Explore navigation, marking, and subclipping. In terms of playing and navigation, you focus on all aspects of JKL navigation. You also learn how to mark clips with in and out points, as well as how to refine those marked segments. Finally, you explore subclipping so that you can preserve important moments for the editing process.
- [Instructor] We just reviewed all the ways to import and organize our clips in our project. Now we'll spend this chapter getting started editing our Topa Topa video. And in this movie we're going to take a look at all the ways that we can play, mark, and subclip our clips in preparation for editing. We've already organized our assets. I just going to maximize my project panel by pressing ~ and as we can see here we have our well organized assets, here are our interviews. We have quite a few clips within each of these interview bins, but to make things a little bit easier, what I've done is moved the pertinent interview clips down to the 4.1 bin, okay? So, starting in this chapter, we're going to begin following this exercise file structure starting here in 4.1.
And the first one I'm going to load is this one right here, jack_craftsmanship quality and community. So, I'll double click here and to give myself a little bit more real estate in my project panel, I'm going to switch over to my assembly work space. If for some reason you don't see these headings, you can always go up to Window>Workspaces> and Assembly right here. Alright, so let's start taking a look at these clips. These are interviews that were taken from much longer interviews, 15-20 minutes a piece, but I've already broken them down so that I could fit them within the exercise files download, but we'll practice breaking them down a little bit further.
Now, we already know some basic navigation. I know that if I want to play through this clip I can use the Play command, it's this onscreen button here or the spacebar, okay. Space ar both plays and stops. I press it to play. - Craftsmanship, quality, and comm-- - [Instructor] And I press it again to stop. But for now on we're going to be moving to a more sophisticated navigation system and that's JKL Navigation. Let me bring up the Premiere Pro keyboard for a moment so we can talk about JKL. I'm going to go to Premiere Pro and Keyboard Shortcuts and here's JKL, you can see that J is shuttle left, K is shuttle stop, and L is shuttle right.
Also notice that our mark in and mark out are right above that. So, we have a lot of power in this small area of the keyboard and that's going to serve us very well. So, let's take a look at this in action. I'm going to shuttle forward by pressing L. I'll press K to stop and then I can shuttle backward by pressing J. You can also go faster or slower. So, if I hold down K and L together I'm going forward in slow motion.
If I hold down K and J at the same time I go backwards in slow motion. If I want to go faster than real time I just tap J or L multiple times. So, if I tap L twice I'll go forward at double speed. And I just press K to pause. I can do the same thing going backwards, so I'll tap J twice. And the more and more times I tap J or L the faster I'll go. When you're marking clips though, you usually want to be precise, so we probably won't be going super fast, we'll be going at either real time or in slow motion.
Alright, so let's put this into practice and find a few sound bites from Jack's interview here. I'm going to go to the beginning and I believe this starts in immediately, so I'm going to press I to mark an in. And then I'm going to use my JKL navigation to find the end of this soundbite. I'll be doing this organically, you'll see me go forward and backward until I find my precise moment. Alright, so I'll shuttle forward with L to play this interview. - Craftsmanship, quality, and community spirit is a big part of who we are and our mission statement reads really those three words.
And that underlies everything that we do. - [Instructor] Alright, I think I've got it. If I want to play in to out, that keyboard shortcut is opt+K on a Mac, or ctrl+shift+spacebar on a PC. So, let's just play this soundbite, opt+K. - Craftsmanship, quality, and community spirit is a big part of who we are and our mission statement reads really those three words. And that underlies everything that we do. - [Instructor] Alright, so I think that's good for now, we'll probably remove some moments within this when we start editing, but to define the boundaries of the sound bite I'm happy with that.
If we do need to tweak things it's as simple as just remarking an in or an out. Sometimes you may want to zoom in when you do this, som I'm going to press + several times and you can really hone in on exact moments. You can also switch over to your audio and you can see exactly when words end and when they start and that can be helpful as well. So, you can either just grab your outpoint and move it like so. You can see that it updates. Or you can just remark by pressing O again.
Alright and I've messed that up. So, I'm going to go back to the end of that word. If you're ever interested in playing from a specific moment to an outpoint, that keyboard shortcut for both Mac and PC os ctrl+spacebar. Alright, good. And I think I'm just going to give him a little bit more space at the end of that. Alright, so I'm going to go back over to video and I've got my first sound bite here, but I have several other moments within this interview that I would also like to section out.
And I will show you that if I set another in and out point, my first one disappears. So, that's not what I want. I going to undo, command or control Z. So, we have our first one back and I'd like to preserve this and they way tat I do that is by creating a subclip. You can find that under Clip and then Make Subclip or cmd+U, ctrl+U on a PC. And whenever you make a subclip, you want to make sure that you tell Premiere Pro where you want it to go. I have a little bin here called Sound Bites, so I'm going to highlight that and so I know my subclip's going to go in there.
Alright, so I'm just going to press cmd+U and here I've got a dialogue box that pops up prompting me to name the clip and to determine whether or not to restrict trims to subclip boundaries. For now I am not going to choose this, but remember this because I'll come back to this at the end of the movie to explain it later. And I think this name is pretty good for exactly what he says and I'll just take off subclip here and say okay. Alright, and we've made our subclip and you can see that the icon is a little bit different from a master clip to a subclip.
Alright, so let's create a few more. I've placed markers at some places where we might want to create more subclips. Let's paly around here. Again I'm going to use JKL to find the exact moment where I want this to start and end. - The craftsmanship, we have Casey and his team who care meticulously about the beer. - [Instructor] And I'll mark an out and if I want to check that I can do opt+K to play in to out if I like. I will say that this level of precision at this point isn't usually hugely important because we can always trim our shots later as long as we set it up that way.
But since this is all about marking our shots I thought I'd show you just a few ways to be precise. So, I'm going to just press opt+K to make sure I've got it. - The craftsmanship, we have Casey and his team who care meticulously about the beer. - [Instructor] And let's just make sure that we get the end of his breath right there. I'll zoom in, +, + and we'll include just this last little moment here. And again to play from any moment to the outpoint is ctrl+spacebar. Alright, so we may end up lopping off that breath when it comes down to it, but for now I've included it and I'm going to press cmd+U and I'll rename this craftsmanship Casey cares about beer.
And okay. Alright, so you can continue going on in this way through the rest of this clip and the other clips that I provided. Before we move on, I do want to talk about just one more way that you can mark shots and that is doing it from right within the project panel. I'm going to just double click my 4.1 bin and then switch over to icon view and I can make these nice and large if I like. And again, we can hover scrub these as long as we do not click, but the moment we click on any of these movies, it becomes a playable, markable clip, okay.
So, I'm going to use JKL and find a moment that I can mark with in and out points. - So, I always tell people that if you want to become a brewer you have to be obsessed with beer and love it. - [Instructor] Alright, so I've marked my in and out points. One thing that does not work in this view is playing in to out. If I press opt+K nothing happens, but I can always just load this into the source monitor and you can see that it's preserved my in and out points and I can press opt+K to play in to out here no problem.
- So, I always tell people that if you want to become a brewer you have to be obsessed with beer and love it. - [Instructor] And it's, of course, much easier to make your tweaks when you're in the source monitor if I need to adjust that outpoint, which I think I do. Zoom in and find the end of that word and mark a new outpoint. Alright, and I'll press cmd+U. I'm just going to call this Obsessed with beer and okay. I forgot to put it in my sound bites bin, so I'll just move that in there. And we have three sound bites ready to go.
Alright, now speaking of subclips, let's talk a little bit about those boundary restrictions. I'm going to load my Jack clip again and I just want to use this in and out point to perform this experiment. I'm going to make two subclips, one restricting the boundaries and one not. Here I'll press cmd+U and I'm just going to call this Unrestricted and I'll do it again, cmd+U and I'll call this one restricted. Okay and I have this subclip test sequence that I'm going to load, it's just an empty sequence.
And let's go ahead and load restricted in and unrestricted. Alright, so for restricted, you'll notice that you have these little white triangles in the upper corners of the clip, that's telling you that you do not have the ability to trim the shot beyond the subclip boundaries because if I go back to my source clip, you can see that I have all this to the left and all of this area to the right. In the world of editing we call this Handle and in a restricted clip we don't have access to that handle, okay.
In an unrestricted clip we do. We can trim all the way until the actual clip itself ends. So, I can trim and trim and trim and trim until I get to the very end of Jack's sound bite, which appears to be quite long. So, I'll stop there, but you get the idea. I have a lot of freedom to use all of these frames in the trimming process. So, because having flexibility is usually better in editing, I typically do not restrict my borders so that I can trim if I need to.
If you ever need to switch your restrictions it's pretty easy, you just come to the, let's see I'll go to my restricted clip here, you come to the clip and then right click and choose Edit Subclip. And then right now it's restricted, I just uncheck this and now it's unrestricted. And you can see that, if I bring this into the timeline, I no longer have my white triangles and I can trim just as I could with the unrestricted clip. Okay, so that is playing, marking, and subclipping.
All important steps in the process of organizing your clips before editing.
This is the first part of a two-part series. The second installment explores more intermediate techniques.
- Touring the Premiere Pro interface
- Asset organization and project management
- Basic editing
- Trimming and refining
- Basic audio editing
- Working with stills and graphics
- Basic effects
- Manipulating clip speed
- Using automatic and basic color correction tools
- Working with titles
- Sharing and exporting