 01:44 |
Now some of you might be delivering to a
broadcast station, and they might have
| | 01:48 |
specific requirements for your audio mix
level.
| | 01:52 |
It may be minus 18 or minus 20.
The best rule of thumb is ask before you
| | 01:57 |
start editing and you won't have to go
back and fix it.
| | 02:01 |
So now let's start adjusting all of our
audio levels.
| | 02:05 |
Now I can do that directly in the timeline
by simply grabbing this center line right
| | 02:11 |
here, and moving it up and down.
And you can see there's a pop up window
| | 02:16 |
that tells me how much louder or how much
softer I'm making this clip.
| | 02:23 |
If I open up the effects control window
with this clip loaded, I can also look at
| | 02:28 |
my volume here and see how much louder or
softer I'm making it And I could always
| | 02:33 |
reset it if I need to.
Let me go ahead and play this and we can
| | 02:39 |
look over here and see what our levels
look like.
| | 02:44 |
(MUSIC) Well here's the challenge.
I can't see what my levels look like
| | 02:50 |
because I'm hearing Vanessa's voice And
the music.
| | 02:54 |
If I want to just isolate that one piece
of music, and look at its levels.
| | 03:00 |
I can go to the audio clip mixer.
And see just each of the tracks, and what
| | 03:04 |
levels they're playing back at.
>> (MUSIC) Welcome to Delight gluten free eats.
| | 03:15 |
I-
>> So I can see her voice here and the
| | 03:17 |
music here, and as other tracks come into
play I will see those tracks, but again
| | 03:23 |
that might make it a little bit difficult.
Let's jump back to the Effects Control tab
| | 03:28 |
and I want to show you a very useful trick
when trying to mix individual audio levels.
| | 03:33 |
There's two buttons here, mute and solo.
Mute turns off a track.
| | 03:37 |
Solo isolates that track.
So, if I just want to hear what's on audio
| | 03:42 |
two I can hit the Solo button, and now
when I play it back I can see and hear
| | 03:46 |
just my music.
(MUSIC) (MUSIC) So that's a quick way to
| | 03:53 |
find out if your audio levels by
themselves are hitting your target, which
| | 04:00 |
in this case is minus 12.
Now let me zoom in by pressing the Plus
| | 04:06 |
key, and show you a couple of ways that I
can accelerate this process.
| | 04:12 |
I know for instance that all of these were
recorded at the same audio level.
| | 04:18 |
If I go over and adjust one of them by
making it louder.
| | 04:23 |
(MUSIC) And if you notice I'm not hearing
Vanessa and myself speak.
| | 04:30 |
I'm just hearing the music.
That's because I had solo this track.
| | 04:35 |
So let me go ahead and solo our track.
>> I'd like to welcome you to our test kitchen.
| | 04:39 |
My friend Ave is here today to learn how
to make an amazing gluten free main dish,
| | 04:45 |
so we're making one of my favorite things
right
| | 04:47 |
>> If you notice, as I pulled up the
level, I actually hit the target I wanted
| | 04:51 |
to, but as soon as I switched to the next
clip.
| | 04:54 |
It popped back so you need to make sure
that if you're going to bring up your
| | 04:57 |
levels while listening to it that you dont
have the clip end before you let go of
| | 05:02 |
your mouse.
>> I'm Vanessa executive editor of the
| | 05:07 |
Gluten-Free magazine
>> So that's pretty good right there I
| | 05:09 |
kind of like that level to start with.
And if I want to apply that to all my clips.
| | 05:14 |
I can simply select it, Copy, Cmd + C, or
Ctrl + C on a Windows machine, select
| | 05:22 |
these other clips that have the same
levels, right-click on it, choose Paste
| | 05:28 |
Attributes, and select just volume to
bring up the audio levels to match all of
| | 05:35 |
these clips.
>>So we're making one of my favorite
| | 05:38 |
things right now and this is a honey
barbecue chicken pizza.
| | 05:41 |
>>I just want to show you one last way to
raise and lower the level of a clip While editing.
| | 05:47 |
I can go over here and hit the Spacebar,
and instead of grabbing that middle line
| | 05:52 |
and moving it up and down, I can use the
left and Right Bracket keys and that's
| | 05:57 |
going to increase the volume one db at a
time.
| | 06:01 |
And db is just the way that they measure
audio.
| | 06:04 |
If I hold down the Shift key and use the
brackets, it'll jump up by 3BD, which
| | 06:10 |
means every 3BD, it gets twice as loud or
half as loud.
| | 06:15 |
Now two things just went wrong.
First of all, I affected the clips that I
| | 06:20 |
just worked on.
And second, I can't even hear the levels.
| | 06:24 |
And I wanted to point this out, because a
lot of times in the rush of editing you
| | 06:28 |
don't switch things back to the way they
should be, so the first thing I want to do
| | 06:33 |
is go ahead and turn off Solo and point
out that if you have tracks selected it
| | 06:39 |
overrides where the play head is playing
and you're only going to effect these
| | 06:43 |
tracks, so let me unselect everything by
clicking away from it.
| | 06:47 |
>> Nothing is muted and now when I hit the
Spacebar to Play, I can use the Left and
| | 06:53 |
Right Bracket keys to increase and
decrease my volume.
| | 06:56 |
>> We're going to add the yeast and the
warm water and then let it sit and cover
| | 07:00 |
it and then punch hit down and then let it
rise and then (CROSSTALK).
| | 07:02 |
>> So that's pretty good and that's pretty
quick and I didn't have to worry about
| | 07:05 |
using my mouse at all.
So there's the basics on making sure that
| | 07:09 |
all your audio levels are good, and the
next step would be key framing them so you
| | 07:14 |
can change the volume over time.
| | 07:16 |
| | Collapse this transcript |
| Keyframing audio levels of a clip| 00:00 |
Now, I've gone ahead and equalized all of
the audio or neutralized all of the audi.
| | 00:06 |
So, it peaks at about minus 12.
And now, I'm ready to do something called
| | 00:10 |
keyframing, which is modifying the audio
over time.
| | 00:14 |
Because in some cases I want to hear the
music up full.
| | 00:18 |
But as soon as we start speaking on camera
I want to have that music there but I need
| | 00:23 |
it to duck under our voices.
Remember, in an earlier movie I did change
| | 00:28 |
my layout and I did open up each of these
tracks by using the Shift key and the
| | 00:33 |
scroll wheel on my mouse.
So, if your interface doesn't look like
| | 00:37 |
mine, those are a couple things that I did
in an earlier video.
| | 00:42 |
Now, I'm going to press the plus key to
zoom in to the area that I really want to
| | 00:46 |
focus on.
And that is music and Vanessa's introduction.
| | 00:51 |
Let me go ahead and play it.
Look at my levels.
| | 00:54 |
And this is more important.
Listen and trust my ears.
| | 00:58 |
(MUSIC).
>> Welcome to Delight Gluten Free Eats.
| | 01:01 |
I'm Vaness Weisbrod and.
>> The levels are really nice but maybe I
| | 01:06 |
want the music just a hair stronger at the
beginning and then I want to bring it down.
| | 01:11 |
So, I'm going to go ahead and grab this
and bring it up a little bit just to make
| | 01:15 |
it stronger and now I need to add
keyframes.
| | 01:18 |
And so, you can see what I'm doing.
I want you to look over here.
| | 01:23 |
And I'm going to stretch this over to the
left a little bit so you have a more
| | 01:26 |
expanded view.
And now, I'm going to go ahead and hold
| | 01:30 |
down the Cmd key as I'm working on a
Macintosh.
| | 01:33 |
On a Windows machine, that would be the
Ctrl key.
| | 01:36 |
And as I click, I actually create a little
diamond and that's a key frame.
| | 01:42 |
And if you look up here on the upper-left
hand corner, the same thing has happened.
| | 01:47 |
As a matter of fact, I could add key
frames directly here in the Effects
| | 01:52 |
Control panel by clicking on the diamond.
Once I have these basic points, I can make
| | 01:58 |
my volume louder or softer between those
points.
| | 02:02 |
So, I could go ahead and drag this down.
>> And if we listen to it, the music will
| | 02:08 |
dip down.
And because I had extra keyframes at the
| | 02:10 |
end, it's going to get louder.
We'll fix that in just a moment.
| | 02:14 |
(MUSIC).
>> Welcome to Delight Gluten Free Eats.
| | 02:17 |
>> So, I like the idea the music dips.
But I want to make sure that it doesn't
| | 02:22 |
dip too fast and too low.
So I'm going to go ahead and open up this
| | 02:27 |
level area so you can see what's happening
up in the Effects Control Panel.
| | 02:33 |
And I can stretch that out if I wanted
even more detail by simply putting my
| | 02:38 |
cursor between those two lines.
And now, I'll have a little more viewing space.
| | 02:43 |
If I needed to, I can once again use my
scroll wheel.
| | 02:48 |
And the point is I want to move this over
to the right so the audio goes down more gradually.
| | 02:56 |
I also may want the level to be a little
bit higher.
| | 02:59 |
You'll notice it's effected up here and
all is good.
| | 03:02 |
If I want to jump between key frames, I
can use keyboard shortcuts or these little arrows.
| | 03:08 |
And if I think it's too abrupt.
If I right-click on any of those
| | 03:14 |
keyframes, I can smooth them out with a
Bezier curve that I have full control over initially.
| | 03:20 |
Or let Premiere use the Auto Bezier or
Continuous Bezier, and most of the times I
| | 03:25 |
find that the default is better than my
tweaking for several minutes or even longer.
| | 03:34 |
As you see it's more gradual there, it's
going to sound a little bit nicer and
| | 03:38 |
we'll be able to hear Vanessa much better
over the music.
| | 03:42 |
(MUSIC).
>> Welcome to Delight Gluten Free Eats.
| | 03:45 |
(MUSIC).
>> That's perfect I really like it.
| | 03:48 |
Now, I want to go ahead and remove the
other keyframes.
| | 03:51 |
They're easy enough to remove, you can
right-click on any keyframe and choose Delete.
| | 03:58 |
But the trick is to make sure that you're
actually on the keyframe.
| | 04:02 |
If you're a little to the left of the
keyframe or to the right of the key frame,
| | 04:05 |
you're going to get a different drop-down
window.
| | 04:07 |
So, often what I like to do is actually
delete my keyframes up here in my Effects
| | 04:13 |
Control panel.
And I can actually select a whole bunch of
| | 04:16 |
them at a time.
And once they're all selected, I can just
| | 04:19 |
press the Delete key, and they're gone.
It's a very efficient way of getting rid
| | 04:23 |
of extra keyframes if you've put too many
in.
| | 04:26 |
And now, our audio is perfect between the
music and Vanessa's voice.
| | 04:33 |
| | Collapse this transcript |
| Mixing audio| 00:00 |
I've gone through and made sure that my
levels were good on each individual clip.
| | 00:05 |
And key frame them where necessary.
I'm going to go ahead and move this area
| | 00:10 |
up a little bit, so you can see better all
of my tracks.
| | 00:15 |
So I have my primary audio track, which
has both Vanessa and my voices.
| | 00:21 |
I also have this dual mono track that we
explored early on in this lesson and key
| | 00:27 |
framed my voice down a little bit.
We're finesse was staying constant.
| | 00:32 |
Another difference you may notice from the
previous video, is in this chapter is that
| | 00:38 |
I only have three audio tracks.
I've thrown away the track that I didn't use.
| | 00:43 |
So, if it looks a little bit different,
it's only because I've done a little more
| | 00:46 |
cleanup to prepare for my mix.
I did this intentially because there's a
| | 00:52 |
lot of times that, for instance, this
audio track is all of our voices and I
| | 00:58 |
have this dual mono, you might be in a
situation.
| | 01:01 |
Where each person is mono on a separate
audio track or you might have interviews
| | 01:06 |
and narration.
And you want to be able to combine all the
| | 01:10 |
voice tracks into one controlling track
and maybe all your ambiance and sound
| | 01:16 |
effects and maybe all your music.
So, that's why I wanted them on separate tracks.
| | 01:21 |
Now, I'm going to go ahead and make what's
called a submix track that I can use for
| | 01:25 |
all my voices.
And I'm going to simply right-click in
| | 01:29 |
this area and say add tracks.
I could also get it from the sequence
| | 01:34 |
drop-down menu.
And when I do that all get this dialog box.
| | 01:38 |
I don't want to add any more regular audio
tracks, so make that zero and video zero,
| | 01:43 |
but what I do want is one sub mix audio
track.
| | 01:48 |
I'm going to say, okay.
And you'll see, if I raise this up just a
| | 01:53 |
little bit more, that I now have this new
sub-mix audio track.
| | 01:58 |
And I'm going to change my screen layout a
little bit, because I don't want the audio
| | 02:04 |
clip mixer.
I really want to be able to mix everything
| | 02:07 |
not by clip but by the entire track.
And I can do this by going over here, I'm
| | 02:15 |
going to scroll up just a little bit, so
you can see on one of them and I'm going
| | 02:19 |
to click on the diamond here, and you see
that I have a choice between clip key
| | 02:25 |
frames and track key frames.
And as soon as I switch to track key frames.
| | 02:29 |
You'll notice all of those individual key
frames that disappeard because what I'm
| | 02:35 |
doing now is I can key frame the entire
track.
| | 02:37 |
I can make everything now that it's
perfectly mixed louder or softer on this track.
| | 02:42 |
And I can do the same with all of my other
tracks.
| | 02:45 |
Again, make sure you see the little
diamond and switch over to track keyframes.
| | 02:51 |
And that's going to give me a completely
different set of controls.
| | 02:56 |
Now, when I do any kind of a mix, I
want to be able to mix my audio tracks.
| | 03:02 |
So I'm going to switch my workspace to an
audio workspace.
| | 03:06 |
You can also open up the audio track mixer
separately if you like the layout that you have.
| | 03:13 |
So, if I switch to the audio work space
what happens is I now see my mixer nice
| | 03:19 |
and large here.
I have more space on my timeline and
| | 03:23 |
there's my video.
Now, I'm going to tighten this up a little
| | 03:25 |
bit so you can see all of my tracks
including the track that says submix.
| | 03:30 |
And I can make these all a little bit
smaller by holding down the Shift key.
| | 03:35 |
Just so you can see the sub-mix track.
With this set up, let's take a look at our
| | 03:41 |
audio track mixer.
I have each one of my individual tracks.
| | 03:47 |
That's voice.
We'll call that Voice One.
| | 03:50 |
We'll call this Voice Two.
Now you don't necessarily have to label
| | 03:57 |
it, but I'll tell you, it's good practice
to do it.
| | 04:00 |
This is Music, especially if you have a
lot of tracks.
| | 04:06 |
I'm going to go ahead and label this as
Sub Mix as all voices because I'm going to target.
| | 04:12 |
Voice one.
I could scroll it up so you could see it better.
| | 04:16 |
But let me go ahead and hit the Tilde key,
and I'm going to target track voice one to
| | 04:22 |
my all-voice submix.
And track two to my all voice sub-mix.
| | 04:26 |
So now, I can go to this sub-mix and make
all the voices louder or softer.
| | 04:34 |
In one fell swoop.
And if I had sent everything from my mixes
| | 04:38 |
for my music, if I had other tracks, I
could send all of them to a music submix.
| | 04:45 |
And then finally, the submixes all go to
my master.
| | 04:48 |
It's just giving me that extra level of
control.
| | 04:51 |
Hit the Tilde key, bring those all down,
scroll down so we can see them.
| | 04:56 |
And now I'm ready to start mixing my
levels.
| | 04:59 |
So, if I go ahead and start playing,
(MUSIC) in this audio mixer if you're not
| | 05:06 |
seeing your audio meters, make sure you
can go up to Window and turn those on.
| | 05:15 |
>> So there's my audio meters, and if I
need a little more space I can stretch
| | 05:18 |
them out.
Now I can make sure levels are good, and
| | 05:22 |
my individual tracks are good, and I'm
ready to mix.
| | 05:26 |
(MUSIC).
>> Welcome to delight gluten free eats.
| | 05:32 |
>> If at the end I decide all the music
is too loud, or my producer decides that,
| | 05:37 |
>>I can simply bring down the levels of
all of my music at once.
| | 05:42 |
And if I want to bring up all of my
voices, I could go ahead to the voice submix.
| | 05:47 |
And when I bring this up, it's not
going to only increase the volume of this
| | 05:51 |
track, but also of that second mono track
that I have.
| | 05:57 |
>> (MUSIC) I'm Vanessa (UNKNOWN),
executive editor of Delight Gluten Free magazine.
| | 06:00 |
And I'm so excited to welcome you to our
test kitchen.
| | 06:03 |
(MUSIC) So this is a great way to control
all of your levels.
| | 06:06 |
And if the volume for your whole show is
too soft or too loud, I can just use the
| | 06:11 |
master and bring the volume levels for the
master up and down.
| | 06:17 |
Let me open that up, so you can see the
line.
| | 06:19 |
>> My friend (INAUDIBLE) is here today to
learn how to make a amazing gluten free.
| | 06:27 |
>> This slider here can make things
softer and louder when it's paused.
| | 06:31 |
But if you want to make it softer or
louder on the fly.
| | 06:34 |
>>And this is true for all of the tracks
in the mixer.
| | 06:38 |
You'll need to switch it from read, which
is just watching what you have already, to
| | 06:43 |
either latch, touch or write.
Each work a little differently.
| | 06:47 |
We're going o switch to latch because
that's all we need.
| | 06:50 |
And now as I play back my master volume.
>> Main dish, so we're making one of my
| | 06:55 |
favorite things.
>> Is right now.
| | 06:56 |
And this is a honey barbecue.
>> It's going to go up and down, and
| | 07:00 |
record those key frames, where the levels
are.
| | 07:04 |
So, you can mix using your audio track
mixer, or let me undo that.
| | 07:09 |
You can mix directly in your timeline, the
entire track, by holding down a modifier key.
| | 07:16 |
In this case, the Cmd key.
And bring down the master level for one chunk.
| | 07:24 |
Play around with it and remember you can
always undo, but you have quite a bit of
| | 07:28 |
control in your audio for a video editing
tool.
| | 07:33 |
| | Collapse this transcript |
| Fixing out-of-sync audio| 00:00 |
One of the things that's inevitable to
happen to you in your editing career is
| | 00:04 |
your video and audio are going to go out
of sync with each other.
| | 00:08 |
So that when a person's mouth moves the
words that come out are different than we anticipate.
| | 00:14 |
And this is happening right here.
Take a quick look.
| | 00:17 |
>> That's amazing.
>> Vanessa's mouth is moving but we hear
| | 00:21 |
my voice.
Now, the way this can happen is you
| | 00:25 |
could've moved the video and not the audio
by accident.
| | 00:29 |
If you try to move a clip by default,
they're going to stay connected.
| | 00:33 |
But if for some reason you held down the
Option key when you selected a clip.
| | 00:39 |
You could've just moved the video a little
bit, and that's a perfect example of how
| | 00:43 |
things sometimes go out of sync.
Insert Edits can do it, grabbing things
| | 00:48 |
off screen can sometimes do it.
Well, the fix is pretty easy, you can
| | 00:52 |
simply right-click on the little red box
and either move the video into sync with
| | 00:58 |
the audio, I'm going to undo that.
Or move the audio into sync with the video.
| | 01:05 |
And most of the time, that's your
solution.
| | 01:07 |
But there are situations where you might
have a clip next to another clip.
| | 01:12 |
And if I chose to move the video into sync
with the audio, it's going to actually
| | 01:17 |
override the clip in front of it.
So, the timing is right on this split edit
| | 01:22 |
but what I basically want to do is what's
called a slip edit underneath so leave the
| | 01:27 |
video to be that exact length.
But move the in and out points so that it
| | 01:32 |
lines up with the audio.
So, I'm going to right-click, I'm going to
| | 01:35 |
say Slip into Sync.
The video underneath is moved.
| | 01:40 |
And now, when we play it.
>> Amazing.
| | 01:45 |
I did that.
>> It's perfectly in sync.
| | 01:48 |
I want to point out two other situations.
Here's another clip that if I play it is
| | 01:53 |
out of sync.
>> Completely.
| | 01:55 |
>> Okay, so.
>> It's not telling me it's out of sync,
| | 01:58 |
but I can see it's out of sync, and I
don't know why.
| | 02:01 |
What happened here is at one point these
clips were separated and they're no longer
| | 02:06 |
linked to each other, and I could have
done that for many reasons.
| | 02:10 |
But Premier won't tell me if video and
audio are out of sync on unlinked clips.
| | 02:16 |
Unless I go into my Preferences and change
it from it's default from off to a default
| | 02:23 |
of on.
And now that I've checked the box that
| | 02:27 |
says Display out of sync indicators for
unlinked clips, I see that these clips are
| | 02:32 |
out of sync.
And the reason it's off by default is that
| | 02:36 |
there are times when you are intentionally
moving video and audio around because you
| | 02:40 |
know know you're going to cover with b
Roll.
| | 02:42 |
And you don't want to be distracted by
these little red boxes.
| | 02:45 |
So, I'm going to go ahead and right-click
on that.
| | 02:48 |
I probably want to slip it into sync so I
don't actually move the clips and
| | 02:53 |
everything should be lined up.
>> Okay.
| | 02:56 |
>> Now, the final example I want to show
you is that piece of audio that was dual mono.
| | 03:02 |
And it's possible sometimes to have one of
your audio tracks out of sync.
| | 03:07 |
This is my voice track but Vanessa's is in
sync and if I zoom in just a little bit,
| | 03:13 |
you'll see a generic plus and minus here.
But there is actually the distance that is
| | 03:19 |
out of sync.
So, I'll go to my audio.
| | 03:22 |
Right click on it, simply ask it to move
it into to sync, and now both my voice and
| | 03:28 |
Vanessa's voice are in sync with the
picture.
| | 03:30 |
So, getting audio back into sync is
relatively easy.
| | 03:35 |
It's just being able to make the right
decision of whether you want to move the
| | 03:40 |
video or the audio or slip the video or
audio to make it work.
| | 03:46 |
| | Collapse this transcript |
|
|
11. Working with Stills and GraphicsImporting still images| 00:00 |
It's inevitable that when you're cutting
together a program, you're going to come
| | 00:04 |
across a need to work with still images.
So, let's take a look at how we can bring
| | 00:09 |
still images in, and a couple Preferences
that you might want to adjust.
| | 00:14 |
The footage that we're going to be working
with is in the exercise files and I've
| | 00:19 |
placed them in a very specific folder for
you to work with.
| | 00:23 |
Let's go to the Media browser and I'm
going to press the tilde key so it's full
| | 00:27 |
screen so you can actually see where this
is located.
| | 00:31 |
It's inside your Media folder and there's
a separate folder called Stills variety.
| | 00:35 |
Now, these are just a repeat of a lot of
the footage that's already in the General
| | 00:39 |
Media folder.
But I wanted to point out a couple of very
| | 00:42 |
interesting things when importing this
media.
| | 00:46 |
Before we actually go about importing it,
I want to jump over to the Preferences and
| | 00:51 |
how you a couple of key things that will
help you out in the long run.
| | 00:55 |
Now, the Preferences can be found under
the File menu, if you're on a Windows
| | 00:58 |
machine, and on a Macintosh, it's under
Premiere Pro.
| | 01:02 |
We're going to go to the General
Preferences, and I want to point out the
| | 01:06 |
third Preference down from the top which
is Still Image Default Duration.
| | 01:11 |
And by default, when you bring a still
image into Premiere Pro, it's 150 frames long.
| | 01:16 |
So, basically at 30 frames a second, all
your stills will be five seconds.
| | 01:21 |
Now, don't panic because you can always
stretch them to make them longer, or you
| | 01:25 |
can pull them back to make them shorter.
This is just a starting point, and the
| | 01:29 |
default is a good number.
But if you know, for instance, that you
| | 01:32 |
want all your images up for ten seconds,
then you may want to change this to 300 so
| | 01:38 |
you don't have to do the work twice.
The other thing I want to point out is a
| | 01:43 |
button here called Default scale to frame
size.
| | 01:46 |
Now, we're going to talk about this
through the next several videos and how it
| | 01:50 |
affects your editing.
But by default it's turned off.
| | 01:54 |
And in almost all cases you want to leave
that off.
| | 01:59 |
Because if you turn it on, Premiere is
going to actually take what could be a
| | 02:03 |
very nice large image that gives you a lot
of flexibility and will scale it down to
| | 02:09 |
match the size of your sequence's frame.
And then, if you want to blow it up you're
| | 02:14 |
going to actually lose resolution.
With that in mind I'm going to go ahead
| | 02:18 |
and press OK and we're going to start
importing some images.
| | 02:22 |
Now, the list is really a nice way of
looking at your images if you know their
| | 02:26 |
name and their alphabetized and you want
to find something very quickly.
| | 02:30 |
But it doesn't allow you that flexibility
of seeing exactly what the image looks like.
| | 02:36 |
So, for the most part, I generally use the
Icon view when looking at any of my still pictures.
| | 02:43 |
And when importing images, Premiere can
import almost anything.
| | 02:47 |
It can import JPEGs and PIC files and TIF
files Bitmaps and PNGs and Photoshop
| | 02:54 |
documents, pretty much anything that can
be read can be brought in.
| | 02:59 |
The only exception is camera RAW files.
These are very large files that are shot
| | 03:05 |
by professional DSLRs, and you don't want
to work with these because unless they've
| | 03:09 |
been run through any kind of a processor,
they're very flat and very large.
| | 03:14 |
I personally find that for still images
JPEGs are great.
| | 03:17 |
TIFFs are great and Photoshop documents
work really, really well.
| | 03:22 |
We can see the different images that we're
working with and if I wanted to refine
| | 03:28 |
this because it's a mix of TIFF files and
Photoshop documents and JPEGs, I could go
| | 03:33 |
up to this little filter drop down area
and say, you know something.
| | 03:37 |
I just want to look at my JPEGs.
And I can filter it and show just my JPEG files.
| | 03:45 |
And that is great if instead of having
maybe a dozen images, like we have here,
| | 03:51 |
versus the hundreds of images you might
have inside a folder.
| | 03:56 |
I can select the clips I want just like we
learned before, and I'm going to go ahead
| | 04:00 |
and just select them all.
Right-click, and I'm going to import them.
| | 04:07 |
They're already in my project file, but I
do want to point out one last thing.
| | 04:11 |
I did sort by only JPEGs, but you can
check several boxes here if you want to
| | 04:17 |
refine it, but not refine it down to one
type of media.
| | 04:21 |
So, if in my folder I had video and audio
and images, I may say, show me the JPEGs,
| | 04:28 |
show me Photoshop documents and perhaps
show me TIFFs.
| | 04:34 |
Now, I see all my still images and I don't
have to worry about dragging and moving
| | 04:41 |
these if I don't need them.
Let's just quickly step over to the
| | 04:45 |
project area.
You can see all the clips that I dragged in.
| | 04:49 |
We're looking at it in a list form.
But if we switch over to Icon view, here
| | 04:53 |
are all the images that you have to work
with.
| | 04:56 |
| | Collapse this transcript |
| Working with stills| 00:00 |
Once you have your still images in your
project, it's time to start bringing them
| | 00:05 |
into your timeline.
And you can simply grab and drag at drop
| | 00:09 |
them in, but there is one potential
gotcha.
| | 00:12 |
And that is when you drop a still image
into your sequence, it won't ask you if
| | 00:18 |
you want to adjust the sequence to match
that still image, which is a good thing.
| | 00:23 |
But if by accident you made the sequence.
The wrong aspect ratio, or the wrong frame
| | 00:29 |
size, or even the wrong frame rate for all
your video footage, then there could be a problem.
| | 00:35 |
I'm going to quickly click on my timeline
and go up to the Sequence drop-down menu
| | 00:40 |
and look at the Sequence Settings for this
project.
| | 00:42 |
And I see right here that I accidentally
made this 1920 by 1080.
| | 00:48 |
And I know all of my footage is 1280 by
720.
| | 00:52 |
I'm going to go ahead and close this,
knowing that my sequence settings are wrong.
| | 00:57 |
But I'm going to show you a trick that you
should follow just to make sure everything
| | 01:01 |
is right.
I've already imported one video clip, and
| | 01:06 |
what I like to do is before I drop any
still images into my timeline, is grab a
| | 01:11 |
representative video clip and drag that in
first.
| | 01:15 |
And when I say representative, an example
of a video clip that is like most of the
| | 01:19 |
footage that I will be using.
So, I'll drop that in.
| | 01:23 |
Now, I will get the dialogue box that
says, Keep existing settings, or Change it.
| | 01:28 |
And I do want to change it to make sure it
matches my video.
| | 01:31 |
I can even delete it at this point.
And if we go back up to the Sequence
| | 01:36 |
Settings you can see that it's now 1280 by
720.
| | 01:41 |
I'll hit OK and we're ready to work with
our still pictures.
| | 01:45 |
We have still pictures that are both
landscape mode or horizontal.
| | 01:50 |
As well as portrait mode such as these
magazines which are vertical.
| | 01:54 |
Now, of course, your sequence is
horizontal so to deal with this you may
| | 01:58 |
need to be a little more creative.
I'll drop the barbecue pizza shot in first.
| | 02:03 |
And when I let go, you'll notice that it's
pretty short.
| | 02:06 |
But if I zoom in so you can see it better,
and now double-click to load it into my
| | 02:11 |
source monitor, I can see that its
duration was five seconds.
| | 02:15 |
Well, if I needed it to be longer or
shorter, I can simply grab the edge and
| | 02:20 |
stretch it out, either way, to make it
longer or shorter.
| | 02:24 |
As a matter of fact, all of the basic
editing techniques that we learned can be
| | 02:28 |
applied directly to still images.
If you look in the upper-right-hand corner
| | 02:32 |
of the screen, I only see part of the
image.
| | 02:35 |
And that's because most video images
you're going to get are much larger than
| | 02:40 |
the resolution of your timeline.
Even the highest of high-def televisions
| | 02:44 |
are only 1920 by 1080 pixels.
Well, that's like a two megapixel camera.
| | 02:51 |
These images, which were taken with a
higher megapixel camera, are actually
| | 02:55 |
coming in at a one to one aspect ratio,
which is great because if I did want to do
| | 03:01 |
a pan or a zoom, I won't lose any
resolution.
| | 03:04 |
Let me drop down on fit to 10%.
Now, if I double-click on the image, I can
| | 03:12 |
see that the image is actually way larger
than what I'm seeing in my 720 timeline.
| | 03:18 |
So, a quick fix for this, if I'm not
going to be doing any moves on the image
| | 03:23 |
is simply to right click on it, and choose
the option of scale to frame size.
| | 03:30 |
Now, if I go back to fit, you'll see that
it fits perfectly within my frame, and I
| | 03:36 |
can use it without worry.
Now, you may ask, why did I not do this
| | 03:41 |
when I imported my clips by using that
checkbox that we learned about in the
| | 03:46 |
previous video.
I want the flexibility that if I want to
| | 03:50 |
quickly scale it, I can do it within the
program.
| | 03:53 |
But there's definitely times I may bring a
clip in such as maybe one of the magazine
| | 03:57 |
covers where I want to do a tilt or a pan
across the magazine cover to show the
| | 04:03 |
viewer information.
Now, speaking of magazine covers, let's go
| | 04:07 |
ahead and bring in one of the magazine
covers into the timeline and see how
| | 04:11 |
that's going to be a slightly different
challenge.
| | 04:14 |
I'll go ahead and grab the pancake shot
and drop it in right next to the barbecue pizza.
| | 04:18 |
When I click on it, you can once again see
that we're looking at a very large image
| | 04:24 |
and I need to shrink it down.
Using the same technique, I'm going to
| | 04:28 |
right-click and I'm going to Scale to
Frame Size.
| | 04:33 |
This is a different aspect ratio and what
Premiere likes to do is make sure that you
| | 04:40 |
don't cut off any part of your picture.
So, whatever the largest side is that's
| | 04:45 |
going to hit the edge of the frame.
So, in this case, we had to shrink it
| | 04:49 |
down, so we don't cut off the top and the
bottom.
| | 04:52 |
And a lot of times this is fine.
Sometimes you may even make it even
| | 04:56 |
smaller and put it over a background.
But I do want to point out what looks to
| | 05:01 |
be black on the left and right side of
this image, is actually transparent.
| | 05:07 |
So, if I had put this image on top of,
say, Vanessa and myself speaking, you
| | 05:13 |
would actually see us behind it and not
necessarily see this by itself.
| | 05:18 |
Let me show you exactly how that might
work.
| | 05:20 |
I'm going to just go ahead and drag it up
to the third track and grab that piece of
| | 05:25 |
video that we worked with earlier and just
throw in a small chunk.
| | 05:30 |
I'm going to just grab an arbitrary in and
out point and grab just the video.
| | 05:36 |
And put it onto track one.
You'll notice that it isn't black here, so
| | 05:41 |
if I cut away to the cover that we were
talking about I would have a problem.
| | 05:45 |
So, the solution when working with still
images, and if you have something on track
| | 05:51 |
one such as a narrator or your talent, is
you're probably going to need to put
| | 05:57 |
something in between as a background.
And you can import any image you want as a background.
| | 06:03 |
You might have a preset background made.
Or you can simply create one under the new
| | 06:08 |
button at the bottom of the project
window.
| | 06:10 |
And here you go.
You can create either a Color Matte.
| | 06:13 |
Or even Black Video, which is just solid
black and no sound.
| | 06:19 |
So, I could go ahead and grab that, put it
underneath, and I'm good to go.
| | 06:23 |
So it's easy to change the duration of an
image by simply dragging the edge to make
| | 06:29 |
it longer or shorter, and using scale to
frame size to make it fit perfectly within
| | 06:35 |
your frame.
| | 06:35 |
| | Collapse this transcript |
| Animating stills with keyframes| 00:00 |
Now, let's take a look at animating a
still image.
| | 00:04 |
And, what I mean by that is you have a
picture and you want to zoom into one area
| | 00:08 |
and maybe pan over to another area.
The picture that I'm going to work with is
| | 00:13 |
in my Stills folder, and it's a shot of
myself and Vanessa holding up the clapboard.
| | 00:19 |
If I double-click, I can load it into the
Source Monitor and once again, you see
| | 00:23 |
that it is a default of five seconds.
I'm going to simply drag it into my
| | 00:27 |
timeline, stretched out to ten seconds so
I have a decent amount of time to work with.
| | 00:33 |
And as you can see, I have a nice little
pop up window, I could also, numerically
| | 00:37 |
enter ten seconds, but this is good to
work with.
| | 00:41 |
Because we did not scale to frame size
originally, I have a lot of pixels to work with.
| | 00:46 |
And that's great cuzthe images are going
to say as sharp as it was originally.
| | 00:49 |
The first thing I want to do, is position
my play head at the very beginning of the
| | 00:54 |
timeline in this case, and make sure that
it's loaded into the Source Monitor and
| | 00:59 |
switch over to the Effects Control panel.
If you don't see anything in your Effects
| | 01:04 |
Control panel, just go back and click on
the clip again.
| | 01:07 |
We're going to go to the Motion Disclosure
tab which we worked on in an earlier video.
| | 01:12 |
And the first thing I want to do is just
adjust the scale and I don't want to do
| | 01:17 |
this with scale to frame because,
remember, I would lose resolution.
| | 01:22 |
I think if I type in about 24, I'll be
right on the spot where I want to be.
| | 01:28 |
And I want to lock it into place for
position, and scale.
| | 01:31 |
I don't anticipate doing any rotation with
this, so I'm not even going to play with
| | 01:36 |
any of these elements.
Now that I've established my keyframes for
| | 01:40 |
my wide shot, I can go ahead a little bit
later into my timeline.
| | 01:44 |
And maybe I'll go about two or three
seconds in, and I'm going to put in
| | 01:49 |
another set of keyframes.
So now, from the zero point to 2 and a
| | 01:55 |
half seconds there's no movement at all.
Then, I'm going to move the timeline again.
| | 02:00 |
And position the image where I want it to
be.
| | 02:03 |
So, for instance, we're going to zoom into
the clapboard, and then we're going to pan
| | 02:09 |
up to Vanessa.
So, to do this, I'm in the right spot on
| | 02:12 |
my timeline.
I'm just going to scale it up, and if I
| | 02:17 |
want I can double-click on my image, to
get the wire frame and position it so that
| | 02:22 |
it's dead center.
I want to hold on that.
| | 02:26 |
I don't want to jump to the next location
in the image.
| | 02:29 |
We want to look at that a second or two
before we move to Vanessa.
| | 02:33 |
So, I move the play head.
And without moving the image, I add a
| | 02:38 |
couple of more keyframes.
So from zero to one, no movement, one to
| | 02:44 |
two movement, two to three no movement.
And now, I'm going to slide all the way
| | 02:49 |
over to the right.
At this point, I want to take the camera
| | 02:53 |
and pan up to Vanessa.
So, I can simply grab the image and drag
| | 03:00 |
it till we see her face.
Now, if I think this is a little too big,
| | 03:04 |
or positioned a little bit off.
I could move it over.
| | 03:08 |
And I'm going to scale it down, and
reposition.
| | 03:12 |
And you'll notice that Premiere has
already created the keyframes for me
| | 03:16 |
because I adjusted both of these
parameters.
| | 03:19 |
So, let's go ahead and stretch the end out
a little bit.
| | 03:22 |
Play it back, and see how it looks.
That's pretty good.
| | 03:36 |
I like the move.
The way that I might finesse this, is I
| | 03:39 |
feel it does happen a little quickly.
I'm going to stretch out the clip.
| | 03:43 |
And if I wanted to move any of these, I
can grab them individually.
| | 03:47 |
Or I can lasso a couple of them and move
them over and very easily change the
| | 03:54 |
timing, so events happen exactly when I
want them to, maybe based upon narration
| | 03:59 |
or music.
And nothing happens too quickly.
| | 04:03 |
One last area that I want to show you is
that if you right-click on any of your key
| | 04:09 |
frames, you'll have the option to affect
how your picture goes from point a to
| | 04:15 |
point b.
Is it linear, do you want a little bit of
| | 04:18 |
a curve, do you want to ease in or ease
out?
| | 04:21 |
Play with these.
In the case of some of them such as the
| | 04:24 |
Bezier, you'll notice the icon changes.
And if you want to modify that curve,
| | 04:30 |
simply click on the disclosure triangle
and you'll actually see the curve for how
| | 04:35 |
it moves and the little handles that you
can adjust.
| | 04:39 |
The best way to get good at doing moves
within a picture is just doing it over and
| | 04:46 |
over again until it becomes second nature.
| | 04:48 |
| | Collapse this transcript |
| Animating Photoshop files| 00:00 |
We learn that we can bring Photoshop
documents in either flattened or with
| | 00:05 |
their layers as a sequence.
Now, that's exactly what I've done here.
| | 00:09 |
I brought in the logo.
And if I click on the folder that was
| | 00:14 |
created when I import it, I can see all
the element that I have to work with.
| | 00:18 |
It's actually five layers.
The four parts of the logo and the artist
| | 00:22 |
actually gave me a complete logo.
If I want to work with this Premiere
| | 00:27 |
created a sequence with all of these
layers properly positioned.
| | 00:32 |
All I have to do is grab that sequence and
drop it into my existing sequence.
| | 00:37 |
And I don't want to change the Sequence
Settings because I want it to match the
| | 00:42 |
sequence of the rest of my video clips.
So, I'm going to say Keep Existing
| | 00:46 |
Settings and if I put my cursor over it, I
can see it says, Delight gluten free magazine.
| | 00:51 |
But I want to animate this.
So, the trick is to step inside of the
| | 00:56 |
graphic and I can do that simply by
double-clicking on the graphic.
| | 01:00 |
And now, I have a second tab open with all
the contents.
| | 01:05 |
Let me go ahead and bring this down to the
bottom because I want you to be able to
| | 01:10 |
see all of these elements.
I'm going to hit the Backslash key, and
| | 01:14 |
there we go.
We have our big background with it
| | 01:17 |
combined, which I don't want to use.
So, I'm going to go ahead and turn that off.
| | 01:21 |
And now, I have the four different layers
that I might want to animate.
| | 01:26 |
And if I turn these off and turn them on
one at a time, you can see what I have.
| | 01:31 |
So, the top one is the magazine and the
artist should have labelled this magazine
| | 01:35 |
but we can work with it anyway or we could
change it if we wanted to.
| | 01:39 |
The next one is Delightful Food,
Delightful Fun, Gluten Free, and of
| | 01:44 |
course, the logo of the magazine.
So, I can take these images and animate them.
| | 01:49 |
For instance I want Delight to be the
primary thing the viewer sees.
| | 01:54 |
So, I'm just going to go ahead and grab
the other elements and slide them over so
| | 01:59 |
they don't even appear in my timeline
until I'm ready for them.
| | 02:03 |
Now, I want the word delight to animate
in.
| | 02:06 |
I want it to be in by about one second, so
I'm going to place my cursor at one
| | 02:12 |
second, load this layer into my Source
window.
| | 02:15 |
Go to Effects Control and under Motion I'm
going to lock in the position and the scale.
| | 02:22 |
Now, I can simply go back to the
beginning.
| | 02:25 |
If I want to work with this, the easiest
way to do that is to click on the motion
| | 02:30 |
wire frame.
And now, I can grab the word delight and
| | 02:35 |
drag it off screen to the position where I
want it to start entering my frame.
| | 02:41 |
Once I have that done, I can decide how I
want these elements to come in.
| | 02:45 |
I think I'm going to take the Magazine
element, which was our top layer.
| | 02:51 |
And again, I want to go to where I want it
to settle.
| | 02:56 |
I have it loaded in.
Go to the Effects Control, click on Motion
| | 03:00 |
> Position and Scale perfect.
And then, I go back to the beginning of
| | 03:05 |
that clip where it's off screen.
And in this case, I just want it to float
| | 03:10 |
up straight from the bottom.
So, I'm going to just drag it straight down.
| | 03:14 |
Now, if you can't grab it because it's a
layer that's behind the top layer, just
| | 03:19 |
again, go ahead.
Click on that little box, grab magazine,
| | 03:23 |
and we will bring it down so it's directly
off screen.
| | 03:28 |
So, one's going to fly in.
The other's going to fly in.
| | 03:31 |
And then, the last two areas, the words
gluten free and their little catch phrase
| | 03:36 |
at the bottom, I think we'll just have
those fade on.
| | 03:40 |
So, let me right-click.
I'll apply the default cross-dissolve.
| | 03:46 |
If I feel its a little bit long at 30
frames, which I think it will be.
| | 03:50 |
I can notch this down to 15.
And we've learned many ways to do this in
| | 03:55 |
an earlier video.
And let's take a look at the final animation.
| | 04:01 |
Well, it happens a little fast for my
taste, but that's okay because I can
| | 04:06 |
always readjust my timing as we learned in
an earlier video.
| | 04:12 |
What's really nice about this is if I go
back to the timeline, this appears as a
| | 04:17 |
giant clip, and I can put it over anything
I want and still have that animation.
| | 04:23 |
So, as you see, animating a layered
Photoshop document is very quick and easy
| | 04:30 |
and can raise your video to new heights.
| | 04:33 |
| | Collapse this transcript |
|
|
12. Motion EffectsChanging clip size, cropping, and position| 00:00 |
In this video, we're going to look at
using actual moving video and create a
| | 00:05 |
higher-end picture-in-picture than we
learned in the Working with Stills and
| | 00:10 |
Graphics chapter.
So, the first thing I want to do is bring
| | 00:13 |
in my video, to make sure my sequence
matches my clips.
| | 00:17 |
Now, in an earlier chapter, we learned how
to create multiple transitions over a
| | 00:23 |
bunch of clips.
And it looked like this when we created it.
| | 00:27 |
We're going to reuse that sequence.
And what I want to do is I want to drop it down.
| | 00:32 |
And I want to put it inside a graphic
called GF Pizza recipe.
| | 00:37 |
And if I double-click to load that into
our source monitor, I say I have the whole recipe.
| | 00:42 |
And I have this nice empty space where I
can put this video.
| | 00:47 |
So, the first thing I want to do is go
back to my empty sequence and I'm going to
| | 00:53 |
actually grab the Multiple Transition
sequence and drop that into this blank sequence.
| | 00:59 |
So, take note, you can actually drop
complete sequences into other sequences.
| | 01:07 |
And the advantage of doing this is now
this sequence is treated as a clip.
| | 01:12 |
So, I can go ahead and apply filters and
motion to it and its applied to all the
| | 01:19 |
clips inside of that sequence.
For example, if I wanted to go and do the
| | 01:24 |
first step of creating a picture in
picture, I would select this sequence go
| | 01:29 |
to the Effects Control tab, go to Motion
and Scale it down.
| | 01:36 |
Now, I do want to point out something you
might do that could get you into trouble.
| | 01:40 |
If you double-click on a sequence that's
already inside another sequence, it just
| | 01:46 |
opens that sequence up so you can access
it.
| | 01:49 |
That's actually a good thing, because you
can still modify the contents of the
| | 01:52 |
embedded sequence.
So, I've now made it smaller.
| | 01:56 |
I'm going to move it up a track because I
want to be able to put this graphic behind
| | 02:01 |
it, the gluten free pizza recipe.
And I can drag that directly to the
| | 02:05 |
Timeline and stretch it out, so it fills
the duration of the narration.
| | 02:09 |
Now, that I have my graphic in place I'll
go back to multiple transitions
| | 02:14 |
double-click on it to get the wire frame
and position it exactly where I want it to be.
| | 02:21 |
Now, I want to make sure that it's big
enough for me to see, but obviously it
| | 02:25 |
covers over the recipe.
So, that's where we're going to be using
| | 02:28 |
some of the filters that we learned to use
earlier.
| | 02:31 |
If you go into the Effects tab, we want to
use the Crop filter.
| | 02:36 |
And I can drop that directly onto multiple
transitions.
| | 02:39 |
And now, when I select it and load it into
the Effects Control tab I have my crop.
| | 02:46 |
I can click on that, so I can visually
just grab the edge and bring it right over
| | 02:51 |
to make a perfect square.
If I want to resize it at this point I can
| | 02:56 |
go ahead and go back to the scale.
Or click on the Motion tab and do it
| | 03:01 |
physically in the interface.
So, this is a good start, I have my
| | 03:06 |
animated graphic, I've cropped it right, I
just want to bring up the quality a little bit.
| | 03:12 |
Give it a little bit more oomph, so to do
that I'm going to add two more effects.
| | 03:17 |
I really don't like this crisp hard edges,
I want to give it a little bit of style.
| | 03:22 |
And so now, in addition to the crop, I
want to add a filter called Rough and Edges.
| | 03:28 |
And if I drop that onto the clip, you'll
start seeing there a little bit rough over there.
| | 03:34 |
But once I step into the Effects tab with
Rough and Edges, I have a lot of different
| | 03:40 |
types I can choose.
But I'll stick with the default rough in
| | 03:43 |
and what I want to do is just bring up how
rough and edgy it is.
| | 03:49 |
And I can work with these sliders, and
there we go.
| | 03:56 |
The border slider is giving me what I
want, and so that has a different kind of
| | 04:00 |
look and feel to it.
I kind of like that, and I just want to
| | 04:03 |
add one more element to this to give it a
little bit of depth and that would be a
| | 04:07 |
drop shadow.
I drag the drop shadow on, add a little
| | 04:14 |
bit more to the distance.
And instead of being this gray, I'm
| | 04:18 |
going to go ahead, grab the eye dropper,
match pizza, and go ahead and make it a
| | 04:23 |
100% opaque but nice and soft.
>> And there we go.
| | 04:30 |
Let's go ahead and play this and see how
our new title looks.
| | 04:34 |
>> The flour, the cheese, the eggs, the
oil and the.
| | 04:35 |
>> I like that, I can hear the
description, I see something that's very
| | 04:41 |
interesting and it's very easy to create.
It's just a matter of three different
| | 04:49 |
filters and a little bit of motion.
Now, if you really like this, you could go
| | 04:54 |
ahead, select multiple transitions.
When it's loaded in tot he Effects Control
| | 05:01 |
panel simply select everything.
Right-click and you can save that as a
| | 05:06 |
preset and drop it onto any clip that you
want and it will be positioned in that
| | 05:11 |
exact location and look exactly like you
see it.
| | 05:15 |
| | Collapse this transcript |
| Animating the position of clips over time| 00:00 |
Now, we're going to look at animating
video clips over time moving them from one
| | 00:06 |
location to another.
I'm going to use the finished product from
| | 00:10 |
the previous video, which gave us this
great picture in picture, and I really
| | 00:14 |
want to start full screen and half it drop
back into this position.
| | 00:19 |
So, one way of doing this is to build the
final landing spot position and look and
| | 00:27 |
then bring it back to neutral.
So, I've created a marker here at the
| | 00:32 |
point where I want the picture in picture
to be in its final position.
| | 00:36 |
I can move my play head over by hitting
the keyboard shortcut or if I just jump
| | 00:41 |
over to Markers, I can click on that and
it will position this in the perfect location.
| | 00:47 |
I am going to now load the multiple
transitions into my Source Monitor.
| | 00:52 |
I'm just going to click it once, and I see
I have all of my final positions but I
| | 00:57 |
have to lock them in with keyframes.
So, we're just going to go down the list
| | 01:01 |
and we're going to lock in the keyframe on
position and scale and, and on the filters
| | 01:07 |
that we used at their final numerical
value.
| | 01:12 |
So, it' s really, we just cropped on the
right side that's the only place we need
| | 01:15 |
to worry about.
And then, we did a lot with roughing
| | 01:18 |
edges, so I want to make sure that we
keyframe the border size, the edge
| | 01:24 |
sharpness, the fractal influence and
scale.
| | 01:30 |
Finally, we'll go down to drop shadow.
We don't have to worry about the color.
| | 01:34 |
We could look at opacity.
Don't worry about direction, because we're
| | 01:38 |
going to keyframe distance.
And don't worry about softness.
| | 01:43 |
We know when it lands at this point it's
going to be locked in exactly as we expected.
| | 01:49 |
Now comes the fun part, we simply move the
play head back to where we want to be at
| | 01:54 |
full screen.
For the convenience of this video, I'm
| | 01:57 |
going to move it just all the way to the
very head of the clip, and as we see,
| | 02:01 |
there's our play head.
Now, I need to just change the numerical
| | 02:06 |
values back to their original locations.
So, in the case of position, I know that
| | 02:13 |
to be dead-center.
It's 640, and because it's 720 wide, dead
| | 02:20 |
center there would be 360 which is half of
720.
| | 02:26 |
Bring scale back to 100.
And now, we need to start removing the crop.
| | 02:32 |
So, we'll slide down here, we'll simply
take that crop back to zero, and continue
| | 02:38 |
on down and now modify our roughen edges.
We're going to take the border down to zero.
| | 02:45 |
Edge sharpness down to zero.
Fractal influence down to 0, that means it
| | 02:49 |
will go from a straight side to that, kind
of, cut up side and our scale we'll bring
| | 02:55 |
to 0 also.
And the last step we need to work on is
| | 03:00 |
the opacity of the drop shadow, that can
come to 0 and the distance can also drop
| | 03:05 |
back to 0.
At this point, we're actually done, and
| | 03:09 |
we're ready to watch the effect in real
time.
| | 03:12 |
>> You're going to add the tapioca flour,
the cheese, the egg, the oil, and the water.
| | 03:22 |
>> That worked perfectly.
I really liked the way it developed.
| | 03:27 |
If you want to tweak it at some point.
Maybe you want to see the edges a little
| | 03:31 |
bit earlier.
You can go back and play with the sliders.
| | 03:35 |
But that's a great way to start from a
full screen image.
| | 03:39 |
And have a stylized picture in picture.
| | 03:42 |
| | Collapse this transcript |
|
|
13. TransitionsApplying basic video and audio transitions| 00:00 |
One of the things that you will use a lot
when editing video are transitions.
| | 00:04 |
Now, we know a cut is a transition.
But a lot of time you want to smooth out
| | 00:09 |
the transitions.
Smooth out those cuts, and you'll be
| | 00:11 |
putting in transitions such as dissolves
or (UNKNOWN) or even some more enhanced transitions.
| | 00:16 |
And you may also put in transitions for
your audio to smooth out the transitions,
| | 00:21 |
say from silence to when people are
talking, to smooth out that background noise.
| | 00:27 |
Now, to put a transition into your
timeline, you'll need to go over to the
| | 00:31 |
left side of your screen, to where your
Project panel is.
| | 00:34 |
And you'll click on the Effects tab.
Now, within the Effects tab are a variety
| | 00:39 |
of ways you can effect your video.
And that would be filters, as well looks,
| | 00:45 |
and of course, transitions.
Now, we could dig down into our video
| | 00:49 |
transitions folder, and find the
dissolves.
| | 00:53 |
The first transition that we're going to
apply, and simply grab it, and drag it
| | 00:58 |
where we want it to go.
If I let go on the edit point, instead of
| | 01:01 |
having an abrupt cut from the opening
graphic to the people speaking, we'll have
| | 01:06 |
a nice dissolve.
I can go ahead and play that back and see
| | 01:11 |
how it looks.
(MUSIC).
| | 01:13 |
>> Welcome to Delight Gluten Free Eats.
I'm Vanessa.
| | 01:16 |
>> Well, that was perfect.
It's exactly what I wanted.
| | 01:19 |
Now, let's take a look at how we might put
in an audio dissolve to fade up the music
| | 01:24 |
at the very beginning of the program.
Now, on my screen I'm going to have to
| | 01:28 |
scroll down to where the music is and
that's going to be on track A2 for you.
| | 01:34 |
And instead of going to Video Dissolve,
I'm going to go into the Audio Transitions folder.
| | 01:40 |
And there we have three different audio
transitions.
| | 01:43 |
The default is constant power, that'll be
the most natural one.
| | 01:47 |
But you can try constant gain or
exponential fade to see how they sound to you.
| | 01:52 |
But you apply an audio transition the same
way you would apply a video transition by
| | 01:57 |
simply dragging it and dropping it either
at the beginning or end of a clip.
| | 02:01 |
Or where two clips meet.
Putting audio transitions between two
| | 02:06 |
clips requires a little more diligence.
And that's because occasionally when you
| | 02:11 |
put a dissolve in versus a cut, you may
hear a piece of sound from the previous of
| | 02:15 |
the following clip that you didn't
anticipate hearing.
| | 02:18 |
So, a lot of times when you put an audio
transition in, you'll need to make that
| | 02:23 |
quite short just to smooth it out.
Now, if you prefer, you can put a
| | 02:27 |
transition on by simply selecting the
transition by clicking on it, and then
| | 02:33 |
using a keyboard shortcut.
On a Macintosh, the keyboard shortcut for
| | 02:36 |
a video transition is Cmd+D, as in
dissolve.
| | 02:41 |
To apply an audio transition, you would
select the audio clip, and that is
| | 02:47 |
Shift+Cmd+D to put your default audio
transition onto a clip.
| | 02:53 |
We'll explore how to modify these
transitions.
| | 02:56 |
Making them longer or shorter or
repositioning them in a later video.
| | 03:00 |
| | Collapse this transcript |
| Modifying transitions| 00:00 |
In the previous movie we learned how to
place transitions on our timeline.
| | 00:03 |
In this movie I'm going to show you how to
modify those transitions making them
| | 00:08 |
longer or shorter or repositioning them
directly within the timeline or in the
| | 00:13 |
effects control tab.
The first thing I want to point out is
| | 00:16 |
that the default durations for both video
and audio transitions Is one second.
| | 00:20 |
Now I can modify that under the
preferences on Premiere Pro.
| | 00:24 |
I can find this on the file drop-down menu
on a Windows machine, or under the word
| | 00:29 |
Premiere Pro on a Macintosh.
I'm going to select general, you'll notice
| | 00:34 |
that next to video transition default
duration it says 30.
| | 00:38 |
Because in the US video plays back at 30
frames per second, so if I wanted this to
| | 00:42 |
be half a second long I would change 30 to
15.
| | 00:47 |
If you're working with another frame rate,
such as film, which is 24, or PAL, which
| | 00:52 |
is 25, you may want to change this to 12
frames to get a half second video dissolve.
| | 00:58 |
If I want my audio to also be a half
second in duration I can go ahead and
| | 01:03 |
simply type in 0.5 seconds.
I'm going to press OK and from now on the
| | 01:10 |
default duration of my video transitions
will be a half a second as well as my
| | 01:14 |
audio transitions.
Now this preference change does not affect
| | 01:19 |
any transitions.
That are already on your timeline.
| | 01:22 |
So, it's okay to make this change at any
point while editing a project.
| | 01:28 |
Now, let's go ahead and place a default
transition at the end of our video clip.
| | 01:33 |
I'm going to simply right click, apply
default transition and I'm all set.
| | 01:39 |
Now let me zoom in so you can see that a
little bit closer.
| | 01:42 |
I'm going to press the Plus key to zoom in
and scroll to the very end of my show.
| | 01:49 |
So if I hover my mouse over the transition
there'll be a pop-up dialogue box that
| | 01:55 |
will tell me its duration is 15 frames.
Now I can change that if I wanted to by
| | 02:02 |
grabbing the very edge of that transition
and pulling it to make it longer or
| | 02:06 |
shorter, and as you can see in this pop up
window it's telling me how much I'm
| | 02:11 |
changing it by and what the new duration
is.
| | 02:15 |
If I wanted to I can also Right Click on
it to set the transition's duration or to
| | 02:20 |
even delete it.
But I want a little more control on my transitions.
| | 02:25 |
Let's go ahead and jump back to the
beginning of our show, and look at that
| | 02:29 |
very first transition that we put on in
the previous video.
| | 02:34 |
If I select this I see that the duration
of the transition is only 24 frames, not
| | 02:40 |
the 30 that I expected.
To look at this transition more closely,
| | 02:43 |
I'm going to load it back in to the source
panel, into the 2nd tab where it says,
| | 02:47 |
Effects Control.
To do this, all I have to do is simply
| | 02:51 |
select it and then go over to the effects
controls tab, select that and I can see
| | 02:57 |
the outgoing clip on the left and the
incoming clip on the right.
| | 03:01 |
In the upper right hand corner of that
screen I can see a graphic representation
| | 03:07 |
of the outgoing opening clip and the
incoming pizza_01_a_ws.movie, and dead
| | 03:16 |
center between those two is my transition.
Now what I realized looking at this
| | 03:22 |
transition, is that I run out of media at
the end of the first clip.
| | 03:26 |
So Premier was doing me a favor, instead
of giving me a 30 frame dissolve, it used
| | 03:31 |
all the available media and gave me a 24
dissolve.
| | 03:36 |
But I feel that's to short, and I want to
take control.
| | 03:40 |
Well, inside of this window, I can do a
lot of things.
| | 03:44 |
In addition to stretching it out to make
it longer say on the left side, I could
| | 03:50 |
stretch it out and make it longer on the
right side.
| | 03:53 |
And I can even grab it in the middle and
do a roll edit.
| | 03:57 |
We learned about roll edits in a previous
video.
| | 04:00 |
So I could actually move the cut point
left or right.
| | 04:04 |
But, but notice as I move this edit to the
right, I'm actually seeing a change in the
| | 04:10 |
graphical representation of my transition,
and that's these little cross-hatches on
| | 04:15 |
the right side.
Well, what is Premiere doing here?
| | 04:18 |
I have no extra media, but somehow it's
giving me a transition anyway at the
| | 04:24 |
duration and position that I want.
Well whenever you see a cross-hatch like
| | 04:28 |
this Premiere is freezing the last frame
of your video so you could actually get
| | 04:34 |
the duration of the transition that you
want.
| | 04:36 |
Now, if I play this back it's going to
work just fine because the graphic ends on
| | 04:41 |
a white screen.
Let's go ahead and play this back and see
| | 04:45 |
how it looks.
(MUSIC).
| | 04:48 |
>> Welcome to Delight Gluten.
>> So, that works very nicely.
| | 04:51 |
As a matter of fact most of the time your
viewer won't see That freeze frame unless
| | 04:56 |
you're transitioning between two objects
or two elements that are moving quite quickly.
| | 05:01 |
So for instance if you're cutting a car
race together you might see the cars
| | 05:05 |
freeze whereas if you're cutting say from
an exterior of a house to the interior you
| | 05:11 |
would never notice a freeze in your
transition.
| | 05:14 |
So controlling the length of a transition
is very easy to do either in the timeline.
| | 05:18 |
Or in the effects control tab.
But what about if there's other parameters
| | 05:23 |
available to you in a transition.
I'm going to go ahead and swap out this
| | 05:27 |
transition with something a little more
complex.
| | 05:30 |
For instance I'm going to swap out a wipe.
Now instead of digging down and trying to
| | 05:36 |
find where the wipe transition, is I'm
simply going to type in wipe in the
| | 05:39 |
dialogue box above all of my effects, and
I'll see all of the available video
| | 05:45 |
transitions that involve wipes.
So we have video effects, but if I scroll
| | 05:50 |
down, there's also video transitions that
use wipes.
| | 05:54 |
And let's go ahead and select the standard
wipe transition, and I'm going to drop it
| | 05:59 |
directly on that cross dissolve.
Now, what this will show you is that if I
| | 06:04 |
drop it directly on the cross dissolve,
now click on it so it loads into my
| | 06:09 |
Effects Control panel.
You'll notice that the duration of this
| | 06:13 |
wipe is one second and eleven frames.
That was the exact duration of the
| | 06:18 |
previous cross dissolve.
So, keep in mind if you drop a new
| | 06:23 |
transition on top of an old transition
it'll maintain the same duration as the
| | 06:28 |
transition that you've just replaced.
If I wanted to cut this back down to one
| | 06:33 |
second, I can simply click on it, type
one, zero, zero enter and now it's a one
| | 06:38 |
second wipe.
Now I indicated that there's more
| | 06:41 |
parameters that you can work with.
If we scroll down, we see that we have
| | 06:45 |
some choices here with our wipe.
Let's watch it as it is, in it's default setting.
| | 06:51 |
(MUSIC).
So it's a simple wipe left to right, as a
| | 06:55 |
matter of fact, I'm going to park my head
right dead center in that transition.
| | 07:00 |
Now I can modify parameters of the
transition and see how they effect my edit.
| | 07:06 |
So I want to go ahead and maybe give ti a
little bit of a border, and I'm going to
| | 07:10 |
use a virtual slider and make that about a
10 or 11,and what you see here now is a
| | 07:15 |
nice solid black line.
If I didn't want that line to be black I
| | 07:19 |
could simply either click on this little
box, here, and choose whatever color I want.
| | 07:24 |
Maybe I'll choose a nice blue.
Or I could even select a color that's
| | 07:30 |
available to me, and I might want the
transitions border to match the same
| | 07:34 |
color, as in the word, delight, on their
logo.
| | 07:37 |
Now, let's make it a little bit wider.
And instead of going from left to right
| | 07:42 |
we're going to go from right to left.
We'll play back our transition and see how
| | 07:48 |
we like it.
(MUSIC).
| | 07:52 |
So in this case we had a few parameters we
can modify and I'd reccomend just trying a
| | 07:57 |
bunch of different transitions and taking
a look at how you can modify both their
| | 08:01 |
duration and their properties.
| | 08:05 |
| | Collapse this transcript |
| Applying multiple transitions| 00:00 |
Now, there are times that you may want to
apply the same transition across multiple
| | 00:05 |
clips, and you can do this very easily in
Premiere Pro.
| | 00:09 |
For instance, here is a montage of putting
together the pizza very quickly.
| | 00:14 |
>> Tapioca flour, the cheese, the egg,
this the oil, and the water.
| | 00:21 |
We're going to mix it up.
Then, we're going to press it out onto the
| | 00:25 |
pizza pan, then we're.
>> So, as you can see I have all the steps
| | 00:30 |
but its very jarring because there's all
these jump cuts.
| | 00:33 |
So, I think if I put a dissolve in between
all these edit points, it'd be a lot smoother.
| | 00:39 |
And to do that, I can select all the clips
that I want the transitions to go across,
| | 00:45 |
and then I can Apply the Default
Transition to the Selection.
| | 00:51 |
Or, I could just use the keyboard
shortcut.
| | 00:54 |
Now, the default transition here, is the
dissolve and its duration is 15 frames.
| | 01:00 |
Let's see how that plays back.
>> The cheese, the eggs, the oil and the water.
| | 01:08 |
We're going to mix it up.
>> Now, I like that, but I want the
| | 01:11 |
transition to be a little bit shorter so
I'm going to go ahead and press Undo,
| | 01:15 |
Cmd+Z or Ctrl+Z on a Windows machine.
Go up to my Preferences, go back to
| | 01:22 |
General, change that duration to something
a little bit quicker, maybe about ten
| | 01:27 |
frames, hit OK.
And once again, select the clips.
| | 01:32 |
And this time I'll use the keyboard
shortcut to apply the transition to all my clips.
| | 01:39 |
>> Cheese, the eggs, the oil and the
water.
| | 01:42 |
>> So, transitions are very subjective.
And in this case, I like the shorter dissolve.
| | 01:48 |
But what if I wanted something else to be
my default transition?
| | 01:52 |
Let's go ahead and undo this edit with
Cmd+Z again.
| | 01:57 |
And go back over to our transitions and
select something a little bit different.
| | 02:03 |
I'm going to select the Page Peel.
I'm not quite sure if this will work but I
| | 02:06 |
want this to now be my default transition.
To do that I can simply right-click.
| | 02:12 |
And I set that as my default transition
and it will still continue to be about ten
| | 02:16 |
frames which I think might be a little bit
quick, but let's go ahead and give it a shot.
| | 02:22 |
Select the clips, Shift+D and look at
playback.
| | 02:26 |
>> The eggs, the oil and the.
>> Wow, 10 frames is really, really fast
| | 02:32 |
for that, so let's go ahead and undo that.
Switch it back, our Preferences to, oh,
| | 02:38 |
let's say 20 frames, hit OK, and once
again apply the transition.
| | 02:46 |
>> The cheese the eggs, the oil, and the
water.
| | 02:52 |
>> As you can see, slowing this down
makes the transition better.
| | 02:57 |
And if I wanted to switch this, I could go
back over here and instead of selecting
| | 03:01 |
Page Turn, I could choose Page Peel and
make that my default.
| | 03:06 |
Select the clips one more time.
Shift+D.
| | 03:10 |
>> The cheese, the eggs, this the oil,
and.
| | 03:17 |
>> And now, we've replaced the Page Turn
with a Page Peel.
| | 03:20 |
Applying a transition across multiple
clips is as easy as selecting the range of
| | 03:26 |
clips that you want to put them on.
Selecting a default transition and then
| | 03:31 |
applying that default transition across
all of your selected clips.
| | 03:35 |
| | Collapse this transcript |
|
|
14. Working with Filters and EffectsApplying video effects| 00:00 |
Now, there's times when you're cutting a
show that you'll want to modify the look
| | 00:04 |
of your video.
Let's explore how you can apply filters
| | 00:08 |
and effects to video clips.
To find your effects, you'll look in the
| | 00:12 |
Project panel over in the Effects tab.
If you click on the Effects tab, you'll
| | 00:18 |
see a variety of effects, as well as the
transitions that we explored in a previous video.
| | 00:24 |
If you look in the Effects folder, you'll
see a variety of effects that you can
| | 00:29 |
choose from.
Everything from fixing the color of an
| | 00:32 |
image to stylizing an image to even
stabilizing an image.
| | 00:37 |
Now, you can dig through the separate
folders to find a specific filter that you
| | 00:41 |
know is there.
Or you can just use the dialogue box to
| | 00:45 |
search for that filter.
I'm going to apply a simple black and
| | 00:49 |
white filter to this first clip because
maybe I want the feel of the show to be,
| | 00:54 |
kind of like, 50s or 60s, television
cooking shows.
| | 00:58 |
So, I'm going to simply type in black.
And as you see, I get both a video
| | 01:03 |
transition, as well as, my video effects
filter.
| | 01:07 |
Now, to apply this filter, I can simply
click on it and drag it and drop it onto
| | 01:13 |
the clip that I wanted to effect.
As soon as I drop that filter onto the
| | 01:17 |
clip it takes effect.
If I wanted to see more detail about this
| | 01:21 |
filter, once the clip is selected, I can
go up to the Effects Control panel and I
| | 01:26 |
can see any parameters that I might be
able to modify.
| | 01:30 |
Now, in the case of a black and white
clip, you really have no choice.
| | 01:33 |
It's either color, or it's black and
white.
| | 01:37 |
So, in this case, there are no properties
to adjust.
| | 01:41 |
Now, let's take a look at the next clip,
and see what filter we can apply to make
| | 01:46 |
that look better.
Well, this is one of the tag elements of
| | 01:50 |
our show, and the problem is that the
pizza doesn't really pop.
| | 01:54 |
And it doesn't separate itself from the
logo.
| | 01:57 |
So, I'm going to drop another filter on
here and it's called the gamma filter and
| | 02:03 |
it's going to basically make the black
levels nice and rich.
| | 02:06 |
Now, once again, if I wanted to find that,
I would simply type in gamma and I see
| | 02:13 |
that that gamma correction is under Image
Control.
| | 02:16 |
Now, another way I could apply this filter
is if the clip is selected, I could simply
| | 02:21 |
double-click on it and the filter would
now be applied to that clip.
| | 02:25 |
Which you can see in the upper left-hand
corner.
| | 02:28 |
Now, by default, it does a gamma
correction of ten and that may be okay,
| | 02:35 |
but I may want to modify that.
We'll explore modifying filters in a later video.
| | 02:40 |
| | Collapse this transcript |
| Modifying effects| 00:00 |
We learned how to place an effect or a
filter on a video clip in a previous
| | 00:05 |
lesson, and learned that they can be
modified.
| | 00:08 |
But let's explore some ways that you can
modify effects that are placed on a clip.
| | 00:13 |
For example, I placed a Gamma Correction
on the barbecue pizza JPEG, and I'm
| | 00:18 |
going to go ahead and click on that and
switch over to the Effects tab.
| | 00:22 |
And do a little bit of modification.
Now, in this case, there's only one
| | 00:26 |
parameter that I can work with.
And at first while it looks like there's a
| | 00:30 |
single number ten.
And I can go ahead and either type in a
| | 00:33 |
number or if I float my mouse over it and
then click and drag, I can make this a
| | 00:39 |
virtual slider.
And as you can see, the more I move it to
| | 00:43 |
the right, the darker my image gets.
And it actually gets to the point where,
| | 00:47 |
the pizza doesn't look appetizing.
It just looks really, really old.
| | 00:51 |
So, I need to find a nice, splitting the
difference.
| | 00:54 |
And just judging where it looks rich, and
tasty.
| | 00:57 |
And I can pick a good number.
You could also type in a number, but this
| | 01:01 |
is important to note.
In the case of the Gamma Shift, you
| | 01:04 |
basically only have a range of like 30, so
when you move that virtual slider you
| | 01:09 |
could be pretty precise.
But in some filters, you might have a
| | 01:12 |
range of several hundred, in which case
you can't be that precise.
| | 01:17 |
So, what you may want to do is click on
the disclosure triangle next to a filters
| | 01:22 |
parameter and you'll see a slider that
you'll have much finer control over.
| | 01:28 |
So, I think we have this pretty good.
I'll just work with the slider a little bit.
| | 01:33 |
Yeah, too pale.
And that's just about perfect.
| | 01:37 |
So now, this is much better.
Now, if I want to see what a clip looks
| | 01:41 |
like with or without the filter, I can
simply disable it.
| | 01:45 |
And to disable a filter, you would go over
to the left side and click on the little
| | 01:49 |
button that says FX.
When that is turned off, the filter is no
| | 01:54 |
longer applied, but it still is there so
you don't have to go back and reinvent the wheel.
| | 01:58 |
I can quickly turn that back on and see
exactly what it looks like.
| | 02:03 |
Let's take a look at another filter that
might have a few more parameters in how
| | 02:07 |
you might want to adjust that.
I'm going to apply a filter to the second
| | 02:11 |
video track which is our title Delight
Gluten Free Magazine.
| | 02:15 |
That still doesn't punch as much as I want
it to.
| | 02:18 |
So, I'm going to go ahead and select that.
I'm going to go to the video effects
| | 02:21 |
folder and I could once again dig and try
to find out where the effect I'm looking
| | 02:26 |
for is.
But I know for a fact a drop shadow will
| | 02:30 |
really make this pop.
So, I'm going to simply type in the word
| | 02:33 |
drop and I can see that there is two
things with the word drop in it.
| | 02:38 |
The eyedropper fill, and drop shadow.
Whenever you type in a few key words to
| | 02:44 |
find a filter or a transition or a
generator, make sure you select the one
| | 02:49 |
that you were anticipating was going to
pop up.
| | 02:52 |
I'm going to just double-click on the drop
shadow.
| | 02:54 |
And because the clip is already selected,
it will be automatically applied to the graphic.
| | 03:00 |
And you'll notice that now it pops a
little more.
| | 03:03 |
There's a little more depth to it because
I have a small drop shadow.
| | 03:07 |
But take a look in the Effects Control
tab.
| | 03:09 |
You'll notice that in this case, I have
several different parameters that I can
| | 03:14 |
modify, whereas in the gamma I only had
one, and earlier on in black and white I
| | 03:19 |
had none.
So, what I want to do, is maybe create a
| | 03:23 |
little more distance between the letters
and the background.
| | 03:27 |
And to do that, I'm going to increase the
distance of my shadow.
| | 03:32 |
Instead of using the virtual slider, I'm
going to go ahead and click on the
| | 03:35 |
disclosure triangle.
And as you can see, this one goes up to
| | 03:39 |
120, so it was a wise choice because I'll
have a lot more fine control.
| | 03:44 |
I'm going to just move it a little bit and
as I move it you'll see it updating and
| | 03:49 |
I'm going to go crazy here a second.
I could really put it far away, but as you
| | 03:54 |
see, again, it doesn't look right, it
doesn't feel right.
| | 03:57 |
So, we're going to bring it back just to
give it a little bit of depth.
| | 04:00 |
And I want it to pop a little bit, so
maybe I'll take the opacity and I'll make
| | 04:05 |
it a little bit darker.
And I'm pretty happy with the direction,
| | 04:09 |
but if you wanted to, you could position
where the light is coming from so I can
| | 04:15 |
control where the shadow is cast.
So, I'm pretty happy with that.
| | 04:19 |
I think it's quite a bit better.
If I wanted to adjust that a little bit, I
| | 04:23 |
like Delight, but I think here, it needs
to be closer under the word gluten.
| | 04:27 |
So, I'm going to pull back the distance,
just a little bit, and split the difference.
| | 04:32 |
And now, I'm happy.
I can go ahead and show you without and with.
| | 04:37 |
So, as you see, applying an effect or a
filter and then enhancing it with
| | 04:42 |
modifications can really improve the look
of a clip.
| | 04:46 |
| | Collapse this transcript |
| Combining multiple effects| 00:00 |
It's obviously very easy to put a single
effect on a single clip.
| | 00:04 |
But you can also put multiple filters or
multiple effects on a single clip to get a
| | 00:10 |
whole different look or a whole different
feel.
| | 00:12 |
And you'll find you'll be doing this
often.
| | 00:15 |
Let's go back to the barbeque pizza still
image and tweak that a little bit.
| | 00:19 |
The color's nice but I really want the
focus for the viewer not to be on the
| | 00:24 |
pizza, I want it to be on the logo.
So I'm going to go ahead and select the
| | 00:29 |
barbecue pizza, and I'm want to put a
little bit of a blur on that image.
| | 00:33 |
So I'm going to use one of my blur
filters.
| | 00:36 |
And once again I'll type in the word blur
and I'll see all of the different effects
| | 00:43 |
are blur filters that are available under
the blur and sharpen folder.
| | 00:47 |
Now I really like the Gausian blur it
works very quickly it does exactly what I want.
| | 00:53 |
So I'm going to go ahead and this time I'm
going to just drag it and drop it directly
| | 00:56 |
on the barbecue pizza clip.
And it appears as if nothing has happened.
| | 01:00 |
Well, by default, there is no blur in the
blur filter until I bring it in.
| | 01:06 |
And if you look over in the effects
control tab, we can see that there is a
| | 01:11 |
blurriness slider.
And once again, I'm going to hit the
| | 01:15 |
disclosure triangle to show you that.
In this case I have about 50 choices, and
| | 01:20 |
I can be really pretty subtle, or go
kind of crazy on how blurry this is going
| | 01:27 |
to become.
Now initially I'm going to make this kind
| | 01:30 |
of crazy, cause I want to point out a
really useful check box.
| | 01:34 |
If you look at the edges of this blur, it
actually starts to get darker a vignette.
| | 01:40 |
And that's because it's not just blurring
the image of the pizza, but the black
| | 01:45 |
outside the frame, and this could be
problematic in many cases, but in the case
| | 01:48 |
of Premiere Pro.
All I have to do is go down to the blur
| | 01:49 |
filter and there's a little check box that
says repeat the edge pixels.
| | 01:50 |
All I have to do is go down to the blur
filter and there's a little check box that
| | 01:52 |
says repeat the edge pixels.
All I have to do is go down to the blur
| | 01:55 |
filter and there's a little check box that
says repeat the edge pixels.
| | 01:59 |
And as soon as I click on that, you'll
notice I have a nice, clean edge.
| | 02:05 |
Something to keep in mind when using any
filter that blurs or feathers.
| | 02:09 |
If you're going to an edge, take a look
and see if it has this option.
| | 02:13 |
Not all filters will have it, but if it
does, it's something you might want to try out.
| | 02:18 |
So let's pull back the blurriness a little
bit.
| | 02:22 |
Just enough so that we can tell it's a
pizza, but our eyes are naturally drawn to
| | 02:26 |
the sharpest part of the image and that's
our logo.
| | 02:29 |
So as you see there I can work with two
filters at once.
| | 02:34 |
Now its not such a perfect world because
in the case of these two filters, it
| | 02:40 |
doesn't matter what order I put the
filters on the clip, because the blur and
| | 02:44 |
the gamma don't directly affect each
other.
| | 02:47 |
Let's hop back to the earlier clip.
To the first clip in our timeline.
| | 02:51 |
Put a few filters on this clip.
And I'm going to show you how drastically
| | 02:55 |
different the outcome could be.
Depending on the order that you place the
| | 03:00 |
filters on the clip.
Now, let's remove the black and white
| | 03:04 |
element, and we learned we could turn this
off.
| | 03:07 |
Now if I click on the clip, it's going to
load that clip into the Effects control
| | 03:11 |
panel, an there's my black and white
element.
| | 03:13 |
If I wanted not to see it, I could turn it
off, but I really want to remove it.
| | 03:18 |
So, I could select it and press the Delete
key or right click cut the filter out of
| | 03:25 |
that clip.
So now we're back to our original clip and
| | 03:29 |
we're going to go ahead and put three
filters on here.
| | 03:32 |
We're going to blur the image maybe I'll
age it a little bit with color look and I
| | 03:38 |
want to put some sort of a border around
it, I have a bevel available to me.
| | 03:42 |
Not my favorite filter, but very effective
in teaching.
| | 03:46 |
So let's go ahead and put that bevel on
first.
| | 03:50 |
And what the bevel's going to do, it's
going to put a kind of three-dimensional
| | 03:55 |
look to our image, make sure you grab
bevel edges and not bevel alpha, because
| | 04:01 |
that works very differently and you won't
see any change if you play with the sliders.
| | 04:06 |
So I'm going to drop bevel edges on this
clip, and there's the default.
| | 04:11 |
Make sure that it's loaded back into your
effects control tab, and I can modify many
| | 04:15 |
aspects of this.
The edge thickness is the big one.
| | 04:19 |
Just want to bring this down a little bit,
I don't want it to be that pronounced.
| | 04:22 |
I can move the angle of where the light's
coming from, from the bottom or the top,
| | 04:27 |
so it's going to have some areas that are
lighter and darker.
| | 04:30 |
I could change the color as a matter of
fact let's go ahead and change the color.
| | 04:34 |
I could pick a color here that's a nice
blue edge let's make it a little bit
| | 04:39 |
lighter, press OK.
So now I have a nice blue edge kind of
| | 04:41 |
matches her dress if I wanted it to match
her dress exactly I could go grab the eye dropper.
| | 04:49 |
Select one of the blue areas of the dress.
And now it's a pretty close match.
| | 04:54 |
And the hue to the dress that she's
wearing.
| | 04:57 |
And I could if I wanted to focus how much
light is hitting this brighter or darker.
| | 05:03 |
Ad that becomes a more flattened looking
image because there's not a lot of light.
| | 05:06 |
But let's make it pretty pronounced.
So I have this lovely bevel.
| | 05:10 |
And I want to age this image.
And I want to soften it a little bit.
| | 05:15 |
So, let me go ahead and throw a
(INAUDIBLE) look on it.
| | 05:19 |
Now there's a (INAUDIBLE) filter but I
actually like the filters in the lumetri
| | 05:24 |
looks a lot more.
So let's examine those for a moment.
| | 05:28 |
I'm going to open those up and press the
Tilde key, so we can see it full screen.
| | 05:33 |
Now as you see there's nothing on my
screen, I did this intentionally because.
| | 05:37 |
This happens to me a lot and I'm
guaranteeing it's going to happen to you.
| | 05:41 |
You'll open up a folder looking for
something and it will be empty and you'll panic.
| | 05:45 |
Don't panic, two things you should
realize; one, you might have started
| | 05:49 |
typing in some letters from a previous
filter you were looking for.
| | 05:53 |
Now if I click that and I open up the
looks, I'm in much better shape.
| | 05:59 |
The other thing is you might have pressed
one of these buttons and turned off a filter.
| | 06:03 |
So, make sure those are all activated.
So there's a variety of looks here, and
| | 06:09 |
these are all one trick ponies.
You can't modify any parameters.
| | 06:12 |
But there are some that I like and, one
that I really like is under style, and
| | 06:16 |
that's called back in the day.
To me that's a nicer sepia than the
| | 06:20 |
default sepia tone that I can work with.
Let's press the Tilde key and apply this
| | 06:26 |
to our clip.
So I can go and double-click on it or drag it.
| | 06:31 |
I will double-click to Apply it.
And as you see we now have our sepia.
| | 06:35 |
So, it looks a little bit older.
And I want it to be a little bit softer,
| | 06:38 |
so finally we're going to go ahead and put
the gaussian blur on.
| | 06:42 |
So I'll simply type blur, scroll down.
Find my gaussian blur, drop it on.
| | 06:49 |
It appears over here in the left hand
side.
| | 06:52 |
And I'm going to up the blurriness and
repeat my edge pixels.
| | 06:57 |
So I have the perfect image, right?
Absolutely not, I've destroyed my intent
| | 07:03 |
by putting these filters in in the wrong
order.
| | 07:06 |
Now, if you've done this don't panic.
You can rearrange these very easily.
| | 07:11 |
By simply grabbing them by their name and
moving them up and down.
| | 07:15 |
You can do this either with the filter
open or if it's easier to things you can
| | 07:20 |
close each of the filters so you can just
see their precise order.
| | 07:25 |
Well, I think I want the back in the day,
my sepia to happen before my beveled edges
| | 07:32 |
because I lost the blue that was around
the edge of the screen.
| | 07:36 |
So that's getting better, and I know I
overshot on the blur and I'll pull that
| | 07:41 |
back no matter what.
But if I put that blur on last I'm losing
| | 07:45 |
the sharpness of the bevel effect.
So that also has to happen before we put
| | 07:51 |
the bevel edges on.
Now it doesn't matter in this case.
| | 07:55 |
Whether I put it after, back in the day or
before, because these effects really don't
| | 08:00 |
interfere with each other because one's
dealing with color and one's dealing with focus.
| | 08:05 |
And I'm going to go down here and open up
the gaussian blur and pull it back a
| | 08:09 |
little bit, just so that the image looks a
little bit sharper, a little bit less high
| | 08:15 |
def Than it was originally shot.
So putting multiple filters on a singe
| | 08:21 |
clip is easy to do.
Just make sure that you order them in the
| | 08:25 |
proper way to get the look that you want.
| | 08:29 |
| | Collapse this transcript |
| Keyframing your filters| 00:00 |
By now, you should be comfortable with
placing multiple effects onto clips in
| | 00:04 |
your timeline.
But what about if you want the effect to
| | 00:07 |
change over time?
For instance, I think what would be really
| | 00:12 |
nice is, instead of starting off with the
pizza out of focus, maybe we'll start with
| | 00:17 |
the pizza in focus.
And have it slowly get soft, which will
| | 00:21 |
really make the title pop.
So, I want to be able to change that
| | 00:25 |
Gaussian Blur over time.
To do that, I want to make sure I load the
| | 00:29 |
right clip.
I'll click the barbecuepizza.jpg.
| | 00:33 |
Jump over to the effects control tab.
And there's my Gausseain Blur, and any
| | 00:38 |
time I want to add a keyframe, I simply
hit this stop watch.
| | 00:43 |
Now, we've learned about keyframes in
earlier videos, so it acts pretty much the same.
| | 00:49 |
I'm going to go ahead and choose when I
want the effect to come in in my timeline.
| | 00:54 |
And as I move the play head in either the
effects control tab or in the timeline, it
| | 01:01 |
updates in the other one.
So, we'll go about a second or two of
| | 01:06 |
fully in focus.
So, what I want to do here is bring my focus.
| | 01:10 |
Now, be careful when you do this because
the gamma is on top.
| | 01:13 |
So, you want to go down here to your
Gaussian Blur and I want to make sure that
| | 01:19 |
it's a blurriness of zero.
It's perfectly sharp when we start.
| | 01:23 |
So, from the beginning of the clip, which
is over here, to where our play head is
| | 01:27 |
parked, it's going to stay sharp.
And at this point, I want to add a keyframe.
| | 01:32 |
I'm going to click on the stopwatch, and
I'm going to click on the stopwatch next
| | 01:36 |
to the parameter that I want to lock into
place.
| | 01:39 |
And in many of these filters, there may be
options for freezing other parameters and
| | 01:46 |
in this case, those I just want to stay
the same.
| | 01:49 |
So, at this point, it's a blurriness of
zero and I'll move it ahead just a few seconds.
| | 01:55 |
And go ahead and change the amount of
blurriness.
| | 01:58 |
Now, I recall that it was about 15 that I
liked, so I'll slide it over here, I could
| | 02:02 |
type in the number 15.
that's close enough, 14.9, we'll round up,
| | 02:07 |
and that's a good level of fuzziness or
blurriness.
| | 02:11 |
Now, I'm going to go back and play this
and see how it feels.
| | 02:17 |
(MUSIC).
Well, that's pretty good.
| | 02:28 |
I really like the feel.
It was very slow and subtle.
| | 02:32 |
If I needed to change it, there's a couple
of parameters I can modify.
| | 02:35 |
First of all, I can go ahead and grab the
key frame.
| | 02:39 |
And move it up and down.
Or if I wanted to I could also grab
| | 02:44 |
elements here and get a Bezier handle
which allows me to get a curve how quickly
| | 02:49 |
or how abruptly do I want to change from
one type of image to another type of image.
| | 02:55 |
You'll notice that as I did this my
keyframe changed, and this was the
| | 03:00 |
original keyframe, and now that I've
modified it, it looks different.
| | 03:04 |
As a matter of fact, if you right-click on
that you can choose a variety of types of
| | 03:10 |
transitions between keyframes.
Whether it's going to be a linear
| | 03:13 |
transition or whether there's going to be
a Bezier handle or maybe you want to have Premiere.
| | 03:18 |
Figure it out for you with an Auto Bezier,
or a Continuous Bezier.
| | 03:22 |
Or you could even do a hold function where
it will jump from sharp to fuzzy at that point.
| | 03:28 |
I think we'll go with an Auto Bezier.
And I'm pretty happy with how it looks.
| | 03:32 |
Let's queue it up and play it again.
(MUSIC).
| | 03:44 |
That's pretty smooth and pretty much
exactly what I wanted.
| | 03:48 |
You'll notice that when I switch to the
Auto Bezier, instead of getting the sharp
| | 03:52 |
edged icon, I have this nice little
circle.
| | 03:55 |
And that tells me that I'm in the Auto
Bezier.
| | 03:57 |
Now, being able to work in the Effects
Control tab with such precision is really nice.
| | 04:04 |
But there are times that you want to be
able to modify a perimeter of a filter in
| | 04:09 |
your timeline because other things are
happening, and you want to make sure the
| | 04:12 |
filter does what it does exactly when you
want it to happen.
| | 04:15 |
So, if you go over to the left side and
use your scroll wheel you can actually
| | 04:21 |
make this taller or shorter.
And now, I'm able to see the keyframe
| | 04:25 |
elements inside of my timeline.
If I go over here, you'll notice there's a
| | 04:30 |
button that says FX and, and if there was
no filter on the clip this would've been gray.
| | 04:34 |
Now, if I hover my mouse over this, I can
see that I'm actually looking at the
| | 04:40 |
opacity in my timeline.
But if I right-click on that, I have a
| | 04:44 |
choice of what parameter I want to look
at.
| | 04:46 |
So, I'm going to look specifically at the
Gaussian Blur and select Blurriness.
| | 04:50 |
Now, you'll notice in the timeline, I can
actually see the two key frames that I was
| | 04:57 |
working with for Blurriness.
If I wanted to, I could grab this and make
| | 05:01 |
this even higher which gives me a little
more latitude to work with.
| | 05:05 |
And I could hit the plus key to zoom in.
Now, what's nice here is if I wanted to
| | 05:10 |
change the timing, if I wanted it to get
blurrier faster or take longer to get
| | 05:15 |
blurrier, I could move it left or right.
Let's take a look if we cut down by about
| | 05:21 |
a third, the time it takes to get blurry.
I'm going to simply slide this down.
| | 05:26 |
Now, watch.
When I let go, look at what happens in the
| | 05:28 |
Effects Control tab.
It actually moved and changed the timing
| | 05:33 |
of this transition.
Now, I also did something else.
| | 05:37 |
And you need to be careful here.
What happened to my pizza?
| | 05:40 |
It got very, very blurry.
Because of the level of detail here, not
| | 05:45 |
only did I move it to the left, but I
moved it up.
| | 05:48 |
So, when moving key frames in your
timeline, be careful that you move them
| | 05:54 |
left or right or up and down where you
want them.
| | 05:57 |
It's no harm and no foul.
I could simply jump back to exactly that
| | 06:02 |
key frame which would line it up here, and
dial this back down to 15.
| | 06:08 |
Or simply select it, type in the number,
and hit enter, and we're exactly where we
| | 06:13 |
want to be.
Modifying keyframes, or modifying effects
| | 06:17 |
over time, is easy once you know the
secrets.
| | 06:21 |
| | Collapse this transcript |
| Adjusting existing filter timing| 00:00 |
The next step after you've actually key
framed over time and effect is, timing
| | 00:06 |
effect so they happen when you want them
to happen in relation to each other.
| | 00:10 |
Now, what I'm looking to create is a
situation.
| | 00:13 |
We started off with pizza in focus and
very sharp.
| | 00:16 |
And as we play the clip, that will go out
of focus and the title will not only fade
| | 00:22 |
on using the Opacity control.
But will also come from being blurry to
| | 00:27 |
being sharp.
Let's take a look at what I've built already.
| | 00:30 |
If we select the barbecue pizza and move
over to the Effects Control panel, this is
| | 00:35 |
what we did in an earlier video where the
timing is perfect with the pizza coming in
| | 00:41 |
and then going out of focus.
And the title comes in.
| | 00:44 |
Now, what I've done to the title, and I'm
going to select that in my timeline.
| | 00:48 |
It starts an opacity level of zero, at
this point.
| | 00:52 |
And using our little go to the next frame
triangles, I see that that I bring the
| | 00:58 |
opacity up to 100%.
At the same time, if I look down here, the
| | 01:03 |
blurriness goes to zero, but it starts at
150.
| | 01:09 |
Now, this is the blurriness not of the
pizza slice, but the actual logo of the magazine.
| | 01:15 |
Now, here's the challenge.
My timing is off.
| | 01:18 |
If I play this clip, and we just look at
what happens here, ignoring the pizza underneath.
| | 01:24 |
As a matter of fact, let's go ahead click
the eyeball and turn the pizza part off.
| | 01:30 |
If I go ahead and hit the spacebar to play
it.
| | 01:33 |
(MUSIC).
It fades up but it's not really timed
| | 01:44 |
perfectly with the blur.
So, I either need to move the blur later
| | 01:50 |
or bring the fade up sooner.
Now, this is very easy to do in the
| | 01:56 |
Effects Control panel.
I can simply grab any keyframe and move it
| | 02:02 |
left or right or what's even better.
If I love the timing I have between
| | 02:07 |
keyframes, and I want to move the whole
group.
| | 02:10 |
I can simply lasso them by drawing a box
around them.
| | 02:13 |
And now, they'll keep their relative
distance to each other, or their relative
| | 02:17 |
timing, and I can move them both so they
line up.
| | 02:22 |
Now this is pretty close and probably the
viewer would not see any difference if
| | 02:27 |
this came fully to 100% opaque right after
this became perfectly sharp.
| | 02:33 |
But, let's go ahead and pretend that it
does matter and I want one to snap to the
| | 02:38 |
other one.
Now, I can simply move it over and when it
| | 02:41 |
lines up with another key frame in that
panel I can snap to it, and my timing is perfect.
| | 02:47 |
And that's great.
Now, I want to take the pizza.
| | 02:51 |
And time the pizza fading from fuzzy to
sharp to match my title.
| | 02:57 |
Let's go ahead.
Turn the pizza track back on by pressing
| | 03:01 |
the eyeball.
Select the pizza effect.
| | 03:05 |
And I can't really see both effects at
one.
| | 03:08 |
It's really kind of hard to work with.
And this is a really cool little trick.
| | 03:12 |
I could go ahead and make this taller.
And I'm using my scroll wheel to do it.
| | 03:17 |
There's also keyboard shortcuts where you
can make your tracks taller or thinner.
| | 03:21 |
And here, I can very easily see my opacity
and unfortunately I'm also seeing opacity
| | 03:30 |
there, and I don't want to.
I want to see the blurriness.
| | 03:32 |
So, I can go over to this little FX.
Right-click on it, choose Gaussian Blur > Blurriness.
| | 03:38 |
And now, instead of seeing where the
keyframes are for my opacity, I can see
| | 03:44 |
where it goes from sharp to blurry.
And it happens a little bit too late.
| | 03:50 |
Now, I could right-click here.
And look at the Gaussian Blur filter on
| | 03:56 |
the logo, and again choose Bluriness.
And now, I can once more see the start and
| | 04:02 |
finish timing.
So, I could try to Lasso these and grab
| | 04:07 |
them that doesn't quite work.
I could grab this one and move it over.
| | 04:11 |
That could be very cumbersome, especially
if you go to move something to the left
| | 04:17 |
and you accidentally move it up a little
bit, you could change a lot more
| | 04:21 |
parameters than you intend to.
Let me go ahead and press undo and show
| | 04:26 |
you a really efficient way to lineup these
keyframes, so my timing is perfect.
| | 04:32 |
I'm going to position my play head right
on that keyframe.
| | 04:35 |
Now, I could try to eyeball it.
If I wanted to, I could just scroll up a
| | 04:40 |
little bit and you see there are keyframe
buttons here to go the previous or the
| | 04:45 |
next keyframe.
If you go over here and you notice that
| | 04:50 |
you can't jump between keyframes because
it's not highlighted.
| | 04:53 |
Even though you actually have key frames
there, make sure that the clip is selected.
| | 04:59 |
If the clip is not selected, you won't
have that option.
| | 05:02 |
Once it is selected, you can simply click
on the arrow and jump directly and lock on
| | 05:07 |
a keyframe.
You'll notice that's up here and also down here.
| | 05:11 |
Now, here's the cool part.
I've lined it up so the timing is perfect
| | 05:16 |
and instead of grabbing it over here, I
can simply select the barbecue pizza, grab
| | 05:21 |
the elements and snap them directly to
where the play head is parked.
| | 05:27 |
Now, my timing is perfect.
As one fades in the other fades out.
| | 05:33 |
As one gets sharper the other ones get
blurrier.
| | 05:36 |
Let's play it back and see how our timing
is.
| | 05:39 |
(MUSIC).
Pretty much what I want.
| | 05:48 |
I may speed it up a little bit.
But that's how you can actually line up
| | 05:51 |
key frames and reposition them with ease
in Premier Pro.
| | 05:55 |
| | Collapse this transcript |
| Applying effects to multiple clips| 00:00 |
Now of course you can put filters on a
clip one clip at a time, but that's not
| | 00:05 |
necessarily very efficient.
If you want to put a filter on several
| | 00:10 |
clips all at once, there's a couple of
different ways to attack it.
| | 00:13 |
I could go ahead and select a variety of
clips, in this case I'll select the first
| | 00:18 |
group and leave the last one empty.
And jump over to my Effects tab, switch
| | 00:23 |
over to My Video Effects, and I want to
drop on the name of the clip.
| | 00:28 |
And I'm not sure where that is.
I'm going to type in the word clip and I
| | 00:31 |
see there is an option for clip name.
And if I drag this or even just double
| | 00:36 |
click it it now has applied this filter to
all of these elements.
| | 00:40 |
So that if I handed this off to a
producer, they'd be able to identify where
| | 00:46 |
the shot came from very easily.
Let me go ahead and undo that because I'm
| | 00:51 |
going to show you another way you can
select multiple clips, and they don't
| | 00:55 |
necessarily have to be connected
artiguous.
| | 00:58 |
I'm going to hit Undo and go back and
deselect everything by just clicking on
| | 01:04 |
the grey area, and now if I hold down the
Shift key, I can select the specific clips
| | 01:12 |
that I want to apply a filter to, so this
might be good if I'm color correcting and
| | 01:16 |
cutting back and forth between two shots
and maybe I want to brighten one to match
| | 01:21 |
the other.
For now I think I'm going to use another
| | 01:23 |
element that's in the video drop down
folder.
| | 01:26 |
And that would be not Clip Name, but that
would be Time Code.
| | 01:30 |
I can either hit the X key and type in the
word time, or jump down to Video Effects,
| | 01:35 |
the Video folder, and there you see both
Clip Name, as well as Time Code.
| | 01:42 |
I can either again, drag it, much easier
to just double click.
| | 01:46 |
You'll notice I have these little red
bars, that's one indication I've put a
| | 01:50 |
filter on these clips.
you may not see red if you have a fast
| | 01:55 |
video card, it may be a real time effect
for you, but in my case, I'm working
| | 01:58 |
without a video card.
But I do want to point out that if I zoom
| | 02:02 |
into this area here, let me drop it down a
little bit.
| | 02:05 |
So you can see, you'll notice that this is
purple and that's gray.
| | 02:10 |
That's another visual indicator that
you've put a filter or modified a clip in
| | 02:16 |
a certain way, and that way you can look
at your timeline and say yes that is a
| | 02:20 |
modified element.
So putting a filter on multiple clips is
| | 02:25 |
as easy as selecting the clips you want
and then simply double clicking on the filter.
| | 02:30 |
| | Collapse this transcript |
| Copying and pasting attributes| 00:00 |
Now, a lot of times you've built an effect
or a stack of effects that you want to put
| | 00:05 |
on another clip or another series of
clips.
| | 00:09 |
Now, this beveled sepia lightly out of
focus effect that I created is something
| | 00:14 |
that I hold dear to my heart.
And I think I want to put it on other
| | 00:18 |
parts of my program.
But I also want to be able to take it to
| | 00:21 |
the next level.
As a matter of fact, I'm going to use this
| | 00:24 |
as video running in the upper right hand
corner with the logo, which I've placed
| | 00:29 |
below this track, for the magazine.
So if I go ahead and turn the track off,
| | 00:33 |
you'll see I have a logo in the lower left
hand corner.
| | 00:36 |
So, as nice as this beveled effect is, I
think I'm going to use a couple of the
| | 00:41 |
other effects that we've learned about
such as scaling and repositioning it.
| | 00:44 |
And maybe pulling back the opacity just a
hair.
| | 00:48 |
So, let me select the first clip and this
is the only clip that has the effect
| | 00:51 |
applied to it.
And I'm going to open up the Motion tab
| | 00:55 |
very quickly, click on it so I now have my
wire frame.
| | 01:01 |
I'm going to shrink it down by grabbing
the edge.
| | 01:06 |
And I can see the logo underneath, and I'm
going to position it up here on the right.
| | 01:09 |
Give it a little more shrinkage.
There we go.
| | 01:12 |
So, I've changed its scale, I've changed
it's position.
| | 01:15 |
And just for grins, let's go ahead and
make it a little bit translucent, maybe
| | 01:20 |
about 90%, almost impossible to see but
you and I know it's there.
| | 01:26 |
So, I have this great effect, and I want
to put in on another clip.
| | 01:29 |
All I have to do is select the clip and
press Copy.
| | 01:34 |
I can use the keyboard shortcut or I can
just go right here under Edit > Copy.
| | 01:40 |
And then, if I wanted to place it on, say,
one clip, I have this clip selected, I can
| | 01:47 |
do something called pasting attributes.
Now, I can get to it back from the Edit >
| | 01:51 |
Paste Attributes.
As you can see, there is a keyboard shortcut.
| | 01:55 |
Or sometimes what's easier, since my hand
is already on the mouse, is right-clicking.
| | 02:00 |
And in the drop-down menu I do have the
option to paste my attributes, right here
| | 02:06 |
at the top.
Select Paste Attributes and I get this
| | 02:10 |
dialogue box and I really like this
dialogue box because it allows me not to
| | 02:15 |
only paste specific video attributes such
as the motion.
| | 02:20 |
Means the position, how opaque, how
transparent it is, if I've done any time remapping.
| | 02:25 |
But when I get down to the level of
effects I can actually choose which
| | 02:30 |
effects I may want to place on this clip.
So, for instance, I like everything but I
| | 02:36 |
don't really think I need to blur it at
all especially if I'm going to make it smaller.
| | 02:41 |
So, I can simply uncheck that.
And of course, if I had done any changes
| | 02:45 |
in the audio, I could paste those too.
Now, just in case I did work with the
| | 02:50 |
volume or did any keyframing, I'm going to
go ahead an turn those off.
| | 02:54 |
Because I really only want to paste the
video part of this.
| | 02:57 |
Now, of course, if I only select a video,
it wouldn't be a problem, but I can press OK.
| | 03:02 |
>> And now, as you can see, this lines up
perfectly with the previous set up.
| | 03:07 |
>> I did that.
>> There you go.
| | 03:10 |
You totally did this.
>> This pizza.
| | 03:12 |
>> So, I don't have to worry about lining
up my picture in picture.
| | 03:15 |
The colors will match perfectly.
It's a really nice technique and you can
| | 03:20 |
do it to more than one clip just like you
can apply an effect to multiple clips in
| | 03:25 |
your timeline.
You can, of course, select multiple clips,
| | 03:29 |
and we'll select all of them.
If I only wanted to select specific ones,
| | 03:33 |
I could hold down the Shift key and I will
go over here, and since I've already
| | 03:38 |
copied it I don't need to do it again.
If you haven't copied it, go ahead and you
| | 03:42 |
can right-click and you can actually copy
that way.
| | 03:44 |
And select these and right-click, Paste
Attributes.
| | 03:50 |
Once again, don't worry about time
remapping.
| | 03:53 |
We didn't do any.
It remembered that I did not want to copy
| | 03:57 |
and paste the the Gaussian Blur.
And my audio is turned off.
| | 04:01 |
I simply hit OK.
And if I quickly scrub through this,
| | 04:04 |
you'll see everything is perfectly
positioned, and perfectly colored.
| | 04:08 |
So, copying and pasting different
attributes, whether it's motion, opacity,
| | 04:15 |
time remapping, or even specific effects
within my copy I can do it very easily
| | 04:22 |
with just a few clicks.
| | 04:24 |
| | Collapse this transcript |
| Creating and saving effect presets| 00:00 |
Now, the ability to copy and paste
attributes is excellent.
| | 00:05 |
But there are times when an effect is so
good that you know you're going to use it
| | 00:10 |
over and over and over again.
And instead of having to reinvent the
| | 00:15 |
wheel, you can actually create custom
presets out of a single effect or multiple
| | 00:21 |
effects or even multiple effects and
Motion, Opacity, and Timing presets.
| | 00:27 |
Now, I've determined that this Sepia Bevel
is going to be my signature device in all
| | 00:35 |
of my shows.
To make a preset of this, I can select any
| | 00:39 |
one of these clips that have it on it.
And as a matter of fact, before I go ahead
| | 00:45 |
and create the preset, I'm going to clear
the presets from all of these.
| | 00:50 |
I'm going to simply select them,
right-click, and there's a great little
| | 00:54 |
option here that allows me to Remove
Effects.
| | 00:59 |
I select that.
Depending on what's on your clip, some of
| | 01:03 |
these may be grayed out.
For instance, there is nothing on audio.
| | 01:06 |
But I can choose to remove all the
filters.
| | 01:09 |
And if I wanted to, I can remove Volume.
I think I'll leave that the same.
| | 01:16 |
I could remove the Opacity, which I do
have some slight Opacity on here, about 90%.
| | 01:22 |
And I want to remove the fact that I've
moved it and boxed it.
| | 01:27 |
Press OK.
And as you can see, my red turned to yellow.
| | 01:31 |
I am back to where I should be, but I did
save it here for your delight.
| | 01:36 |
Now, I'm going to select this and load
this into the Effects Control tab and I
| | 01:41 |
have all my elements here.
As a matter of fact, let me close these so
| | 01:44 |
we can see everything we've worked on and
I'm going to save presets a couple of
| | 01:49 |
different ways.
Let me quickly scrub through this to see
| | 01:52 |
how it works.
This is good.
| | 01:54 |
I do notice that there is an element here,
there's a little button, and I have a
| | 01:59 |
keyframe where it's there but it's not
really changing between anything.
| | 02:06 |
So, if you notice you might have an extra
keyframe and you want to get rid of it,
| | 02:09 |
you can simply jump your play head onto it
and click this button.
| | 02:14 |
Or you can even just right-click on the
keyframe and cut it.
| | 02:17 |
No reason to save anything extra that you
don't need.
| | 02:20 |
Now, if I wanted to save just one single
element.
| | 02:25 |
For instance, I like this motion for the
picture in picture and I may use it other times.
| | 02:30 |
I can select any element, any single
element, right-click on it and save it as
| | 02:37 |
a preset.
Now, if I save that as a preset, it's
| | 02:39 |
going to name it after the original
element.
| | 02:42 |
So, I like the idea of Motion.
I know it's a preset, so I'm going to just
| | 02:46 |
call this Motion Upper Right PIP.
And then, I have a choice here which, in
| | 02:53 |
this case, doesn't matter.
But if this had been designed that it went
| | 02:57 |
from full-screen up into the upper
right-hand corner, I could choose how I
| | 03:02 |
want the effect to be saved and referenced
to that timing.
| | 03:06 |
If I built this on a five-second clip and
I pasted it on a ten-second clip, it's
| | 03:11 |
going to take a full ten seconds to do the
move.
| | 03:14 |
If I choose Scale.
If I choose Anchor to In Point and I take
| | 03:19 |
it from a five second clip and paste it
onto a ten second clip, it'll start at the
| | 03:24 |
beginning and still only take five
seconds.
| | 03:26 |
And remain in that position for the
remainder of the time the clip is up.
| | 03:30 |
And of course, if I say Anchor to Out
Point, this would be great if I created an
| | 03:35 |
effect where something goes off screen or
fades out.
| | 03:38 |
And I want to back time it, and it still
keeps the same original duration.
| | 03:42 |
In this case, it would have been five
seconds.
| | 03:44 |
So, that's very useful to know when
building an effect because a lot of times
| | 03:48 |
you don't want the effect to be scaled
over the duration of the clip.
| | 03:54 |
You just want it to happen at the same
speed.
| | 03:56 |
So, if you have motion this is important.
And I'm going to go ahead and press OK.
| | 04:01 |
Now, what is this preset lant.
In the lower left hand corner under your
| | 04:05 |
effects tab there is a folder called
presets and its just going to be put there
| | 04:10 |
kind of in a floating location.
If you want to really keep things
| | 04:13 |
organized, you can right-click and Create
a New Presets Bin.
| | 04:18 |
I'm going to call this Abba Favorites.
And now, I can simply drop that in, and
| | 04:26 |
it's always nice, clean and organized.
So, if I wanted to apply this to one clip
| | 04:32 |
or multiple clips, I can select them and
simply double-click.
| | 04:37 |
It's going to bring up this dialog box.
If I wanted to change it, I could.
| | 04:42 |
Now, there's a difference between
double-clicking and dropping it on.
| | 04:46 |
If I double-click it, I get the dialog box
back.
| | 04:49 |
And if I had saved it as a scale timing
versus anchoring to the head or anchoring
| | 04:54 |
to the tail, I can change it at this
point.
| | 04:57 |
I'm going to hit Cancel.
If I just simply grab it, drag it, and
| | 05:01 |
drop it, it's going to use the default of
how I created that preset.
| | 05:08 |
And of course, in this case, it doesn't
matter but I have positioned it exactly
| | 05:12 |
where I want it to be.
In this case, without the bevel because
| | 05:15 |
that producer did not feel it was the art
that I did.
| | 05:18 |
So, that was just a single element.
But what if I wanted to create a preset
| | 05:23 |
that combined multiple elements from that
original clip?
| | 05:28 |
Let's jump back to the original clip.
Select it, load it into the Effects
| | 05:32 |
Control tab.
And now, I can select all of the elements
| | 05:36 |
or individual ones.
I'm holding down the Cmd key on a Mac, and
| | 05:42 |
if I wanted to, I could choose all the
elements that I want to include in my preset.
| | 05:48 |
And I can either then right-click and do
Save Preset here or go to the drop down
| | 05:53 |
menu and choose Save Preset there.
Once I choose Save Preset, it's going to
| | 06:00 |
name it after one of my elements.
I'm going to change this to Bevel Upper
| | 06:04 |
Right PIP.
We'll, again, leave it on the default.
| | 06:08 |
I could write a description.
And as we see, there's our Bevel Upper
| | 06:13 |
Right PIP.
And our pop up window actually describes it.
| | 06:17 |
I'm going to move that into Abba's
Favorites.
| | 06:20 |
And let's go over here and apply it, and
see how it looks.
| | 06:23 |
So, here are the clips without the effect.
I'm going to grab it, drag it, drop it on
| | 06:30 |
all four of those, and I'm good to go.
So, creating presets can really save time,
| | 06:38 |
and it allows you to easily use effects
you create in one project in all your
| | 06:44 |
future projects.
| | 06:45 |
| | Collapse this transcript |
| Applying audio effects| 00:00 |
Placing an audio effect on a clip is
pretty much the same workflow as placing a
| | 00:06 |
video effect on a clip.
You have quite a number of audio effects
| | 00:10 |
to choose from in Premiere Pro and you can
find and look through those under the
| | 00:14 |
Audio Effects folder in the Effects tab.
And be careful with audio.
| | 00:20 |
What I've discovered is most of the time
the more people play with the audio when
| | 00:25 |
they're not experienced, the worse the
audio sounds.
| | 00:28 |
I'm going to go ahead and press the tilde
key just to show you the variety of
| | 00:32 |
options you have.
And some of these are really, really
| | 00:37 |
robust and pretty high end repair tools.
And others just allow you to easily drop
| | 00:43 |
something on and click a preset and
hopefully fix a problem.
| | 00:48 |
For instance there's a (UNKNOWN) that
actually pulls out the semblances of Ss in
| | 00:55 |
your voice over.
And the dehummer would actually allow you
| | 00:59 |
to remove that low frequency hum that
sometimes sneaks into your audio.
| | 01:05 |
The best suggestion is play around with
them, read about the different audio
| | 01:09 |
filters at Adobe and on Audio Books and
realize that with audio often less is more.
| | 01:17 |
Now, let's go ahead and shrink this back
down and actually place one of these audio
| | 01:23 |
effects on top of our first clip.
So, the first clip is Vanessa introducing me.
| | 01:29 |
>> And I'm so excited to welcome you to
our test.
| | 01:32 |
>> I want to improve the quality of the
tone of her voice just a little bit.
| | 01:36 |
Not that her voice is bad, but sometimes
you can, you know, boost it up a little bit.
| | 01:41 |
So I'm going to type in Vocal because I
know the name of the effect that I'm
| | 01:46 |
looking for is the Vocal Enhancer.
And I can go ahead and bring that onto my
| | 01:51 |
clip, the exact same way that I would have
with a video filter.
| | 01:54 |
I can double-click it, or I can grab and
drop it.
| | 01:56 |
I'm going to be very quick here, drag it
and drop it.
| | 01:59 |
Click on it to make sure that it's loaded
into my Effects control tab, and there we
| | 02:03 |
are, vocal enhancer.
Now, what's nice is I can choose female,
| | 02:08 |
male, or music.
Now, the difference is I'm going to open
| | 02:13 |
up this dialogue box and click on mode.
So, here we are choosing male and if I
| | 02:19 |
click on male, nothing will happen.
But if I click on female, it actually
| | 02:23 |
jumps over to the middle of the spectrum
because the female voice is higher and
| | 02:27 |
it's working with those frequencies.
So, really what you're doing when you're
| | 02:31 |
switching between male and female and
music, is you're choosing which part of
| | 02:37 |
the spectrum that you're going to be
enriching and enhancing.
| | 02:41 |
So, you can also do this with the slider,
and the nice thing about audio, is I can
| | 02:45 |
do it on the fly while it's playing.
>> Come to Delight Gluten Free Eats.
| | 02:50 |
I'm Vanessa Weisbrod, executive editor of
Delight Gluten.
| | 02:53 |
>> So, I can finesse it until I think she
sounds her best.
| | 02:57 |
And then, I can go ahead and copy and
paste this onto all of the clips that you
| | 03:01 |
recorded on this camera, or even save it
as a preset.
| | 03:05 |
As you see, you can really control things
with a lot of detail, and some of the
| | 03:10 |
audio effects go into much greater detail
than even this effect does.
| | 03:16 |
On the flip side, often there is a one
button fixed or a one button change that
| | 03:21 |
you can use.
I'm going to go ahead to this clip, which
| | 03:24 |
is me, talking about the way the eggs were
stored.
| | 03:27 |
>> I like buying my eggs in martini
glasses instead of in egg cartons.
| | 03:31 |
>> It makes them much more beautiful.
>> Yeah.
| | 03:33 |
>> So, you know, obviously, I don't want
the sarcasm lost to the viewer.
| | 03:38 |
So, I'm going to go ahead and pick another
one of my favorite effects.
| | 03:41 |
not necessarily for this reason, but
there's an effect that I use a lot called
| | 03:46 |
the Pitch Shifter which is really nice if
you slow down or speed up a clip, you can
| | 03:51 |
automatically have it applied.
But there are times where you just want to
| | 03:55 |
bring the, the tone up or down or the
pitch up or down without actually speeding
| | 04:00 |
up the clip.
And I can go ahead and drop that on the clip.
| | 04:04 |
Once again, we see there's an update.
I can go to individual parameters, which
| | 04:09 |
can get very, very confusing.
I can go into a custom setup.
| | 04:13 |
Or there are some presets under this
little icon here.
| | 04:17 |
And if I click the drop-down menu.
I can actually, you know, have some fun here.
| | 04:22 |
I could choose talking a lot, so I have a
Sore Throat, but I think just for the heck
| | 04:27 |
of it we're going to go with Breathless
and see how it makes me sound.
| | 04:31 |
>> I like buying my eggs in martini
glasses intend of in egg cartons.
| | 04:36 |
>> It makes them much more beautiful.
>> Yeah.
| | 04:38 |
>> I just want to say I think the effect
is great and I'm really glad that I did
| | 04:42 |
not apply it to this training.
But go ahead and try the different audio effects.
| | 04:47 |
Don't worry if you make a mistake, you can
always delete them.
| | 04:51 |
And another nice thing about this is
there's often a bypass option here.
| | 04:58 |
And you can bypass the effect and hear how
it sounded originally.
| | 05:02 |
| | Collapse this transcript |
|
|
15. Special FiltersLooking at the Warp Stabilizer| 00:01 |
There's a lot of filters that I really
like in Premiere Pro, and one of the
| | 00:05 |
filters that rises to the top for me is
the Warp Stabilizer.
| | 00:09 |
It allows me to take shaky footage, clean
shaky footage, and make it usable.
| | 00:15 |
Let me show you an example of how to use
the Warp Stabilizer in Premiere Pro.
| | 00:19 |
Take a look at this sequence we have the
wide shot of me about to cut the pizza,
| | 00:24 |
the close up, and the wide shot.
Now the problem is (SOUND) this shot's
| | 00:29 |
kind of shaky, it was handheld, and I
really wanted it to have a more stable
| | 00:36 |
look because we're going from a stable
shot to a shaky shot to a stable shot.
| | 00:52 |
So, I'm simply going to select this clip,
go over to my effects tab, type in warp.
| | 00:58 |
It brings up a couple of filters and the
one that we're going to look at right now
| | 01:02 |
is the warp stabilizer and I'll simply
drop that on the clip.
| | 01:07 |
Now, let me click on this.
If you're not seeing it in your effects
| | 01:10 |
control panel go ahead and select it in
your timeline, and make sure the effects
| | 01:14 |
control panel is available.
And you'll notice that you get this
| | 01:18 |
analyzing in background bar across the
image, and if you look closely at the warp
| | 01:23 |
stabilizer filter, you see that's counting
through the frames and analyzing the footage.
| | 01:29 |
So it's a two-step process, right now its
analyzing every single pixel and then
| | 01:35 |
determining where those pixels are moving.
Once it's done analyzing it, it will then
| | 01:41 |
determine how it can position the video so
that pizza stays relatively stable and central.
| | 01:48 |
Now I'm going to go ahead and play this
back and then we're going to make some
| | 01:51 |
modifications so you have a better idea of
how it works.
| | 01:54 |
>>So?
(LAUGH) >>And you're going to entertain
| | 01:57 |
children with this?
>>Completely.
| | 01:59 |
>>Okay.
So.
| | 02:00 |
>>So that's dramatically different.
Literally it feels as if the camera's floating.
| | 02:07 |
So what warp stabilization has done, it's
created smooth motion, and you can control
| | 02:15 |
how smooth that is.
I could use this virtual slider to move it
| | 02:20 |
to the left to stabilize it a little bit
less, or move it to the right to stabilize
| | 02:25 |
it even more.
Now, it doesn't have to re-analyze, but it
| | 02:31 |
will have to go through the stabilizing
steps again.
| | 02:34 |
If I go ahead and replay this clip.
>> Okay.
| | 02:41 |
So.
>> It seems to be floating a little bit less.
| | 02:45 |
It's almost a lock down, and that's great.
I could literally take this to 100% or if
| | 02:52 |
I wanted to, switch over to no motion at
all.
| | 02:56 |
>> Once again it's going to need to
re-stabilize it.
| | 02:58 |
The analysis is done, and now if I play it
it will seem as if the camera is locked
| | 03:04 |
down on the tripod.
>> And you can entertain children with this.
| | 03:08 |
>> Completely.
>> Okay, so.
| | 03:17 |
Now, a lot of math is happening behind the
scenes.
| | 03:19 |
And if you noticed, it was, I would say,
about 95 percent perfect.
| | 03:24 |
At one point, the pizza gets a little bit
elongated, but when you think about what's
| | 03:28 |
really happening, what was the original
shot like?
| | 03:31 |
Well, I can show you, because one of the
things you can do is in the borders property.
| | 03:36 |
I am choosing the default, which is
stabilize it, crop it, and then scale it
| | 03:41 |
up so I don't have any black in my image.
If I choose one of the options, I can show
| | 03:46 |
you exactly what's happening behind the
scenes.
| | 03:49 |
If I choose to stabilize only, what you
will see is this shot moving around to
| | 03:55 |
keep the pizza central.
>> And you can entertain children with this?
| | 04:01 |
>> Absolutely.
>> Okay, so.
| | 04:04 |
>> Notice the edges of the screen?
If I turned off the background you would
| | 04:07 |
really see it, but it's literally moving
the shot around so it stays in the center.
| | 04:14 |
Now, if I switch to stabilize and crop,
you'll actually see how much of the sides
| | 04:19 |
of the image it has to cut off so you
don't see it floating around.
| | 04:22 |
>> Okay.
So.
| | 04:24 |
>> But the pizza's staying perfectly
central, so ultimately when I switch to
| | 04:30 |
the default, which is stabilize, crop and
auto-scale, it needs to blow the image up
| | 04:35 |
to fill the frame.
And if you notice over here to the left
| | 04:39 |
it's auto scaling by 137% to make sure
that I don't have anything strange popping
| | 04:45 |
out of the sides.
Now Premiere Pro does a pretty good job of
| | 04:49 |
blowing things up without them getting
soft, and I'm pretty impressed with what I
| | 04:53 |
can do to stabilize this shot.
Now remember, if your original shot isn't
| | 04:59 |
clear because of all the motion, the warp
stabilizer isn't going to fix that.
| | 05:05 |
It works really well with very clean
footage, and you'd be surprised at how you
| | 05:10 |
can turn a lemon into lemonade.
| | 05:13 |
| | Collapse this transcript |
| Working with chroma key and green screen| 00:00 |
In this video, we're going to look at how
to use the key or the Chroma keyer as you
| | 00:05 |
might know it in Premier Pro.
Now, we're really only going to look at
| | 00:09 |
that one filter.
If you really want to learn about serious
| | 00:12 |
green screening in both the shooting, as
well in the post processing.
| | 00:17 |
You can go ahead and look at another
course on lynda.com called Green Screen
| | 00:21 |
Techniques for Video and Photography by
Richard Harrington and myself.
| | 00:26 |
But now let's take a look how you can
green screen very quickly with a well shot image.
| | 00:34 |
So, if you look at your timeline, you'll
see on the left side a before, and I've
| | 00:39 |
created an after just so you can see what
you can do with Chroma keying.
| | 00:43 |
And reverse engineer a more complex
composite.
| | 00:47 |
And what we've done is just put Vanessa
over her magazine cover, we have a nice
| | 00:51 |
green background.
And we have our credit scroll.
| | 00:54 |
So, if you're a premium subscriber, with
the exercise files, feel free to dig deep
| | 01:00 |
into this area, and see how we built this
composite.
| | 01:05 |
Jumping back over here, we just want a
green screen and remove the background
| | 01:09 |
from Vanessa so we can see through it to
the magazine cover.
| | 01:13 |
The filter that you want to use is called
the Ultra keyer.
| | 01:16 |
And if you type in Ultra, you'll see that
there's only one keyer there and simply
| | 01:22 |
drop it on top of that upper clip which is
the footage of Vanessa.
| | 01:26 |
And in our Effects Control tab, we'll see
a bunch of choices and the first thing you
| | 01:32 |
need to do is tell it what color you want
to remove from your image or key out.
| | 01:38 |
So, you can grab the eye dropper and we're
going to click on this green background.
| | 01:43 |
And very quickly, we can see it's a very
clean key, and we can see right through
| | 01:49 |
the green background to the magazine that
we put behind.
| | 01:53 |
There might be a couple of little problems
here.
| | 01:55 |
For instance, it was successful in keying
out the green, but we have the edge of the
| | 02:00 |
background and the wall in the left corner
of the image, which is on your right.
| | 02:06 |
If I switch over from Composite to Alpha
channel, what I'm seeing is a grey scale
| | 02:13 |
version of what's transparent and what's
solid.
| | 02:16 |
Anything that is white is solid.
Anything that is black is transparent, and
| | 02:21 |
if it's grey it's translucent, and it
could look kind of muddy.
| | 02:25 |
So, what I want to do is be a little bit
more aggressive on my key.
| | 02:30 |
And Premiere by default let's you switch
from its default setting to a relaxed
| | 02:35 |
setting if, for instance, your key is
removing too much of the person.
| | 02:40 |
Or in my case, I want to switch to an
aggressive setting and it really starts
| | 02:44 |
removing almost all of the black material.
It hasn't fixed the problem I had over
| | 02:49 |
here when we shot beyond the green screen
area.
| | 02:52 |
But I'm pretty good if I switch back from
Alpha channel to Composite and I can see
| | 02:58 |
the magazine really nicely.
The other controls that you see below the
| | 03:04 |
swatch are all the little sliders that you
can learn in the other course to really
| | 03:09 |
fine tune to make sure that you have solid
blacks and solid whites.
| | 03:13 |
But for now, the one button solution works
really, really well.
| | 03:18 |
The next thing I want to show you is how I
can remove this edge problem and that's
| | 03:24 |
using something called a Garbage Matte.
Now, a Garbage Matte is basically a mask
| | 03:29 |
that allows you to remove the garbage from
the side of the screen.
| | 03:32 |
And if I type the word garbage into my
search box, I can see there's a four,
| | 03:37 |
eight, and 16 point Garbage Matte.
The larger the number of points, the more
| | 03:42 |
complex the shape you can draw.
In this case, four will do the trick.
| | 03:47 |
I simply throw that on top of the same
clip that I have the Ultra keyer on.
| | 03:52 |
I can scroll down and see it right here in
my Effects Control tab.
| | 03:56 |
And I'm going to click on the wire frame
icon so, I can actually see those four
| | 04:01 |
points to adjust them.
I grab the little circles.
| | 04:05 |
And if you notice when I move this above
it's actually cutting off part of Vanessa.
| | 04:11 |
So, I want to just move it over right to
the edge here because now it removes that
| | 04:16 |
background and some of the translucent or
gray scale material.
| | 04:20 |
And I'll slide this over here.
If I turned off the actual Ultra keyer,
| | 04:26 |
you'll see what the Garbage Matte does is
it just gives me a much more robust crop
| | 04:33 |
of my image.
But with it turned on and I can hit play.
| | 04:37 |
>> And we're so excited to let you know
that.
| | 04:40 |
>> I have a wonderful key in just a couple
of steps.
| | 04:44 |
| | Collapse this transcript |
| Using color correction tools| 00:01 |
Now, there are times when you're cutting
together a video where you have one of a
| | 00:05 |
few problems.
The color balance could be off and if you
| | 00:09 |
look at the scene that I have open, the
camera was set for the wrong color
| | 00:13 |
temperature, so it's actually everything's
a little bit blue.
| | 00:16 |
And we don't want that.
We want to actually make that nice and white.
| | 00:20 |
Other times you may want to use the color
correctors as to brighten a scene or to
| | 00:24 |
darken a scene or to make two scenes
match.
| | 00:27 |
Let's take a look at three different
filters that can help you quickly fix your
| | 00:32 |
color challenges.
Now, there are several courses on
| | 00:36 |
lynda.com, that go much deeper into color
correction or color grading, and if you
| | 00:41 |
want to know more I'd advise you to check
those courses out.
| | 00:45 |
Now onto fixing our color.
I can see right now that the image is a
| | 00:49 |
little bit blue/purple.
And underneath the effects tab if I type
| | 00:54 |
the word color I actually will see all of
my different color correction choices.
| | 00:59 |
I'm going to choose auto color which
you'll find in the adjust bin and simply
| | 01:04 |
drop it on top of this clip.
Its going to make a best guess as to how
| | 01:10 |
the color should be an dyou can see it has
improved dramatically.
| | 01:15 |
But it still's not quite the control that
I want.
| | 01:18 |
There are some options that you can work
with, such as snapping neutral mid tones,
| | 01:24 |
and so forth, but I think I want a little
more control on this shot.
| | 01:29 |
So I'm going to go ahead and right click
on it And cut it out and move down to a
| | 01:35 |
simple yet powerful color correcter called
the fast color correcter.
| | 01:41 |
I'm going to drop that onto the clip and
you'll notice there's no change at all at
| | 01:46 |
this point and there's several controls
that you can work with But what I really
| | 01:51 |
want to work with is the fact that it's a
little bit too blue.
| | 01:54 |
I can simply go over here to the white
balance eyedropper, select it and choose
| | 02:00 |
what should be white in my image.
Now don't pick something that's really
| | 02:04 |
bright, because it's going to be so blown
out there won't be a lot of color...
| | 02:07 |
So, I'm going to choose the wall first and
when I click on it I do see a subtle improvement.
| | 02:14 |
But the challenge is we were getting a lot
of daylight that was reflecting on the
| | 02:18 |
stove and onto us as the talent.
So instead of choosing the wall I'm
| | 02:22 |
going to try other areas and I'm going to
just choose the microwave.
| | 02:27 |
And as you can see with one click it
removed most of the blue and purple from
| | 02:32 |
the shot and our skin tone has been
dramatically improved.
| | 02:36 |
I want to turn that on and off so you can
see how dramatic the difference is.
| | 02:44 |
If you want to see the before and after at
the same time, just click on Show Split
| | 02:48 |
View and you can look at that horizontally
or vertically.
| | 02:52 |
And you can see right here how much bluer
that image is and how much nicer it is on
| | 02:57 |
the left side.
There are additional controls down on the
| | 03:01 |
bottom to work with luminance value and
really working with some of the areas.
| | 03:06 |
I think a little more saturation would be
nice.
| | 03:08 |
But I'm going to explore those in a little
more detail with the next filter which is
| | 03:13 |
the three way color corrector.
Now the three way color corrector is even
| | 03:18 |
more powerful than this fast color
corrector.
| | 03:21 |
Let me show you the two shots that I want
to work with.
| | 03:25 |
There's a wide shot of me taxing the
pizza.
| | 03:29 |
(CROSSTALK)
>> (INAUDIBLE).
| | 03:29 |
>> (LAUGH).
>> Oh that's great, thank you, I, Vanessa.
| | 03:30 |
You've opened up another new world for me.
It was delicious and.
| | 03:34 |
>> And then, we go to this close up.
Now, the colors are almost the same but if
| | 03:38 |
I jump back and forth I see that the wide
shots a little darker and has a richer
| | 03:45 |
feel to it.
So I'm going to go ahead and select the
| | 03:47 |
middle shot.
The middle shot right here.
| | 03:50 |
And scroll down and choose the Three-Way
Color Collector, and simply drop that onto
| | 03:55 |
this clip.
It looks very similar to the fast color
| | 03:58 |
corrector, but it allows you to work with
just the color in my shadows, my
| | 04:03 |
mid-range, and my highlights.
I have three eyedroppers instead of just
| | 04:08 |
one, so I can go and very quickly say,
well, what should be white.
| | 04:13 |
So I'll look maybe at this area right
here.
| | 04:16 |
What should be kind of a neutral grey,
and, finally, what should be a nice, rich black.
| | 04:25 |
And this should get me to a point where
the colors would match better.
| | 04:30 |
And I can manually drag some of these
elements to refine it, so it looks good to
| | 04:34 |
my eye.
But I think this is a good place to start.
| | 04:37 |
I really just want to get something out,
quickly, to my audience.
| | 04:42 |
The bigger problem I have is, that, the
black levels and the white levels don't match.
| | 04:48 |
So I'm going to slide down a little
further and use this area here input and
| | 04:54 |
output levels.
If I look at this image and I grab the
| | 04:59 |
right side of my input level it actually
will make my image brighter.
| | 05:03 |
If I grab the left side.
It will make the blacks richer.
| | 05:08 |
So adding a little more will help these
two shots match better.
| | 05:14 |
Now if I drop down to output level.
And I grab the area on the right side.
| | 05:18 |
I can actually bring down some of my
luminance, or that really blown out white area.
| | 05:23 |
And I think that's going to be a lot
closer to the previous and the following shot.
| | 05:28 |
If I had grabbed the left side it can
actually make my image less contrasty and
| | 05:33 |
that's not going to look good.
But, let's take a quick look at the before
| | 05:36 |
and the after and I think we're pretty
good.
| | 05:39 |
Maybe pull down the saturation just a
hair.
| | 05:45 |
And I can get these two shots to match
pretty well.
| | 05:49 |
We'll split the difference and we're good
to go.
| | 05:52 |
Now once I've been able to match these two
shots I have other shots in my timeline
| | 05:59 |
that also need this grade or need this
correction.
| | 06:03 |
I can very easily select the clip and
right-click.
| | 06:09 |
Go ahead and copy that one filter.
Select the other filters where I want to
| | 06:17 |
paste it onto, hit Cmd+V on a Macintosh or
Ctrl+V on Windows, you see that now these
| | 06:26 |
turned red.
The two additional clips have been color
| | 06:30 |
corrected and they match, not only the
other cutaway but of course, the wide shot
| | 06:35 |
that we used.
Color correction can be really fast and
| | 06:39 |
easy using these three basic color
correction filters.
| | 06:44 |
Of course, you can go a lot deeper and you
can explore that in some of the color
| | 06:50 |
correction or color grading courses on
lynda.com.
| | 06:55 |
| | Collapse this transcript |
| Looking at the Lumetri color looks| 00:01 |
A lot of times once you're finished with a
program, you want to give it a look or a feel.
| | 00:06 |
You could even just do this with a section
of a program.
| | 00:09 |
One of the areas under the Effects tab
that I like to use to bring my video to
| | 00:14 |
the next level is the bottom bin, which is
the Lumetri Looks.
| | 00:19 |
If I open this up and press the tilde key,
you can better see what you have to work with.
| | 00:26 |
As I click on each one of these I actually
bring up a visual representation of how
| | 00:32 |
this filter will change the entire color
palette of a clip.
| | 00:38 |
So if I want to give a shot a specific
look, I could step through these and get a
| | 00:43 |
feel of what would happen if I drop this
filter on my existing video.
| | 00:49 |
And there's a variety of looks that you
can work with, cinematic looks as well as
| | 00:54 |
black and white looks that I could work
with.
| | 00:57 |
There are some stylized looks such as back
in the day, which we used earlier on in
| | 01:02 |
this course.
As well as some dreamy looks and some
| | 01:07 |
looks that really kind of push the
envelope that really scream out I am
| | 01:12 |
changing the look of your video, as well
as some ones I really like at the very
| | 01:16 |
bottom under temperature which allow me to
warm up the feel of the image, such as the
| | 01:22 |
warm gamma mix and the warm mid tones, as
well as the warm over all.
| | 01:27 |
Let me go ahead and shrink this window by
hitting the tilde key, and throw a couple
| | 01:32 |
of looks on the clip, so you can see
exactly how they work.
| | 01:35 |
For instance, I could go ahead and I
really like this black and white, using a
| | 01:40 |
blue filter.
It basically uses one element of the color
| | 01:44 |
palette as a predominant color to make my
black and white, and this is a nice clean
| | 01:49 |
black and white.
As a matter of fact, I like it a lot
| | 01:51 |
better than if I just desaturated the
colors.
| | 01:54 |
Now, once thing to keep in mind about
these looks.
| | 01:58 |
If I double click to load this clip into
the viewer and I look at the effects
| | 02:02 |
control tab.
You'll notice there are no modifications I
| | 02:06 |
can make to this.
So, it's set and forget.
| | 02:10 |
I can't tweak any aspects of this.
All I can do is choose to use it or not to
| | 02:15 |
use it.
Now you can create your own looks and
| | 02:19 |
speed grade, or you can find different
looks that you can import on the internet.
| | 02:25 |
Now, even though we're stuck with one set
of parameters per look, you can mix your looks.
| | 02:33 |
So, for instance, I like this black and
white, but I want to give it my own unique feel.
| | 02:39 |
I'm going to go ahead and scroll through
this, and find something that is a little
| | 02:43 |
bit more aggressive.
If I click on dreams, that's that green
| | 02:47 |
that I didn't like.
It's a little bit over the top for me, but
| | 02:50 |
I'm going to go ahead and drop it on the
clip, because I like the way it blows out
| | 02:55 |
the image.
So now I want to flip flop this and we
| | 03:00 |
learned earlier in the course when working
with filters.
| | 03:03 |
That filter order is critical.
So if I put dreams on first followed by
| | 03:09 |
the black and white filter I can get a
black and white look and get that blown
| | 03:16 |
out soft effect from the dreams.
So as you see this adds kind of an
| | 03:21 |
interesting feel to my show.
Not sure if I would use it on a cooking
| | 03:25 |
program, but I do like what I can do by
mixing and reordering the various looks effects.
| | 03:34 |
And just like our other filters I can
select, copy, select the other clips, and
| | 03:43 |
right click, and paste attributes, and go
ahead and throw both of the effects onto
| | 03:50 |
all my other clips.
(SOUND) So, take a look at the Lumetri
| | 03:57 |
looks in your Effects control panel and
you can once again bring your program to a
| | 04:04 |
different level.
| | 04:05 |
| | Collapse this transcript |
| Using adjustment layers to save time| 00:01 |
Let's take a look at Adjustment Layers.
Now, the adjustment layer is very
| | 00:04 |
powerful, if you want to apply a filter
across multiple clips without having to
| | 00:09 |
put that filter on each and every clip.
Now, the reason you don't want to do that,
| | 00:13 |
is what if you need to make a change and
modify that filter.
| | 00:17 |
The producer says a little brighter or a
little darker.
| | 00:19 |
You don't want to have to go back to each
one and make that change.
| | 00:23 |
So, what we're going to do is create an
adjustment layer.
| | 00:26 |
You can do it many places within the
interface.
| | 00:28 |
I'm going to go down to new item and
create Adjustment Layer.
| | 00:31 |
It perfectly matches the sequence
settings.
| | 00:33 |
I'm going to press OK, and I see that it
appears in my Project pane.
| | 00:39 |
Now, I'm going to grab the Adjustment
Layer, and I'm going to drag it over here
| | 00:42 |
and put it onto V2, and I'm doing that for
a specific reason.
| | 00:46 |
I only want the adjustment layer to modify
the clips below it.
| | 00:51 |
In this case, the basic video, not the
lower thirds.
| | 00:54 |
It's because I'm going to take and give
this a look.
| | 00:57 |
I'm going to give this that, Back in the
Day, Sepia look, that I really liked.
| | 01:02 |
And I don't want to take the risk of
putting it on each individual clip, so
| | 01:07 |
think of an adjustment layer as a
container that effects everything below it.
| | 01:11 |
If I jump to my Effects tab, and switch
over to Lumetri Looks, I can scroll down
| | 01:16 |
and choose that Back in the Day filter.
By dropping it on the Adjustment Layer,
| | 01:22 |
all the clips below are now Sepia.
What I really like is the flexibility
| | 01:30 |
because I can easily go in and turn this
on and off to show the producer what it
| | 01:34 |
would look like with and without.
I can also throw multiple looks or
| | 01:39 |
Multiple filters, which I can toggle on
and off on my adjustment layer to show a
| | 01:44 |
variety of looks for my program.
Maybe I want one of the Dreams Look, and
| | 01:51 |
let's choose one more just so we can
toggle between them.
| | 01:54 |
Well, we might as well go back to the 70s
and I'll drop that on.
| | 01:58 |
Now, of course, I want, want to look at
all of these at the same time.
| | 02:02 |
But I can turn them on and off
individually or combine them into small
| | 02:07 |
groups to show my producer a variety of
different looks.
| | 02:11 |
So, let me turn off Back in the Day, and
as you can see, I now have that dream
| | 02:18 |
glow, or if I wanted to, I could even turn
off that Dreams because it's a little soft
| | 02:24 |
for my taste and now, I get that 70s look
feel.
| | 02:28 |
So, in this case, I used the looks, but
you can use any filter you want to modify
| | 02:34 |
all the clips below it.
So just let me quickly turn that off and
| | 02:39 |
throw on a clip that you can modify such
as a Gaussian blur.
| | 02:43 |
And as you see, it applies the blur to the
entire program.
| | 02:48 |
Now, I may not necessarily want to do this
for my entire show, but let's say I
| | 02:54 |
want to run some credits over part of my
show, this will allow me to blur a chunk
| | 03:00 |
without risking changing all the
individual clips.
| | 03:03 |
I want to show you one last trick when it
comes to Adjustment Layers, and that's the
| | 03:07 |
ability to change the size of all the
clips below it.
| | 03:11 |
We're going to go back to the project file
and grab the original adjustment layer,
| | 03:15 |
because you can use this over and over
again, because it's simply an empty container.
| | 03:20 |
And now, I want to change the look of the
show.
| | 03:23 |
Let me first go back and turn off the
Gaussian Blur, and now, I want to change
| | 03:28 |
the size of my image.
You don't use this using the Motion
| | 03:33 |
parameter here, you always have to use
Filters.
| | 03:36 |
So I'm going to make sure that the top
adjustment layer is set.
| | 03:40 |
And I'm going to jump to my Effects Tab
and scroll down and one of the options
| | 03:45 |
under Effects is Perspective.
And I'm going to grab Basic 3D and I can
| | 03:50 |
use this filter to modify the size and the
tilt of my image.
| | 03:56 |
So for instance, I can grab distance and
make it a little bit smaller.
| | 04:02 |
And I'm going to grab Swivel and kind of
just tilt it a little bit.
| | 04:07 |
If I wanted to, I could turn on a Specular
Highlight and all that's going to do is if
| | 04:11 |
there's a light source, it will catch that
light source on the front of the image
| | 04:15 |
giving it more of a 3D feel if I animate
it.
| | 04:19 |
So if you want to change the size of an
image, remember, if you can find a filter
| | 04:24 |
to do the job you can get the job done.
Adjustment Layers are incredibly powerful.
| | 04:30 |
It just takes a little bit of practice and
knowing how to use them to get the job done.
| | 04:36 |
| | Collapse this transcript |
|
|
16. Modifying SpeedFit-to-fill editing| 00:01 |
There's a lot of reasons that you may want
to speed up or slow down your video.
| | 00:05 |
You may need to fit something into a
certain space and you don't have enough
| | 00:09 |
media or you have too much.
Or you may want to do it stylistically to
| | 00:13 |
give that slow motion effect to draw out
and allow the viewer to see more of what's happening.
| | 00:20 |
Conversely, if the viewer isn't going to
be patient two watch things in real time,
| | 00:26 |
a lot of times you'll speed things up,
almost doing a time lapse.
| | 00:30 |
Now, Premiere Pro is excellent at
modifying speed and there are many ways to
| | 00:35 |
slow down and speed up, and even reverse a
clip depending on the environment you're
| | 00:41 |
in, and exactly what you need to do.
One of the most popular ones is fit to fill.
| | 00:47 |
And this is a situation where you might
have less media than you have time in your timeline.
| | 00:54 |
So in this case I've already marked an in
and out point.
| | 00:57 |
And I can see that this in and out point,
if I look over here to the right side of
| | 01:01 |
the screen, Is almost 7 second longest.
And let's go ahead play it and here what
| | 01:07 |
Vanessa is saying and then we're going to
open up a piece of video and place it in,
| | 01:11 |
but it's not going to be long enough to do
what we need to do.
| | 01:14 |
>>So, I have a very simple recipe.
>>Okay.
| | 01:17 |
>>Were going to start with some tapioca
flour, which is a really wonderful
| | 01:20 |
textured gluten-free flour.
It's get, it makes this really great So
| | 01:25 |
she's talking about using the tapioca
flour, and we're going to cut to a close
| | 01:28 |
up, and I could take the entire close up.
So there's a clip labeled flour.
| | 01:34 |
I'm going to double click to load this
into the viewer.
| | 01:37 |
I've already marked an in and an out point
for it's duration.
| | 01:39 |
If we go ahead and we Play this.
>> Flower, It's get, it makes this really great.
| | 01:44 |
>> So, what's happening here is I want
the viewer to be able to see the closeup
| | 01:48 |
of the flower, and after about two
seconds, I start moving it around and
| | 01:53 |
shaking it, her hand comes into the shot.
So instead of putting in a freeze frame,
| | 01:58 |
I'm just going to put the clip in and slow
it down.
| | 02:00 |
So, you'll notice that I've marked an in
point and an out point in my source and I
| | 02:05 |
have an in point and an out point in my
destination and the sources duration is
| | 02:09 |
only 2 seconds where my target duration is
almost 7 seconds.
| | 02:15 |
So something has to give and what gives is
slowing it down now the beauty is I don't
| | 02:21 |
have to know math to do this.
I can simply select a clip and do an
| | 02:26 |
oveeride edit.
Now be careful there because I want to
| | 02:29 |
replace the video but leave the existing
voice over and that comes over here to the
| | 02:34 |
track targeting I can just turn off the
target there Make sure that it's an
| | 02:39 |
inactive track so the only thing that
should be effected is my targeted video layer.
| | 02:44 |
Now I can simply request an overwrite edit
because I want to replace the video.
| | 02:49 |
I don't want to do an insert edit.
And I'm presented with a dialogue box.
| | 02:54 |
Now, there are five options here, two of
them are grayed out.
| | 02:58 |
And we're ultimately going to use the top
one.
| | 03:01 |
But the reason two and three are grayed
out is because I can't throw away the in
| | 03:05 |
or the out point of the source, because
it's shorter, it's only two seconds long,
| | 03:10 |
than my target destination.
Now if I wanted to, and I didn't want to
| | 03:15 |
change the speed, I could say, oh, you
know something Ignore the out point,
| | 03:19 |
ignore the in point.
And we're just going to end up putting in
| | 03:22 |
a two second clip, and we'll have this
huge gap still for the other four seconds.
| | 03:28 |
So I'm going to select Change Clip Speed.
And this is called the Fit to Fill.
| | 03:32 |
And when I press OK, take a look at what
happens on video track one.
| | 03:37 |
The clip gets placed in, there was a two
second clip and if I (INAUDIBLE) there
| | 03:43 |
will be huge gap here, and because of I
turned off this targeting jack we still
| | 03:47 |
(INAUDIBLE) to voice but lets take a
closer look at what happened to the video
| | 03:54 |
Difficult so I have a very simple recipe.
We're going to start with some tapioca
| | 03:58 |
flower which is a really wonderful texture
gluten free flower.
| | 04:02 |
It makes this really great crust.
>> So I get to see it.
| | 04:06 |
I get to see it in detail.
The viewer knows that I've slowed it down.
| | 04:10 |
As a matter fact If I wanted to I could go
ahead and select this area and hit the
| | 04:15 |
Plus key to zoom in, and I can see
precisely how much I needed to slow it
| | 04:21 |
down to fill that space.
Now one thing I often do when I slow a
| | 04:26 |
clip down on fit to fill.
Sometimes I need to tweak it so I see the
| | 04:32 |
best in and out point.
And this is another perfect example where
| | 04:37 |
you would be using the slip edit tool that
we learned about in an earlier video.
| | 04:42 |
So if I wanted to find where it was when
we saw this clip, and where the outpoint
| | 04:46 |
was, maybe i wanted a little less shaking
of the clip.
| | 04:53 |
I could switch over to the tool.
By going over here and choosing the slip
| | 04:59 |
tool, or "y", or I could even go back to
the source monitor with the in and out and
| | 05:05 |
just slide it back and forth that way.
So I have a couple of choices here.
| | 05:10 |
I'm going to go down here and use the Y
key.
| | 05:14 |
>>Select it, and as you can see I can
choose the outpoint, and I'm just moving
| | 05:20 |
it before I start shaking it.
That's a lot nicer, I let go.
| | 05:24 |
The speed has not changed, but the timing
is much better.
| | 05:28 |
>>Okay.
>>We're going to start with some tapioca
| | 05:30 |
flower, which is a really wonderful
textured gluten free flower.
| | 05:34 |
It makes this really great So that worked
much better for me.
| | 05:38 |
It was a little less shaky.
And ultimately when I render this, it's
| | 05:41 |
going to be a lot cleaner and a lot more
fluid on that slow motion.
| | 05:46 |
I'll just make one more aside when talking
about speed changes.
| | 05:50 |
And that is as excellent as Premiere is in
slowing things down, if you slow something
| | 05:56 |
down dramatically, and I'm saying maybe
like 8% or 10% of it's original length.
| | 06:01 |
You may want to step into after effects
with that footage.
| | 06:05 |
And that has a more powerful engine and
algorithm to slow things down.
| | 06:10 |
It will take a lot longer to render,
because it's actually going to be creating
| | 06:15 |
new pixels to get the job done.
The fit to fill edit is a resource that I
| | 06:20 |
use all the time in my toolbox.
After when cuttings news I often will have
| | 06:26 |
a 10 second sound byte yet 2 minutes of
footage of the guy leaving say the
| | 06:31 |
courthouse and fit to fill will
automatically slow it down and make sure
| | 06:36 |
that I have enough video footage to cover
my audio sound byte.
| | 06:41 |
| | Collapse this transcript |
| Stretching a clip| 00:01 |
Now fit to fill that we learned about in
an earlier video is a very effective tool,
| | 00:06 |
but there's times that you need to stretch
out the duration of a clip, and here's a
| | 00:11 |
perfect example.
Vanessa's kind of describing all of the ingredients.
| | 00:15 |
I wanted to make a cut down of everything
that goes into it, and instead of taking
| | 00:19 |
ten minutes to go through it, I wanted to
do it really quickly.
| | 00:22 |
So as you can see, the video and the audio
have been spaced out, and if I played this
| | 00:28 |
at normal speed.
>> Some parmesan cheese, the egg, this is
| | 00:33 |
the oil and.
>> So let's play it back, and as you see
| | 00:37 |
the audio is a lot more balanced.
The audio actually, there's breathing, and
| | 00:43 |
if you recall back when we did transitions
it was fast, fast, fast, fast.
| | 00:47 |
But I don't have enough good media to
cover this, and I didn't want to sit there
| | 00:50 |
and do a lot of math to stretch it out, so
the trick is let's cut it together with
| | 00:56 |
some of that video footage, even if it's
not long enough.
| | 00:59 |
But make sure that the audio is balanced.
Make sure we're actually hearing what we
| | 01:03 |
need to hear and then worry about the
video.
| | 01:06 |
So we're pretty good.
I'm going to go ahead and hit the back
| | 01:09 |
slash key so that you can see everything.
We do have a missing piece of audio here,
| | 01:16 |
so when she says put in the water but
we're just going to kind of skip this
| | 01:19 |
right now and I want to show you a really
useful tool.
| | 01:22 |
Called the Rate Stretch tool, which is a
great way to slow things down or speed
| | 01:26 |
things up directly in the timeline, and I
don't have to worry about marking in and
| | 01:31 |
points on the source, and in and out in my
destination.
| | 01:34 |
I simply go over here, and if you click on
this little icon, keyboard shortcut is the
| | 01:39 |
letter R, easy to remember because of rate
stretch.
| | 01:43 |
The tool actually changes.
It looks like a trimming tool but it
| | 01:47 |
actually has the arrow through and that
indicates rate stretch, and I could
| | 01:50 |
actually just click on the edge of a clip
and pull it and make it longer.
| | 01:54 |
Now, it's doing something very different
than when we use the trim tool.
| | 01:58 |
When we have the trim tool it actually
added any available media so the shot got
| | 02:03 |
longer, it didn't slow down.
In this case I don't have enough media
| | 02:09 |
because I'm either talking over it or
we're not doing the action anymore, and I
| | 02:13 |
just want to slow it down.
So take a look at what the egg shot would
| | 02:17 |
look like.
>> The egg, this is the oil,
| | 02:21 |
>> So it slows it down, just kind of like
we did in the previous video, and I can go
| | 02:26 |
through and fill these gaps by simply
grabbing and stretching them, and they're
| | 02:32 |
going to be different speed changes
depending on my timing now.
| | 02:35 |
I kind of eyeballed it when I put it down,
so ironically it's about 50%.
| | 02:40 |
But let me go ahead and zoom in onto the
dough ball by pressing the plus key.
| | 02:44 |
And if we go ahead and we play this.
>> The water.
| | 02:48 |
>> (BLANK_AUDIO).
Alright, you're going to mix it up.
| | 02:56 |
Then we're going to press it out onto the
pizza pan.
| | 02:58 |
>> You can see it actually gives us enough
time to kind of digest what we're doing,
| | 03:03 |
and the rate tool is very, very useful for
this.
| | 03:06 |
Now, I've been stretching a clip out, and
I would probably do that for all of the
| | 03:11 |
clips in this sequence, but I also want to
show that I can use the rate tool to speed
| | 03:17 |
things up.
>> Super easy.
| | 03:23 |
>> Here we have a situation of the
toppings and the parsley, so I'm actually
| | 03:28 |
taking much more care in doing this and
now it's too long.
| | 03:31 |
So using the right stretch tool, instead
of pulling something out to the right, I
| | 03:35 |
can actually squeeze it in and it's going
to speed it up.
| | 03:38 |
I'm going to zoom in so you can see it
went up to 271% in this case.
| | 03:43 |
>>And I'll just hit Play and I'll be
putting these pieces of parsley on pretty
| | 03:48 |
darn quick.
>>Super easy.
| | 03:52 |
>>See if I work this fast I could actually
get a job in a pizzeria.
| | 03:56 |
So the rate stretch tool is very useful.
You switch over to it with the letter R,
| | 04:02 |
you can make things shorter and speed them
up.
| | 04:05 |
You can make things longer and it will
slow them down.
| | 04:08 |
And once they've been sped up or slowed
down, you can trim them or do slip and
| | 04:13 |
slide edits as needed.
| | 04:14 |
| | Collapse this transcript |
| Looking at the Clip Speed/Duration dialog box| 00:01 |
Now, using Fit to Fill on the Rate Stretch
tool are excellent ways to make a clip go
| | 00:05 |
faster or shorter, but there's oftentimes
when you want to be very precise about how
| | 00:10 |
much you want to speed something up or
precise on how much time you have for the
| | 00:16 |
event to happen and that's where the Speed
Duration dialog box comes in to play.
| | 00:22 |
One of the places that you can find it, is
directly on the clip itself.
| | 00:26 |
So this pizza shot here, is wonderfully
engaging at a minute and forty three seconds.
| | 00:32 |
Let me just play three seconds of it and
you can actually see how it draws you in.
| | 00:37 |
I think you've seen enough of this.
Now what I want to point out is that, this
| | 00:45 |
becomes much more interesting to watch the
pizza cook if we speed it up.
| | 00:50 |
Instead of its taking its default duration
of a minute and forty three seconds, I
| | 00:54 |
want to see it cook a little bit faster.
And that's a convention I can get a way
| | 00:57 |
with in a cooking show.
Now I do want to point out, that I've
| | 01:01 |
modified this clip a little bit.
If I go up under the effects control tab,
| | 01:06 |
I put on a gamma correction to make the
blacks a little bit deeper so it looks
| | 01:10 |
more tasty And I've also adjusted the
rotation so it's even in the stove.
| | 01:15 |
If you've imported this media directly
from the exercise files without using the
| | 01:20 |
one that I've already put in the
timeline,you'll notice that your pizza is
| | 01:22 |
a little lopsided and it's a little washed
out.
| | 01:25 |
But, I want to make this faster, so I'm
going to write click on the clip and there
| | 01:30 |
is a choice here called speed and
duration.
| | 01:33 |
When I click on that I have this option
here of changing either the speed or the
| | 01:40 |
duration, and these are directly linked
together.
| | 01:43 |
Now you can break this link if you need to
but most of the time you'll leave these
| | 01:47 |
connected to each other.
For instance, if I make this clip, say,
| | 01:51 |
50% of its normal speed, which means it's
going at half speed...
| | 01:55 |
You'll notice that the time will double.
And conversely, if I say make this500% or
| | 02:00 |
five times faster, it drops from a minute
43 down to 20 seconds.
| | 02:06 |
But I have a specific amount of time, I
want this to just take 10 seconds to cook.
| | 02:11 |
So instead of clicking on speed, I can
click on the duration.
| | 02:15 |
Say, just make this clip ten seconds and
zero frames.
| | 02:19 |
And then when I click off it, it will do
the math that's necessary.
| | 02:24 |
So in about ten seconds, this pizza's
going to cook.
| | 02:27 |
I also have some other options down here.
And we'll explore the ripple edit and
| | 02:32 |
shifting trailing clips in the next few
clips on our timeline.
| | 02:36 |
But for right now, this is good.
If I click Reverse Speed, this is a great
| | 02:40 |
way if you want something to play
backwards.
| | 02:42 |
So it starts at the end and goes to the
beginning.
| | 02:45 |
But for now, we don't want to uncook the
pizza.
| | 02:48 |
So we'll just leave it at 10 times normal
speed.
| | 02:51 |
And I'm going to press OK.
Now when I press OK, you'll notice that in
| | 02:55 |
the Timeline the clip will get shorter.
And if I go ahead and play the clip at
| | 03:01 |
this point, it truly is an engaging shot,
because we actually see the pizza bubbling.
| | 03:10 |
So, whether I tell my viewer that I've
sped it up or not Is unimportant as long
| | 03:16 |
as it looks interesting to the viewer I'm
in good shape.
| | 03:20 |
Now I could go ahead and right click and
do a ripple delete to bring these other
| | 03:25 |
clips down the timeline to fill in that
space.
| | 03:29 |
Now let me undo this because I want to
show you what one of the other option does.
| | 03:33 |
And then I'm going to show in process how
you can really speed up your editing.
| | 03:37 |
Using this dialogue box.
So, we'll go back to speed and duration.
| | 03:41 |
And in this case, I will select ripple
edit, and shift trailing clips.
| | 03:48 |
Now, when I make it speed faster, I'm
going to go the other route.
| | 03:51 |
I know from our previous example, that
1000 will work.
| | 03:55 |
Because that'll make it about 10 seconds
long.
| | 03:57 |
And this time I do have ripple edit, and
shifting trailing clips selected.
| | 04:01 |
I'm going to press OK, and take a look at
my timeline.
| | 04:05 |
It shortens the clip, but it closes the
gap.
| | 04:09 |
So, the clip is now 1/10th the duration,
but I don't have to worry about retiming
| | 04:15 |
anything further down the timeline.
So that's what that check box will achieve.
| | 04:21 |
It will actually close the space.
And conversely, if I had made it really
| | 04:25 |
long it won't hit that wall.
So I'm going to very quickly do this one
| | 04:30 |
more time, and making longer with rippled
checked and unchecked.
| | 04:34 |
Hit undo, right-click Speed and duration,
and now instead of making it 1,000% I'm
| | 04:42 |
going to simply make it 50%.
If ripple is checked when I hit OK, the
| | 04:48 |
clip gets longer.
And I'm going to hit the Backslash key.
| | 04:51 |
And it pushes everything down the
timeline.
| | 04:53 |
Again, it works exactly how I expected.
Undo it one last time.
| | 04:58 |
This time I will right click speed and
duration, uncheck the ripple, once again
| | 05:04 |
make it 50%, so it's not going to ripple
anything.
| | 05:07 |
Now watch what happens when I press OK.
It will make it 50% but it won't allow it
| | 05:14 |
to automatically override these clips
which is a good thing.
| | 05:19 |
So what really happenned behind the scenes
well it slowed the clip down to 50% but if
| | 05:25 |
I load this clip into the viewer it
trimmed the very end.
| | 05:30 |
So I have the right speed, but because I
didn't have enough room, it just took
| | 05:34 |
advantage of the space that was available.
I could go ahead and either do a trim
| | 05:40 |
edit, or hold down the Cmd key, and do a
trim ripple, and make it as long as I need
| | 05:47 |
it to be.
Let's explore a couple of speed tricks
| | 05:50 |
related to the speed dialog box.
If I zoom in and use my Up and Down Arrow
| | 05:56 |
keys to jump exactly to where the first
series of clips start, we can see that I
| | 06:01 |
have that same situations on earlier
videos where the earlier clips were long enough.
| | 06:07 |
.
Let me scroll over so we can see the
| | 06:09 |
entire chunk.
And I can show in how instead of grabbing
| | 06:13 |
the rate stretch tool I can very quickly
close these spaces.
| | 06:18 |
So, I'm going to select all of these clips
by drawing a bounding box around them and
| | 06:24 |
now I'm going to right click and choose
the same speed and duration dialogue box.
| | 06:30 |
Now, I need them to be slower, so I'm
going to make them all about 50% of their
| | 06:34 |
current duration.
So let me type in "50%" right here.
| | 06:39 |
And if I choose Ripple Edit, shift
trailing clips or shifting trailing clips,
| | 06:46 |
it's going to slow them down, make them
each twice as long, but still leave all of
| | 06:50 |
those faces.
I don't want that.
| | 06:52 |
I want to close the spaces.
So that's okay.
| | 06:54 |
When it hits the next clip, I don't care
if it's seven seconds or eight seconds as
| | 07:00 |
long as it's 50%.
I'll press OK and very quickly I've been
| | 07:04 |
able to slow all of these down and fix the
problem.
| | 07:07 |
This one needed a little more space.
I can either go back to the rate stretch
| | 07:11 |
tool, or just right click on that one,
choose speed and duration, choose 40%, and
| | 07:18 |
that's going to make it a little bit
longer.
| | 07:20 |
We see it goes to three seconds in ten
frames, hit okay, and the space is closed.
| | 07:25 |
>> Tapioca flour, the cheese, the egg,
this is the oil.
| | 07:33 |
>> Now once I do this, I may grab the
audio and move it left and right a little
| | 07:38 |
bit, depending how I want that timing to
be.
| | 07:40 |
And if I don't like all the action, I can
select any clip And throw it back into my
| | 07:47 |
source video, and do slip edits if the
media is available.
| | 07:52 |
Now, what would I do in this case?
Here all the clips are really tied together.
| | 07:57 |
I made a very quick cut.
And we used this earlier on when we
| | 08:01 |
learned about transitions, but I want it
to breathe a little bit.
| | 08:05 |
>> Let's go ahead and watch the first
three or four clips.
| | 08:08 |
>> We're going to add the tapioca flower,
the cheese, the egg, use the oil and.
| | 08:14 |
>> So it's accurate but it's really fast
for the viewer to digest.
| | 08:18 |
So we're going to do the same thing we did
before but, because these are connected,
| | 08:22 |
we're going to take advantage of one of
the other options in our box.
| | 08:26 |
And that is the ripple edit shift trailing
clips.
| | 08:30 |
So, now I do want it checked.
I'm going to knock the speed again down to 50%.
| | 08:36 |
But when I go ahead and press OK, it's
going to actually make each of these clips
| | 08:41 |
longer and spread out the audio to keep
everything in alignment.
| | 08:46 |
So now I have it slower and once again I
can start tweaking it so the timing
| | 08:51 |
matches the best feel.
>> The egg.
| | 08:56 |
Mix the oil and the water.
>> Now, if I feel this is too long, I
| | 09:01 |
could go ahead, reselect it and, instead
of 50%, make it 70% or 80% and get it
| | 09:08 |
exactly how I want it.
But the beauty of doing it this way Is I
| | 09:12 |
can do it to a series of clips, which is
faster and more efficient.
| | 09:16 |
| | Collapse this transcript |
| Making variable speed changes| 00:00 |
Now up into this point we've been making
constant speed changes.
| | 00:04 |
That is something's 200% faster or 50%
slower, but there are times where you may
| | 00:09 |
want to vary the speed slowing it down
speeding it up over time.
| | 00:14 |
You see this a lot in sporting events, you
may see it in a romantic movie just as the
| | 00:18 |
couple is about to kiss.
In my case I'm going to use it with the
| | 00:21 |
art of making pizza.
Now, to get your head wrapped around it,
| | 00:25 |
we're going to look in a couple of
locations within our interface.
| | 00:28 |
I'm going to load the pizza assembly clip
back into our source monitor, and switch
| | 00:34 |
to the Effects Control tab, and I want a
lot more space on the right side.
| | 00:38 |
So I'm going to go ahead and click on this
vertical line between my list of my
| | 00:43 |
effects and the actual timeline here, and
just slide it over to the left.
| | 00:47 |
This gives me a lot more real estate to
work with.
| | 00:50 |
I'm also going to open up the disclosure
triangle for Time Remapping, and then
| | 00:55 |
under there is a disclosure time for
Velocity.
| | 00:59 |
Once I have this done I'm going to go back
to my timeline and do a couple of things.
| | 01:03 |
Now, you don't have to do this, but I want
you to get a good sense of what is
| | 01:08 |
happening when I make changes in either
the Effects Control panel, or in my actual timeline.
| | 01:14 |
Now, to simplify things, I'm going to
delete the audio.
| | 01:18 |
When you do any kind of a constant speed
change, audio does slow down and speed up,
| | 01:24 |
and you can even in the speed and dialogue
box check, change the pitch so people's
| | 01:29 |
voices more closely resemble what they
really should sound like.
| | 01:33 |
But when you're slowing down and speeding
things up, you really don't want the audio
| | 01:37 |
to do that.
So Premiere Pro ignores the audio
| | 01:41 |
completely when you do any kind of
variable speed change, and if I left the
| | 01:45 |
audio here it would be fine, it would play
back but I would get little warning boxes
| | 01:49 |
to say my audio is out of synch.
So I'm going to deselect both the video
| | 01:53 |
and audio, hold down the Option key,
select just the audio, and delete it.
| | 01:59 |
Now we can focus specifically on our pizza
assembly.
| | 02:03 |
I'm going to have to reload that back into
our timeline, just because it's a slightly
| | 02:07 |
different clip, and now I want to reveal
more detail in this line.
| | 02:13 |
I'm going to use the scroll on my mouse to
make the clip taller so I can see more detail.
| | 02:18 |
And what it's going to do is reveal the
opportunity to get some key frames and
| | 02:23 |
we've seen this before.
Make sure you have the clip selected.
| | 02:27 |
Now, I want to work specifically with
speed.
| | 02:30 |
So, I want to right click on the FX
button, jump down to time remapping, and
| | 02:36 |
choose my one option which is speed, and
now when I keyframe something down here,
| | 02:42 |
it should reflect in my effects control,
and vice versa.
| | 02:47 |
So how would I do this?
Well, I'm going along, I'm watching this
| | 02:50 |
at normal speed, and I say oh yeah It'd be
really nice as I'm pouring the sauce to
| | 02:56 |
get a little more detail there, so I want
to slow it down.
| | 02:58 |
So I need to place a key frame right here
where the playhead is part.
| | 03:04 |
I'm going to simply press the Cmd key or
the Ctrl key on Windows and click right on
| | 03:09 |
the timeline, and you'll notice that in my
timeline, I now have this little yellow
| | 03:14 |
icon and I have a similar icon up here in
my Effects control panel.
| | 03:20 |
They're directly related to each other.
It's just two ways of looking at the same clip.
| | 03:25 |
If I stay in the Effects control panel,
and go a little bit later to when I'm done
| | 03:29 |
spreading all the sauce, I could create
another keyframe by pressing the diamond,
| | 03:35 |
and you see I now have that key frame in
my timeline.
| | 03:39 |
So right now, there's no change, and I'm
getting ready to do that.
| | 03:43 |
At the very beginning, if I play it back,
up until that keyframe, it's going to play
| | 03:46 |
at normal speed.
So I'm talking, and I'm talking, and I
| | 03:54 |
think instead of slowing it down, I
want to jump ahead to where I'm going to
| | 03:58 |
put the toppings on.
So I can grab this line right here and
| | 04:03 |
just pull it up, and you'll notice what's
happening is, the keyframe that follows
| | 04:08 |
it, I'm seeing a little square that's
going to snap to that, and from point 2 to
| | 04:14 |
point 3 it's going to play back at over
200%.
| | 04:18 |
Let me let go of my mouse.
There, it snaps into position.
| | 04:22 |
What we did in the Effect Control tab is
reflected in the sequence, and I can hit
| | 04:27 |
play, and watch what happens when we get
to that keyframe.
| | 04:30 |
It really picks up speed, and we can get
through that, and I could go dramatic here.
| | 04:45 |
I could simply grab it and bring it way
up, there',s they'd be making 500% and
| | 04:51 |
that way the viewer won't have to watch
all of that sauce pouring.
| | 04:55 |
Now as soon as it slows down, boom.
It's dramatic.
| | 05:05 |
Well, I want to be a little more creative
and that's where Premier really excels.
| | 05:09 |
I'm going to zoom in to this area in the
timeline.
| | 05:12 |
You'll notice that the key frames here
actually have a split in the middle, and
| | 05:16 |
if I grab it in the middle, I can move the
key frame, but if I grab it on just one
| | 05:20 |
side and drag, what you'll see is a
slanted line, because now instead of it
| | 05:28 |
jumping from really fast to really slow
it's going to ramp down.
| | 05:36 |
So it's not as abrupt, and I can control
this.
| | 05:40 |
If I Right Click on this you'll notice I
now get a little blue handle, and this
| | 05:45 |
allows them to create a curve, or a Bezier
curve, as some people would know this,
| | 05:50 |
where I have a more gradual transition
from one speed to the next.
| | 05:55 |
If I zoomed in over here you would see the
same effect.
| | 05:59 |
I'm just pressing the Plus key, and that's
our Bezier, and if I extended it there,
| | 06:06 |
we're good to go.
Once again the Plus key to zoom in, and I
| | 06:10 |
can go ahead and modify this as necessary.
I'm going to go ahead, hit the backslash
| | 06:16 |
key through a couple more keyframes on the
sequence in my timeline and just show you
| | 06:23 |
how easy it is to ramp up and ramp down
the speed of a clip.
| | 06:28 |
This is now going faster, this is going
slower.
| | 06:32 |
We have created a nice gradual flow from
slower to faster and again, I can get that Bezier.
| | 06:43 |
So let's take a quick look at what
happens.
| | 06:48 |
Very quick with the chicken, and we need
to slow down to show them the onions are
| | 06:53 |
going on, and parsley is very important,
and cheese is very important, and we're
| | 06:59 |
good to go.
So the best want to get your head wrapped
| | 07:04 |
around variable speed change is to play
with it.
| | 07:07 |
It's to get a feel of what you want and to
move your key frames as well as your
| | 07:11 |
transitions and your timing.
And don't worry that you're going to mess
| | 07:15 |
things up because you can always reset all
those keyframes or actually delete them by
| | 07:21 |
clicking on the little stopwatch next to
the speed control in the Effects control panel.
| | 07:27 |
| | Collapse this transcript |
|
|
17. Adding TitlesCreating a static title| 00:00 |
Creating titles is very easy in Premiere
Pro.
| | 00:03 |
The first thing you need to do is position
your playhead on top of the clip where you
| | 00:08 |
want to put the title, and then you can go
up to the Title > New Title > Default
| | 00:16 |
Still, and get a sense of the interface
and how to quickly make a title.
| | 00:21 |
Now you have all the tools you would
expect, and a topography tool.
| | 00:25 |
You can modify how big the letter is the
colors, where they're located, and you
| | 00:30 |
have a toolbar here.
And most of the time, you'll select either
| | 00:33 |
your Selection tool, which is the same
keyboard shortcut that you use within the
| | 00:37 |
application or the Text tool.
Let's go ahead and type our title onto our screen.
| | 00:45 |
We're going to call this gluten free
pizza.
| | 00:48 |
Now as you see by default its white
letters and they're not that pretty, so
| | 00:53 |
let's go ahead and make some changes.
I do want to point out that if I highlight
| | 00:57 |
just a specific letter or a specific group
of letters, I can modify all the
| | 01:02 |
parameters, size, color, drop shadow, on a
letter by letter basis.
| | 01:07 |
But we're going to work with all these
letters as a group.
| | 01:09 |
So, I'm going to go back and switch over
to the Selection tool.
| | 01:12 |
Now I can actually grab my text and
position it exactly where I want it to be.
| | 01:17 |
If I wanted to make sure that it's
perfectly centered I do have a centering
| | 01:21 |
option over on to the left side.
Now, let me make this bigger.
| | 01:26 |
I can do that by grabbing the corner or
simply going over to text size, and either
| | 01:30 |
strolling to make it bigger or typing in a
number.
| | 01:34 |
Now I need to reposition that again, and I
think we'll put it in about the lower
| | 01:38 |
third area.
Now to make the letters more visible,
| | 01:42 |
we're going to change it from white to a
different color.
| | 01:44 |
And you can do that very easily with this
dropdown menu for Fill Type, and there's a
| | 01:50 |
variety of ones you can create.
You can just have a solid letter.
| | 01:53 |
I'm going to ramp it up a little bit and
use a linear gradient.
| | 01:56 |
If I choose a linear gradient, it's now
white on white, but what I really want is
| | 02:01 |
something Italian looking.
So I'm going to do red over green.
| | 02:05 |
So I simply can double-click on that.
I'll get a dialog box that allows me to
| | 02:09 |
pick a color.
Green, a nice dark green.
| | 02:13 |
I'll say OK.
And now that I have green on top, I
| | 02:16 |
want to put a nice deep red on the bottom.
We'll go over here, pick a nice almost
| | 02:21 |
burgundy red, hit OK.
And now I have a title that has a little
| | 02:27 |
bit more pizazz, if that's what my client
wants.
| | 02:31 |
Now, I want this to stand out even a
little bit more.
| | 02:34 |
And I can scroll down and in addition to
all the choices I have up top, I can add
| | 02:39 |
thing such as inner and outer strokes.
These are like a line on the outside edge
| | 02:45 |
of the letter.
And this is nice if things start blending
| | 02:48 |
in, so a simple stroke gives me an
outline.
| | 02:51 |
It allows my text to pop a little bit and,
what I think I want for the edge, instead
| | 02:57 |
of just a plain line, I'm going to use
depth.
| | 03:00 |
And it makes my letters look a little bit
more three dimensional, and I could even
| | 03:04 |
increase that if I wanted to, and change
the angle of where that's coming out.
| | 03:10 |
And I think right there.
Works for me.
| | 03:13 |
Now, that I'm done with Gluten Free Pizza,
I'm ready to put it into my timeline.
| | 03:18 |
Now, I don't want you to panic that this
title has the pizza shot in it.
| | 03:22 |
It's just there for reference.
I can actually turn it on and off because
| | 03:27 |
it's over a transparent background.
I'm going to simply close the Title tool.
| | 03:32 |
And the title will appear in my project
file.
| | 03:35 |
Now, it's a good thing to name your title
so you can quickly find it.
| | 03:39 |
So I'll name it.
And now, to use this title all I have to
| | 03:47 |
do is drag it, position it on top of the
image I want to have it.
| | 03:51 |
If I wanted to it could even go over on
top of my other video.
| | 03:56 |
There you can see it.
And I'll pull it back so it ends at the
| | 03:59 |
same time.
One great thing about the titling tool is
| | 04:03 |
if you make a mistake or you need to
change something, all you have to do is
| | 04:06 |
double-click, load it back in the viewer.
I'm going to go ahead select the text.
| | 04:12 |
I don't think that green works.
We'll make it just go back to a nice solid color.
| | 04:17 |
Make it a much lighter green.
We'll hit OK, and you can kind of see off
| | 04:23 |
to the right it's already been updated in
my timeline.
| | 04:27 |
Let me go ahead and close this.
And you can see how easy it is to create
| | 04:32 |
titles in Premiere Pro.
| | 04:34 |
| | Collapse this transcript |
| Creating a lower third title| 00:00 |
One of the most popular uses of the title
tool in an editing program is to create
| | 00:05 |
what's called a lower third.
These are the identification of whose
| | 00:09 |
speaking and what we're looking at that
are located in the bottom third part of
| | 00:13 |
the screen.
Now I've already started with a graphic on
| | 00:18 |
top of Vanessa and myself speaking.
This is just a simple Photoshop document
| | 00:23 |
to single layer document.
In the Media folder within exercises, it's
| | 00:27 |
called BLUE_DelightCorporateLogo, and I've
already positioned it into place.
| | 00:32 |
Now, I've pre built the lower third, and I
can double click to open it up to show you
| | 00:38 |
what it looks like.
It literally is just two properly
| | 00:42 |
positioned text boxes, and you can make as
many text boxes as you want just by
| | 00:47 |
starting to type.
I'm going to go ahead and delete that, and
| | 00:50 |
I've already picked the type face and
everything.
| | 00:52 |
And I'm good to go.
And I have the Delight logo.
| | 00:54 |
Now remember if I click this button, all I
have here is the text.
| | 00:58 |
The background is a separate element.
I'm going to go ahead and close this and
| | 01:03 |
show you how we would bring it in, and
then use this to make more lower thirds to
| | 01:09 |
ID everybody else in the program.
So I'm going to grab the text or simply
| | 01:13 |
drop it on to track three make it the same
length, I probably put a dissolving so it
| | 01:19 |
comes in more gradually.
But there you go we're good to go, we have
| | 01:22 |
her perfectly positioned over the delight
background.
| | 01:26 |
Now what if I need to ID myself?
So I can go over here and wait till she
| | 01:32 |
introduces me.
>> Kitchen.
| | 01:33 |
My friend Abba.
>> So my friend Abba, so all I want to do
| | 01:37 |
is I can copy and paste this or I can even
Option-drag it if it's close enough to
| | 01:44 |
make a duplicate.
And the duplicate looks perfectly the
| | 01:47 |
same, and all I need to do is change these
two lines of text.
| | 01:52 |
I can double click on that.
So, all I need to do is add my name and
| | 01:57 |
change my title to Guest Chef.
And as soon as I close it, you'll see that
| | 02:03 |
it's been updated, and I don't have to
worry about going back and reinventing the wheel.
| | 02:09 |
So the trick is, to be able to make your
lower third once, and then you can simply
| | 02:14 |
copy and paste or duplicate.
Now since we did a copy and paste it's
| | 02:20 |
important to go back into your project and
rename the new one, in this case it's no
| | 02:25 |
longer Vanessa, it's me.
So I'll just type in Abba lower third, and
| | 02:32 |
this is great because if I'm doing a one
hour show I can just reuse this over and
| | 02:36 |
over again.
If I built it once and I want to use it in
| | 02:40 |
other shows, I can always select any lower
third.
| | 02:44 |
Go up under File > Export, and I can
export that title as a document that I can
| | 02:51 |
import into other programs if I like that
look and feel.
| | 02:55 |
| | Collapse this transcript |
| Creating rolling and crawling credits| 00:00 |
Creating credit rolls and crawls are easy
in Premiere Pro.
| | 00:04 |
I'm going to go under the title tool,
select new title and choose default roll.
| | 00:10 |
Now I get the same titling tool.
I want to make sure I label it.
| | 00:14 |
I'm going to just call this moving text.
And press OK.
| | 00:19 |
Now I can type in anything I want.
I'll type in the word roll, r o l l all
| | 00:23 |
caps and I'm going to make it a little bit
bigger, so it really stands out and
| | 00:31 |
position it.
Now one thing I need to do is I need to
| | 00:34 |
determine if I want it to start and stop
off screen.
| | 00:37 |
And I can click on this little button over
here, and it would roll up and stop at
| | 00:42 |
this point or I can have it roll directly
through the screen.
| | 00:46 |
The pre roll and post roll basically says
how long you need to wait until it enters
| | 00:52 |
the screen and exits the screen.
So if you want it to be two seconds before
| | 00:56 |
it comes on I can simply type in 60 frames
or 2 seconds.
| | 01:01 |
Let me go ahead and press OK.
We're going to add an outline to it so we
| | 01:06 |
can actually see it, close it, and now I'm
going to bring it and drag it right on top
| | 01:12 |
of the clip that I wanted to roll over.
We'll play it back and take a look.
| | 01:19 |
>> Yes.
>> Completely.
| | 01:20 |
>> Okay.
So (SOUND).
| | 01:26 |
>> So perhaps instead of roll, I should of
done slice, but I want to show you how
| | 01:30 |
easy it is to switch from say a rolling
credit tool, to a crawling credit.
| | 01:36 |
So I'm going to double-click to load this
back into the Title tool.
| | 01:39 |
And all I have to do to switch it from a
roll to a crawl, is go back to that same
| | 01:45 |
Options box, open it up, switch to a
crawl.
| | 01:49 |
And I can choose to crawl from left to
right or right to left.
| | 01:52 |
Pretty much the standard is crawling from
the left, because we read left to right.
| | 01:56 |
And I do want it to start off screen and
end on screen.
| | 02:01 |
So I'm going to say OK.
This is how easy it is to change the text.
| | 02:05 |
Now if you have a lot of text I highly
recommend not typing in it.
| | 02:10 |
In this case I've already typed it out and
spell checked the crawl information.
| | 02:14 |
It's in a simple text document.
I'll open it up, select it, copy, go back
| | 02:22 |
over to my Text tool, select the text that
I want to replace, and simply do Cmd+V to paste.
| | 02:30 |
Think it's a little big so we'll go ahead
and we'll shrink its size, bring it to the
| | 02:37 |
bottom of the screen.
Still a little bit big, so we're going to
| | 02:42 |
bring it down to something that's really
small.
| | 02:44 |
As a matter of fact, let me type in a
number (SOUND) 24 and we'll position it
| | 02:53 |
dead center where we want it to be.
I think 24 is a little bit small, there we go.
| | 02:58 |
And all I have to do now is simply close
the title tool, stretch this out a little
| | 03:02 |
bit because it's going to make more sense
if we see this on top of me actually
| | 03:06 |
cutting the pizza, and we're good to go.
>> Yeah, sounds good.
| | 03:13 |
Yeah, we don't want me to burn myself.
>> (LAUGH).
| | 03:16 |
>> And you can entertain children with
this.
| | 03:17 |
>> Completely.
>> Okay.
| | 03:20 |
So (SOUND).
We can try this (INAUDIBLE).
| | 03:31 |
Neatness does not count.
>> Neatness does not count.
| | 03:33 |
It's (INAUDIBLE).
>> And there's our crawl from the
| | 03:37 |
emergency pizza cutting system, the EPCS.
| | 03:40 |
| | Collapse this transcript |
| Using Photoshop for titles from within Adobe Premiere| 00:00 |
Now, there's a lot of situations where you
may want to leverage the power of
| | 00:05 |
Photoshop to enhance the look of your
video.
| | 00:08 |
Maybe you don't have a graphics department
to build you a fancy lower third or you
| | 00:12 |
want to go in and use some of the text
functionality of Photoshop.
| | 00:16 |
Well, instead of starting in Photoshop and
trying to figure out the right parameters
| | 00:20 |
and then you need to bring it into
Premiere, you can actually start from
| | 00:23 |
within Premiere and create a Photoshop
title.
| | 00:28 |
You'll go up under File > New and say
Photoshop File, and this is going to
| | 00:34 |
create a Photoshop file that's again the
perfect size for your sequence and it's
| | 00:39 |
going to ask you to give it a name.
Now, I'm going to simply make a Lower
| | 00:43 |
Third Bar and I'm saving it in my Chapter
17 folder because that's where I'm saving
| | 00:48 |
all my other titles for now.
And as you see, we now have Adobe
| | 00:53 |
Photoshop has launched, it already brings
up our Title safe and Action safe bars so
| | 00:59 |
I can make sure things are positioned
right, and I'm ready to start editing.
| | 01:04 |
All I want to do is make a simple bar to
put the words gluten free pizza over I can
| | 01:09 |
simply do that by grabbing the selection
tool eyeball to draw a bar that's about
| | 01:16 |
the size that I want.
I'll go ahead and fill this with a
| | 01:20 |
gradient and let's keep the color since
its green we'll do it as a red and white background.
| | 01:27 |
There's my red, there's my white, just
pull the gradient line across, there we go
| | 01:35 |
a nice red and white bar.
And now maybe to give it little bit of
| | 01:41 |
depth, I'm going to go to Layer > Layer
style, give it a little bit of bevel and emboss.
| | 01:50 |
Just to make it kind of nice and pretty,
give it a little bit of texture, so we'll
| | 01:55 |
go to Pattern overlay.
Select that, and pick something with a
| | 02:02 |
little more texture and a little less
bubbles, and just scale it down a little bit.
| | 02:07 |
I don't want to lose my red and my white
so I'm going to use a little bit of a soft
| | 02:11 |
light overlay.
Hit Okay, and now I have a lower third bar
| | 02:16 |
that I like.
All I have to do is go over to photoshop,
| | 02:21 |
close it, save it, and you'll see lower
third bar.pst right in your project file.
| | 02:28 |
I can grab that, drop that right above the
pizza.
| | 02:34 |
Make sure it ends at just the right spot
and if I need to reposition it or scale it
| | 02:39 |
I can do it here by simply selecting it.
And I'm going to just slide this over a
| | 02:45 |
little bit off screen so its a little more
gentle and position it down right outside
| | 02:51 |
title safe.
Now if title safe if not turned on.
| | 02:55 |
You can go over to the fly out menu, and
activate it by selecting show safe margins.
| | 03:01 |
There we go, and even make it a little bit
lower.
| | 03:05 |
Now, we did build the title at the very
beginning of this chapter and we learned
| | 03:12 |
how to export that.
Well, that title now resides in the
| | 03:16 |
chapter 17 folder.
There it is, gluten free pizza.
| | 03:20 |
I'm going to simply import that.
It's imported, I can grab it, drag it, put
| | 03:27 |
it on top of my lower third, stretch it
out to the right length, select it
| | 03:33 |
Position it exactly where I want.
If it's a little big, I could change it,
| | 03:38 |
but I think we're perfect now.
I'm going to simply go back, play it, and
| | 03:42 |
see how it looks.
(MUSIC).
| | 03:48 |
One nice thing about creating a Photoshop
document in Premier Pro, is that it works
| | 03:52 |
just like any other clip.
I could double click and load it into my
| | 03:57 |
source editor and use all my Effects
controls, or I could right click on it and
| | 04:02 |
I have the option to Edit Back in Adobe
Photoshop.
| | 04:07 |
So here's our original layer, I could go
ahead, change the color, change the scale
| | 04:12 |
and as soon as I save it, it's going to
update in the timeline.
| | 04:16 |
| | Collapse this transcript |
|
|
18. MulticamIntroducing multicam| 00:00 |
In this chapter, we're going to explore
cutting multicam video.
| | 00:04 |
That's basically shooting video with two
of more cameras at the same time, synching
| | 00:09 |
them together and being able to switch
cameras on the fly in Premiere Pro.
| | 00:14 |
Now one of the key things to making this
work...
| | 00:18 |
Is your preparation before you start
shooting, which will make your editing
| | 00:22 |
that much smoother.
So in this video, we used four cameras.
| | 00:28 |
You can see three of them in this wide
shot, there's another one off screen.
| | 00:32 |
Now, you need a way to sync all the
cameras together.
| | 00:36 |
Traditionally, people have always used
time code where all the cameras are synced
| | 00:41 |
together and they generate the same clock,
hours, minutes, seconds and frames.
| | 00:47 |
Well, with the new technology, you can
actually just shoot a clapboard with time
| | 00:51 |
code and change the time code on your
clips as long as you can see the clapboard.
| | 00:56 |
So at the beginning of your shot make sure
all of your cameras are aimed at the
| | 01:00 |
clapboardso that you can read the timing
code numbers.
| | 01:04 |
The other way that people sync up the
video is the flash on the clapboard or
| | 01:09 |
just using a camera flash as you see here,
all of the clapboards as you see here The
| | 01:15 |
iPad is totally white and this is the
flash that we can sync to.
| | 01:24 |
Another way that you can sync up your
camera's is through the audio.
| | 01:28 |
But it's important that you have audio on
all of your camera's.
| | 01:32 |
In this case we had four camera's and you
can see the wave form.
| | 01:36 |
On each one.
Now the quality of the audio doesn't have
| | 01:40 |
to match perfectly but it does have to be
intelligible.
| | 01:44 |
As long as you have something to use as a
common sync point, it's easy to sync up
| | 01:50 |
your cameras in Premiere Pro.
You can use time code, you can mark an in
| | 01:55 |
or an out point or a marker, based upon
that clapboard flash.
| | 01:59 |
Or, if you have good audio, which is one
of the best solutions these days, you can
| | 02:04 |
sync them together by the wave form.
Now, let me go ahead and switch to the
| | 02:10 |
multi camera editing view.
And as I play the clip, I can actually
| | 02:17 |
swap between images simply by clicking on
them or using a keyboard shortcut.
| | 02:23 |
Now, it may seem a little complicated at
this point, but once you get used to it,
| | 02:28 |
it's a really fast way to cut together a
show by shooting with multiple cameras.
| | 02:33 |
And as a matter of fact, with Premiere
Pro, you don't even have to have matching
| | 02:38 |
cameras anymore.
This show that we're going to work with
| | 02:42 |
was actually shot with 4 different types
of cameras.
| | 02:46 |
Now that you have a good sense of what
multi camera shooting and editing is.
| | 02:50 |
Let's dig in, and show you how you can
match your cameras, and start cutting.
| | 02:56 |
| | Collapse this transcript |
| Creating a multicam clip with timecode and sync points| 00:00 |
Now that we know how to shoot multicam
video, let's go ahead and sink some of
| | 00:05 |
this video together.
I've already imported the four different
| | 00:08 |
camera angles into Premiere Pro and I'm
ready to sink them up.
| | 00:13 |
Now, I've prepared to sink these up a
couple of different ways.
| | 00:16 |
One is through timecode, all the clips
have matching timecode attached to them
| | 00:21 |
and the other is the flash of the
clapboard.
| | 00:24 |
As a matter of fact, I've made a marker on
each one of the clips that you can jump to
| | 00:30 |
where the flash is just so you can see
that they line up.
| | 00:34 |
And you can jump back and forth between
markers by hitting Shift+M to go forwards,
| | 00:40 |
and Shift+Cmd+M on a Mac to go backwards
or Shift+Ctrl+M on a Windows machine.
| | 00:48 |
Now, that second marker that you saw, that
was the endpoint.
| | 00:52 |
That was just a note to myself where we
actually started speaking.
| | 00:56 |
So here we are, on the flash frame from
our clapboard on our first clip.
| | 01:03 |
Now, each of the other clips also have a
marker on the frame where the clapboard flashes.
| | 01:10 |
So now that I know I have both timecode,
as well as markers, I can go ahead and
| | 01:15 |
make my multiclip.
I'm going to select all of the clips, now
| | 01:19 |
this is important when you select clips.
The way Premiere Pro works, the order of
| | 01:25 |
your clips are the order that you click on
them in your Project pane.
| | 01:30 |
So if I clicked from the bottom up, Camera
Four, or my close-up, will be my primary angle.
| | 01:37 |
So I'm going to go ahead and hold down the
Cmd key and select the clips in the exact
| | 01:43 |
order that I want them to appear in my
Multicamera preview.
| | 01:47 |
A second thing to keep in mind is that,
usually, you want to put your best audio
| | 01:53 |
on your primary camera and that's what we
have here.
| | 01:57 |
On Camera 1 is our cleanest most balanced
audio.
| | 02:01 |
The audio on the other three camera is
okay, but I just wanted to make sure I had
| | 02:06 |
it for reference if I wanted to sync up my
cameras using audio.
| | 02:11 |
Once you have all of your clips selected,
it's time to create the multicam clip.
| | 02:16 |
Its as simple as right-clicking on it.
Going to Create Multi-Cam Source Sequence
| | 02:22 |
selecting, it and you're presented with
this dialog box.
| | 02:26 |
Now, depending on how you shot it and how
you want to sync it up, you have several choices.
| | 02:32 |
If you did shoot with timecode or modified
the clips so they had timecode you could
| | 02:36 |
choose the Timecode option.
You can also sync up by endpoints or by an
| | 02:43 |
out point at the end of your clip, as well
as by clip markers, and that's what we're
| | 02:48 |
going to do here.
I'm going to simply select Clip Markers,
| | 02:51 |
and on each of these four clips, I put a
marker in right when the clapboard flashes.
| | 02:57 |
The next option you have is whether you
want to take these clips and move them
| | 03:02 |
into a processed folder.
Now, that's personal preference.
| | 03:06 |
I like to keep my clips where I originally
put them.
| | 03:09 |
An advantage of putting them into a
separate folder is once you've processed
| | 03:14 |
them, you kind of want them out of the way
and that might be because you have a lot
| | 03:18 |
of multicamera clips that you're going to
be organizing.
| | 03:20 |
The default setting of all cameras is also
valuable.
| | 03:25 |
When it comes to audio, you have four
choices and it can get pretty confusing.
| | 03:31 |
The best choice to start out is choosing
Camera 1.
| | 03:34 |
That means, when you start switching
cameras, only the video's going to switch,
| | 03:40 |
and the audio from Camera 1 will remain
the same, and that way, you'll have consistency.
| | 03:46 |
Another option you may want to use is
Switch Audio, in which case, when you
| | 03:52 |
switch the video, it's going to cut to the
audio associated with that camera.
| | 03:58 |
You can find out more detail about these
choices in the Help menu in Premiere Pro.
| | 04:03 |
But, for right now, the default works
perfectly and I'm simply going to hit OK
| | 04:09 |
to sync these up.
Once I've hit OK, you'll notice there's
| | 04:13 |
now a new item in my project bin.
This is your multi-cam sequence.
| | 04:19 |
If I double-click to load this into my
source monitor and scrub through it.
| | 04:24 |
I can see I have all four of my cameras,
and if I play it, I can hear and see that
| | 04:30 |
they're lined up.
>> I'm mixing it low or medium.
| | 04:32 |
Start off low so it doesn't.
>> Start off low so it doesn't all fly out
| | 04:36 |
to you and then you.
>> So, as you see, they've lined up
| | 04:39 |
perfectly even though the cameras may have
started and stopped at different points.
| | 04:44 |
So as long as you have either timecode, a
clapboard or something you can line up all
| | 04:50 |
the cameras by, you're in good shape to
let Premiere Pro automatically sync up all
| | 04:56 |
your clips.
But there may be a situation where you
| | 04:59 |
don't have any of that, you only have the
sound on each of the cameras to sync them up.
| | 05:06 |
And we'll learn how to sync up all of your
cameras using audio waveforms in the next video.
| | 05:12 |
| | Collapse this transcript |
| Creating a multicam clip using audio waveforms| 00:00 |
In this video, we're going to learn how to
sync up our cameras if we don't have the
| | 00:05 |
luxury of time code, or camera flash, or a
clap board, or any way to identify what
| | 00:13 |
goes where other than the sound that's
recorded on the media.
| | 00:17 |
So what I want to do is select all of my
cameras, and as I said in the earlier
| | 00:21 |
videos, it is important that you select
the cameras in the order that you want
| | 00:26 |
them to appear for your angles.
Now I want to make sure camera one, which
| | 00:30 |
is my wide shot and also has my cleanest
audio is my primary camera.
| | 00:36 |
So I'm going to hold down the command key
on a Macintosh and simply select them in
| | 00:42 |
the order that I want them to be.
Once I've done that, I will right click on
| | 00:47 |
them and I will choose to create a
multi-camera source sequence.
| | 00:52 |
I could go by in-point and out-point but I
actually don't have any in-points, so we'd
| | 00:57 |
just use the beginning of the clip.
Since all these cameras started and
| | 01:01 |
stopped at different points, using in or
out-points would only throw them out of sync.
| | 01:06 |
I can't use time code because three out of
four of these cameras actually don't have
| | 01:11 |
time code, and it would again throw the
cameras out of sync.
| | 01:15 |
And of course since there's no clip
markers, I can't use that either.
| | 01:19 |
But what I can use is the audio wave forms
as long as each camera has recorded some
| | 01:26 |
sound on the media.
As a matter of fact, the cameras could
| | 01:30 |
have started and stopped throughout the
entire process, and I can still line them
| | 01:35 |
up by the audio wave form.
So for instance, if you were shooting a
| | 01:39 |
concert, all of your cameras could be
stopped, are paused between songs or sets.
| | 01:45 |
Now I'm ready to sync them by audio.
I'm leaving all my other settings at their
| | 01:50 |
default including sequence settings going
to camera one, and all my audio channels
| | 01:56 |
to be automatic.
I press okay.
| | 01:59 |
And Premiere pro will actually analyze all
the wave forms and very quickly create a
| | 02:05 |
multi-cam clip.
So, if I double click on this to load it
| | 02:09 |
into the viewer I can scrub through it to
look at my footage.
| | 02:13 |
Now, the reason we don't have any cameras
here is because they haven't started
| | 02:17 |
rolling yet.
So Premiere Pro simply puts black in when
| | 02:22 |
there is no camera rolling.
And as you see, if I played this, it will
| | 02:27 |
all be in sync, just because I had audio
on each of my sources.
| | 02:36 |
And at the very end the cameras all
stopped at different times and you'll
| | 02:40 |
notice that as they get shut off those
individual elements will disappear.
| | 02:46 |
So now that we've created a multicam clip
with our audio waveforms we're ready to
| | 02:52 |
start editing multicam...
| | 02:55 |
| | Collapse this transcript |
| Editing a multicam clip in the Timeline| 00:00 |
Now that we've learned how to create
multicam clips, let's go ahead and learn
| | 00:05 |
how to edit them.
The first thing we need to do is create a
| | 00:08 |
sequence for our multicam clip.
And the easiest way to do that is to right
| | 00:13 |
click on the actual multicam clip and
choose from the drop down menu, New
| | 00:19 |
sequence from clip.
This way we know that our sequence and our
| | 00:24 |
clip are going to match perfectly.
Now the next thing I want to do is add a
| | 00:29 |
button, and it's a verily useful button,
and to do that I'll simply go over here to
| | 00:36 |
this little plus sign, and when I click on
it, it opens up the button editor.
| | 00:40 |
As you see, there are additional buttons
that you can add below your program monitor.
| | 00:45 |
And by the way you can do the same thing
below the source monitor, and some of
| | 00:49 |
these are real useful, such as this button
here, which allows me to turn on and off
| | 00:55 |
title safe or closed captioning.
But the button that we're going to work
| | 00:59 |
with now, is the multi-cam editing button.
It actually toggles a multi-cam view on
| | 01:05 |
and off.
Now, if you're not a button person, there
| | 01:08 |
is keyboard shortcut that you can use.
Now, I'm going to go ahead and drag it in.
| | 01:13 |
I could drag it over to the right, but
because I have such limited real estate on
| | 01:17 |
this screen, I'm going to go ahead and put
it into the second layer, into the bottom row.
| | 01:21 |
For now, I think that's all I need.
I'm going to simply press Okay, and I'm
| | 01:26 |
ready to roll.
When I press that button, my view changes
| | 01:30 |
to this multi camera view.
And if I hit play, what I'm going to see
| | 01:35 |
is, in the left side of that screen, all
the different angles.
| | 01:39 |
And I'm going to scrub ahead just to make
sure all the cameras have been turned on
| | 01:43 |
and synced.
So here we're doing a little bit of prep.
| | 01:50 |
We're talking before it starts but whats
important to note is that all of the
| | 01:54 |
action for multi cam editing is going to
take place in this window.
| | 01:59 |
I'm going to be able to switch between the
images In this window and see the results
| | 02:06 |
over here.
So for the time being I really don't need
| | 02:10 |
my source monitor so often when I'm doing
multi-cam editing, I'll go ahead and grab
| | 02:15 |
the center here and drag it over to the
left, and that's going to give me a lot
| | 02:20 |
more visual space to deal with.
As a matter of fact, if you want, you can
| | 02:25 |
go over here to Window > Workspace, and
you can even save this as a new workspace,
| | 02:32 |
such as multi-cam, and now if we look
under Workspaces, I have a choice to
| | 02:38 |
switch immediately to multi-cam editing.
So now that we're all set up, let's begin
| | 02:44 |
to cut our show.
Well, I know at the very beginning, we're
| | 02:48 |
doing lots and lots of chit chat and prep.
As a matter of fact, I know that until 2
| | 02:53 |
minutes and 18 seconds in, there's nothing
worth cutting, so I'm going to jump ahead
| | 02:59 |
to that.
And to do that I can simply click on this
| | 03:02 |
little box right here and type in two
minutes and eighteen seconds, and the play
| | 03:07 |
handle will jump right there.
So I'm going to type in 2-1-8-0-0, that's
| | 03:12 |
two minutes, 18 seconds, zero frames.
I'm going to press the Enter key And my
| | 03:17 |
play head will jump immediately to that
point.
| | 03:20 |
And I can see by the expressions on their
faces that we're about to start to talk.
| | 03:25 |
So I want to trim everything off at the
head.
| | 03:27 |
We learned in an earlier video that you
can use the q and the w key To cutoff the
| | 03:34 |
heads or the tails of a clip before or
after the play had.
| | 03:38 |
So I'm going to simply press the q key and
that's going to cut all that junk off from
| | 03:43 |
the head, and we are ready to listen and
switch.
| | 03:46 |
So now we are ready to start editing, and
as I watch the four different camera
| | 03:52 |
angles, I simply will click on the angle
that I want to cut to at the moment I
| | 03:57 |
want to cut.
It works pretty much something like this.
| | 04:01 |
>> Welcome to Delight Gluten Free Eats.
I'm Vanessa Weissberg, executive editor of
| | 04:06 |
Delight gluten free magazine.
And I'm so excited to welcome you to our
| | 04:09 |
test kitchen.
My friend Ave is here today to learn how
| | 04:12 |
to make a amazing gluten free main dish.
So we're making one of my favorite things
| | 04:17 |
right now.
And this is a honey barbecue chicken pizza.
| | 04:20 |
>>Wait a second, pizza?
>>Pizza.
| | 04:22 |
Gluten free pizza.
>>That, that, that, that's going to be awesome.
| | 04:25 |
>>Yes, so it's super, super says.
I'm not one of those people who likes to
| | 04:29 |
wait for my dough to rise.
>> Now as soon as I stop playback, you'll
| | 04:34 |
notice in the timeline, I actually have
the edits, and I'm going to zoom in so you
| | 04:39 |
can see these edits.
I'm going to press the plus key a few times.
| | 04:43 |
And you'll notice that here it says master
camera one, master camera three back to
| | 04:50 |
one then I got cut to two.
And its very precise and I can go back and
| | 04:55 |
skim over and make sure that I did the
edit at the exact precise time and picked
| | 05:03 |
the shot that I want.
The nice thing is if I cut too early or
| | 05:07 |
too late or grab the wrong camera, it's
very easy to fix and I can truly refine my
| | 05:14 |
multicam edit, and don't worry, we'll
explore a little bit how you can very
| | 05:20 |
easily do that.
But right now I want to show you another
| | 05:24 |
way that you can cut, so I'm going to go
ahead and hit the Minus key just to back
| | 05:28 |
up a hair, and we'll jump later on in the
program when we start doing some things.
| | 05:33 |
For instance, we're going to start
actually pouring in some of the
| | 05:36 |
ingredients and I'm going to pick up my
cut at this point.
| | 05:39 |
But instead of clicking on the actual
images, I can use keyboard shortcuts.
| | 05:45 |
The keyboard shortcuts in this case, of
course, are one through four.
| | 05:50 |
And you can actually assign keyboard
shortcuts all the way up to 16 angles, and
| | 05:55 |
Premiere, has no limit to the number of
angles that you can work with.
| | 06:00 |
Your only limit, is going to be how fast
your hard drives are to be able to handle
| | 06:05 |
all of that data.
So let me go ahead and hit the Spacebar,
| | 06:10 |
and I'm going to say the number I'm
switching to as I edit.
| | 06:15 |
And we're starting off, of course, on
angle one.
| | 06:18 |
>> It makes this really great crusty
crust on it
| | 06:21 |
>> Three
>> But the inside is going to be really
| | 06:23 |
soft and cheesy
>> Four
| | 06:24 |
>> So I'm going to put that flour right
into the mixer
| | 06:27 |
>> One
>> Oh, look
| | 06:29 |
>> Four >>That (CROSSTALK) smoke
(CROSSTALK) >>Two and one.
| | 06:32 |
>>Yeah, great job Abba.
(LAUGH) >>So I counted that.
| | 06:36 |
I really wasn't focusing as I was trying
to count and click, so I think some of my
| | 06:41 |
edits are wrong, so we'll explore in the
next lesson how you can fix a mistake and
| | 06:48 |
refine your edit.
| | 06:49 |
| | Collapse this transcript |
| Refining a multicam edit| 00:00 |
One of the great things about multi camera
editing in Premiere Pro, is the ability to
| | 00:05 |
easily correct any mistakes you've made.
So when I did this switch.
| | 00:10 |
Sometimes, I might have been a little bit
early, or a little bit late in a cut, or
| | 00:13 |
even cut to the wrong camera.
And I'm not worried about that because I
| | 00:17 |
can use all the same editing tools that we
learned to do in non multi-cam editing to
| | 00:24 |
help refine this edit, as well as, some
additional options.
| | 00:29 |
So, let's watch the last few edits that I
made, and see if they were smooth enough
| | 00:35 |
or I made any mistakes.
>> And cheesy.
| | 00:38 |
So, go ahead and put that flour right into
the mixer.
| | 00:40 |
>> Oh look, that dust of smoke I created.
>> So, I, I think instead of cutting to
| | 00:48 |
me, I should cut back to a wide shot right
here because it's much more interesting.
| | 00:52 |
As a matter of fact, you can look over
here and see in the wide shot, the flour
| | 00:57 |
is still going everywhere.
So all I need to do is park the play head
| | 01:01 |
above the area where I chose the wrong
camera angle, and click on the right
| | 01:06 |
camera angle, and Premiere will simply
swap those two clips out.
| | 01:11 |
So, here we go to the wide shot, it's as
simple as that.
| | 01:15 |
And if we look down here at the time line,
and I'll zoom in We're looking at the wide
| | 01:21 |
shot instead.
Now while I'm down here I'll show you
| | 01:23 |
another way that you can swap out one
angle for another.
| | 01:27 |
If I right click on any clip I can simply
go up to where it says multi camera and I
| | 01:33 |
can choose which camera angle I might want
to switch to.
| | 01:37 |
So, maybe we should take a quick look at
Vanessa's reaction which is camera 3
| | 01:42 |
versus the wide shot.
>> That dust like smoke I created.
| | 01:47 |
>> Yeah.
Great job (INAUDIBLE) .
| | 01:48 |
>> so either way, if I didn't like I can
go back by clicking undo, and we're back
| | 01:53 |
to the wide shot.
Now, what if I cut a little bit too early
| | 01:58 |
or a little bit too late?
Well, you can easily do a roll edit
| | 02:03 |
between any two clips.
If this isn't working for you, we learned
| | 02:08 |
in an earlier video, that it's important
to switch your preferences for trimming to
| | 02:15 |
allow selection tool to choose roll and
ripple trims without a modifier key.
| | 02:19 |
Let me go back and hit Okay, and that's
why I can put my cursor right on any of
| | 02:24 |
these edit points and go immediately to
the roll tool without having to use a
| | 02:29 |
modifier or a keyboard shortcut.
So if I wanted to, I could actually do a
| | 02:33 |
roll edit and I can make the cut exactly
where it needs to be.
| | 02:39 |
Another way I could do this is simply
select the edit point.
| | 02:43 |
Position the play head with the cut should
be.
| | 02:46 |
And press the e key for an extend edit.
So refining exactly where an edit happens,
| | 02:53 |
very easy with multi camera and premier
pro.
| | 02:57 |
What about situations where you missed
switching camera angles?
| | 03:01 |
I, for instance, want to make a cut here
instead of swapping this out.
| | 03:06 |
Well, I don't have to go to the cutting
tool.
| | 03:07 |
I don't have to hit C to go to the blade
tool.
| | 03:10 |
And I don't need to use any keyboard
shortcuts.
| | 03:12 |
All I need to do is choose.
Where I want the cut to be, hold down a
| | 03:18 |
modifier, the Cmd key in this case, and
click on the shot right where I want the
| | 03:23 |
cut to be.
So the first click, creates the cut, and
| | 03:28 |
the second click actually switches the
angle.
| | 03:30 |
So it's a simple Cmd click, click, and we
have added an edit and switched our angle.
| | 03:37 |
I'll do that one more time just so you can
see it.
| | 03:41 |
I want the edit to be here, hold down the
Cmd key and go click, release it, click
| | 03:48 |
again to do the switch and, as you see,
we've now switched from the wide shot to
| | 03:53 |
the close up.
If you mess up while you're editing on the
| | 03:57 |
fly, you can always go back and refine it
using a lot of the same tools and
| | 04:03 |
techniques that you already know.
| | 04:05 |
| | Collapse this transcript |
|
|
19. Finishing and OutputFinishing techniques| 00:00 |
Once you've completed your project, and
you're ready to output it.
| | 00:03 |
There's one more step that you should take
the time to do.
| | 00:06 |
And that's a finishing step.
Now, you can spend a few minutes, or you
| | 00:10 |
can spend a day on finishing a project.
Depending on the length, and how critical
| | 00:15 |
you want everything to match.
We're going to just spend a few minutes
| | 00:18 |
just to show you some of the highlights of
things that you might want to do.
| | 00:22 |
I'm going to go ahead and make my sequence
full screen, so we can see it better.
| | 00:28 |
It's relatively clean.
I'm going to go ahead and hit the back
| | 00:30 |
slash key, so we can see a little bit
more.
| | 00:32 |
But I see things on different tracks and
it really should be that audio should have
| | 00:39 |
all the voices on one or two tracks.
And then music would be on a separate track.
| | 00:44 |
And if I had sound effects, they would be
on a separate track.
| | 00:47 |
It makes cleaning up and exporting things
a lot easier.
| | 00:51 |
But in the mad rush to edit a lot of times
your track targeting is off and you make
| | 00:56 |
mistakes, so this is that step you go
through to clean up those mistakes.
| | 01:01 |
Well the first thing that's jumping out at
me is I have this audio here twice, and it
| | 01:07 |
was probably just that I went to move it,
held down the option key.
| | 01:10 |
To separate it, and forgot to let go of
it.
| | 01:13 |
And I ended up duplicating the track.
Now, the problem with duplicating an audio
| | 01:18 |
track, is, it makes that section twice as
loud.
| | 01:21 |
Audio is additive, so I want to make sure
I delete that extra track.
| | 01:25 |
So I'm going to select it I see its not
connected to anything its all by itself.
| | 01:29 |
Simply press the Delete key and I should
be in good shape.
| | 01:33 |
Now the bigger problem is I have audio
from both my speakers and my music on the
| | 01:38 |
same track and I want to move these up and
down.
| | 01:41 |
So here we have an audio clip and I can
select it and I can drag it up.
| | 01:47 |
But that's time consuming.
What I want to do is use a keyboard shortcut.
| | 01:50 |
Now, let's select this one by example.
I'm going to hold the Option and the Up
| | 01:54 |
Arrow key and you notice, as I move the
audio up, it moves the video up and,
| | 01:59 |
eventually, it might even hit the ceiling
and I won't be able to move things up or
| | 02:04 |
down so I want to separate these.
What we learned earlier you can do that by
| | 02:08 |
holding down the option key and isolating
a piece of audio from the video or vice versa.
| | 02:14 |
Now when I hold down the Option key I can
move just the audio up but that's very
| | 02:18 |
time consuming to continually have to
select hold the Option key, move up, move
| | 02:23 |
down, so there's a great little feature up
here.
| | 02:26 |
It's a linking option that allows me to
turn the linking between all the audio
| | 02:31 |
clips in my timeline and all the video
clips in my timeline.
| | 02:35 |
When I uncheck that, and we see the button
looks raised for a moment, I can select a
| | 02:41 |
variety of clips and because they're no
longer linked.
| | 02:45 |
I can select the audio, but the video
isn't selected and now I can use that
| | 02:49 |
keyboard shortcut of option-up arrow to
move those into place.
| | 02:54 |
Let me do the same thing with this piece
of music.
| | 02:57 |
Hold down the option key, tap it a couple
times, and you see everything is nicely
| | 03:03 |
lined up.
Now I'm not going to worry about my B roll
| | 03:06 |
because if I need to go back it's nice to
have that on a second level and it's not
| | 03:10 |
causing me any problems so I want to go
back and make sure I turn linking back on
| | 03:17 |
so that now when I select my clips it
selects both the video and the audio.
| | 03:22 |
The next step is looking for what's called
flash frames or gaps.
| | 03:27 |
And this happens sometimes when you're
editing and literally you've been moving
| | 03:31 |
things around and there's one frame that
there's not video.
| | 03:35 |
It's called a flash frame.
It goes by in a thirtieth of a second.
| | 03:39 |
And often when watching playback you can
miss it.
| | 03:43 |
One of the things I like to do is simply
jump to every edit point.
| | 03:48 |
And I can do that with the up and down
arrow.
| | 03:50 |
The down arrow is going to jump me forward
and the up arrow is going to jump me back.
| | 03:56 |
Now, it is stopping at every single edit
point for me.
| | 03:59 |
But you might be experiencing something a
little bit different.
| | 04:02 |
It might be missing these and that could
happen if, for instance, I have that track deactivated.
| | 04:09 |
I can still see it, but it's not targeted
anymore.
| | 04:12 |
And watch what happens when I hit the down
key to go forward.
| | 04:15 |
It completely misses everything on tracks
2 and 3, because they're not turned on.
| | 04:22 |
So make sure that all of your video and
all of your audio tracks are active and
| | 04:27 |
targeted and you'll be able to do this
very quickly.
| | 04:30 |
I'm just going to use the down key and
just keep tapping it.
| | 04:34 |
Now I need to see my video again so I'm
going to hit the tilde key so we can see
| | 04:37 |
the video and as I jump to each edit and I
can do this very quickly I can make sure
| | 04:43 |
that I don't have any anomalies.
There we go.
| | 04:46 |
Right there is an anomaly, it's a black
frame, let me go ahead and zoom in.
| | 04:50 |
When I was editing, I left a little bit of
a gap there.
| | 04:53 |
So I'm going to go ahead and right click
on that, I'll do a ripple delete, I'll
| | 04:57 |
close that so now we don't have to worry
about that little frame of black.
| | 05:02 |
And once again, I'll zoom out a little bit
so you can see my whole timeline.
| | 05:06 |
And continue on all the way until the end.
Luckily I only had one gap, but that's
| | 05:12 |
important to see if you had any flash
frames or maybe even a bonus frame.
| | 05:16 |
Sometimes I've cut something and I've left
literally one thirtieth of a second.
| | 05:21 |
The viewer may not register that
consciously...
| | 05:23 |
But it is disturbing if something like
that happens.
| | 05:27 |
The next thing I want to do is look at my
audio levels.
| | 05:30 |
I'm going to go ahead and bring this full
screen again just so, you can see things
| | 05:34 |
easier and I want to open up all of these
tracks so I can work with it.
| | 05:38 |
Now the scroll key works on a single
track, but Shift scroll allows me to
| | 05:44 |
actually open up all of my tracks and I
can see my clip key framing right here.
| | 05:49 |
But seeing is different than hearing.
So once I've opened this up and just for
| | 05:55 |
fun I'm going to open up my video a little
bit so we can see the picture icons.
| | 06:00 |
We'll jump back here and I'm going to go
ahead and play my video and I'm going to
| | 06:05 |
look at my automators to see if they're
spiking the way that they should So we're
| | 06:11 |
making one of my favorite things right now
and this is a honey barbecue chicken pizza.
| | 06:14 |
>> Now, I would normally go through this
painstakingly and listen to the whole show.
| | 06:19 |
For this video, I'm going to jump to where
I may see some problems.
| | 06:23 |
>> And you can smell the food.
It's because I see my audio levels were higher.
| | 06:27 |
Now, this could have been because the
microphones were further away and my voice
| | 06:31 |
was softer.
>>But sometimes you just accidentally will
| | 06:35 |
grab an audio level meter and suddenly
you'll have this booming sound coming into
| | 06:40 |
your show.
>> (UNKNOWN) (INAUDIBLE) Real Good.
| | 06:48 |
That at first blush might be nice, but one
of the reasons I turn on my wave forms
| | 06:52 |
because I can see where the audio does get
louder.
| | 06:56 |
I look at the meter on the right to make
sure it's not dramatically different than
| | 07:00 |
the earlier audio in my program.
And it is, it actually peaks at a little
| | 07:06 |
bit above minus 6.
And I can easily move that down by pulling
| | 07:10 |
it but it's easier to use a keyboard
shortcut.
| | 07:13 |
The left and right brackets will move the
audio up and down on any clips that may be selected.
| | 07:20 |
And you can select multiple clips.
And if no clips are selected, it will move
| | 07:24 |
the audio up and down with a play head as
part.
| | 07:27 |
So, literally by hitting the Bracket key
once, it brings it down one decibel level.
| | 07:32 |
I'm going to go ahead and play it back.
And I can actually do this on the fly.
| | 07:37 |
>>Neatness does not count.
>>Neatness does not count.
| | 07:39 |
It's totally fine.
>>Okay.
| | 07:41 |
>>So I can see my levels.
Hear my levels and adjust them on the fly
| | 07:46 |
while I'm editing.
If you hold the Shift key down, you'll
| | 07:50 |
actually jump three decibels at a time,
and that's great if you know audio is
| | 07:55 |
really, really loud.
Let me just go ahead and manually pull
| | 07:59 |
this down here And if I know it all came
from the same source I could possibly use
| | 08:07 |
copy and paste attributes and bring my
audio levels to a consistent level.
| | 08:13 |
But again, you should always listen.
Now, there's a lot more detail you can go
| | 08:18 |
through when finishing.
The key thing is to watch it over and over again.
| | 08:23 |
And often watch it with somebody else in
your edit suite just to catch any mistakes
| | 08:28 |
that might be there.
But for now, I think we finished this
| | 08:32 |
program enough, and we're ready to output.
| | 08:34 |
| | Collapse this transcript |
| Exporting a master| 00:00 |
Of course you'll be exporting your show
once it's completely done and fully
| | 00:04 |
finished, but you may want to export
versions also in the process of the edit
| | 00:09 |
just to have people review it.
Well, either way, it's the same basic steps.
| | 00:14 |
You need to select the timeline of the
sequence that you want to exploit.
| | 00:18 |
Now, you can do that either by selecting
the actual timeline in the bottom right
| | 00:24 |
hand quadrant of the screen or if you have
multiple timelines, you can also select
| | 00:29 |
them in the project pane.
Now, if nothing is selected, if you don't
| | 00:34 |
actually have a project pane selected,
you'll go up under a File > Export and
| | 00:41 |
exporting your media could be grayed out.
So if you see it grayed out, make sure you
| | 00:46 |
have something selected, and then, when
you go back, you'll be good to export.
| | 00:52 |
I usually try to remember this keyboard
shortcut, Cmd+M because it's something
| | 00:58 |
that I use a lot.
When you start the export process, you're
| | 01:02 |
greeted with this dialog box and this is
basically Adobe Media Encoder.
| | 01:08 |
And there's lots of changes you can make
to things, but unless you really have a
| | 01:13 |
good reason to start tweaking and
monkeying around with your Export
| | 01:16 |
settings, usually, the defaults that Adobe
provides are much better.
| | 01:22 |
The most important thing that you need to
take a look at is in the lower left hand
| | 01:28 |
quadrant of this screen, and this is this
area right here.
| | 01:32 |
You have four choices to choose from when
you export, this is at Sequence In/Out.
| | 01:39 |
If I had marked in and out points in my
timeline before I hit Export, I may only
| | 01:45 |
export out a small chunk of my show when
I'm thinking I'm exporting out the entire program.
| | 01:51 |
Now, this is really useful though, if you
either want to send a piece of your show
| | 01:56 |
to somebody for a review or if you're
testing a variety of different codecs and
| | 02:02 |
Export schemes and you don't want to put
out a full 30-minute show when all you
| | 02:07 |
need is maybe 10 or 15 seconds to see how
it looks.
| | 02:11 |
The other two options that you will
probably encounter are Work Area.
| | 02:16 |
Now, the Work Area maybe familiar to
people who have been working, say in After
| | 02:20 |
Effects or previous versions of Premiere
Pro, and it's available in the cloud
| | 02:25 |
version of Premiere Pro, however, it is
turned off by default.
| | 02:30 |
So unless you've turned it on, don't worry
about this.
| | 02:33 |
What I usually like to make sure is
checked is Entire Sequence.
| | 02:39 |
And if Entire Sequence is checked, that
means I don't have to worry about my In
| | 02:44 |
and Out points, the entire program will
get exported from beginning to end.
| | 02:49 |
Now, be careful if you actually threw
something down at the very end of your
| | 02:53 |
timeline just to kind of put it there.
You might have a three-minute show and you
| | 02:58 |
might export out a twenty-minute sequence
because of one little clip that you left
| | 03:03 |
dangling at the very end of your show.
A good thing to keep in mind is this
| | 03:09 |
number right here.
That tells me the duration of whats being exported.
| | 03:14 |
Now, at the bottom there was a custom
setting.
| | 03:16 |
You don't actually have to pick the custom
setting to use it.
| | 03:19 |
All you need to do is grab one of these
little triangles and scrub to exactly
| | 03:25 |
where you want your out point to be and
you can do the same thing for your endpoint.
| | 03:32 |
So if you know you want to export just a
small chunk of your video and you didn't
| | 03:37 |
mark the in and out prior to hitting the
Export button, you can do that by
| | 03:41 |
modifying the In and Out point in the
encoder.
| | 03:45 |
And as you see, I'm only putting out about
23 seconds of my clip and I've
| | 03:50 |
automatically switched to Custom.
This is something you should check no
| | 03:55 |
matter what export settings you're using.
In this case, I want to just make a Master.
| | 04:00 |
So I'm going to go back and click on
Custom and switch it back to Entire Sequence.
| | 04:05 |
Now, if I want to make a master recording,
usually, I would click on Match Sequence Settings.
| | 04:12 |
And it will automatically adjust my
settings so that the output matches the
| | 04:19 |
clips that I've dropped into my timeline.
And I say that because I dropped the clips
| | 04:23 |
into the sequences and made the sequences
match the clips.
| | 04:27 |
And therefore, the output will match the
original media.
| | 04:31 |
At this point, I'm not going to make any
other changes to any of these parameters
| | 04:35 |
because I want a quick, clean output.
The only other checkboxes that I might
| | 04:40 |
consider are Use Maximum Render Quality
and what that's going to do is actually
| | 04:46 |
work a lot harder to make sure you end up
with a cleaner, sharper, smaller video.
| | 04:53 |
But, you'll do that at the expense of
time.
| | 04:55 |
So, if you have the time, not a bad
checkbox to use, but for the most part, I
| | 05:02 |
find it looks pretty good without that
checked and I'm usually in a rush.
| | 05:06 |
The other checkbox that I want to point
out is the one that says Import into project.
| | 05:11 |
This is very useful if you have a very
effects heavy chunk of your show or if you
| | 05:18 |
have a lot of high resolution, multicam
footage.
| | 05:22 |
What this does is it renders out whatever
you ask it to, creates a movie and puts a
| | 05:28 |
pointer, to that final movie back into
your project file.
| | 05:32 |
So you can replace the clips that are
there or put it above the clips that are there.
| | 05:37 |
And finally, when you have everything set
you're going to press the Export button.
| | 05:43 |
Now, when you press the Export button, the
Encoder takes full control of Premiere and
| | 05:48 |
the encoder using all the CPU power, the
GPU, the graphics processing unit and your
| | 05:54 |
RAM to export your video out as quickly
and efficiently as possible.
| | 06:00 |
So you are locked out of continuing to
edit in Premiere while it's exporting.
| | 06:06 |
If you choose to use the Queue button, it
actually queues it up in the background
| | 06:12 |
and then you can batch export after the
fact and continue to edit.
| | 06:17 |
The price you pay is the export's going to
take longer because you're sharing CPU
| | 06:22 |
power GPU power and RAM between these two
applications.
| | 06:27 |
So exporting out your video actually will
take much less time than it took to
| | 06:32 |
explain it.
So basically, double -heck when you hit
| | 06:35 |
Match Set Sequence settings that in the
lower left hand corner, you're exporting
| | 06:39 |
exactly what you want, take a quick peek
at the summary to make sure that your
| | 06:44 |
source and your output are what you expect
them to be, and then go ahead and press
| | 06:50 |
the Export button.
| | 06:51 |
| | Collapse this transcript |
| Exporting for devices and the web| 00:00 |
Of course these days you have to deliver
your final projects in a variety of sizes,
| | 00:06 |
forms, codex, and even whether they're
designed to be played back on a computer
| | 00:12 |
or on some sort of device, such as a
tablet or a phone or even back on a
| | 00:18 |
television set via streaming.
Well, Premiere Pro uses the Adobe Media
| | 00:23 |
Encoder engine, and can provide all of
that with a few clicks.
| | 00:27 |
Now, I do want to point out that you do
not need to render your timeline before
| | 00:33 |
you export.
As a matter of fact, most of the time that
| | 00:37 |
would just be a waste of your time because
Adobe Media Coder likes to go back because
| | 00:43 |
Premiere Pro likes to use the original,
raw, unrecompressed footage to create your
| | 00:50 |
final video, which is going to give you
something that's sharper and clearer.
| | 00:54 |
Now, you can use the render files but
actually it probably takes longer to set
| | 00:58 |
up than to go back and actually export out
from the original media.
| | 01:03 |
Now, to export out something for a device
or for the web, I'll go to the File >
| | 01:08 |
Export > Media.
Instead of selecting match sequence
| | 01:17 |
settings, I'm going to actually choose my
format.
| | 01:20 |
I'm going to go ahead and click on this,
and you can see the variety of output formats.
| | 01:25 |
I mean you can pick in this case, H.264
which is a flavor of video.
| | 01:30 |
I can put out QuickTime movies, I can put
out just audio, I can put out image
| | 01:35 |
sequences if I have to take it into
animation I can even make MPEG's for
| | 01:41 |
regular DVDs, also regular MPEG's and
H.264 to put on to a Blu-ray disc.
| | 01:48 |
Now let's start with QuickTime.
Once I select QuickTime my choices down
| | 01:54 |
here are going to change.
So for instance, I chose QuickTime and my
| | 01:59 |
presets are specific for QuickTime.
And in addition to having the default
| | 02:04 |
presets, you can also create custom
presets in Adobe Media Encoder that you
| | 02:11 |
can then use from within Premiere.
So this is very nice if I need to deliver
| | 02:16 |
something with a QuickTime wrapper With
some very specific Codex.
| | 02:21 |
And I say that because once I choose
QuickTime, I can choose the preset and
| | 02:26 |
then I can click down here and choose what
codec I want to export it with.
| | 02:31 |
Now, most of the time you're probably
using H.264 for web delivery.
| | 02:35 |
But sometimes for masters or for your
clients, you may need to deliver something
| | 02:40 |
more specific.
Fo instance you can access any of the
| | 02:43 |
codecs that are available on your system,
and I point that out because depending on
| | 02:48 |
the platform you're editing, that is
whether you're editing on a Mac or a PC
| | 02:53 |
some of these settings are not available
to you.
| | 02:56 |
Most codecs have been licensed by Adobe
but there are some manufacturers that only want...
| | 03:03 |
The ability to export that Codec on their
own machines.
| | 03:07 |
So, if you're in a Windows machine, you
won't see prores as an export option, even
| | 03:13 |
though you can import and play back prores
files.
| | 03:15 |
Now, if I switch from QuickTime to another
format.
| | 03:20 |
You'll notice that my drop down choices
will change.
| | 03:23 |
In this case, I am going to go back and
choose H.264, which is a great web and
| | 03:28 |
device delivery platform.
I have choices under presets that are
| | 03:34 |
specific to a lot of the popular devices
that are available on the market.
| | 03:39 |
If I continue to scroll down, you'll
notice that I can also export, using
| | 03:44 |
codecs, frame rates, and sizes, for both
YouTube and Vimeo, that allows me to
| | 03:51 |
upload them directly to their web servers
without them having to be rencoded.
| | 03:56 |
And having that extra quality loss by the
extra compression.
| | 04:00 |
Now, in addition to being able to use
these presets, you can modify parameters
| | 04:06 |
using any of these tabs.
So for instance, in the case of video, an
| | 04:11 |
H.264, there are some elements that I can
change and modify.
| | 04:16 |
One that I usually do like to work with Is
bitrate encoding.
| | 04:20 |
Now I'm going to click on this and just
quickly explain what these three options are.
| | 04:24 |
CBR, VBR, and then VBR, 2 pass.
Well, basically think of it as CBR is
| | 04:31 |
faster to encode but larger files.
VBR, 1 pass are smaller files but may take
| | 04:38 |
longer to encode.
And VBR two pass is even smaller, probably
| | 04:43 |
a little sharper and will take longer than
the previous two to encode, so as you go
| | 04:49 |
down the list you're going to be trading
off quality and size versus time.
| | 04:54 |
The faster your processors, the faster
your graphics card.
| | 04:59 |
The faster this export will go, and I
personally like to use VBR 2 pass whenever possible.
| | 05:06 |
It'll also show you the estimated file
size and this is a best guess based upon
| | 05:12 |
the size of the original file, but it's
not a guarantee, because it's going to be
| | 05:16 |
a lot harder to compress say a car race.
Then a talking head.
| | 05:21 |
Once you've played around and made your
decisions you can go ahead and use either
| | 05:26 |
the Q or the export button.
By hitting the Q button it adds it to the
| | 05:31 |
Adobe Media Encoder queue and then you can
step back into Premiere and continue to edit.
| | 05:37 |
If you hit the export button you're
completely locked out but your exports
| | 05:42 |
going to be faster.
So let me add this to the queue, and you
| | 05:45 |
can see there it is.
Oh one timeline with all of my requested
| | 05:50 |
export settings.
Once again, if you want, you can change
| | 05:55 |
any of the export settings at this point,
or if you need to.
| | 06:00 |
You can duplicate the file, and choose a
different export setting and batch export
| | 06:07 |
multiple versions of your program at the
same time.
| | 06:10 |
| | Collapse this transcript |
|
|
20. Media Management and ArchivingMoving and copying a project| 00:00 |
Whether you're halfway through a project,
beginning a project, or completely done,
| | 00:05 |
one of the things you'll often want to do
is make a copy of your existing media and
| | 00:11 |
a copy of your project files.
It's always good to do a backup during the
| | 00:17 |
editing process as opposed to at the end.
I can't tell you how many times people
| | 00:21 |
have come up to me and saying, I lost my
video.
| | 00:25 |
I say, well, where is your back up?
And they all say, well, I wasn't done, so
| | 00:28 |
I didn't back it up yet.
You should back (LAUGH) up your media and
| | 00:32 |
you should back up your program files on a
regular basis.
| | 00:35 |
Because once it's gone, you have to
reinvent the wheel from the beginning.
| | 00:40 |
So to do that, there's a nice thing within
Premiere Pro called the Project Manager
| | 00:45 |
and you can find that under the File menu
at the very bottom of the list.
| | 00:49 |
Now, if you're on a Windows machine, you
also will will have your settings at the
| | 00:53 |
bottom of this list as well your keyboard
shortcuts.
| | 00:57 |
Now, I'll select that and I'm presented
with this dialog box, and here, I get to
| | 01:02 |
pick and choose if I'm going to copy and
backup everything or if I'm going to
| | 01:07 |
refine it.
For now, we're going to copy everything
| | 01:11 |
because I want a full backup because I'm
still editing.
| | 01:14 |
I usually use the trim project and refine
it for when I'm archiving because I want
| | 01:19 |
to save space and only save the stuff that
I've used.
| | 01:23 |
So, working on the copying or the moving
strategy, let's take a look at the list
| | 01:28 |
from top down.
The first thing I can choose is do I
| | 01:33 |
want to export all of my sequences and
their associated media.
| | 01:38 |
And sometimes I do, especially if it's at
the very beginning.
| | 01:41 |
And other times, I may have done some
stuff that I don't need to save or I don't
| | 01:46 |
need to hand off to somebody else.
For instance, I have this experimenting
| | 01:51 |
sequence, which is kind of a sandbox where
I played with things.
| | 01:54 |
And one of the things I played with was
multi-cam, so I don't need that.
| | 01:58 |
And before I make these changes, I do
want to point out that, right now, it's
| | 02:02 |
575 megabytes or about 575.
But if I choose not to copy these
| | 02:09 |
sequences and I'm going to click on
Collect Files and Copy to a New Location.
| | 02:17 |
If I hit the Recalculate button, you'll
notice that both of these numbers change.
| | 02:22 |
First of all, if I'm going to be copying
everything, I'm copying files that I
| | 02:27 |
didn't use with in my project.
Okay?
| | 02:31 |
So I have a resulting size that's smaller,
1.4 gigabytes.
| | 02:36 |
But I'm still not copying elements that I
used In these two sequences, let me go
| | 02:42 |
ahead and turn those back on, and I'm
going go ahead and uncheck that and hit
| | 02:47 |
calculate again, and you'll see that I
have the full 1.7.
| | 02:51 |
This number never changes til you press
the Calculate button.
| | 02:55 |
So, don't make the mistake of making all
the changes and then thinking that didn't
| | 03:00 |
make a difference, make sure you press the
Calculate button.
| | 03:03 |
So, let's go ahead uncheck these two
again.
| | 03:06 |
I don't want to create a trim to project.
I really want everything there and these
| | 03:11 |
are some of the key things that we can
modify.
| | 03:13 |
Now, depending on what we chose above some
will be grayed out and some won't be and
| | 03:18 |
we'll explore those different options
momentarily.
| | 03:21 |
I can choose if I want my Preview files,
these are your Render files to be saved
| | 03:26 |
and I generally don't do that, because, I
assume I can always re-render when I open
| | 03:31 |
up my timeline and the same thing is true
with audio conform files.
| | 03:35 |
These aren't that big, and a lot of times,
I like to just restart from scratch.
| | 03:41 |
This is the dangerous one.
If I click on Rename Media Files to match
| | 03:45 |
the clip names, if I've changed their
names over here, it's going to create new
| | 03:51 |
media with new names.
This could be a good thing if I'm using,
| | 03:56 |
say P2 cards that don't have any
description about what the file looks
| | 04:00 |
like, or it could be a bad thing if
somebody else is going to use this media
| | 04:06 |
and they only know it by its original
name.
| | 04:08 |
So be careful because this could make
relinking a little more of a challenge.
| | 04:13 |
I can then choose where I want the files
to go, and I can browse to another part of
| | 04:17 |
my hard drive if I want to just make a
copy there.
| | 04:21 |
Or, I could Browse and export it to
another internal drive if it's available
| | 04:26 |
on my machine.
Or, to an external drive for me to save as
| | 04:30 |
a back up off site or to send to somewhere
else.
| | 04:33 |
Once all these decisions are made, I
always hit the Calculate button again.
| | 04:38 |
And as you see, by cutting out all the
preview and audio conform files, I've
| | 04:43 |
actually cut it down by 2 3rds of the
files that I needed to actually save and
| | 04:50 |
move to continue working on this project
on another machine or just put it on the
| | 04:56 |
shelf as a backup.
When all this is said and done, I would
| | 05:00 |
press OK and the new project is created.
Now, once all the media has been copied
| | 05:09 |
this is what the end result looks like.
It has all the clips that I used in my
| | 05:13 |
project and it names the project after the
original because basically this is simply
| | 05:18 |
a copy.
If I double-click to launch this, you'll
| | 05:23 |
notice that this is the exact same
timeline, but I no longer have that
| | 05:28 |
experimental folder.
And if I scroll down, there is all of my
| | 05:33 |
media organized exactly how I expect it to
be.
| | 05:38 |
And because I didn't copy my render files,
I might have to render a few things for
| | 05:43 |
real time playback if I'm on a slower
machine.
| | 05:46 |
There's one big difference you need to
keep in mind, when you make a backup copy
| | 05:51 |
of a project.
Even though the organizational structure
| | 05:55 |
is still maintained inside your project
file, when you look at where the media has
| | 06:00 |
been moved to, and let me hide Premiere
Pro, all of your media has been copied to
| | 06:06 |
the top level.
So it doesn't put things back inside their
| | 06:10 |
original folders or a copy of their
original folders.
| | 06:13 |
All of your media is put into a giant
folder, and the project can find it, but
| | 06:20 |
that organization structure is gone.
Let me jump back into Premiere Pro and
| | 06:25 |
show you one more very useful thing.
When you're working or collaborating with
| | 06:30 |
somebody on a single project.
I can use the Project Manager and change
| | 06:36 |
one option and it becomes very, very
valuable.
| | 06:39 |
Instead of collecting all my files, I'm
going to switch back to creating a new
| | 06:44 |
trimmed project and I'm going to say make
offline.
| | 06:48 |
Watch what happens when I hit Calculate.
You'll notice that it has dramatically
| | 06:53 |
dropped to 700 kilobytes, which is
practically nothing.
| | 06:57 |
Now, this is really useful if you're
collaborating and you're only working on
| | 07:01 |
one of those sequences.
So they'll get the project file.
| | 07:05 |
Everything will be offline.
And they simply can relink it to the media
| | 07:09 |
that you manage earlier and sent them on a
hard drive.
| | 07:12 |
It's a great way to collaborate.
The other way you could do things is you
| | 07:16 |
could just send them a copy of your
current project file.
| | 07:19 |
But the challenge there is, if you only
gave them part of the media, they'll only
| | 07:24 |
be able to reconnect some of the clips and
it could be a little more frustrating for
| | 07:29 |
the person you're collaborating with.
I'd recommend playing around with
| | 07:34 |
different variations that you can get by
checking and unchecking some of these
| | 07:38 |
boxes to gain a better understanding of
how the project manager can work with and
| | 07:44 |
copy your files.
| | 07:45 |
| | Collapse this transcript |
| Archiving a project| 00:00 |
When you are truly done with a project,
you're ready to archive it.
| | 00:05 |
Now, basically, archiving means you're
going to take it off your current machine,
| | 00:10 |
and put it on another hard drive, and put
it on the shelf, or maybe put it onto a server.
| | 00:16 |
But the idea is that you want to save just
the parts you need or just the parts you
| | 00:21 |
think you will need in the future if you
wanted to re-edit the program and get rid
| | 00:26 |
of what you don't need.
Now there's two distinct work flows in
| | 00:31 |
doing that.
One is inside of Premiere Pro and one is
| | 00:34 |
outside of Premiere Pro.
If you have been very, very careful and
| | 00:39 |
very, very organized and all of your media
is put in the same location.
| | 00:46 |
So I'm going to jump out to my projects
settings and look at my scratch disks.
| | 00:50 |
So for instance, all of this is saved to
the same folder, and you're very good at
| | 00:57 |
bringing media into that same folder.
You can simply, I'm going to cancel this
| | 01:03 |
and hide Premiere Pro.
I could go in and just copy this folder
| | 01:07 |
from one hard drive to another.
And the contents of this folder has all my
| | 01:13 |
organized media.
It might have some auto saves and preview
| | 01:17 |
files those are the renders, as well as
any project files that I might have for
| | 01:22 |
that project.
I might have multiple ones if I'm putting
| | 01:25 |
them into another project and I could just
copy this folder.
| | 01:29 |
The downside of doing it this way is one,
there may be extra media that I thought I
| | 01:35 |
might use that I ended up not using.
And maybe I grab something from somewhere
| | 01:41 |
else on my hard drive, and forgot about
it.
| | 01:44 |
And then, when I open up the project and
go to reconnect the media, I won't be able
| | 01:48 |
to find it in my backup, because maybe it
was in my Pictures folder.
| | 01:51 |
So, this may seem like a good idea, but
it's very dangerous.
| | 01:57 |
If you're going to do this, immediately,
on another machine, not this same machine
| | 02:01 |
that you worked on open up the project
file and make sure everything reconnects.
| | 02:06 |
Otherwise, you may be out of luck, six
months down the road, when you need to
| | 02:11 |
work on this project, when you need to go
back and do more work on this project.
| | 02:16 |
Now, inside of Premiere Pro, we're
familiar with the Project Manager for
| | 02:20 |
copying our media from one location to
another.
| | 02:23 |
Except, now, we're going to use it
specifically to archive just what we want.
| | 02:29 |
So for instance, if we don't want all of
the sequences, much like last time, we can
| | 02:34 |
turn off any sequences that we don't
want to use.
| | 02:37 |
Now, I want to point out that I really
only created two sequences here, a
| | 02:41 |
timeline sequence and my experimenting
sequence.
| | 02:45 |
But in each of those, I did make in this
case a multicam sequence.
| | 02:50 |
And in the first one, I had a Photoshop
document that I brought in as a sequence.
| | 02:56 |
So be sensitive to the fact that you might
have sequences within sequences.
| | 03:01 |
Don't be cavalier about just turning
things off because you think you don't
| | 03:06 |
need them.
I'm going to go ahead and turn off these
| | 03:09 |
two because, really, this is the project
that I need to archive for my client.
| | 03:13 |
And what I want to do is create a new
trimmed project.
| | 03:17 |
Now, this is going to allow me to throw
away any media that I did not use and also
| | 03:24 |
trim media that I may have used but only
used a small chunk of.
| | 03:29 |
Now I can go ahead and by default its one
second or 30 frames of handle.
| | 03:36 |
So I'm going to drag that up to the
highest number which is a 100.
| | 03:39 |
So now I have a little over 3 seconds more
of each clip that I used in my timeline.
| | 03:46 |
So if in the timeline I used a ten second
clip and I'm asking Premiere to trim it,
| | 03:51 |
it's going to trim it to a little over 16
seconds with about 3 seconds before and
| | 03:57 |
about 3 seconds after.
That would be 90 frames.
| | 03:59 |
So in case I needed to make a shot longer,
though it's trimmed, the media is still
| | 04:05 |
available to me.
I do want to point out that there are some
| | 04:08 |
camera formats that can not be trimmed,
such as the long GOP H.264 format that
| | 04:16 |
many cameras shoot.
And if they trim it, some of the
| | 04:20 |
information won't be there.
So in those cases, Premiere literally just
| | 04:24 |
moves the whole clip to the new location
and you have everything, not just what you
| | 04:30 |
used in the timeline and the handles.
You also have this option to rename media files.
| | 04:35 |
Again, this is a tricky decision because
it's nice that if you rename them in the
| | 04:40 |
project file, these new clips will now be
renamed.
| | 04:44 |
And you can look and see exactly what the
clips are by their name instead of having
| | 04:48 |
to open them up.
But you won't be able to link these clips
| | 04:51 |
back to any other project that might be
referring to them by their original name
| | 04:58 |
that the camera might have given them.
I can then pick a location and, of course,
| | 05:02 |
if I'm archiving, I could archive to the
same machine.
| | 05:05 |
But I don't think that's necessarily the
right workflow and what you should be doing.
| | 05:09 |
Usually you'll want to archive to another
location.
| | 05:13 |
So I'm sending it to another drive on my
computer.
| | 05:16 |
And I'm choosing that and I can see
exactly how much space is going to be used
| | 05:21 |
after I hit the Calculate button.
So my original project size of what I was
| | 05:26 |
copying was 575 megabytes and I'm rounding
it off here.
| | 05:31 |
The new one is 482 megabytes.
I'm pretty happy with that.
| | 05:38 |
If I wanted to see it get a little bit
smaller, I could turn that off.
| | 05:41 |
But, in my case, 482 is good enough.
I press OK.
| | 05:46 |
It's now going to put this onto the
scratch disc.
| | 05:50 |
And when I open it up, I should see a
project file and all of my media.
| | 05:55 |
So let me go ahead an open up my scratch
disk.
| | 06:01 |
And there it is, Trimmed_20_01, and if I
double-click to step inside, I see the
| | 06:08 |
project and all the media that I used.
And I would recommend taking this folder,
| | 06:15 |
putting it on another hard drive, plugging
it into another computer, trying to open
| | 06:20 |
up the project file.
And make sure that everything you
| | 06:24 |
anticipated you moved really was moved.
Once everything is archived you can simply
| | 06:30 |
throw away the media from your original
project but I want to give you a word of warning.
| | 06:36 |
If you've used media in two different
projects you could throw away media that
| | 06:42 |
you're using in another show.
So, again err on the side of caution when archiving.
| | 06:49 |
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| Preparing and integrating your workflow with non-Adobe applications| 00:00 |
Premiere Pro let's you work with a variety
of other applications, whether they're
| | 00:05 |
inside the Creative Cloud Suite or outside
the Creative Cloud Suite.
| | 00:11 |
If I need to export information for
another application outside the suite to
| | 00:16 |
use, I can do that under the file menu,
again, under Export.
| | 00:21 |
For instance I can support our batch
lists, titles which we saw earlier, which
| | 00:26 |
can only be used by Premiere Pro.
I can export out copies to a tape, and I
| | 00:32 |
can export out media to AAF format, or an
XML that can be used in say Final Cut Pro.
| | 00:39 |
But a lot of different applications can
read a final cut pro XML and that's simply
| | 00:44 |
stands for extensible markup language,
which is geek speak for I'm going to give
| | 00:49 |
you a project file that shows you how
everything is organized but can be
| | 00:55 |
imported by a variety of different
applications.
| | 00:59 |
Now you'll notice that EDL and OMF are
greyed out, and that's because I don't
| | 01:05 |
have a sequence checked.
These are definitely sequence based so if
| | 01:10 |
you don't have a sequence but your entire
project checked.
| | 01:13 |
You won't see them as accessible.
Once the sequence is selected, I can
| | 01:19 |
export and EDL that stands for edit
decision list.
| | 01:22 |
That can be read by most programs, but
it's very basic it's only online line of
| | 01:26 |
video, four tracks of audio.
Probably most of your effects and
| | 01:30 |
transitions won't come through, but you
may have somebody request it.
| | 01:35 |
It's a very old format.
And then there's OMF, and that's used a
| | 01:39 |
lot these days for audio editing, for
instance if you're going to be handing
| | 01:43 |
something off to say, Pro Tools.
A reminder, that if you go into other
| | 01:49 |
applications in the Adobe Create Cloud
Suite, usually you don't have to go
| | 01:54 |
through this level of complexity, you can,
for instance, send it to SpeedGrade for
| | 02:00 |
color grading.
You can create after-effects compositions.
| | 02:04 |
We learned about Photoshop documents.
You can send to Audition.
| | 02:08 |
So the Adobe Suite applications generally
talk to each other, and talk to each other
| | 02:13 |
so well that they fully understand what
Premier Pro is telling them.
| | 02:19 |
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|
|
ConclusionNext steps| 00:00 |
We've covered a lot in this Premiere Pro
essential training course, but there's
| | 00:04 |
always more to learn and always more to
discover.
| | 00:07 |
The best place to start is to take a look
at some of the other courses at Lynda.com,
| | 00:12 |
where we have earlier versions of Premiere
Pro covered, as well as courses on some of
| | 00:17 |
the other applications that complement
Premiere Pro.
| | 00:20 |
The next place to look is Adobe's Premiere
Pro help site.
| | 00:25 |
Now, this will have the latest and
greatest information about product
| | 00:28 |
updates, what's new, and troubleshooting,
if you need help with Premiere Pro.
| | 00:33 |
Another site that I also like is Adobe TV.
And when you go to Adobe TV, you can
| | 00:38 |
actually go under Products and choose
which products you'd like to watch videos about.
| | 00:45 |
So go ahead and click on Premiere Pro and
explore Adobe TV for even more knowledge.
| | 00:52 |
Premiere Pro is part of Adobe's creative
cloud.
| | 00:56 |
So if you want to explore more about the
cloud and the other applications that
| | 01:01 |
interface with Premier Pro, this is a
great place to start.
| | 01:06 |
And finally, another place that I like to
look is the Adobe Premier Pro forum on the
| | 01:12 |
Creative Cloud.
Here you can ask questions, and search for
| | 01:15 |
answers about the areas that are new, or
you're not quite sure about.
| | 01:20 |
Adobe Premiere Pro is a great video
editing application, that will allow you
| | 01:25 |
to take your projects to the next level.
I hope you have enjoyed the training.
| | 01:31 |
Now go ahead and make a great video.
| | 01:33 |
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