All language subtitles for 3 1 Intro to Premiere Merged

[Music]

the editing room is your instrument the

more you learn about it and the more you

practice the faster you can get into

your flow and your flow is where the

magic happens premiere pro is the place

where i put together my videos it's

where i organize my clips make selects

put together sequences color grades

sound design it's the place where the

story comes to life premiere is a

powerhouse and it's definitely the

program i spend the most amount of time

in i've been using premiere pro for over

a decade now and throughout this time

i've developed my own workflow that has

allowed me to create with the least

resistance possible it's a system made

to suit my style it allows me to

organize my thoughts and find clips in

the most efficient way possible which

directly affects the final edit in this

section of my master class we are going

to deep dive into my exact workflow i'm

going to be going through my file

structure and how i stay organized in a

way that makes it easy for me to find

footage and files from any date even if

it was years ago being able to stay

organized and aware of where all of your

clips are is key to creating your best

work i'll be teaching you guys about the

interface of premiere pro and how to

move around in a fast and efficient

manner as well as optimize your

workspace to best suit your needs then

we are going to be diving into importing

footage and setting up new sequences

i'll be discussing the importance of

organizing your footage into separate

sequences and my process of making

selects and i'll tell you right now if

you're still using the blade tool to

manually go in and cut clips or just

using your mouse to resize clips which

is what some master classes are still

teaching to this day then you are in for

a time saving treat i'm also going to be

breaking down all of my keyboard

shortcuts that help me minimize using my

mouse and having to unnecessarily waste

time performing functions in premiere

that can be automated by the simple

press of a key through this process of

making this course i've managed to

develop a very extensive keyboard

shortcut layout that makes my editing

workflow extremely fast and efficient

before creating this course i thought

that i had a pretty fast workflow but

now it's on another level and i'm very

excited to be sharing this with you guys

we're also going to be learning about

proxies sound design color correction

and much more i'm teaching you guys

everything that i know in this program

and i'm excited to share this knowledge

with you i truly believe that creating

art should be fun and it's never fun to

have to deal with lag and slow

techniques that take up time and don't

help with the creative process but yeah

i'm very proud of the workflow that i've

created and personally these are the

practices i'd like to see in any editors

that i work with in the future with that

being said welcome to premiere pro

[Music]

what's going on guys in this video we

are talking music we're going to be

diving into my process of cutting down

music to fit certain time frames and i'm

also going to be combining a bunch of

different songs into one and using a

bunch of really cool tools to make it

sound as seamless as possible now i

definitely have a love-hate relationship

with music you know it could definitely

be the most time-consuming part of

putting together an edit i'll find

myself spending so much time trying to

find the perfect song for the edit that

i'm working on but you know when you do

find that song that really suits the

project that you're working on it can

spark so many ideas and creativities i

know so many editors that go through

this battle regularly trying to find the

perfect song for their edit but i know

that if you persevere you will

eventually find what you're looking for

so keep your head up and keep trying i

know myself and a lot of the editors

that i hang around with struggle with

this but it's definitely super rewarding

when you eventually find that song that

suits the vibe that you're looking for

and it can definitely motivate you even

more to make your edit that much better

luckily there are resources like

musicbed musicbed is a website that i

use regularly to find music for all of

my projects i've used a lot of different

music licensing services online and in

my own experience i really like musicbed

and i find that when i'm using their

website it doesn't take me as long to

find a song that i like i've tried a

bunch of different websites and right

now musicbed is definitely my favorite

what i like to do in my free time is

just to go into music bed and uh play

their music in the background while i'm

making selects or while i'm editing and

um add any songs that i like into a

custom playlist for the project that i'm

working on that way when i'm done doing

my selects i'm ready to start putting

together the actual edit i'll have a

list of songs that i can go back to

choose one download it bring it into the

project file and start editing so with

that being said let's jump into premiere

pro and start playing around with some

music alright guys so as you can see i

have my music folder here in the project

window and if i open it up you can see a

bunch of songs that i've downloaded off

of musicbed so basically i went into

musicbed and typed in middle eastern

music and i found a bunch of songs that

had a middle eastern vibe

that i thought would work well with the

saudi project that i'm putting together

so let's just go through some of these

songs and take a listen to the general

vibes of them

[Music]

cool that one's interesting

[Music]

so i really love that voice as soon as i

heard it i was like that's really cool

i'm gonna try to incorporate that into

this video in some way let's uh keep

going through these

some lovely piano

[Music]

so just by listening to those songs you

can get the general vibe uh there's a

common theme of like this stringed

instrument that sounds middle eastern in

it i really like these this song in

particular really stood out to me i

thought this one had a really nice build

up because at the beginning there's this

really beautiful stringed instrument let

me just play it for you guys real quick

[Music]

and that part specifically right there

towards the end of that really caught my

attention because uh out in saudi we

filmed this uh one person playing this

really cool stringed instrument and we

got close-ups of their finger hitting

the strings and i was like damn that

clip would work so well

with that music so

instantly when i heard that it drew that

connection and it got me excited to use

this song we have a really beautiful

intro with a very cool stringed

instrument the build up is amazing the

initial drop here has a lot of different

elements and just sounds so adventurous

so a term i want you guys to know right

off the bat is transients transients are

basically all of these points within

your songs they're the waveforms in your

audio that stand out you know seeing

transients within your waveform are a

great way to know uh you know when

something's happening i've got really

good at reading transients and

understanding them um honestly from

cutting down a lot of this stuff from

this master class you know just just

being able to look at a waveform and

understand what's happening

visually can be very helpful when

putting together an edit so i've already

set my in and out point for the part of

the song that i want to use so let's

just drag this into our timeline here

and let's start cutting it down so i

would say this song is almost perfect

for an instagram edit except for the

fact that it almost extends to a minute

and 30 seconds but we know that

instagram only allows us to upload one

minute so we're gonna have to cut down

this song uh right now it is too long so

what i like to do is listen to the song

and have my finger on the add edit tool

in my case it's command d and add cuts

to any major beats of the song so let's

do that right now i'm gonna just press

play i'm gonna have my finger on command

d and make cuts

on the major beats

[Music]

oh

[Music]

[Music]

so

[Music]

[Music]

awesome so we've created a bunch of cuts

and now we can remove a part of the song

to shorten it to the one minute time

frame so we know that this is the build

up and about here this is where the

first drop happens and we have two

sections here after the drop and we have

another two sections here after that and

both of these are pretty repetitive uh

the first one is a little less intense

than the second one the second one has a

lot more elements because you know it's

closer to the final drop it has a lot

going on so i think what i'm gonna do is

delete these first two here i'm just

gonna rip or delete them and close it

off like that and um we can see that we

are now closer to the one minute mark

let's just zoom in here and see what it

sounds like right now

[Music]

okay so it sounds a little bit off

something's not totally right with this

so and i'm just gonna push them over to

the right i'm gonna extend this one here

to make sure the cut is exactly on the

beat

right there so we can see this transient

is the beat that we're trying to cut so

let's go right there let's go to the

left audio here and make sure that the

cut is also at the right place

right there we can see on this side as

well the transient this is

the beat that we're trying to

cut at

let's cut it there

and let's ripple delete

let's give this a listen

[Music]

awesome that sounds a lot better

it was a little bit off the first time

but now it sounds good so one thing i'll

do to make that transition sound even

better is i'll take this second group of

clips move it down one track and i'm

going to extend both of these

audio tracks here so let's extend this

bottom clip over here to the left

and hold command we're going to press on

this line to add a keyframe to the

volume i'm gonna add another keyframe

here to the left bring that down to zero

and we're gonna do the same thing for

the top layer except this time we're

gonna do the opposite so we're gonna add

that keyframe there on that transient

and we're gonna make it fade out over

here so basically what this is going to

do it's going to allow for a more

gradual transition between these two

audio clips

so as this one is coming to an end

this one's going to slowly be going up

in volume and once this one reaches full

volume this one's gonna start slowly

fading out so let's just take a listen

to that and see what it sounds like

[Music]

awesome so that sounds perfect in my

opinion and there's no way that anyone

would be able to tell that we cut down

the song it literally sounds like the

original now we're still not at the

60-second mark but what we could do is

just do a gradual fade out here you know

the end of the song does gradually slow

down here so fading the volume out here

is going to work perfectly so let's add

a keyframe over there we'll add another

one here

and bring it down to zero at the 60

second mark so let's zoom in on our

timeline 60 seconds is exactly right

there

and we will just move that keyframe over

there command d cut that clip and we

have exactly 60 seconds all right so i

want to add a different part of a song

into this as well just to change things

up a little bit more make things a

little bit more dynamic so let's go

through our other list of songs and try

to find a section of a song that we can

add to this and manipulate this a little

bit

that sounds cool

[Music]

cool so i really like that part of the

song when i'm listening to it it

actually brings back memories from saudi

uh when i was out in the desert i don't

know it just sounds very magical so

let's try to incorporate this into our

song here i feel like this could be a

pretty cool intro so let's just drag it

into our timeline and uh let's see if we

can somehow

add it into the start of this song

[Music]

cool so let's drag to the beginning

let's take all these other clips and

move them over to the right here

[Music]

let's actually grab this earlier part

here i feel like this would work better

let's drag it in here

and let's move it under here

[Music]

love that that sounds really cool

i don't even think we have to do much to

this honestly it's i think it sounds

really good so i am loving the way that

that sounds let's just have a quick

listen to this from start to finish

[Music]

do

[Music]

[Music]

[Music]

so i'm absolutely loving the way that

that sounds i feel like it just takes

you on a journey and i feel like it's

perfect for the visuals that i have from

the saudi edit you know it starts off

slow uh picks up the drop it gets

intense and then the final drop towards

the end uh allows things to slow down

again so you know there's lots of ups

and downs and i just feel like there's

so much potential here to tell a really

epic story so that is my process of

finding music and cutting it down to

certain time frames as well as how i

combine different parts of different

songs together to make them sound

seamless now in this video i really only

keyframe the volume of the tracks but in

the next video i'm going to go a lot

more in depth into the specific effects

that i use on my audio but until then i

hope you guys enjoyed this video i hope

that you learned something new and i'll

catch you in the next one

[Music]

what's up guys so i have this clip here

of me walking i was with my friend

morgan we didn't have a stabilizer with

us at the time it was very running gun

we were moving really fast

and he was just walking holding the

camera filming me it's pretty jittery

you can tell that this was handheld

but uh with the magic of warp stabilizer

we're gonna fix this clip and make it

look buttery smooth so what i'm going to

do is go into my effects and we can type

in warp stabilizer i also have mine in

my swag folder under distort we have

warp stabilizer let's just drag it onto

our clip and as you can see we have a

message that says warp stabilizer and

speed can't be used on the same clip

now you can see here we slowed down this

clip to 50

so what we're going to want to do is

delete the effects we're going to want

to nest the clip any clips that you've

made any changes to

resolution or speed of the clip you're

going to want to nest it first so let's

go ahead right click hit nest or in my

case

i have mine set to command e as my nest

shortcut and now we can go ahead and

apply the warp stabilizer effect so it's

going to analyze this footage in the

background meaning that we can continue

working in our timeline doing other

things while that is

processing in the background and if we

go to our effect controls window we can

see here that it is showing us the

process of the stabilization right now

it's at 40 so let's just speed this up

and it looks like it's complete so let's

go to the start of our clip and see what

we got

beautiful that looks so

smooth it literally looks like it's on a

gimbal

and uh i can't even tell that warp

stabilizer was applied to this now

because we nested the clip and it wasn't

scaled to the frame size you can see

that the edges are moving we can very

easily fix that just by scaling in a

little bit on our clip

and going through making sure that none

of the black edges are showing

and just like that we've stabilized our

clip

there will be some situations where warp

stabilizer just will not be able to

figure out how to stabilize your clip

what i found is a lot of clips moving

forwards for example like through a door

frame where there's foreground moving

past the camera the camera is moving

past it forwards uh it will struggle

with those types of clips and in those

situations if i really need to stabilize

it i'll resort to something like real

steady in after effects if it's a gopro

clip you can use real steady go uh which

is also an amazing clip for specifically

gopro footage but anything else real

steady in after effects it's a pretty

expensive plug-in but i've managed to

get some really good results out of it

and it just gives you a lot more options

to tune the stabilization but hope you

guys learned something new in this video

i'll catch you in the next one

[Music]

what's going on guys today's video is

all about time remapping put simply time

remapping or speed ramping is the art of

slowing down and speeding up your

footage in order to change the way your

footage flows throughout your edit as an

editor it is very important to

understand the different ways to slow

down and speed up your footage it allows

you to create a more stylized look for

your videos and can be a powerful tool

to take your edits to the next level

there are essentially two different ways

to change the speed of a clip in

premiere pro and in this video i'll be

going through both of those methods

today so let's jump right into this

lesson all right guys so we're in

premiere pro and i have two clips in

this sequence for you

one of this juicy hot air balloon and

one of this flaming rag against this

rock wall so the first method of

changing the speed of the clip and the

most common is to right click and hit

speed duration or you can use the

shortcut command r

you can go in here and change the speed

of the clip this particular clip was

shot at 30 frames per second and because

of that i know i could slow it down to

80

and i could just go like that

and normally you do not have anything

selected here so let's see what happens

when we slow it down to 80 let's click

ok

and the clip size stayed the same but

when you're slowing down a clip

naturally it'll be longer but it was cut

off by this clip that was next to it so

let's command z that let's go back into

here

command r and let's make sure ripple

edit shifting trailing clips is selected

let's change the speed to 80 let's click

ok and see what happens

now the clip has extended and it has

taken up more space on the timeline and

because we clicked that one check box

the clip will basically expand and not

allow the clips around it to cut it off

so you get the full length of the clip

still now that's fine if you want the

clip to stay the same speed throughout

but what you can do is cut the clip

command d

and you know change the speed of the

second part of it let's change that to

140 percent

and then you know you have the same clip

cut into two first ones playing at 80

percent second one's playing at 140.

this method is pretty abrupt and i

wouldn't recommend doing this if you're

trying to create smooth flowing

cinematic beautiful videos you don't

want it to go from 80 to 140 percent

right away you'd want it to be a more

gradual transition between those speeds

so let's command z both of those and

let's try method number two

so this method is called speed ramping

so if we right click on the little

effects box right here and click time

remapping speed

you can see this line or rubber band

comes up across the clip let's just

expand the track a little bit so we can

see this better

now this line basically tells you the

speed at which the clip is going if we

move it up we can see that we are

changing the speed right now we're

changing it to 180 let go and it snaps

to that speed now it's going to be

playing faster

you can bring this up all the way up to

300 to a thousand

whatever you want by holding down

command we can add a point on this line

now what we can do is on the left here

we can take the clip and speed it up to

150. now it's going to go from 150

percent to 100

and as you can see it's still abrupt and

the way that we can get the speed to

gradually slow down is to take this

little keyframe here and open it up

that will allow you to gradually bring

the speed from 360 here all the way down

to 100 here over this span of time now

let's preview it

so as you can see the speed went from

fast to slow and it wasn't as abrupt one

cool thing is you can take this and drag

it over anywhere on your clip

for this particular video let's get it

to move into the balloon really fast and

then slow down right as it gets close to

the balloon let's get it to go fast at

the beginning here fast fast fast and

then slow down

just like that we have a nice smooth

speed ramping effect

and one last tip you guys see these

little handlebars here so with these

handlebars we can control the flow of

the speed ramp here by simply turning it

we can make it a smoother more gradual

ramp so let's take a look at this

nice

and now let's do the same thing going

out

so command create a new key point and

we're going to smooth it out using these

handlebars make that transition a bit

smoother

and let's move the out point

we can stretch these out a little bit

more

give them some room to breathe

nice

so just like that we've created a really

cool effect we have this speed up into

the hot air balloon and then speed out

so that is time remapping as you can see

we've managed to create a really cool

stylized look just by changing the speed

of our clip this is a technique that i

use all the time in my videos throughout

all of my transitions and sequences it's

definitely a very powerful tool that can

take your edits to the next level but

that's it for this video i hope that you

guys enjoyed i hope you learned

something new and i'll catch you in the

next one

[Music]

what's up guys in today's lesson we're

going to be looking into the premiere

pro interface and understanding the

variety of windows that we have within

the program and how to use them to your

advantage let's get into it well as you

can see this is the interface that pops

up as soon as you open premiere pro in

the bottom left we have a project window

in the top left we have source window

and top right program and bottom right

timeline these are the four main windows

that we're going to be operating in

within premiere pro there's lots more

windows and if you click the window drop

down up here you can see just how many

there are

the ones that have the check mark to the

left of them are the ones that are

currently in your workspace and if you

ever

don't know where one is you can go back

into this window drop down and re-enable

that window here so let's start off with

the project window this is where all the

media from your project is gonna live

let's just import something really quick

to show you guys what this looks like

command i will allow you to

import let's just select one clip and we

have one clip here if we double click on

this clip it's going to open the source

window within the source window you're

able to

press play and watch your selected clip

in here you can also select in and out

points what an in and out point is is uh

you're creating a physical start and

stop to the clip at a different point in

time what we can do is say that the

beginning of the clip is just a bunch of

nonsense you don't need it we can start

the clip here you can either use these

tools the mark in and mark out buttons

but what i like to do is just use the

shortcuts i for n and o for out awesome

now that we've made a selection here

let's drag this clip into the timeline

window now as you can see as soon as we

did that it created a new sequence the

sequence is right here back in the

project window

now if we scroll through in here you can

see we have a preview in the top right

window now in the program window the

program window is what's going to be

previewing anything that you're playing

within any timeline or sequence it's

common for me when i'm editing to have

more than one sequence open let's just

quickly make another one command n will

allow you to do that and as you can see

we have two different sequences here and

whatever is going on within the sequence

that you have selected wherever the

playhead is the program window in the

top right is going to play back what you

are playing within your timeline so

those are the four main essential

windows that everyone uses within

premiere pro now if we go to the top of

the screen we can see a bunch of

different tabs over here we got learning

don't really use that to be honest we

got assembly we got editing we got color

effects audio all these different

options and what these are are pretty

much just different arrangements of the

windows within premiere pro so as you

can see we have color here

and we have the same project window we

have source we have program and we have

our timeline but now it's added another

window here which is lumetri color which

is a window that can be used to modify

coloring effects so this is a good tab

to be in when you're doing any kind of

color stuff which we're obviously going

to be talking about later on within this

course but uh i'm mainly in the editing

tab i'm able to perform all the

functions i need in here everything from

coloring audio all that kind of stuff i

can get it done here but if you want to

utilize these different tabs go for it

that's totally cool now if at any point

you can't find a window that you are

looking for say for example this one

here you accidentally closed it and now

it's gone

one really simple way to go back to the

original workspace is to simply click

these three lines here and click reset

to save layout and just like that it's

gonna bring you back to the saved layout

so you can actually move windows around

if i grab the top of any of one of these

windows i can move it to any one of

these highlighted areas and if things

start to get kind of out of control and

you forget how to get back to your

original layout don't panic everything's

fine you can simply just go back to the

top of the tab that you're working in

click those three lines and reset to

save layout

one thing to keep in mind is

changing the layout of the workspace in

premiere pro will not compromise your

timeline the timeline is not affected by

this so no need to panic if all of a

sudden your workspace changes and you're

scared that your project might be

affected it's not everything's cool just

know to go back here you can reset to

your saved layout say you have an

arrangement here that you really like

you can go up into window go into

workspaces and save as new workspace and

this will add it to the list of

workspaces and that way you can easily

go back and select that preferred

workspace cool so i'm going to give you

guys a couple time saving hacks which

are huge for editing and i use them all

the time number one the tilde key the

tilde key is the top left

key here what this allows you to do is

go into any of the windows that are

selected and enlarge them to make them

fill the screen

this is a huge tool and i use it all the

time let's say you have a timeline full

of clips and audio and this little area

here to work in and move things around

is just too small simply make sure the

window is selected hit that tilde key

and all of a sudden you can view your

entire timeline and have it fill the

screen same with your program monitor

and same with your project window now if

we hold ctrl and the tilde key that will

allow you to view the program window

full screen so that way you can preview

your videos full screen with nothing

else on the monitor that's a great tool

and i use it a ton let's look at some

other windows in premiere pro so the

effects window is where all of your

audio and video effects live you can

search for effects at the top here like

this warp stabilizer is a common effect

that i use a lot so a little hack for

this window is to create your own go to

folder of effects you can simply just

press the new folder button here let's

call it go

to

and in here you'll be able to drag in

your most commonly used effects some of

mine are warp stabilizer we got rgb

curves

and much much more which you guys will

be able to customize throughout this

course as you learn what effects you use

the most and let's go into another

commonly used window we have effect

controls here now effect controls is a

window that shows you what effects are

applied to your selected clip in any

timeline so if we select this clip in

the timeline we can see now in effect

controls window there is some

information we have motion we have

opacity and you're able to adjust

parameters for the clip within here in

position we can change the position of

the clip move it left move it right move

it up move it down you can click this to

reset we can also go scale in we can

scale out we can also adjust the opacity

here of the clip itself we can click

this little arrow to the left to open

and close these individual effects these

effects come on every single clip

natively but you can also add your own

effect here so let's just give you a

quick example of that rgb

right here let's let's apply rgb curves

from our go to folder let's drag it in

here and now we can start making some

color changes to the image just like

that

i'm gonna go a little crazy here but

yeah the effect controls window allows

you to apply unlimited effects to your

clip and it's a very powerful and

important window to understand

note you're able to turn on and off any

effects within the effect controls

window simply by pressing the effects

button here awesome i hope you guys

enjoyed that lesson on how i arrange my

workspace within premiere pro we learned

a lot about moving windows around the

importance of certain windows we also

learned the importance of the tilde key

and how you can maximize each window to

fill the frame with that key we also

learned how to move between windows

simply by using your keyboard and not

physically going in and clicking with

the mouse which is going to save you a

lot of time in the future so hope you

guys enjoyed that let's move on to the

next one

[Music]

so in this video i'm going to be showing

you guys exactly how i start every

single project file and i'm also going

to be sharing a couple little tips along

the way so let's jump right into it so

as soon as you open premiere pro you are

presented with this window in here we

can create a new project we can click

this button to open a project and look

for it within our drives or our computer

and it will also list off all of your

most recent projects right down here so

we're just going to click new project

and now we have this other window that

has come up so the top here we can name

it let's call this one saudi because

this is the saudi project and we're

going to choose a place to save this

project file now i always save my

project files within the main folder

where all the footage is in so in this

case we are editing the saudi arabia

footage we're gonna go into project

files and there's already a lot in here

because i've been editing this footage a

bunch so we're just going to create a

new folder command shift n to make a new

folder we're going to call this one

saudi master class click enter and we're

going to choose to save it in there

awesome now all these other settings

down here i never touch them i leave

them on their default settings so you

just press ok and premiere pro opens up

now because we already organized our

footage on our drive we can just bring

in the mother folder in here so let's

hit command i

and import our footage so we're going to

go into saudi arabia here

we're going to go into video

and we're going to click import

importing your footage can definitely

take a really long time especially if

you're dealing with as much footage as i

am this saudi project's like four

terabytes so it might take a while all

right so our import is complete and we

have our main video folder here if we

double click it we can see that we have

all the other days in here

now let's go back out to here so the

first thing i like to do before i

actually dive into any editing is to

just create some new folders within the

project window to help me stay organized

throughout the editing process so we're

going to click this new bin button down

here and we're going to make one called

sequences this is where we are gonna

keep all of our sequences we're gonna

make another one called nested sequences

now as you'll learn throughout this

master class i create a lot of nested

sequences and i want to be able to

separate those from the original

sequences or the main ones and we're

gonna create another folder

or bin called assets this is where we're

gonna keep all of our extra assets any

kind of overlays or photos or anything

really that isn't a video or music we're

gonna just throw it in there and uh

we're gonna create one more folder

called music so i always make these

folders whenever starting a new project

file and just helps keep the project

window organized and clean which can be

very helpful when you're working with

such a big project like this one so the

next thing i always do is go into my

footage we'll just go into one of these

days and i interpret all of my footage

to 24 frames per second or 23.976 to be

exact now the reason i do this is

because not all my cameras are shooting

at 23.976

some are shooting 60 frames per second

sometimes they're shooting 120 and i

want to slow all of that down to the

slowest possible speed so the way that

we can do that is simply just to go into

each folder select all of the clips

right click

go to modify and then click interpret

footage in here we are presented with a

bunch of different options i only really

change anything up here what we're gonna

do is click assume this frame rate and

in here we're going to type in 23.976

now this original frame rate was 29 so

it's going to be changing it from 29 to

23.976 so it's going to be slowing it

down just a little bit and now we can

see that the frame rate of all these

clips are now

23.976 awesome so now that you've

completed this you have set yourself up

to start editing it's pretty

straightforward pretty simple but very

important for staying organized and

setting yourself up for success

throughout the editing process

[Music]

so a sequence is essentially just a

timeline and the timeline is where

you're going to be putting together all

of your footage now within a project

file you can have an unlimited amount of

sequences and as you'll see throughout

this video i create a sequence for every

single day of the project that i'm

working on this allows me to make

selects for each individual day and stay

organized and it's been a really good

system for me to organize and sort all

of my footage for each project so let's

jump right into this one i'm going to

show you guys everything there is to

know about sequences

how i've noticed a lot of people teach

to make new sequences is to simply go

into one of your footage folders and

drag a clip into the timeline window and

that would auto create a sequence for

you and that's fine but you have to make

sure that you're dragging in a clip that

has the dimensions that you want to be

working in you can always go into

sequence sequence settings and change

those settings but what i like to do is

simply just create my own custom presets

for my sequences

so i'm going to delete this

i'm also going to just delete this

sequence that was just created i'm going

to go back out of this folder and what

i'm going to do is either press this

button

new item you can hit sequence

or you can press command n and it's

going to bring up this new sequence

window and in here you can see i have a

custom folder with 4k in it this is just

a sequence preset that i made

and i have many more of these i have one

for instagram i have one for insta

stories 4x5 youtube all of that the

information can be found down below in

this video for all the dimensions for

all of those videos but for now i'm

going to be showing you guys how to

create a custom preset basically all you

have to do is select any one of these

drop down menus and go into settings

within here you can scroll up

change the editing mode to custom make

sure your time base is 23.976

because in my case i've always worked

with 23.976 timeline and that's what

i've always been outputting at if you

want to output at something else you can

simply just change that to your desired

frame rate now within here we can change

the frame size

now you guys can refer to the

information that we have down below in

this video to create your presets for

true 4k it's 4096 by 2160

we're gonna leave all these other

settings alone

and we're gonna press save preset

we're gonna call it 4k

press ok and since i already have this

we're just going to overwrite it and

it's going to reload your presets and

now you are left with a 4k preset in

your custom folder awesome so now that

we have a preset for a sequence let's

name this so whenever i'm just starting

up a project file and i'm making my

initial sequences the first sequences i

make are for each group of footage in

this case it's organized by date so

we're going to create one for the first

day as we can see that's 19 12 14 dash

read flight in we're going to press ok

and as you can see our sequence was

created but it's not in any specific bin

we're going to take this we're going to

click the tilde key just to maximize the

project window

and we're going to take that and drag it

into our sequences folder

this is important in the process of

staying organized because if you just

have sequences in random folders it's

going to be very difficult to find later

on i like to have all my sequences in

that one sequence folder now we're going

to do the same thing for every other day

of this project so hit the tilde key we

can make this window smaller

if we open up video we can see the next

one

1912-15 finance center let's select it

hit

c to copy the text now we can command n

create a new sequence

paste that name in there click ok and

now we have another sequence let's drag

that into sequences folder

just so we can stay organized and we're

going to do that for the rest of the

folders

awesome so now that we have a sequence

for every day of the project you can see

that they're all open here in our

timeline window if you hit these two

little arrows here you are able to see

everything that is open within your

timeline window so let's go into the

last sequence i'm just selecting this

one because i know it's exciting there

was a lot that went down that day now

that i have one of my sequences selected

we're going to be inserting footage from

our project window to our timeline

window so if you open up video let's

find this day we got 19 12 21 tombs and

flight so normally you can just drag

this footage in and it's going to place

it in the timeline based on how it's

organized within here in this case it'll

place it in based on the frame rate

because it's organized by frame rate but

let's organize by name make sure name is

selected let's click here and drag in

all of our footage

we're going to keep the existing

settings and we're going to press the

minus key to zoom out in the sequence

awesome so we have all of our footage

within our sequence now and as you can

see some of the clips don't match the

dimensions of the sequence and that's

totally fine because some of your

footage will match the aspect ratio

while some won't but you can simply

scale all of your footage to the frame

size by simply right clicking on the

clip and selecting scale to frame size

this will allow you to scale your clip

up to the current size of the frame and

take away a lot of the dead space a

shortcut that i made for scaling to

frame size is command b but we're going

to be going more into shortcuts in a

later video awesome so we've created our

sequences and we have our footage within

those sequences ready for us to start

making selects but as you may have

noticed we were experiencing a little

bit of lag in this video especially due

to the fact that we are screen recording

on top of working in premiere pro but in

the next video i'm going gonna be

showing you guys a really cool way to

basically bypass any lag within premiere

pro and never have to worry about it

again i know it almost sounds too good

to be true it's definitely a good one

but i hope you guys enjoyed this video i

hope you learned something new and i'll

catch you in the next one

[Music]

so throughout the process of developing

this master class my friend rob and i

have developed a very extensive keyboard

shortcut layout we've taken note on all

of the actions that we use the most

we've listed all of them out on a

document and we've assigned a dedicated

shortcut to each one of these actions

and we've done it in a strategic way

that allows us to keep our hand in one

place on our keyboard minimizing the

actions of moving your hands on your

keyboard definitely will save you a lot

of time in the long run now we've

actually saved our keyboard layout and

provided it as a download for you guys

so you can plug it into premiere pro

right away and start using it without

having to manually go in and change the

settings yourself you can simply just

download it and set it up in premiere so

that you can start using it right away

in this video i'm going to be walking

you guys through the process of how to

add a new keyboard layout to premiere

pro i'm also going to be walking you

guys through the keyboard shortcuts

window and showing you exactly how i use

it so with that being said let's jump

right into it first thing we're going to

want to do is go up to the top click

premiere pro and select keyboard

shortcuts

now we are presented with this keyboard

shortcuts window now we have a couple

drop down menus up here up top we have

the keyboard layout preset this is where

you can go to change between different

keyboard layouts at the start of putting

together this course rob and i had

different keyboard layouts so we would

add each other's keyboards to our

computers so if i ever had to go on his

computer i can very quickly just go and

select my keyboard and if he was ever

using mine he can go and select his

keyboard now we have unified our

keyboard so we're just using the same

thing but if you want to save different

keyboard layouts for any particular

reason you can and you can quickly

switch between them right in here so the

very first thing you're going to want to

do is go to the link below this video

and download the ravenclaw keyboard

shortcuts file now in order to add our

ravenclock keyboard shortcut file to our

list of drop-down options here first

we're gonna have to find the folder

within our computer where all of the

keyboard shortcut files live in and the

way that we do that is we just click

save as and we're gonna wanna save this

keyboard layout set as something that we

can easily find on our computer so in

this case let's just call this one

pickle because i don't have anything on

my computer called pickle uh we're gonna

click ok

and now we can go to another desktop

window and open up a new finder window

we're gonna type in pickle dot

k-y-s

we're going to click this mac and as you

can see the keyboard shortcut file is

right here if we right-click on it click

show in enclosing folder it will show us

where that keyboard shortcut layout is

saved in so what we could do now is just

delete that one file command delete and

now we can take our ravenclaw file from

our downloads and drag it into there now

if we go back into premiere pro if we

click ok we just close that tab and

reopen it

now if we go into our drop down here we

can see that ravenclaw has shown up now

if we click it we click ok

we now are using the new ravenclaw

keyboard shortcut layout you know if i

ever have an idea for a shortcut that i

want to program in here i could just

press k and really quickly bring up the

keyboard shortcuts window so another

thing i want to mention is within this

keyboard shortcuts window you can

actually click on this virtual keyboard

right here to find out what shortcuts do

what actions so over here we can see

that s

is clear d is ripple delete and if we

press command it will show us the

command variation so command d is apply

video transition

command s is save and let's try command

shift so hold if we click both of those

buttons it will show us all the

different variations all the different

shortcuts programmed for when you're

holding command and shift command shift

z redo command shift a deselect all so

this virtual keyboard here is very handy

to let you know what shortcuts are

available which ones haven't been used

what every single combination of keys

does but you know if you're new to

premiere pro don't worry about this too

much this is definitely a little bit

more advanced it's not something that i

started to mess around with until later

on but what i do recommend is that you

download the ravenclaw keyboard shortcut

file add it into your premiere pro so

that you have it and then you can select

it whenever you want and start using it

i personally think that this is the best

keyboard layout so i definitely

recommend that you guys start with this

keyboard layout but of course everyone

has their own style of editing everyone

has their own go-to tools that they use

you know your editing style might be

different than mine so feel free to

optimize but for the things that i do

this keyboard shortcut layout has been

amazing and it's allowed me to speed up

my workflow like crazy so that's it for

this video i hope you guys enjoyed i

hope you learned something new and i'll

catch you in the next one

[Music]

what's going on guys welcome to the

ravenclaw keyboard shortcut layout

explanation video my friend rob and i

have been developing our keyboard

shortcut layout for months now and we

finally come together to merge both of

our keyboard layouts into one this is

basically like the optimal keyboard

shortcut layout we've thought of every

single action that we perform regularly

within premiere pro and we've assigned a

designated keyboard shortcut to those

actions now if i'm being completely

honest with you guys this is my second

time filming this video i had shot it

once before earlier this year and it's

funny because back then i had thought

that i had the best layout for my

keyboard shortcuts but after creating

this course after doing so much editing

and referencing other people's workflows

rob and i have come together to create

the ultimate keyboard shortcut layout

and that is the ravenclaw i gotta give

credit to rob for coming up with the

name but uh basically the ravenclaw

layout allows you to have your hands on

your laptop in a specific way that

allows you to access most of these

keyboard shortcuts with minimal

movements of your hands you know we

wanted to make sure that we don't have

to reach over to the other side of our

keyboard because that takes up time our

hands are sitting in the same place on

our keyboard and we can access all of

our shortcuts just like that now there

are some exceptions there are some

shortcuts that will require you to move

your hand a little bit more but we've

thought of this strategically and made

those the shortcuts that we use less of

the shortcuts that we use the most are

very easily accessible and one other

thing i want to mention before we dive

into this is that we have our entire

keyboard shortcut list laid out on a

document that's linked below you guys

can download it and access it whenever

you want i highly recommend you guys do

this so you have it saved somewhere

easily accessible and you can always

reference it whenever you need it and if

you haven't already make sure to watch

the previous video explaining how to add

the ravenclaw keyboard shortcut file

into your list of premiere pro keyboard

layouts so with all of that being said

let's jump right into it so the way that

my hand sits on my keyboard is i keep my

thumb on the command button this way

it's very easy for me to move my thumb

from the command button to the spacebar

or to option then i have my index finger

sitting on d middle finger on w my ring

finger on a

and my pinky finger on shift so this is

the way that my hand sits on my computer

ready to execute any shortcut that i

need my right hand is going to be

sitting on top of my trackpad here or if

you have a mouse it will be sitting on

your mouse now the very first thing i

would do when setting up my premiere pro

workspace is to go up to sequence and

make sure that selection follows

playhead is turned on this makes it so

that wherever your playhead lands the

clip that's underneath it is going to

automatically be selected if that is

turned off then the selection will not

follow the playhead and the selection

stays in the same place and without that

being turned on then a lot of our

selection shortcuts are not really going

to make sense so the first couple

shortcuts i want to go over are the

basic ones these are the ones that come

with premiere pro and

we haven't changed these these are

standard and these are ones that you

should definitely know the first one is

command s that's to save your project

file this is one that you should be

using often even if you have premiere

set to auto save regularly i still hit

command s all the time now the next one

is command shift s this allows you to

save as so if you want to make a copy of

a project file you want to save it

somewhere else just to be safe you can

do command shift s and save it in a new

location or just save a new variation of

the project file next of course we have

command z this will undo the action that

you just did so if i delete this file

hit command z it will undo the action

that i just performed if we hit command

shift c it will redo the action that we

just performed so this is the opposite

of command z and it's definitely very

handy i use command shift z a lot these

are basically tools that allow you to go

forwards and backwards in time on your

project so

they're basically like time traveling

shortcuts within your project and then

of course we have command c which is

copy and then command v which allows you

to paste so command c command v copy

paste super important use them all the

time then we have command x which is cut

so it basically deletes the clip that's

selected but also makes a copy of it so

you know if i don't want this clip here

i can press command x and then it'll

take it away from there but it's now

copied and i can paste it somewhere else

on the timeline

next we have command n which allows us

to create a new sequence it brings up

the new sequence window in here we can

change all of our settings we can make

custom sequence presets and name our

sequences we can do a lot in there

shortcut that i use all the time

next up we have command m if we press

command m then this will take us to our

export settings window this is a faster

alternative than going to file

export media if i have a project that's

completed i want to export it i can just

hit command m it'll take me right to the

export settings window and i can just

change my settings here and click export

next up we have command a that allows us

to select everything within our timeline

this also applies to any other window

you know if we have our project window

here we press command a it'll allow us

to select everything and command shift a

allows us to deselect everything next we

have command i this allows us to select

footage that we want to import into our

project window so next up we have the

tilde key the tilde key can be found in

the top left corner of your keyboard

what the tilde key does is it enlarges

any of the windows that your mouse is

over top of so over here we have our

source window if we press the tilde key

it will enlarge it if we press it again

it will minimize it same with the

program window same with effect controls

literally any window that you have your

mouse over top of if you press the tilde

key it will enlarge and minimize that

window this is huge and i wish that i

had learned it earlier on in my career

because it makes editing so much more

convenient especially when you're

working on a smaller screen you know if

you have a cluttered timeline which i do

a lot of the time i can go into the

timeline click to tilde key and be able

to see everything in here and make

changes if we hold ctrl and the tilde

key doesn't matter where our mouse is it

will enlarge the program window and

allow us to play back at full screen i

also use this one a ton

very very handy

next up we have i and o these are the

tools used to mark the in and out points

of your clip so in the source window

what you can do is use these buttons

here to set the in and out point you can

go like this click it move it set the

out point and just like that you have

the in and out points i don't like

pressing buttons so using the keyboard

shortcuts i and o will definitely save

you a lot of time

and what we've done is actually set the

numbers four and five to also be the in

and out points four being in and five

being the out point once you've selected

your in and out points in the source

window you can drag your video in here

and it will only bring the part of the

clip that is between the in and out

point in the source monitor we can also

use the in and out shortcuts within our

timeline here so if i move my playhead

here press four it will set the end

point and i can move it here press five

it'll set the out point setting in and

out points on your timeline is

definitely something that i do a lot of

and it helps me a ton to have four and

five set up to mark the in and out

points so that's another thing to add

you can have multiple different keyboard

shortcuts to execute the same action in

this case we have both four and five and

i and o set up to perform the same

actions within premiere pro and that

could be convenient because depending on

what you're doing sometimes four and

five will be the best option sometimes i

and o will make more sense and that

brings me to option x this will allow me

to clear the in and out points this is

also something that i use a lot of so if

we have an in and out point anywhere on

our timeline and we're done using that

in and out point we don't need it

anymore we can just hit option x to

clear the in and out point the same goes

for the source monitor option x allows

us to clear the in and out points in

there as well so next up we have our

selection tool which is what our mouse

is set to right now so let's say we

change our cursor to another tool like

we could just press a to take us right

back to that tool holding down command

when using the selection tool enables

the ripple edit tool which is very

useful and i've been using it a lot so

i'm just going to show you guys an

example of what this tool does so if i

want to change the length of this clip

there's a couple different ways that i

can do that now if i'm using my

selection tool and i hold down the

command button watch what happens when i

hover my mouse over top of these clips

you can see that there's different

cursors that show up when i hover over

top of these clips so holding down

command while using the selection tool

enables the ripple edit tool and this is

a very powerful tool and i use it a lot

so the ripple tool allows you to make

adjustments like this if i hold command

down and i drag the left side of this

clip down to about here i let go you can

see that it trimmed the clip to the

desired length but it also snapped

everything over to the left so there's

no gap in between the area that i

trimmed you know normally if you drag

the start of the clip over like this it

will leave a gap there and then you can

either delete the gap or you know select

everything to the right and move it over

but that's just an extra step so using

the ripple edit tool you're able to

bypass that second step and have your

clip automatically trim to your desired

length but also have everything snapped

together which is very handy now if we

hold command and we drag our cursor to

the cut in between the two clips you can

see that we have this red tool that

shows up this tool allows us to move the

cut point in between these two clips so

we can move it over here we can move it

to the right

we can move it all the way to the left

all these command variations while using

the selection tool are very handy and i

definitely recommend that you guys

experiment with this and try this out a

lot definitely a very powerful tool so

next up we have q so the name of the

action that cue executes is ripple trim

previous edit to playhead and basically

what this means is that it will trim

everything on the selected clip in your

timeline to the left of the playhead so

if i press q here you can see that it

trimmed everything to the left side of

the playhead and it snapped all the

clips together this is very handy for

cutting out you know the start of clips

and that brings me to e e does the exact

same thing except to the right of the

playhead so if i have my playhead here i

press e it will cut everything to the

right side of the playhead and that

brings me to w w is the shortcut that we

use to execute the action for adding an

edit and what adding and edit means is

it will cut the clip wherever the

playhead is at so if i press w here it

will add an edit to this clip it will

cut it exactly where the playhead is at

now if we have a bunch of clips stacked

on top of each other and we hit w you'll

see that only the bottom clip was

actually cut that is because this little

v button here to the left was activated

just on this track so only that track

was cut but if we select all the tracks

here to the left and then press w it

will cut all of the tracks that are

selected now i personally don't really

use this that often what i like to do is

just press command w and that will add

an edit to all tracks this is definitely

another very useful one for the process

of making selects now as you can see the

layout of qw and e is very convenient

and makes making selects very easy

because when i'm going through clips i

can very quickly cut the beginning of

the clip i can add an edit wherever i

want by pressing w and trim the ending

of the clip by pressing e allowing me to

make the select process much faster now

q w and e were strategically placed next

to each other because these are the

tools that we use the most you know when

we're making selects we're always

trimming the beginning and the ending of

clips and we're also cutting clips all

the time and having all those shortcuts

laid out next to each other makes the

process very simple and it becomes

second nature very quickly next up we

have s which is clear or delete the

selected clip if we have a clip selected

in a timeline we press s it's going to

delete it and that brings me to d d not

only deletes the selected clip but it

also deletes the space in between the

clips that would be left over if you

were just clearing or deleting the clip

so let's press d and as you can see it

ripple deleted the clip and we don't

have to deal with any gaps in between

all of our clips now so as you'll see in

this course throughout the selection

process i like to move my clips up and

down on the tracks in order to

differentiate my favorite clips from the

rest of the clips and you can physically

go in and drag the clips up with your

mouse but that takes up time so we've

developed the shortcut shift w to move

your clip up one track and shift s to

move it down one track you can do this

with any content within your timeline

now that brings me to shift e shift e

brings up this tool right here this is

the track selection forwards tool

basically with this tool enabled we can

select anywhere in our timeline and it

will select all the clips all the audio

files anything in our timeline to the

right of where we are selecting so if we

select here it'll select everything in

our timeline to the right of where we

are clicking if we press shift q it'll

do the opposite this is the track

selection backwards tool it'll select

everything to the left of wherever we

click in our timeline this could be

handy when you're working with a lot of

clips and you want to move you know a

group of clips over to the left over

there and then shift e you want to move

a bunch of clips to the right over here

these are both two very useful tools a

to bring us back to our selection tool

next we have one two and three if we

press three our play head starts to move

forwards if we press three again it'll

start playing back at 2x speed if we

press it again it's now at 4x again 8x

and then we have 1. if we press 1 it

starts to play our timeline backwards if

we press it again it starts to play it

back at 2x speed if we press it again it

will play it backwards at 4x speed now

to stop this we can press 2 at any point

and it will stop the playhead wherever

it is at so one two and three all very

very important shortcuts i use these a

ton especially if i'm previewing the

same timeline over and over and i

already know some parts are good i don't

need to watch them again i can just

press 3 to start playing back at 2x

speed so i don't have to sit and watch

through everything at normal speed i

could play through and navigate my

timeline much quicker with these

shortcuts so next we have shift one and

shift three if i press shift one it'll

cause the playhead to jump to the

previous edit point so let's press shift

one

and as you can see the playhead is

moving to the left to all of the

previous edit points and if we press

shift three it'll jump to the next edit

point also both very important tools for

navigating your timeline next up we have

command e command e is a shortcut for

nesting your selected clip or clips so

let's say we have a bunch of clips here

we press command e we can name it

whatever we want

click ok and it will make a nested

sequence from those selected clips

let's just command z we'll undo that

now next up we have the shortcut r if we

press r it changes our cursor to the

rate tool now the rate tool is used to

change the speed of our clips but in a

very interesting way so let's say we

want to speed up this clip to exactly

where this marker is right here now

what's one way that we could do that we

can change the speed slash duration here

and uh try to guess maybe it's 400

percent nope too much uh maybe it's uh

200 percent uh almost there but it's not

exactly there it would be a guessing

game it would take us a while to figure

out the exact speed to get the ending to

where this marker is

but with the rate tool what we could do

is just drag the end of the clip to

where the marker is and it will

automatically change the speed of that

clip to match that desired length this

is a very handy tool i use it all the

time definitely recommend that you guys

start using this in your workflow now

that brings me to another very

interesting shortcut which is t t

enables the slip tool okay so now let's

say that we have a sequence here put

together it's going with some music and

we have our clip here of these two cars

driving and the clip is already set up

with the music it's in the right place

it's the right time length it's just not

the right part of the clip now what i

would used to have to do is you know

move all the clips to the right of it

over uh extend the clip find the part

that i want you know when the drone's

closer to the cars over here move it

back over

and uh

resize it and then ripple delete that

gap and now we have the part of the clip

that we actually want one way that we

can bypass that entire process is by

pressing t and enabling the slip tool so

the slip tool basically allows us to

change the part of the clip that we want

to use without having to modify the

length of the clip or doing too much

work within the timeline we can simply

just click on the clip and scrub left to

right to choose new start and stop

points of our clip super super useful i

love this tool

now as you can see our clip looks a

little bit zoomed in here and that's

because it's not scaled to the frame

size and that brings me to command b

command b is the shortcut for scaling

the selected clip or clips to the frame

size so let's actually just do that

right now let's hit command a select all

of our clips in our timeline hit command

b and that will scale everything to the

frame size

next up we have g which enables the hand

tool so using the hand tool in your

timeline won't actually move any of your

clips it just allows you to move around

in your timeline i don't actually use

the hand tool down here that often what

i like to do is simply just use two

fingers on my track pad and scroll back

and forth but one place that the hand

tool is very handy is within your

program window if you go up to your

program window you can actually use your

trackpad and pinch to zoom in and then

you can use your hand tool to move

around within your program window which

is very handy and i use it a lot

next up we have c which changes our

cursor to the razor tool the razor tool

enables us to use our mouse to make cuts

anywhere on any clip within our timeline

so we can just hover over top of any

clip and just click down to add a cut to

that clip now personally i don't

actually use this tool that often but i

know that my friend rob likes to use it

a lot so it really just comes down to

personal preference so next we have v

v allows us to enable and disable the

selected clip let me show you what i

mean so let's say we're working on a

project here and there's a section of

our timeline where we don't know what

clip we want to use so we've layered two

different clips two potential options so

what we can do is select the top clip

press v and it will disable that clip

it's basically like you're hiding the

clip the clip is still there you just

can't see it it's been disabled now the

reason i would choose to disable a clip

instead of just deleting it is because

there's lots of situations where you

will still need to have that clip in

that area you know maybe possibly

because it's an alternative to a clip

that you're using already or for you

know a bunch of different reasons but

you don't want to delete it and have to

look for it again you can leave it in

the timeline there and just disable it

so it's still there but it's just not

visible it's a very handy tool i use it

all the time so next up we have the

enter or return key by pressing enter

you are telling premiere to render all

the effects from the in and out point on

your timeline so let me show you what

this means so let's throw an effect onto

this clip over here

as you can see as soon as we put the

effect on it the area up above it turns

red that means that this area is going

to play back slower and lag when

previewing because there's an effect

applied to it and it's going to play

back slower what we can do is hit enter

on our keyboard and this little

rendering box pops up this will

basically start the process of rendering

out any of the clips that have that

little red bar above them and are

slowing down your project file in

premiere if you're applying a lot of

effects to a single clip the playback

will be a lot slower so if you find that

you have a lot of sections like that in

your timeline that are slowing you down

you can take a break you can press enter

and premiere will basically render out

all of those areas to make the playback

a lot smoother now obviously this can

take quite a bit of time so this is

something that i like to do before i

take a break so that when i'm back the

entire timeline is rendered out and i

won't have to experience any lag so that

covers part one of the ravenclaw

keyboard shortcut layout now the

ravenclaw keyboard layout definitely

does go a lot more in depth but we

wanted to break this up into two

sections so that you guys can start off

with the basic foundations and then move

on to the more advanced shortcuts later

on whenever you're ready but that's it

for this video i hope you guys enjoyed i

hope you learned something new and i'll

catch you in the next one

[Music]

today we're gonna be talking about

proxies a proxy is basically a low

resolution file that would temporarily

replace your large more awkward formats

in premiere pro to allow you to scrub

through your timelines much faster and

more efficiently so premiere pro doesn't

like a lot of file formats that you

bring into it in my case especially

gopro or drone or any kind of action

camera when i bring those formats into

premiere pro they're very compressed

files and that requires premiere to

uncompress each file which means more

work for premiere pro and when i'm

scrubbing through the timeline it's

clear to see where premiere struggles

and where it doesn't our blackmagic

camera stuff and any kind of camera that

shoots quicktime pro res premiere has no

problem going through it but uh in a lot

of cases when you're working with a

variety of different cameras proxies are

going to help you a lot and save you

from the dreaded lag that kills the flow

and just ruins your entire vibe so i

want to limit that as much as possible

for you guys so learning how to make

proxies is a key step to prevent that

the proxy workflow is something that i

learned later on in my career and i wish

i had known about it earlier on but that

just makes me even more excited to share

this knowledge with you guys today all

right guys so we're in premiere pro and

i'm just gonna quickly scrub through all

of this footage that i have here as you

can see this gopro footage here is

pretty laggy and then when i move on

into this drone footage it's even

laggier it's going so slow

but then when we get to the black magic

stuff there's not much lag it's a fairly

uncompressed file and premiere pro

doesn't have much trouble going through

it which is awesome

but uh yeah we're gonna have to make

proxies for all of these files so let's

go into this folder here we're just

gonna select the camera formats that

need proxies to be made so we got mavic

2 mavic air and race drone which is a

gopro we're going to right click on them

we're going to click proxy and then

we're going to click create proxies now

in this create proxies window we have

some options here i usually set mine to

h.264 that usually does the trick for me

quicktime might be a little bit faster

but i haven't really experienced any lag

at all with h.264 that's been perfect

for me and we can also change the

resolution of the proxy we can go a

little bit higher go to medium or we

could do high resolution

i usually just stick with low doesn't

really matter to me but if you guys want

to go a different route go for it now

you have two options to set the

destination for the proxy footage you

can either have it next to the original

media inside of a folder or you can

choose somewhere else to put it i always

get premiere to render these out next to

the original footage in its own proxy

folder keeping it simple all you got to

do is press ok and as you can see a new

program pops up this is adobe media

encoder and this program's sole purpose

is just to render things out you can

outsource all rendering jobs from

premiere pro and after effects in media

encoder media encoder is a great program

if you have to be rendering a lot of

things and you don't want to be waiting

for one thing to render to continue

working in premiere pro you can just

continuously add a list of renders into

media encoder throughout the day and at

the end of the day when you want to

start rendering and you want to go to

bed or go for a break you can just press

play in media encoder and it's going to

start going through all your renders

media encoder in this case we're going

to be using it to make proxies for us so

it's going to load up all of our footage

and as you can see every single clip

that we have asked to make a proxy of is

being loaded in here and it's going to

automatically go through and render out

each one into its own low resolution

proxy now for media encoder to go

through all this is going to take a bit

of time so i usually like to go for a

run or go grab a snack while this is

happening if i'm working with a lot of

footage then i'm going to do this the

night before i plan on editing so that i

wake up the next morning and all my

proxies will be ready to go so we're

going to let these render out and then

i'll meet you guys back in premiere all

right guys we're back in premiere media

encoder has finished rendering all of

our proxies so now let's see what's up

what's going on in our timeline let's

scroll through here why is it still

lagging still lagging like crazy what's

going on

let's see so what we have to do here is

press this button editor and now we're

going to see this little toggle proxies

button you're going to want to drag that

down here to your buttons so it stays

there and now this is the magical moment

ladies and gentlemen pay attention we

click this

and bam resolutions change but we're

able to go through our footage like

crazy fast look at this no lag at all

this is amazing for making selects for

putting together a story this is huge

you know the aspect ratio might have

changed a bit but to me it doesn't

matter because i'm able to put together

the story i'm able to put together the

most important bits and then later on

render out in full resolution

so as you can see this is a huge game

changer i'm so thankful for proxies and

i pretty much always use these when i'm

working on a more extensive project so

if you see if we go into the project

file we go into video we go into the day

that we made proxies if we go into one

of our folders let's check out mavic air

media encoder created a separate proxy

folder in there with all the proxies and

with the simple press of a button we're

able to toggle those proxies on and off

while proxies can add another step to

your workflow it can drastically reduce

the amount of time that you'll spend on

the project by creating proxies you are

setting yourself up for success

especially on larger project files i

realized very quickly that my laptop

simply couldn't compete with the

processing power of my home computer so

i began implementing this time saving

technique and now i can edit on my

laptop wherever i want all right guys

super pumped you got to learn about

proxies today and frankly i hope that

you guys learned about this earlier on

in your editing career than i did but i

had a lot of fun and i'll see you guys

in the next one

[Music]

hey guys so this is just a quick little

video regarding proxies and interpreted

footage basically when you interpret

your footage in your timeline to a

different frame rate say from 60 frames

per second to 24.

if you don't do anything media encoder

will create proxies with the original

frame rate so when you're switching back

and forth between proxies and your

original files in premiere pro the files

won't be synced up and things are gonna

be a little bit chaotic this was a

problem that i had for a while and i

actually didn't even know what was going

on but today we're gonna be talking

about the solution for this problem it's

super simple and it's gonna save you a

lot of headache

all right so we have three clips here

let's drag it into premiere

and let's interpret the footage and make

it 23.976

to get the slowest motion out of the

clips

so let's drag these into a new

sequence

and as you can see we have three clips

here now what we're gonna do is create

proxies for all of these clips

let's create proxies

and let's click ok

and now it's going to create

that proxy folder right here

and vd encoder is going to start

rendering out the proxies now media

encoder just starts rendering the

proxies right away and what it's going

to do

natively is render them at their

normal resolution so if one of these was

a 60 frames per second clip but it was

interpreted to 23.976 it will still

render the proxy at 60 frames per second

so once this is done we'll go back into

premiere and see

what happens then

so media encoder completed rendering out

the proxies now let's turn the proxies

on and see what happens

now as you can see

when i toggle the proxy on and off

for this clip here

it shows a completely different part of

the frame now that's because this clip

was shot at 60 frames per second we

conformed it or interpreted it to 23.976

and what media encoder has done is

it

rendered out a proxy at the original

frame rate which was 60 frames per

second so when we toggle the proxy it's

showing us

what

the proxy is at this point in time which

would be a lot later in the clip since

it's showing more frames

and that's why you can see the rest of

the clip there's nothing going on here

okay so what we're going to do is go

back into the folder where the proxies

were made let's delete all of these

proxies command delete

puts them in the trash

and now let's go back to media encoder

first of all if your clips are grayed

out because they've already been

rendered all you want to do is select

all of them right click and click reset

status now what we're going to do is

select all the clips right click and

click interpret footage now what we want

to do is change it from use frame rate

from file to assume this frame rate and

we're going to change it to the frame

rate that we used in premiere which was

23.976

click ok

and let's click

play on that and now what it's going to

do is render the proxies at the same

interpreted frame rate that the clips

are in premiere pro

so the proxies are finished rendering

and let's go back into premiere and take

a look at what's going on in here

so toggling the proxy on right now it

has done nothing it's not loading the

proxy and that's because we deleted the

original ones so let's right click here

proxy and click attach proxies

and we're going to look for the new

proxies which will be in the same folder

and let's select them

we got one two one

now when we click the toggle proxies

button you can see that it does in fact

line up properly with the original

footage

so i remember this was an issue that i

had a long time ago and it would make me

really frustrated and i didn't know what

was going on but it's a very simple

solution you just have to remember to

interpret your proxies the same way that

you're interpreting your original

footage and everything should be smooth

hope this helps you guys a lot and i'll

see you in the next video

[Music]

what's up guys today we're going to be

talking about making selects so making

select is arguably the most important

part of preparing your workspace before

starting your edits the process of

making selects allows you to cut out all

the garbage that you know you're not

going to be using and refining all of

your clips to only that of which you are

actually going to be using within your

edits so this is a process that requires

you to be decisive about what clips

you're going to be keeping within your

project a lot of the time i have like

three or four takes of the same thing

and in this process i choose which take

i'm gonna be keeping and which ones i'm

not so that when i'm going through all

of my footage and choosing what i want

to put in my timeline i'm not going

through the same clip over and over

again or going through footage that i

know i'm not going to be using so just

like mining for precious metals you need

to sift through the dirt in order to

find the gold and in the same way within

our project file you're not going to

find all the gold if you don't sift

through everything and that's what we're

going to be doing today i'm going to be

showing you guys the fastest method to

go through all of your footage and make

those selects let's get into it alright

guys so we are in premiere pro we have

all of our footage from this particular

day loaded up in a sequence and as we

scrub through

we can see there's a lot of footage a

lot of different cameras and i'm just

going to start going right at it i'm

pressing the plus key to

zoom in and as you can see right we got

some footage at the start of this race

drone clip that is you know there's

nothing going on i got to wait until the

drone goes up i want to delete all that

let's delete the beginning of the queue

to do that

and we're just gonna go at it

deleting all the gaps between usable

takes

you know deleting all the stuff that i

know i'm not going to be using and i

have

no need for

so

simply by using

all of these shortcuts that we learned

i'm able to go through and make selects

much much faster

i'll just show you guys a little bit of

how fast

i'm able to go through and make all

these selects d to ripple delete an

entire clip

uh what i like to do with these drone

clips is i could see when the drone

starts to take off just by the audio

waveform at the beginning here you can

see that it's silent and then it starts

to

have a loud buzz from the propellers so

i know that i could just cut out the

beginning part

up until the drone is actually up in the

air a lot of unusable stuff but then up

until here we got a sick shot so

i'm just gonna scrub through

that's a good take i'm gonna keep that

command d to separate it from the rest

of the clip

and

q delete that

middle part there

and that's not a take either q again to

delete

more of the stuff that we don't need

and we got ourselves another take i

would say that first take was better so

i'm just gonna

delete that q

going through this process of making

selects is going to be time-consuming

but it's going to give you a better idea

of

what footage you are working with

typically during this process i like to

just throw my headphones on have some

tea and just get to work

typically when i'm making selects i

use this time to start looking for music

that i will be using for my actual edit

what i'll do is just open up a new tab

in my browser and open up a music

licensing website i mainly use musicbed

for most of my projects they have a wide

variety of incredible music and a lot of

tasteful selection compared to other

websites so i just prefer using musicbed

but yeah during this time you know it's

a great opportunity to go in and find

music and

create a playlist of potential songs

that you can use for the edit as you can

see here this shot is an absolute banger

so i'm going to isolate it command d

from the rest of the clips

what i'm going to do for this clip just

because i know it's like

absolutely

beautiful and i definitely want to use

this in my edit or it's you know it

stands out among all the other clips i'm

going to hold option and press up and

that is going to take that individual

clip up one track

this will allow me to later on once i've

made all of my selects have all of my

best clips on one track above so i can

easily copy all of them and

differentiate them from the rest of the

clips you know all the clips here are

still going to be select they're still

going to be

potential clips but the ones that i

moved one track up are the ones that

will be my first choice when actually

putting together the edit

so as you guys can see the qwd

and command d method is pretty fast i'm

just flying through here

literally

but yeah i'm just flying through all

this footage making selects quickly and

efficiently and just deleting all the

stuff that i know i won't be using

so this isn't the method that i always

used when i was starting up i would

manually go in and press c

and you know make cuts that way and

resize clips

and that is a method that is still being

taught to this day which is a huge waste

of time and i wouldn't recommend that

method at all

for reference i'm going to show you guys

the method

that i was using before and you know

other editors right now are still using

what they will do

is

c

to bring up the cut tool the blade tool

make a cut

keep scrolling

make another cut

and if they want to delete a section of

footage what they will do is make that

cut click

v to go back to your arrow cursor delete

it and then drag the clip back over here

or delete this the gap in between

which is a much more time consuming

method ripple delete and these

hotkeys these shortcuts make this

process a lot faster d to just ripple

delete you don't have to go in and

delete that gap again which just takes

up time

so right here we have a pretty sweet

clip

flying through

this

canyon beautiful i really like that that

clip stands out to me i'm going to drag

it up to the next track so i'm just

going to keep flying through this

timeline making selects and i'll get

back to you guys once that's complete

and realistically right now there's no

chance i'd be able to go through this

footage as fast as i am if i hadn't made

proxies before especially because i'm

also screen recording at this time as

well to show you guys what i'm doing

and that is using a processing power and

i wouldn't be able to do all of this if

i hadn't made proxies

even if i wasn't screen recording i

would not be able to go through this

footage as fast as i am especially when

dealing with footage like gopro files or

drone files which are smaller more

compressed codecs that premiere has a

much harder time

reading

so you can see there's like huge chunks

of

space here in these drone clips where

you know the drones just getting in

position and it's not ready

and it's just a waste of space

that was an awesome clip i really like

this fly through right here getting

close to the rocks going down and then

revealing these two beautiful tombs

right there so what i'm going to do is

option up bring it up to the next track

so when i'm done all my selects i know

that that one is a banger

so another thing to consider when making

selects is you're going to have ideas as

you're going through the footage you

might find a clip that you think could

work well for a transition or an idea

that you have in mind but you don't want

to forget that idea what i typically do

is just command n create a new sequence

and call this sequence ideas

or transitions or whatever you want and

then i like to drag that one sequence

down below here so i can see both of

them and as i'm going through the

selects process i can drag certain clips

that come to my attention what i'll do

is just drag that clip into the ideas

sequence so that i can refer back to

that sequence later on in the project

alright guys so we have completed all of

our selects for this particular day as

you can see we have all of our best

clips one track up which will allow us

to now easily select all of them press

command c we're going to paste all of

them to the end of the timeline and now

we have all of our best clips

lined up right here but there's a

problem

there's a gap in between all of the

clips

starting from here to here we have all

the selects but we've also copied the

gaps between them

so i'm going to show you guys a quick

little method to remove all these gaps

before what i used to do was actually

select the gap press d to ripple delete

and i would do that for every single gap

between all of my select which is a very

time consuming process it would be nice

if premiered had just created a way to

to easily select a bunch of gaps within

your footage and delete all of them at

once but that is not the reality right

now so i'm going to show you guys

another method that i use that is much

faster what we could do is just take an

adjustment layer drag it over the top of

the

selects and

just option down we could bring it down

one track and what we're going to do is

select all of our selects now option up

and they're going to over right on top

of that adjustment layer we can click

option down or just drag all the clips

back down and now we have the adjustment

layer only filling up the gaps in

between all of the clips

this is really useful for us because we

can simply select the adjustment layer

hit ripple delete or d

and

voila we have all of our selects amazing

so now that we have all of our best

clips from the sequence grouped together

at the end of the sequence we can copy

all of these command c

we're going to create a new sequence

command n and we're going to call it

all

selects

and this is typically the process that i

do to

group all of my best selects from each

day of a project all in one sequence so

we're going to command v

and just like that we have all of our

selects in this i'll select sequence

the next step is to go through every

single day of the project or however you

have your footage grouped go through

each section refine your selects just

like this group them at the end of the

sequences and you're going to bring all

of those into this all select sequence

once all of your selects in your entire

project are in this all select folder it

should look something like this

so this is my all select sequence it's

got all of my best select from the

entire project all put together in one

sequence

this is the sequence that i'm going to

be referring to and looking back at all

the time to pull my favorite clips into

my edit as you can see i've created

markers on top of each segment of

footage each day so that i can quickly

visually see what day i am scrubbing

through so over here would be the ninth

this would be the 10 this would be the 8

and so on what i've also done in this

timeline is added black bars just to

give it more of an effect that's

something that i personally like to do

that's optional

but yeah combined with the adjustment

layer we have some pretty sweet looking

footage here alright so quick little tip

one thing i like to do when making

select is simply to add black bars and

some color grading onto the footage just

so i can get a better idea of what the

final outcome is going to look like and

it also makes the process of making

selects a bit more fun because the

footage doesn't look as flat and boring

so what we're going to do is create a

new

adjustment layer for a grade click ok

and just pop it over here make it as

long as all the selects and what we're

going to do this adjustment layer is add

a luts so we're going to go to lumetri

presets select one of them in here or

select one of the luts that we have

provided with this package apply it to

the adjustment layer and what we're

going to do is lock that adjustment

layer that way when we are going through

and using our shortcuts to trim

the clips we can make sure that that

adjustment layer won't be affected

so as you can see this all select

sequence still has so much footage from

this project right now you can see it

almost reaches an hour in length that's

so many clips

as you can see some of the clips brought

up to the next track in this sequence

are just the absolute

bangers these are the heaters these are

the ones that i know without a doubt i'm

going to be using in my main edit

but then i also have all the other

amazing clips one track below that i can

go back to and drag and drop right into

my edit this is the only sequence i'm

going to be referring back to now when

actually creating my edits i don't have

to go in into individual days or into

individual folders to find footage

everything from the entire project is

right here refined cut the fat none of

the garbage this is all of the good

stuff now we are truly ready to start

editing with no limitations with

everything laid out before us we can go

in and start editing with no time

setbacks so this is huge

going through this process i've come up

with a lot of ideas as to what clips

will work well with each other different

sequences transitions stuff like that

physically going through every single

clip is a great way for you to get to

know your project deeper and develop

ideas for the storyline so with all that

said and done you guys are now ready and

prepared to start piecing together your

edit

so this particular method of making

select is also very helpful when you're

creating more than one video for example

in this project we had you know four or

five deliverables we had to create you

know one longer form video one shorter

form for instagram and

several other videos for their marketing

purposes now that i have all of the best

footage grouped into one sequence i can

just pull the best clips from here i can

see which ones i've used which ones i

have and create each one of these custom

edits a lot faster

alright guys so that is my process of

making selects that i've refined over

the many years i've worked within

premiere pro i personally love this

process because it allows me to get more

intimate with my footage and go through

every single piece of it the selection

process is typically where i come up

with a lot of the cool ideas i get for

transitions and special effects and just

finding cool ways to make different

clips work well together hope you guys

learned a lot in this lesson and i'll

see you in the next one

[Music]

the editing room is your instrument the

more you learn about it and the more you

practice the faster you can get into

your flow and your flow is where the

magic happens premiere pro is the place

where i put together my videos it's

where i organize my clips make selects

put together sequences color grade sound

design it's a place where the story

comes to life premiere is a powerhouse

and it's definitely the program i spend

the most amount of time in i've been

using premiere pro for over a decade now

and throughout this time i've developed

my own workflow that has allowed me to

create with the least resistance

possible it's a system made to suit my

style it allows me to organize my

thoughts and find clips in the most

efficient way possible which directly

affects the final edit in this section

of my masterclass we are going to deep

dive into my exact workflow i'm going to

be going through my file structure and

how i stay organized in a way that makes

it easy for me to find footage and files

from any date even if it was years ago

being able to stay organized and aware

of where all of your clips are is key to

creating your best work i'll be teaching

you guys about the interface of premiere

pro and how to move around in a fast and

efficient manner as well as optimize

your workspace to best suit your needs

then we are going to be diving into

importing footage and setting up new

sequences i'll be discussing the

importance of organizing your footage

into separate sequences and my process

of making selects and i'll tell you

right now if you're still using the

blade tool to manually go in and cut

clips or just using your mouse to resize

clips which is what some master classes

are still teaching to this day then you

are in for a time saving treat i'm also

going to be breaking down all of my

keyboard shortcuts that help me minimize

using my mouse and having to

unnecessarily waste time performing

functions in premiere that can be

automated by the simple press of a key

through this process of making this

course i've managed to develop a very

extensive keyboard shortcut layout that

makes my editing workflow extremely fast

and efficient before creating this

course i thought that i had a pretty

fast workflow but now it's on another

level and i'm very excited to be sharing

this with you guys we're also going to

be learning about proxies sound design

color correction and much more i'm

teaching you guys everything that i know

in this program and i'm excited to share

this knowledge with you i truly believe

that creating art should be fun and it's

never fun to have to deal with lag and

slow techniques that take up time and

don't help with the creative process but

yeah i'm very proud of the workflow that

i've created and personally these are

the practices i'd like to see in any

editors that i work with in the future

with that being said welcome to premiere

pro

[Music]

what's up guys in today's lesson we're

gonna be looking into the premiere pro

interface and understanding the variety

of windows that we have within the

program and how to use them to your

advantage let's get into it well as you

can see this is the interface that pops

up as soon as you open premiere pro in

the bottom left we have a project window

in the top left we have source window

top right program and bottom right

timeline these are the four main windows

that we're going to be operating in

within premiere pro there's lots more

windows and if you click the window drop

down up here you can see just how many

there are

the ones that have the check mark to the

left of them are the ones that are

currently in your workspace and if you

ever don't know where one is you can go

back into this window drop down and

re-enable that window here so let's

start off with the project window this

is where all the media from your project

is gonna live let's just import

something really quick to show you guys

what this looks like command i will

allow you to

import let's just select one clip and we

have one clip here if we double click on

this clip it's going to open the source

window within the source window you're

able to

press play and watch your selected clip

in here you can also select in and out

points what an in and out point is is uh

you're creating a physical start and

stop to the clip at a different point in

time what we can do is say that the

beginning of the clip is just a bunch of

nonsense you don't need it we can start

the clip here you can either use these

tools the mark in and mark out buttons

but what i like to do is just use the

shortcuts i for n and o for out awesome

now that we've made a selection here

let's drag this clip into the timeline

window now as you can see as soon as we

did that it created a new sequence the

sequence is right here back in the

project window

now if we scroll through in here you can

see we have a preview in the top right

window now in the program window the

program window is what's going to be

previewing anything that you're playing

within any timeline or sequence it's

common for me when i'm editing to have

more than one sequence open let's just

quickly make another one command n will

allow you to do that and as you can see

we have two different sequences here and

whatever is going on within the sequence

that you have selected wherever the

playhead is the program window in the

top right is going to play back what you

are playing within your timeline so

those are the four

main essential windows that everyone

uses within premiere pro now if we go to

the top of the screen we can see a bunch

of different tabs over here we got

learning

don't really use that to be honest we

got assembly we got editing we got color

effects audio all these different

options and what these are are pretty

much just different arrangements of the

windows within premiere pro so as you

can see we have color here

and we have the same project window we

have source we have program and we have

our timeline but now it's added another

window here which is lumetri color which

is a window that can be used to modify

coloring effects so this is a good tab

to be in when you're doing any kind of

color stuff which we're obviously going

to be talking about later on within this

course but uh i'm mainly in the editing

tab i'm able to perform all the

functions i need in here everything from

coloring audio all that kind of stuff i

can get it done here but if you want to

utilize these different tabs go for it

that's totally cool now if at any point

you can't find a window that you are

looking for say for example this one

here you accidentally closed it and now

it's gone

one really simple way to go back to the

original workspace is to simply click

these three lines here and click reset

to save layout and just like that it's

going to bring you back to the saved

layout so you can actually move windows

around if i grab the top of any of one

of these windows i can move it to any

one of these highlighted areas and if

things start to get kind of out of

control and you forget how to get back

to your original layout don't panic

everything's fine you can simply just go

back to the top of the tab that you're

working in click those three lines and

reset to save layout

one thing to keep in mind is changing

the layout of the workspace in premiere

pro will not compromise your timeline

the timeline is not affected by this so

no need to panic if all of a sudden your

workspace changes and you're scared that

your project might be affected it's not

everything's cool just know to go back

here you can reset to your saved layout

say you have an arrangement here that

you really like you can go up into

window

go into workspaces and save as new

workspace and this will add it to the

list of workspaces and that way you can

easily go back and select that preferred

workspace cool so i'm going to give you

guys a couple time saving hacks which

are huge for editing and i use them all

the time number one the tilde key the

tilde key is the top left key here what

this allows you to do is go into any of

the windows that are selected and

enlarge them to make them fill the

screen

this is a huge tool and i use it all the

time let's say you have a timeline full

of clips and audio and this little area

here to work in and move things around

is just too small simply make sure the

window is selected hit that tilde key

and all of a sudden you can view your

entire timeline and have it fill the

screen same with your program monitor

and same with your project window now if

we hold ctrl and the tilde key that will

allow you to view the program window

full screen so that way you can preview

your videos full screen with nothing

else on the monitor that's a great tool

and i use it a ton let's look at some

other windows in premiere pro so the

effects window is where all of your

audio and video effects live you can

search for effects at the top here like

this warp stabilizer is a common effect

that i use a lot so a little hack for

this window is to create your own go to

folder of effects you can simply just

press the new folder button here let's

call it go

to

and in here you'll be able to drag in

your most commonly used effects some of

mine are warp stabilizer we got rgb

curves

and much much more which you guys will

be able to customize throughout this

course as you learn what effects you use

the most and let's go into another

commonly used window we have effect

controls here now effect controls is a

window that shows you what effects are

applied to your selected clip in any

timeline so if we select this clip in

the timeline we can see now in effect

controls window there is some

information we have motion we have

opacity and you're able to adjust

parameters for the clip within here in

position we can change the position of

the clip move it left move it right move

it up move it down you can click this to

reset we can also go scale in we can

scale out we can also adjust the opacity

here of the clip itself we can click

this little arrow to the left to open

and close these individual effects these

effects come on every single clip

natively but you can also add your own

effect here so let's just give you a

quick example of that rgb right here

let's let's apply rgb curves from our go

to folder let's drag it in here and now

we can start making some color changes

to the image

just like that

i'm gonna go a little crazy here but

yeah the effect controls window allows

you to apply unlimited effects to your

clip and it's a very powerful and

important window to understand

note you're able to turn on and off any

effects within the effect controls

window simply by pressing the effects

button here awesome i hope you guys

enjoyed that lesson on how i arranged my

workspace within premiere pro we learned

a lot about moving windows around the

importance of certain windows we also

learned the importance of the tilde key

and how you can maximize each window to

fill the frame with that key we also

learned how to move between windows

simply by using your keyboard and not

physically going in and clicking with

the mouse which is going to save you a

lot of time in the future so hope you

guys enjoyed that let's move on to the

next one

[Music]

so in this video i'm going to be showing

you guys exactly how i start every

single project file and i'm also going

to be sharing a couple little tips along

the way so let's jump right into it so

as soon as you open premiere pro you are

presented with this window in here we

can create a new project we can click

this button to open a project and look

for it within our drives or our computer

and it will also list off all of your

most recent projects right down here so

we're just going to click new project

and now we have this other window that

has come up so the top here we can name

it let's call this one saudi because

this is the saudi project and uh we're

going to choose a place to save this

project file now i always save my

project files within the main folder

where all the footage is in so in this

case we are editing the saudi arabia

footage we're going to go into project

files and there's already a lot in here

because i've been editing this footage a

bunch so we're just gonna create a new

folder command shift n to make a new

folder we're gonna call this one saudi

master class click enter and we're gonna

choose to save it in there awesome now

all these other settings down here i

never touch them i leave them on their

default settings so you just press ok

and premiere pro opens up now because we

already organized our footage on our

drive we can just bring in the mother

folder in here so let's hit command i

and import our footage so we're gonna go

into saudi arabia here we're gonna go

into video

and we're gonna click import importing

your footage can definitely take a

really long time especially if you're

dealing with as much footage as i am

this saudi project's like four terabytes

so it might take a while all right so

our import is complete and we have our

main video folder here if we double

click it we can see that we have all the

other days in here

now let's go back out to here so the

first thing i like to do before i

actually dive into any editing is to

just create some new folders within the

project window to help me stay organized

throughout the editing process so we're

gonna click this new bin button down

here and we're gonna make one called

sequences this is where we are going to

keep all of our sequences we're going to

make another one called nested sequences

now as you'll learn throughout this

master class i create a lot of nested

sequences and i want to be able to

separate those from the original

sequences or the main ones and we're

going to create another folder or bin

called assets this is where we're going

to keep all of our extra assets any kind

of overlays or photos or anything really

that isn't a video or music we're gonna

just throw it in there and we're gonna

create one more folder called music so i

always make these folders whenever

starting a new project file and just

helps keep the project window organized

and clean which can be very helpful when

you're working with such a big project

like this one so the next thing i always

do is go into my footage we'll just go

into one of these days and i interpret

all of my footage to 24 frames per

second or 23.976 to be exact now the

reason i do this is because not all my

cameras are shooting at 23.976

some are shooting 60 frames per second

sometimes they're shooting 120 and i

want to slow all of that down to the

slowest possible speed so the way that

we can do that is simply just to go into

each folder select all of the clips

right click go to modify and then click

interpret footage in here we are

presented with a bunch of different

options i only really change anything up

here what we're gonna do is click assume

this frame rate and in here we're going

to type in 23.976

now this original frame rate was 29 so

it's going to be changing it from 29 to

23.976 so it's going to be slowing it

down just a little bit and now we can

see that the frame rate of all these

clips are now

23.976 awesome so now that you've

completed this you have set yourself up

to start editing it's pretty

straightforward pretty simple but very

important for staying organized and

setting yourself up for success

throughout the editing process

[Music]

so a sequence is essentially just a

timeline and the timeline is where

you're going to be putting together all

of your footage now within a project

file you can have an unlimited amount of

sequences and as you'll see throughout

this video i create a sequence for every

single day of the project that i'm

working on this allows me to make

selects for each individual day and stay

organized and it's been a really good

system for me to organize and sort all

of my footage for each project so let's

jump right into this one i'm going to

show you guys everything there is to

know about sequences

how i've noticed a lot of people teach

to make new sequences is to simply go

into one of your footage folders and

drag a clip into the timeline window and

that would auto create a sequence for

you and that's fine but you have to make

sure that you're dragging in a clip that

has the dimensions that you want to be

working in you can always go into

sequence sequence settings and change

those settings but what i like to do is

simply just create my own custom presets

for my sequences

so i'm going to delete this

i'm also going to just delete this

sequence that was just created i'm gonna

go back out of this folder and what i'm

gonna do is either press this button new

item

you can hit sequence

or you can press command n and it's

gonna bring up this new sequence window

and in here you can see i have a custom

folder with 4k in it this is just a

sequence preset that i made

and i have many more of these i have one

for instagram i have one for insta

stories 4x5 youtube all of that the

information can be found down below in

this video for all the dimensions for

all of those videos but for now i'm

gonna be showing you guys how to create

a custom preset basically all you have

to do is select any one of these drop

down menus and go into settings

within here you can scroll up

change the editing mode to custom make

sure your time base is 23.976 because in

my case i've always worked with 23.976

timeline and that's what i've always

been outputting at

if you want to output at something else

you can simply just change that to your

desired frame rate now within here we

can change the frame size

now you guys can refer to the

information that we have down below in

this video to create your presets for

true 4k it's 4096 by 2160

we're going to leave all these other

settings alone

and we're going to press save preset

we're going to call it 4k

press ok and since i already have this

we're just going to overwrite it and

it's going to reload your presets and

now you are left with a 4k preset in

your custom folder awesome so now that

we have a preset for a sequence let's

name this so whenever i'm just starting

up a project file and i'm making my

initial sequences the first sequences i

make are for each group of footage in

this case it's organized by date so

we're going to create one for the first

day as we can see that's 19 12 14 dash

read

flight in

we're going to press ok

and as you can see our sequence was

created but it's not in any specific bin

we're going to take this we're going to

click the tilde key just to maximize the

project window

and we're going to take that and drag it

into our sequences folder

this is important in the process of

staying organized because if you just

have sequences in random folders it's

going to be very difficult to find later

on i like to have all my sequences in

that one sequence folder now we're going

to do the same thing for every other day

of this project so hit the tilde key we

can make this window smaller

if we open up video we can see the next

one 1912-15

finance center let's select it hit

command c to copy the text now we can

command n create a new sequence

paste that name in there click ok and

now we have another sequence let's drag

that into sequences folder just so we

can stay organized and we're going to do

that for the rest of the folders

awesome so now that we have a sequence

for every day of the project you can see

that they're all open here in our

timeline window if you hit these two

little arrows here you are able to see

everything that is open within your

timeline window so let's go into the

last sequence i'm just selecting this

one because i know it's exciting there

was a lot that went down that day now

that i have one of my sequences selected

we're going to be inserting footage from

our project window to our timeline

window so if you open up video let's

find this day we got 19 12 21 tombs and

flight so normally you can just drag

this footage in and it's going to place

it in the timeline based on how it's

organized within here in this case it'll

place it in based on the frame rate

because it's organized by frame rate but

let's organize by name make sure name is

selected let's click here and drag in

all of our footage

we're going to keep the existing

settings and we're going to press the

minus key to zoom out in the sequence

awesome so we have all of our footage

within our sequence now and as you can

see some of the clips don't match the

dimensions of the sequence and that's

totally fine because some of your

footage will match the aspect ratio

while some won't

but you can simply scale all of your

footage to the frame size by simply

right clicking on the clip and selecting

scale to frame size this will allow you

to scale your clip up to the current

size of the frame and take away a lot of

the dead space a shortcut that i made

for scaling to frame size is command b

but we're going to be going more into

shortcuts in a later video awesome so

we've created our sequences and we have

our footage within those sequences ready

for us to start making selects but as

you may have noticed we were

experiencing a little bit of lag in this

video especially due to the fact that we

are screen recording on top of working

in premiere pro but in the next video

i'm going to be showing you guys a

really cool way to basically bypass any

lag within premiere pro and never have

to worry about it again i know it almost

sounds too good to be true it's

definitely a good one but i hope you

guys enjoyed this video i hope you

learned something new and i'll catch you

in the next one

[Music]

so throughout the process of developing

this master class my friend rob and i

have developed a very extensive keyboard

shortcut layout we've taken note on all

of the actions that we use the most

we've listed all of them out on a

document and we've assigned a dedicated

shortcut to each one of these actions

and we've done it in a strategic way

that allows us to keep our hand in one

place on our keyboard minimizing the

actions of moving your hands on your

keyboard definitely will save you a lot

of time in the long run now we've

actually saved our keyboard layout and

provided it as a download for you guys

so you can plug it into premiere pro

right away and start using it without

having to manually go in and change the

settings yourself you can simply just

download it and set it up in premiere so

that you can start using it right away

in this video i'm going to be walking

you guys through the process of how to

add a new keyboard layout to premiere

pro i'm also going to be walking you

guys through the keyboard shortcuts

window and showing you exactly how i use

it so with that being said let's jump

right into it first thing we're going to

want to do is go up to the top click

premiere pro and select keyboard

shortcuts

now we are presented with this keyboard

shortcuts window now we have a couple

drop down menus up here up top we have

the keyboard layout preset this is where

you can go to change between different

keyboard layouts at the start of putting

together this course rob and i had

different keyboard layouts so we would

add each other's keyboards to our

computers so if i ever had to go on his

computer i can very quickly just go and

select my keyboard and if he was ever

using mine he can go and select his

keyboard now we have unified our

keyboard so we're just using the same

thing but if you want to save different

keyboard layouts for any particular

reason you can and you can quickly

switch between them right in here so the

very first thing you're going to want to

do is go to the link below this video

and download the ravenclaw keyboard

shortcuts file now in order to add our

ravenclaw keyboard shortcut file to our

list of drop-down options here first

we're gonna have to find the folder

within our computer where all of the

keyboard shortcut files live in and the

way that we do that is we just click

save as and we're gonna wanna save this

keyboard layout set as something that we

can easily find on our computer so in

this case let's just call this one

pickle because i don't have anything on

my computer called pickle we're going to

click ok

and now we can go to another desktop

window and open up a new finder window

we're going to type in pickle

dot

k-y-s

we're going to click this mac and as you

can see the keyboard shortcut file is

right here if we right-click on it click

show in enclosing folder it will show us

where that keyboard shortcut layout is

saved in so what we could do now is just

delete that one file command delete and

now we can take our ravenclaw file from

our downloads and drag it into there now

if we go back into premiere pro if we

click ok we just close that tab and

reopen it

now if we go into our drop down here we

can see that ravenclaw has shown up now

if we click it

we click ok

we now are using the new ravenclaw

keyboard shortcut layout you know if i

ever have an idea for a shortcut that i

want to program in here i could just

press k and really quickly bring up the

keyboard shortcuts window so another

thing i want to mention is within this

keyboard shortcuts window you can

actually click on this virtual keyboard

right here to find out what shortcuts do

what actions so over here we can see

that s

is clear d is ripple delete and if we

press command it will show us the

command variation so command d is apply

video transition

command s is save and let's try command

shift so hold if we click both of those

buttons it will show us all the

different variations all the different

shortcuts programmed for when you're

holding command and shift command shift

z redo command shift a deselect all so

this virtual keyboard here is very handy

to let you know what shortcuts are

available which ones haven't been used

what every single combination of keys

does but you know if you're new to

premiere pro don't worry about this too

much this is definitely a little bit

more advanced it's not something that i

started to mess around with until later

on but what i do recommend is that you

download the ravenclaw keyboard shortcut

file add it into your premiere pro so

that you have it and then you can select

it whenever you want and uh start using

it i personally think that this is the

best keyboard layout so i definitely

recommend that you guys start with this

keyboard layout but of course everyone

has their own style of editing everyone

has their own go-to tools that they use

you know your editing style might be

different than mine so feel free to

optimize but for the things that i do

this keyboard shortcut layout has been

amazing and it's allowed me to speed up

my workflow like crazy so that's it for

this video i hope you guys enjoyed i

hope you learned something new and i'll

catch you in the next one

[Music]

what's going on guys welcome to the

ravenclaw keyboard shortcut layout

explanation video my friend rob and i

have been developing our keyboard

shortcut layout for months now and we

finally come together to merge both of

our keyboard layouts into one this is

basically like the optimal keyboard

shortcut layout we've thought of every

single action that we perform regularly

within premiere pro and we've assigned a

designated keyboard shortcut to those

actions now if i'm being completely

honest with you guys this is my second

time filming this video i had shot it

once before earlier this year and it's

funny because back then i had thought

that i had the best layout for my

keyboard shortcuts but after creating

this course after doing so much editing

and referencing other people's workflows

rob and i have come together to create

the ultimate keyboard shortcut layout

and that is the ravenclaw i gotta give

credit to rob for coming up with the

name but uh basically the ravenclaw

layout allows you to have your hands on

your laptop in a specific way that

allows you to access most of these

keyboard shortcuts with minimal

movements of your hands you know we

wanted to make sure that we don't have

to reach over to the other side of our

keyboard because that takes up time our

hands are sitting in the same place on

our keyboard and we can access all of

our shortcuts just like that now there

are some exceptions there are some

shortcuts that will require you to move

your hand a little bit more but we've

thought of this strategically and made

those the shortcuts that we use less of

the shortcuts that we use the most are

very easily accessible and one other

thing i want to mention before we dive

into this is that we have our entire

keyboard shortcut list laid out on a

document that's linked below you guys

can download it and access it whenever

you want i highly recommend you guys do

this so you have it saved somewhere

easily accessible and you can always

reference it whenever you need it and if

you haven't already make sure to watch

the previous video explaining how to add

the ravenclaw keyboard shortcut file

into your list of premiere pro keyboard

layouts so with all of that being said

let's jump right into it so the way that

my hand sits on my keyboard is i keep my

thumb on the command button this way

it's very easy for me to move my thumb

from the command button to the spacebar

or to option then i have my index finger

sitting on d middle finger on w my ring

finger on a and my pinky finger on shift

so this is the way that my hand sits on

my computer ready to execute any

shortcut that i need my right hand is

going to be sitting on top of my

trackpad here or if you have a mouse it

will be sitting on your mouse now the

very first thing i would do when setting

up my premiere pro workspace is to go up

to sequence and make sure that selection

follows playhead is turned on this makes

it so that wherever your playhead lands

the clip that's underneath it is going

to automatically be selected if that is

turned off then the selection will not

follow the playhead and the selection

stays in the same place and without that

being turned on then a lot of our

selection shortcuts are not really going

to make sense so the first couple

shortcuts i want to go over are the

basic ones these are the ones that come

with premiere pro and

we haven't changed these these are

standard and these are ones that you

should definitely know the first one is

command s that's to save your project

file this is one that you should be

using often even if you have premiere

set to auto save regularly i still hit

command s all the time now the next one

is command shift s this allows you to

save as so if you want to make a copy of

a project file you want to save it

somewhere else just to be safe you can

do command shift s and save it in a new

location or just save a new variation of

the project file next of course we have

command z this will undo the action that

you just did so if i delete this file

hit command z it will undo the action

that i just performed if we hit command

shift z it will redo the action that we

just performed so this is the opposite

of command z and it's definitely very

handy i use command shift z a lot these

are basically tools that allow you to go

forwards and backwards in time on your

project so

they're basically like time traveling

shortcuts within your project and then

of course we have command c which is

copy and then command v which allows you

to paste so command c command v copy

paste super important use them all the

time then we have command x which is cut

so it basically deletes the clip that's

selected but also makes a copy of it so

you know if i don't want this clip here

i can press command x and then it'll

take it away from there but it's now

copied and i can paste it somewhere else

on the timeline

next we have command n which allows us

to create a new sequence it brings up

the new sequence window in here we can

change all of our settings we can make

custom sequence presets and name our

sequences we could do a lot in there

shortcut that i use all the time

next up we have command m if we press

command m then this will take us to our

export settings window this is a faster

alternative than going to file

export media if i have a project that's

completed i want to export it i can just

hit command m it'll take me right to the

export settings window and i can just

change my settings here and click export

next up we have command a that allows us

to select everything within our timeline

this also applies to any other window

you know if we have our project window

here we press command a it'll allow us

to select everything and command shift a

allows us to deselect everything next we

have command i this allows us to select

footage that we want to import into our

project window so next up we have the

tilde key the tilde key could be found

in the top left corner of your keyboard

what the tilde key does is it enlarges

any of the windows that your mouse is

over top of so over here we have our

source window if we press the tilde key

it will enlarge it if we press it again

it will minimize it same with the

program window same with effect controls

literally any window that you have your

mouse over top of if you press the tilde

key it will enlarge and minimize that

window this is huge and i wish that i

had learned it earlier on in my career

because it makes editing so much more

convenient especially when you're

working on a smaller screen you know if

you have a cluttered timeline which i do

a lot of the time i can go into the

timeline click to tilde key and be able

to see everything in here and make

changes if we hold ctrl and the tilde

key doesn't matter where our mouse is it

will enlarge the program window and

allow us to play back at full screen i

also use this one a ton

very very handy

next up we have i and o these are the

tools used to mark the in and out points

of your clip so in the source window

what you can do is use these buttons

here to set the in and out point you can

go like this click it move it set the

out point and just like that you have

the in and out points i don't like

pressing buttons so using the keyboard

shortcuts i and o will definitely save

you a lot of time

and what we've done is actually set the

numbers four and five to also be the in

and out points four being in and five

being the out point once you've selected

your in and out points in the source

window you can drag your video in here

and it will only bring the part of the

clip that is between the in and out

point in the source monitor we can also

use the in and out shortcuts within our

timeline here so if i move my playhead

here press 4 it will set the end point

and i can move it here press five it'll

set the out point setting in and out

points on your timeline is definitely

something that i do a lot of and it

helps me a ton to have four and five set

up to mark the in and out points so

that's another thing to add you can have

multiple different keyboard shortcuts to

execute the same action in this case we

have both four and five and i and o set

up to perform the same actions within

premiere pro and that could be

convenient because depending on what

you're doing sometimes four and five

will be the best option sometimes i and

o will make more sense and that brings

me to option x this will allow me to

clear the in and out points this is also

something that i use a lot of so if we

have an in and out point anywhere on our

timeline and we're done using that in

and out point we don't need it anymore

we can just hit option x to clear the in

and out point the same goes for the

source monitor option x allows us to

clear the in and out points in there as

well so next up we have our selection

tool which is what our mouse is set to

right now so let's say we change our

cursor to another tool like we could

just press a to take us right back to

that tool

holding down command when using the

selection tool enables the ripple edit

tool which is very useful and i've been

using it a lot so i'm going to show you

guys an example of what this tool does

so if i want to change the length of

this clip there's a couple different

ways that i can do that now if i'm using

my selection tool and i hold down the

command button watch what happens when i

hover my mouse over top of these clips

you can see that there's different

cursors that show up when i hover over

top of these clips so holding down

command while using the selection tool

enables the ripple edit tool and this is

a very powerful tool and i use it a lot

so the ripple tool allows you to make

adjustments like this if i hold command

down and i drag the left side of this

clip down to about here and i let go you

can see that it trimmed the clip to the

desired length but it also snapped

everything over to the left so there's

no gap in between the area that i

trimmed you know normally if you drag

the start of the clip over like this it

will leave a gap there and then you can

either delete the gap or you know select

everything to the right and move it over

but that's just an extra step so using

the ripple edit tool you're able to

bypass that second step and have your

clip automatically trim to your desired

length but also have everything snapped

together which is very handy now if we

hold command and we drag our cursor to

the cut in between the two clips you can

see that we have this red tool that

shows up this tool allows us to move the

cut point in between these two clips so

we can move it over here we can move it

to the right

we can move it all the way to the left

all these command variations while using

the selection tool are very handy and i

definitely recommend that you guys

experiment with this and try this out a

lot definitely a very powerful tool so

next up we have cue so the name of the

action that cue executes is ripple trim

previous edit to playhead and basically

what this means is that it will trim

everything on the selected clip in your

timeline to the left of the playhead so

if i press q here you can see that it

trimmed everything to the left side of

the playhead and it snapped all the

clips together this is very handy for

cutting out you know the start of clips

and that brings me to e e does the exact

same thing except to the right of the

playhead so if i have my playhead here i

press e it will cut everything to the

right side of the playhead and that

brings me to w w is the shortcut that we

use to execute the action for adding an

edit and what adding an edit means is it

will cut the clip wherever the playhead

is at so if i press w here it will add

an edit to this clip it will cut it

exactly where the playhead is at now if

we have a bunch of clips stacked on top

of each other and we hit w you'll see

that only the bottom clip was actually

cut that is because this little v button

here to the left was activated just on

this track so only that track was cut

but if we select all the tracks here to

the left and then press w it will cut

all of the tracks that are selected now

i personally don't really use this that

often what i like to do is just press

command w and that will add an edit to

all tracks this is definitely another

very useful one for the process of

making selects now as you can see the

layout of qw and e is very convenient

and makes making selects very easy

because when i'm going through clips i

can very quickly cut the beginning of

the clip i can add an edit wherever i

want by pressing w and trim the ending

of the clip by pressing e allowing me to

make the select process much faster now

q w and e were strategically placed next

to each other because these are the

tools that we use the most you know when

we're making selects we're always

trimming the beginning and the ending of

clips and we're also cutting clips all

the time and having all those shortcuts

laid out next to each other makes the

process very simple and it becomes

second nature very quickly next up we

have s which is clear or delete the

selected clip if we have a clip selected

in a timeline we press s it's going to

delete it and that brings me to d d not

only deletes the selected clip but it

also deletes the space in between the

clips that would be left over if you

were just clearing or deleting the clip

so let's press d

and as you can see it ripple deleted the

clip and we don't have to deal with any

gaps in between all of our clips now so

as you'll see in this course throughout

the selection process i like to move my

clips up and down on the tracks in order

to differentiate my favorite clips from

the rest of the clips and you can

physically go in and drag the clips up

with your mouse but that takes some time

so we've developed the shortcut shift w

to move your clip up one track and shift

s to move it down one track you can do

this with any content within your

timeline now that brings me to shift e

shift e brings up this tool right here

this is the track selection forwards

tool basically with this tool enabled we

can select anywhere in our timeline and

it will select all the clips all the

audio files anything in our timeline to

the right of where we are selecting so

if we select here it'll select

everything in our timeline to the right

of where we are clicking if we press

shift q it'll do the opposite this is

the track selection backwards tool it'll

select everything to the left of

wherever we click in our timeline this

could be handy when you're working with

a lot of clips and you want to move you

know a group of clips over to the left

over there and then shift e you want to

move a bunch of clips to the right over

here these are both two very useful

tools a to bring us back to our

selection tool next we have one two and

three if we press three our playhead

starts to move forwards if we press 3

again it'll start playing back at 2x

speed if we press it again it's now at

4x again 8x and then we have 1. if we

press 1 it starts to play our timeline

backwards if we press it again it starts

to play it back at 2x speed if we press

it again it will play it backwards at 4x

speed now to stop this we can press 2 at

any point and it will stop the playhead

wherever it is at so 1 2 and 3 all very

very important shortcuts i use these a

ton especially if i'm previewing the

same timeline over and over and i

already know some parts are good i don't

need to watch them again i can just

press three to start playing back at 2x

speed so i don't have to sit and watch

through everything at normal speed i

could play through and navigate my

timeline much quicker with these

shortcuts so next we have shift one and

shift three if i press shift one it'll

cause the playhead to jump to the

previous edit point so let's press shift

one and as you can see the playhead is

moving to the left to all of the

previous edit points and if we press

shift three it'll jump to the next edit

point also both very important tools for

navigating your timeline next up we have

command e command e is a shortcut for

nesting your selected clip or clips so

let's say we have a bunch of clips here

we press command e we can name it

whatever we want

click ok and it will make a nested

sequence from those selected clips

uh let's just command z we'll undo that

now next up we have the shortcut r if we

press r it changes our cursor to the

rate tool now the rate tool is used to

change the speed of our clips but in a

very interesting way so let's say we

want to speed up this clip to exactly

where this marker is right here now

what's one way that we could do that we

can change the speed slash duration here

and uh try to guess maybe it's 400

percent nope too much uh maybe it's uh

200 percent uh almost there but it's not

exactly there it would be a guessing

game it would take us a while to figure

out the exact speed to get the ending to

where this marker is but with the rate

tool what we could do is just drag the

end of the clip to where the marker is

and it will automatically change the

speed of that clip to match that desired

length this is a very handy tool i use

it all the time definitely recommend

that you guys start using this in your

workflow now that brings me to another

very interesting shortcut which is t t

enables the slip tool okay so now let's

say that we have a sequence here put

together it's going with some music and

we have our clip here of these two cars

driving and the clip is already set up

with the music it's in the right place

it's the right time length it's just not

the right part of the clip now what i

would used to have to do is you know

move all the clips to the right of it

over uh extend the clip find the part

that i want you know when the drone's

closer to the cars over here move it

back over and uh

resize it and then ripple delete that

gap and now we have the part of the clip

that we actually want one way that we

can bypass that entire process is by

pressing t and enabling the slip tool so

the slip tool basically allows us to

change the part of the clip that we want

to use without having to modify the

length of the clip or doing too much

work within the timeline we can simply

just click on the clip and scrub left to

right to choose new start and stop

points of our clip super super useful i

love this tool

now as you can see our clip looks a

little bit zoomed in here and that's

because it's not scaled to the frame

size and that brings me to command b

command b is the shortcut for scaling

the selected clip or clips to the frame

size so let's actually just do that

right now let's hit command a select all

of our clips in our timeline hit command

b and that will scale everything to the

frame size next up we have g which

enables the hand tool so using the hand

tool in your timeline won't actually

move any of your clips it just allows

you to move around in your timeline i

don't actually use the hand tool down

here that often what i like to do is

simply just use two fingers on my

trackpad and scroll back and forth but

one place that the hand tool is very

handy is within your program window if

you go up to your program window you can

actually use your trackpad and pinch to

zoom in and then you can use your hand

tool to move around within your program

window which is very handy and i use it

a lot

next up we have c which changes our

cursor to the razor tool the razor tool

enables us to use our mouse to make cuts

anywhere on any clip within our timeline

so we can just hover over top of any

clip and just click down to add a cut to

that clip now personally i don't

actually use this tool that often but i

know that my friend rob likes to use it

a lot so it really just comes down to

personal preference so next we have v

v allows us to enable and disable the

selected clip let me show you what i

mean so let's say we're working on a

project here and there's a section of

our timeline where we don't know what

clip we want to use so we've layered two

different clips two potential options so

what we can do is select the top clip

press v and it will disable that clip

it's basically like you're hiding the

clip the clip is still there you just

can't see it it's been disabled now the

reason i would choose to disable a clip

instead of just deleting it is because

there's lots of situations where you

will still need to have that clip in

that area you know maybe possibly

because it's an alternative to a clip

that you're using already or for you

know a bunch of different reasons but

you don't want to delete it and have to

look for it again you can leave it in

the timeline there and just disable it

so it's still there but it's just not

visible it's a very handy tool i use it

all the time so next up we have the

enter or return key by pressing enter

you are telling premiere to render all

the effects from the in and out point on

your timeline so let me show you what

this means so let's throw an effect onto

this clip over here as you can see as

soon as we put the effect on it the area

up above it turns red that means that

this area is going to play back slower

and lag when previewing because there's

an effect applied to it and it's going

to play back slower what we can do is

hit enter on our keyboard and this

little rendering box pops up this will

basically start the process of rendering

out any of the clips that have that

little red bar above them and are

slowing down your project file in

premiere if you're applying a lot of

effects to a single clip the playback

will be a lot slower so if you find that

you have a lot of sections like that in

your timeline that are slowing you down

you can take a break you can press enter

and premiere will basically render out

all of those areas to make the playback

a lot smoother now obviously this can

take quite a bit of time so this is

something that i like to do before i

take a break so that when i'm back the

entire timeline is rendered out and i

won't have to experience any lag so that

covers part one of the ravenclaw

keyboard shortcut layout now the

ravenclaw keyboard layout definitely

does go a lot more in depth but we

wanted to break this up into two

sections so that you guys can start off

with the basic foundations and then move

on to the more advanced shortcuts later

on whenever you're ready but that's it

for this video i hope you guys enjoyed i

hope you learned something new and i'll

catch you in the next one

[Music]

today we're gonna be talking about

proxies a proxy is basically a low

resolution file that would temporarily

replace your large more awkward formats

in premiere pro to allow you to scrub

through your timelines much faster and

more efficiently so premiere pro doesn't

like a lot of file formats that you

bring into it in my case especially

gopro or drone or any kind of action

camera when i bring those formats into

premiere pro they're very compressed

files and that requires premiere to

uncompress each file which means more

work for premiere pro and when i'm

scrubbing through the timeline it's

clear to see where premiere struggles

and where it doesn't our black magic

camera stuff and any kind of camera that

shoots quicktime pro res premiere has no

problem going through it but in a lot of

cases when you're working with a variety

of different cameras proxies are going

to help you a lot and save you from the

dreaded lag that kills the flow and just

ruins your entire vibe so i want to

limit that as much as possible for you

guys so learning how to make proxies is

a key step to prevent that the proxy

workflow is something that i learned

later on in my career and i wish i had

known about it earlier on but that just

makes me even more excited to share this

knowledge with you guys today all right

guys so we're in premiere pro and i'm

just going to quickly scrub through all

of this footage that i have here as you

can see this gopro footage here is

pretty laggy and then when i move on

into this drone footage it's even

laggier it's going so slow

but then when we get to the blackmagic

stuff there's not much lag it's a fairly

uncompressed file and premiere pro

doesn't have much trouble going through

it which is awesome

but uh yeah we're gonna have to make

proxies for all of these files so let's

go into this folder here we're just

going to select the camera formats that

need proxies to be made so we got mavic

2 mavic air and race drone which is a

gopro we're going to right click on them

we're going to click proxy and then

we're going to click create proxies now

in this create proxies window we have

some options here i usually set mine to

h.264 that usually does the trick for me

quicktime might be a little bit faster

but i haven't really experienced any lag

at all with h.264 that's been perfect

for me and we can also change the

resolution of the proxy we can go a

little bit higher go to medium or we

could do high resolution

i usually just stick with low doesn't

really matter to me but if you guys want

to go a different route go for it now

you have two options to set the

destination for the proxy footage you

can either have it next to the original

media inside of a folder or you can

choose somewhere else to put it i always

get premiere to render these out next to

the original footage in its own proxy

folder keeping it simple all you got to

do is press ok and as you can see a new

program pops up this is adobe media

encoder and this program's sole purpose

is just to render things out you can

outsource all rendering jobs from

premiere pro and after effects in media

encoder media encoder is a great program

if you have to be rendering a lot of

things and you don't want to be waiting

for one thing to render to continue

working in premiere pro you can just

continuously add a list of renders into

media encoder throughout the day and at

the end of the day when you want to

start rendering and you want to go to

bed or go for a break you can just press

play in media encoder and it's going to

start going through all your renders

media encoder in this case we're going

to be using it to make proxies for us so

it's going to load up all of our footage

and as you can see every single clip

that we have asked to make a proxy of is

being loaded in here and it's going to

automatically go through and render out

each one into its own low resolution

proxy now for media encoder to go

through all this is going to take a bit

of time so i usually like to go for a

run or go grab a snack while this is

happening if i'm working with a lot of

footage then i'm going to do this the

night before i plan on editing so that i

wake up the next morning and all my

proxies will be ready to go so we're

gonna let these render out and then i'll

meet you guys back in premiere

alright guys we're back in premiere

media encoder has finished rendering all

of our proxies so now let's see what's

up what's going on in our timeline let's

scroll through here why is it still

lagging still lagging like crazy what's

going on

let's see so what we have to do here is

press this button editor and now we're

going to see this little toggle proxies

button you're going to want to drag that

down here to your buttons so it stays

there and now this is the magical moment

ladies and gentlemen pay attention we

click this

and bam

resolutions change but we're able to go

through our footage like crazy fast look

at this no lag at all this is amazing

for making selects for putting together

a story this is huge you know the aspect

ratio might have changed a bit but to me

it doesn't matter because i'm able to

put together the story i'm able to put

together the most important bits and

then later on render out in full

resolution

so as you can see this is a huge game

changer i'm so thankful for proxies and

i pretty much always use these when i'm

working on a more extensive project so

if you see if we go into the project

file we go into video we go into the day

that we made proxies if we go into one

of our folders let's check out mavic air

media encoder created a separate proxy

folder in there with all the proxies and

with the simple press of a button we're

able to toggle those proxies on and off

while proxies can add another step to

your workflow it can drastically reduce

the amount of time that you'll spend on

the project by creating proxies you are

setting yourself up for success

especially on larger project files i

realized very quickly that my laptop

simply couldn't compete with the

processing power of my home computer so

i began implementing this time saving

technique and now i can edit on my

laptop wherever i want all right guys

super pumped you got to learn about

proxies today and frankly i hope that

you guys learned about this earlier on

in your editing career than i did but i

had a lot of fun and i'll see you guys

in the next one

[Music]

hey guys so this is just a quick little

video regarding proxies and interpreted

footage basically when you interpret

your footage in your timeline to a

different frame rate say from 60 frames

per second to 24

if you don't do anything media encoder

will create proxies with the original

frame rate so when you're switching back

and forth between proxies and your

original files in premiere pro the files

won't be synced up and things are gonna

be a little bit chaotic this was a

problem that i had for a while and i

actually didn't even know what was going

on but today we're gonna be talking

about the solution for this problem it's

super simple and it's going to save you

a lot of headache

all right so we have three clips here

let's drag it into premiere

and let's interpret the footage and make

it 23.976

to get the slowest motion out of the

clips

so let's drag these into a new

sequence

and as you can see we have three clips

here now what we're going to do is

create proxies for all of these clips

let's create proxies

and let's click ok

and now it's going to create

that proxy folder right here and vd

encoder is going to start rendering out

the proxies now media encoder just

starts rendering the proxies right away

and what it's going to do

natively is render them at their

normal resolutions so if one of these

was a 60 frames per second clip but it

was interpreted to 23.976 it will still

render the proxy at 60 frames per second

so once this is done we'll go back into

premiere and see

what

happens then

so media encoder completed rendering out

the proxies now let's turn the proxies

on and see what happens

now as you can see

when i toggle the proxy on and off

for this clip here

it shows a completely different part of

the frame now that's because this clip

was shot at 60 frames per second we

conformed it or interpreted it to 23.976

and what media encoder has done is

it

rendered out a proxy at the original

frame rate which was 60 frames per

second so when we toggle the proxy it's

showing us

what

the proxy is at this point in time which

would be a lot later in the clip since

it's showing more frames

and that's why you can see the rest of

the clip there's nothing going on here

okay so what we're going to do is go

back into the folder where the proxies

were made let's delete all of these

proxies command delete

puts them in the trash

and now let's go back to media encoder

first of all if your clips are grayed

out because they've already been

rendered all you want to do is select

all of them right click and click reset

status now what we're going to do is

select all the clips right click and

click interpret footage now what we want

to do is change it from use frame rate

from file to assume this frame rate and

we're going to change it to the frame

rate that we used in premiere which was

23.976

click ok

and let's click

play on that and now what it's going to

do is render the proxies at the same

interpreted frame rate that the clips

are in premiere pro

so the proxies are finished rendering

and let's go back into premiere and take

a look at what's going on in here

so toggling the proxy on right now it

has done nothing it's not loading the

proxy and that's because we deleted the

original ones so let's right click here

proxy and click attach proxies

and we're going to look for the new

proxies which will be in the same folder

and let's select them

we got one two one

now when we click the toggle proxies

button you can see that it does in fact

line up properly with the original

footage

so i remember this was an issue that i

had a long time ago and it would make me

really frustrated and i didn't know what

was going on but it's a very simple

solution you just have to remember to

interpret your proxies the same way that

you're interpreting your original

footage and everything should be smooth

hope this helps you guys a lot and i'll

see you in the next video

[Music]

what's up guys today we're going to be

talking about making selects so making

select is arguably the most important

part of preparing your workspace before

starting your edits the process of

making selects allows you to cut out all

the garbage that you know you're not

going to be using and refining all of

your clips to only that of which you are

actually going to be using within your

edits so this is a process that requires

you to be decisive about what clips

you're going to be keeping within your

project a lot of the time i have like

three or four takes of the same thing

and in this process i choose which take

i'm going to be keeping and which ones

i'm not so that when i'm going through

all of my footage and choosing what i

want to put in my timeline i'm not going

through the same clip over and over

again or going through footage that i

know i'm not going to be using so just

like mining for precious metals you need

to sift through the dirt in order to

find the gold and in the same way within

our project file you're not going to

find all the gold if you don't sift

through everything and that's what we're

going to be doing today i'm going to be

showing you guys the fastest method to

go through all of your footage and make

those selects let's get into it all

right guys so we are in premiere pro we

have all of our footage from this

particular day loaded up in a sequence

and as we scrub through

we can see there's a lot of footage a

lot of different cameras and i'm just

going to start going right at it i'm

pressing the plus key to

zoom in and as you can see right we got

some footage at the start of this race

drone clip that is you know there's

nothing going on i gotta wait until the

drone goes up i want to delete all that

let's delete the beginning of the queue

to do that

and

we're just going to go at it

deleting all the gaps between usable

takes you know deleting all the stuff

that i know i'm not going to be using

and i have

no need for

so simply by using

all of these shortcuts that we learned

i'm able to go through and make selects

much much faster

i'll just show you guys a little bit of

how fast

i'm able to go through and make all

these selects d to ripple delete an

entire clip

uh what i like to do with these drone

clips i could see when the drone starts

to take off just by the audio waveform

at the beginning here you can see that

it's silent and then it starts to

have a loud buzz from the propellers so

i know that i could just cut out the

beginning part

up until the drone is actually up in the

air a lot of unusable stuff but then up

until here we got a sick shot so

i'm just gonna scrub through that's a

good take and keep that command d to

separate it from the rest of the clip

and

q to delete that

middle part there and that's not a take

either q again to delete

more of the stuff that we don't need

and we got ourselves another take i

would say that first take was better so

i'm just gonna

delete that q

going through this process of making

selects is going to be time consuming

but it's going to give you a better idea

of

what footage you are working with

typically during this process i like to

just throw my headphones on

have some tea and just get to work

typically when i'm making selects i

use this time to start looking for music

that i will be using for my actual edit

what i'll do is just open up a new tab

in my browser and open up a music

licensing website i mainly use musicbed

for most of my projects they have a wide

variety of incredible music and a lot of

tasteful selection compared to other

websites so i just prefer using musicbed

but um yeah during this time you know

it's a great opportunity to go in and

find music and

create a playlist of potential songs

that you can use for the edit as you can

see here this shot is an absolute banger

so i'm going to isolate it command d

from the rest of the clips

what i'm going to do for this clip just

because i know it's like

absolutely

beautiful and i definitely want to use

this in my edit or it's you know it

stands out among all the other clips i'm

gonna hold option and press up and that

is going to take that individual clip up

one track

this will allow me to later on once i've

made all of my selects have all of my

best clips on one track above so i can

easily copy all of them

and differentiate them from the rest of

the clips you know all the clips here

are still going to be select they're

still going to be

potential clips but the ones that i

moved one track up are the ones that

will be my first choice when actually

putting together the edit

so as you guys can see the qwd

and command d method is pretty fast i'm

just flying through here

literally

but yeah i'm just flying through all

this footage making selects quickly and

efficiently and just deleting all the

stuff that i know i won't be using

so this isn't the method that i always

used when i was starting up i would

manually go in press c

and you know make cuts that way and

resize clips

and that is a method that is still being

taught to this day which is a huge waste

of time and

i wouldn't recommend that method at all

for reference i'm going to show you guys

the method

that i was using before and you know

other editors right now are still using

what they will do

is

c

to bring up the cut tool the blade tool

make a cut

keep scrolling

make another cut

and if they want to delete a section of

footage what they will do is make that

cut click

v to go back to your arrow cursor delete

it and then drag the clip back over here

or delete this the gap in between which

is a much more time consuming method

ripple delete and these

hotkeys these shortcuts make this

process a lot faster d to just ripple

delete you don't have to go in and

delete that gap again which just takes

up time

so right here we have a pretty sweet

clip

flying through

this

canyon

beautiful i really like that that clip

stands out to me i'm going to drag it up

to the next track so i'm just gonna keep

flying through this timeline making

selects and i'll get back to you guys

once that's complete

and realistically right now there's no

chance i'd be able to go through this

footage as fast as i am if i hadn't made

proxies before especially because i'm

also screen recording at this time as

well to show you guys what i'm doing

and that is using a processing power and

i wouldn't be able to do all of this if

i hadn't made proxies

even if i wasn't screen recording i

would not be able to go through this

footage as fast as i am especially when

dealing with footage like gopro files or

drone files which are smaller more

compressed codecs that premiere has a

much harder time

reading

so you can see there's like huge chunks

of

space here in these drone clips where

you know the drone is just getting in

position and it's not ready

and it's just a waste of space

that was an awesome clip i really like

this fly through right here getting

close to the rocks

going down and then revealing these two

beautiful tombs right there so what i'm

going to do is option up bring it up to

the next track so when i'm done all my

selects i know that that one is a banger

so another thing to consider when making

selects is you're going to have ideas as

you're going through the footage you

might find a clip that you think could

work well for a transition or an idea

that you have in mind but you don't want

to forget that idea what i typically do

is just command n create a new sequence

and call this sequence ideas

or transitions or whatever you want and

then i like to drag that one sequence

down below here so i can see both of

them and as i'm going through the

selects process i can drag certain clips

that come to my attention what i'll do

is just drag that clip into the ideas

sequence so that i can refer back to

that sequence later on in the project

alright guys so we have completed all of

our selects for this particular day

as you can see we have all of our best

clips one track up which will allow us

to now easily select all of them

press command c we're going to paste all

of them to the end of the timeline and

now

we have all of our best clips

lined up right here but there's a

problem there's a gap in between all of

the clips starting from here to here we

have all the selects but we've also

copied the gaps between them

so i'm going to show you guys a quick

little method to remove all these gaps

before what i used to do was actually

select the gap press d to rip or delete

and i would do that for every single gap

between all of my select which is a very

time consuming process it would be nice

if premiered had just created a way to

to easily select a bunch of gaps within

your footage and delete all of them at

once but that is not the reality right

now so i'm going to show you guys

another method that i use that is much

faster what we could do is just take an

adjustment layer drag it over the top of

the

select and

just option down we could bring it down

one track and what we're going to do is

select all of our selects now option up

and they're going to over right on top

of that adjustment layer we can click

option down or just drag all the clips

back down and now we have the adjustment

layer only filling up the gaps in

between all of the clips

this is really useful for us because we

can simply select the adjustment layer

hit ripple delete or d

and voila we have all of our selects

amazing so now that we have all of our

best clips from the sequence grouped

together at the end of the sequence we

can copy all of these command c

we're going to create a new sequence

command n and we're going to call it

all

selects

and this is typically the process that i

do to

group all of my best selects from each

day of a project all in one sequence so

we're going to command v

and just like that we have all of our

selects in this i'll select sequence

the next step is to go through every

single day of the project or however you

have your footage grouped go through

each section refine your selects just

like this group them at the end of the

sequences and you're going to bring all

of those into this all select sequence

once all of your selects in your entire

project are in this all select folder it

should look something like this

so this is my all select sequence it's

got all of my best select from the

entire project all put together in one

sequence this is the sequence that i'm

going to be referring to and looking

back at all the time to pull my favorite

clips into my edit as you can see i've

created markers on top of each segment

of footage each day so that i can

quickly visually see what day i am

scrubbing through so over here would be

the 9th this would be the 10 this would

be the 8 and so on what i've also done

in this timeline is added black bars

just to give it more of an effect that's

something that i personally like to do

that's optional

uh but yeah combined with the adjustment

layer we have some pretty sweet looking

footage here all right so quick little

tip one thing i like to do when making

select is simply to add black bars and

some color grading onto the footage just

so i can get a better idea of what the

final outcome is going to look like and

it also makes the process of making

selects a bit more fun because the

footage doesn't look as flat and boring

so what we're going to do is create a

new adjustment layer for a grade click

ok and just pop it over here make it as

long as all the selects and what we're

going to do this adjustment layer is add

a luts so we're going to go to lumetri

presets select one of them in here or

select one of the luts that we have

provided with this package apply it to

the adjustment layer and what we're

going to do is lock that adjustment

layer that way when we are going through

and using our shortcuts to trim

the clips we can make sure that that

adjustment layer won't be affected

so as you can see this all select

sequence still has so much footage from

this project right now you can see it

almost reaches an hour in length that's

so many clips

as you can see some of the clips brought

up to the next track in this sequence

are just the absolute

bangers these are the heaters these are

the ones that i know without a doubt i'm

going to be using in my main edit

but then i also have all the other

amazing clips one track below that i can

go back to and drag and drop right into

my edit this is the only sequence i'm

gonna be referring back to now when

actually creating my edit i don't have

to go in into individual days or into

individual folders to find footage

everything from the entire project is

right here refined cut the fat none of

the garbage this is all of the good

stuff now we are truly ready to start

editing with no limitations with

everything laid out before us we can go

in and start editing with no time

setbacks so this is huge

going through this process i've come up

with a lot of ideas as to what clips

will work well with each other different

sequences transitions stuff like that

physically going through every single

clip is a great way for you to get to

know your project deeper and develop

ideas for the storyline so with all that

said and done you guys are now ready and

prepared to start piecing together your

edit so this particular method of making

selects is also very helpful when you're

creating more than one video for example

in this project we had you know four or

five deliverables we had to create you

know one longer form video one shorter

form for instagram and

several other videos for their marketing

purposes now that i have all of the best

footage grouped into one sequence i can

just pull the best clips from here i can

see which ones i've used which ones i

have and create each one of these custom

edits a lot faster

alright guys so that is my process of

making selects that i've refined over

the many years i've worked within

premiere pro i personally love this

process because it allows me to get more

intimate with my footage and go through

every single piece of it the selection

process is typically where i come up

with a lot of the cool ideas i get for

transitions and special effects and just

finding cool ways to make different

clips work well together hope you guys

learned a lot in this lesson and i'll

see you in the next one

[Music]

going on guys in this video we are

talking music we're going to be diving

into my process of cutting down music to

fit certain time frames and i'm also

going to be combining a bunch of

different songs into one and using a

bunch of really cool tools to make it

sound as seamless as possible now i

definitely have a love hate relationship

with music you know it could definitely

be the most time consuming part of

putting together an edit i'll find

myself spending so much time trying to

find the perfect song for the edit that

i'm working on but you know when you do

find that song that really suits the

project that you're working on it can

spark so many ideas and creativity i

know so many editors that go through

this battle regularly trying to find the

perfect song for their edit but i know

that if you persevere you will

eventually find what you're looking for

so keep your head up and keep trying i

know myself and a lot of the editors

that i hang around with struggle with

this but it's definitely super rewarding

when you eventually find that song that

suits the vibe that you're looking for

and it can definitely motivate you even

more to make your edit that much better

luckily there are resources like

musicbed musicbed is a website that i

use regularly to find music for all of

my projects i've used a lot of different

music licensing services online and in

my own experience i really like musicbed

and i find that when i'm using their

website it doesn't take me as long to

find a song that i like i've tried a

bunch of different websites and right

now musicbed is definitely my favorite

what i like to do in my free time is

just to go into music bed and uh play

their music in the background while i'm

making selects or while i'm editing and

um add any songs that i like into a

custom playlist for the project that i'm

working on that way when i'm done doing

my selects i'm ready to start putting

together the actual edit i'll have a

list of songs that i can go back to

choose one download it bring it into the

project file and start editing so with

that being said let's jump into premiere

pro and start playing around with some

music alright guys so as you can see i

have my music folder here in the project

window and if i open it up you can see a

bunch of songs that i've downloaded off

of musicbed so basically i went into

musicbed and typed in middle eastern

music and i found a bunch of songs that

had a middle eastern vibe that i thought

would work well with the saudi project

that i'm putting together so let's just

go through some of these songs and take

a listen to the general vibes of them

[Music]

cool that one's interesting

[Music]

so i really love that voice as soon as i

heard it i was like that's really cool

i'm gonna try to incorporate that into

this video in some way let's uh keep

going through these

some lovely piano

[Music]

so just by listening to those songs you

can get the general vibe uh there's a

common theme of like this stringed

instrument that sounds middle eastern in

it

i really like these this song in

particular really stood out to me i

thought this one had a really nice build

up because at the beginning there's this

really beautiful stringed instrument let

me just play it for you guys real quick

[Music]

and that part specifically right there

towards the end of that really caught my

attention because uh out in saudi we

filmed this uh one person playing this

really cool stringed instrument and we

got close-ups of their finger hitting

the strings and i was like damn that

clip would work so well uh with that

music so

uh instantly when i heard that it drew

that connection and it got me excited to

use this song we have a really beautiful

intro with a very cool stringed

instrument the build up is amazing the

initial drop here has a lot of different

elements and just sounds so adventurous

so a term i want you guys to know right

off the bat is transients transients are

basically all of these points within

your songs they're the waveforms in

your audio that stand out you know

seeing transients within your waveform

are a great way to know uh you know when

something's happening i've got really

good at reading transients and

understanding them um

honestly from cutting down a lot of this

stuff from this master class you know

just just being able to look at a

waveform and understand what's happening

visually can be very helpful when

putting together an edit so i've already

set my in and out point for the part of

the song that i want to use so let's

just drag this into our timeline here

and let's start cutting it down so i

would say this song is almost perfect

for an instagram edit except for the

fact that it almost extends to a minute

and 30 seconds but we know that

instagram only allows us to upload one

minute so we're gonna have to cut down

this song uh right now it is too long so

what i like to do is listen to the song

and have my finger on the add edit tool

in my case it's command d and add cuts

to any major beats of the song so let's

do that right now i'm gonna just press

play i'm gonna have my finger on command

d and make cuts

on the major beats

[Music]

[Music]

[Music]

[Music]

awesome so we've created a bunch of cuts

and now we can remove a part of the song

to shorten it to the one minute time

frame so we know that this is the build

up and about here this is where the

first drop happens and we have two

sections here after the drop and we have

another two sections here after that and

both of these are pretty repetitive

the first one is a little less intense

than the second one the second one has a

lot more elements because you know it's

closer to the final drop it has a lot

going on

so i think what i'm going to do is

delete these first two here i'm just

going to ripple delete them and close it

off like that and

we can see that we are now closer to the

one minute mark

let's just zoom in here and see what it

sounds like right now

[Music]

okay so it sounds a little bit off

something's not totally right with this

so and i'm just gonna push them over to

the right i'm gonna extend this one here

to make sure the cut is exactly on the

beat

right there so we can see this transient

is the beat that we're trying to cut so

let's go right there let's go to the

left audio here and make sure that the

cut is also at the right place

right there we can see on this side as

well the transient this is

the beat that we're trying to

cut at

let's cut it there

and let's ripple delete

let's give this a listen

[Music]

awesome that sounds a lot better

it was a little bit off the first time

but now it sounds good so one thing i'll

do to make that transition sound even

better is i'll take this second group of

clips move it down one track

and i'm going to

extend both of these

audio tracks here so let's extend this

bottom clip over here to the left

and hold command we're going to press on

this line to add a keyframe to the

volume i'm going to add another keyframe

here to the left bring that down to zero

and we're gonna do the same thing for

the top layer except this time we're

gonna do the opposite so we're gonna add

that keyframe there on that transient

and we're gonna make it fade out over

here

so basically what this is going to do

it's going to allow for a more gradual

transition between these two audio clips

so as this one is coming to an end

this one's going to slowly be going up

in volume and once this one reaches full

volume this one's going to start slowly

fading out so let's just take a listen

to that and see what it sounds like

[Music]

awesome so that sounds perfect in my

opinion and there's no way that anyone

would be able to tell that we cut down

the song it literally sounds like the

original now we're still not at the 60

second mark but what we could do is just

do a gradual fade out here you know the

end of the song does gradually slow down

here so fading the volume out here is

going to work perfectly so let's add a

keyframe over there we'll add another

one here

and bring it down to zero at the 60

second mark so let's zoom in on our

timeline 60 seconds is exactly right

there

and we will just move that keyframe over

there command d cut that clip and we

have exactly 60 seconds all right so i

want to add a different part of a song

into this as well just to change things

up a little bit more make things a

little bit more dynamic so let's go

through our other list of songs and try

to find a section of a song that we can

add to this and manipulate this a little

bit

oh that sounds cool

[Music]

cool so i really like that part of the

song when i'm listening to it it

actually brings back memories from saudi

uh when i was out in the desert i don't

know it just sounds very magical so

let's try to incorporate this into our

song here i feel like this could be a

pretty cool intro

so let's just drag it into our timeline

and let's see if we can somehow

add it into the start of this song

[Music]

cool so let's drag to the beginning

let's take all these other clips and

move them over to the right here

[Music]

let's actually grab this earlier part

here i feel like this would work better

let's drag it in here

and let's move it under here

[Music]

love that that sounds really cool

i don't even think we have to do much to

this honestly it's i think it sounds

really good so i'm loving the way that

that sounds let's just have a quick

listen to this from start to finish

[Music]

[Music]

so i'm absolutely loving the way that

that sounds i feel like it just takes

you on a journey and i feel like it's

perfect for the visuals that i have from

the saudi edit you know it starts off

slow uh picks up the drop gets intense

and then the final drop towards the end

allows things to slow down again so you

know there's lots of ups and downs and i

just feel like there's so much potential

here to tell a really epic story so that

is my process of finding music and

cutting it down to certain time frames

as well as how i combine different parts

of different songs together to make them

sound seamless now in this video i

really only keyframe the volume of the

tracks but in the next video i'm gonna

go a lot more in depth into the specific

effects that i use on my audio but until

then i hope you guys enjoyed this video

i hope that you learned something new

and i'll catch you in the next one

[Music]

what's up guys so i have this clip here

of me walking i was with my friend

morgan we didn't have a stabilizer with

us at the time it was very run and gun

we were moving really fast and uh he was

just walking holding the camera filming

me it's pretty jittery you can tell that

this was handheld

but uh with the magic of warp stabilizer

we're gonna fix this clip and make it

look buttery smooth so what i'm gonna do

is go into my effects and we can type in

warp stabilizer i also have mine in my

swag folder under distort we have warp

stabilizer let's just drag it onto our

clip and as you can see we have a

message that says warp stabilizer and

speed can't be used on the same clip

now you can see here we slowed down this

clip to 50 percent so what we're going

to want to do is delete the effects

we're going to want to nest the clip any

clips that you've made any changes to

resolution

or speed of the clip you're going to

want to nest it first so let's go ahead

right click hit nest or in my case

i have mine set to command e as my nest

shortcut and now we can go ahead and

apply the warp stabilizer effect so it's

going to analyze this footage in the

background meaning that we can continue

working in our timeline doing other

things while that is processing in the

background and if we go to our effect

controls window we can see here that it

is showing us the process of the

stabilization right now it's at 40 so

let's just speed this up and it looks

like it's complete so let's go to the

start of our clip and see what we

got beautiful that looks so

smooth it literally looks like it's on a

gimbal

and uh i can't even tell that warp

stabilizer was applied to this now

because we nested the clip and it wasn't

scaled to the frame size you can see

that the edges are moving we can very

easily fix that just by scaling in a

little bit on our clip

and going through making sure that none

of the black edges are showing

and just like that we've stabilized our

clip

there will be some situations where warp

stabilizer just will not be able to

figure out how to stabilize your clip

what i found is a lot of clips moving

forwards for example like through a door

frame where there's foreground moving

past the camera the camera's moving past

it forwards

it will struggle with those types of

clips and in those situations if i

really need to stabilize it i'll resort

to something like real steady in after

effects if it's a gopro clip you can use

real steady go

which is also an amazing clip for

specifically gopro footage but anything

else real steady in after effects it's a

pretty expensive plug-in but i've

managed to get some really good results

out of it and it just gives you a lot

more options to fine-tune the

stabilization but hope you guys learned

something new in this video i'll catch

you in the next one

[Music]

what's going on guys today's video is

all about time remapping put simply time

remapping or speed ramping is the art of

slowing down and speeding up your

footage in order to change the way your

footage flows throughout your edit as an

editor it is very important to

understand the different ways to slow

down and speed up your footage it allows

you to create a more stylized look for

your videos and can be a powerful tool

to take your edits to the next level

there are essentially two different ways

to change the speed of a clip in

premiere pro and in this video i'll be

going through both of those methods

today so let's jump right into this

lesson alright guys so we're in premiere

pro and i have two clips in this

sequence for you

one of this juicy hot air balloon and

one of this flaming rag against this

rock wall so the first method of

changing the speed of the clip and the

most common is to right click and hit

speed duration or you can use the

shortcut command r

you can go in here and change the speed

of the clip this particular clip was

shot at 30 frames per second and because

of that i know i could slow it down to

80 percent

and i could just go like that

and normally you do not have anything

selected here so let's see what happens

when we slow it down to 80 let's click

ok

and the clip size stayed the same but

when you're slowing down a clip

naturally it'll be longer but it was cut

off by this clip that was next to it so

let's command z that let's go back into

here

command r and let's make sure ripple

edit shifting trailing clips is selected

let's change the speed to 80 percent

let's click ok and see what happens

now the clip has extended and it has

taken up more space on the timeline and

because we clicked that one check box

the clip will basically expand and not

allow the clips around it to cut it off

so you get the full length of the clip

still now that's fine if you want the

clip to stay the same speed throughout

but what you can do is cut the clip

command d

and you know change the speed of the

second part of it let's change that to a

hundred and forty percent

and then you know you have the same clip

cut into two first one's playing at

eighty percent second one's playing at

140. this method is pretty abrupt and i

wouldn't recommend doing this if you're

trying to create smooth flowing

cinematic beautiful videos you don't

want it to go from 80 to 140 right away

you'd want it to be a more gradual

transition between those speeds so let's

command z both of those and let's try

method number two

so this method is called speed ramping

so if we right click on the little

effects box right here and click time

remapping speed

you can see this line or rubber band

comes up across the clip let's just

expand the track a little bit so we can

see this better

now this line basically tells you the

speed at which the clip is going if we

move it up we can see that we are

changing the speed right now we're

changing it to 180 let go and it snaps

to that speed now it's going to be

playing faster

you can bring this up all the way up to

300 to 1000

whatever you want

by holding down command we can add a

point on this line

now what we can do is on the left here

we can take the clip and speed it up to

150 now it's going to go from 150

percent to 100.

and as you can see it's still abrupt and

the way that we can get the speed to

gradually slow down is to take this

little keyframe here and open it up

that will allow you to gradually bring

the speed from 360 here all the way down

to 100 here over this span of time now

let's preview it

so as you can see the speed went from

fast to slow and it wasn't as abrupt one

cool thing is you can take this and drag

it over anywhere on your clip

for this particular video let's get it

to move into the balloon really fast and

then slow down right as it gets close to

the balloon let's get it to go fast at

the beginning here fast fast fast and

then slow

down

just like that we have a nice smooth

speed ramping effect

and one last tip you guys see these

little handlebars here so with these

handlebars we can control the flow of

the speed ramp here by simply turning it

we can make it a smoother more gradual

ramp so let's take a look at this

nice

and now let's do the same thing going

out

so command create a new key point

and we're gonna smooth it out using

these handlebars make that transition a

bit smoother

and let's move the out point

we can stretch these out a little bit

more

give them some room to breathe

nice

so just like that we've created a really

cool effect we have this speed up into

the hot air balloon and then speed out

so that is time remapping as you can see

we've managed to create a really cool

stylized look just by changing the speed

of our clip this is a technique that i

use all the time in my videos throughout

all of my transitions and sequences it's

definitely a very powerful tool that can

take your edits to the next level but

that's it for this video i hope that you

guys enjoyed i hope you learned

something new and i'll catch you in the

next one

[Music]

if you're an editor you're going to be

using keyframes so keyframes are a very

powerful tool that allow me to create

all the cool transitions and effects

that you see within my style of editing

so we're gonna jump into premiere pro

right now i'm gonna break down keyframes

for you guys and show you the power of

this amazing tool all right guys so we

are in premiere pro i have this epic

clip of my friend standing on a cliff

i flew my race drone around her it's a

pretty sick clip but as you can see

she's pretty far from the drone at the

beginning pretty much the whole time i'd

like to be a lot closer to her i'd like

to start off the clip close up and then

end it off wide like this

so this is a perfect scenario where

keyframes come in handy so what we're

going to do

is go up into our effect controls window

and in here we can see that we have all

these parameters that we can change we

can change the scale of the clip we

could scale in we can scale out all

right so little hack that i use all the

time normally if you scale in or out if

you change any of these parameters it

goes pretty fast but simply by holding

command down and then making those

changes you can be a lot more precise as

the values change a lot slower i use

that a ton pretty much all the time so

that's a pretty cool hack all right so

we can change the scale that's cool but

we don't want the scale to be the same

throughout the whole video that is where

the keyframes come in so as you can see

to the left here we have this little

stopwatch icon and if we click that it

turns blue and now it gave me this

little keyframe on the timeline to the

right over here and what this keyframe

has done is recorded data at this

particular time in the video if we jump

to that keyframe it's

173.5 that's what the scale is set to

now if we want to go out further and

then set a keyframe here to let's say

120 press enter

it's going to create another keyframe so

now what it has done is gone from 172

at this point in time

all the way down to 120 at this point in

time

let's make this a bit more dramatic so

you guys can really see what we're

talking about let's change it 350 and

then over here let's go to

50.

all right so let's press play

and as you can see it starts off very

zoomed in

and then it goes out out

and so far so that the clip is tiny

within our frame so as you can see the

scale value went from 350 all the way to

50

between these two points so let's do

this for real now uh let's delete those

keyframes

or what we could do is also just press

the reset parameter button here

available for all the parameters

and it will reset that parameter and

also create a keyframe let's zoom in a

bit because this clip is a different

aspect ratio either way let's zoom in to

remove the side black edges

and let's go to the beginning

let's

zoom in on her

let's do 190

and then we're also going to be changing

the position of the clip as well we're

going to animate that so let's click the

stopwatch icon on position and let's

move the position down here by moving

the right values

so that's cool you know we have a good

place to start and then we're going to

be moving out here but as you can see we

start to get this black at the bottom

and that's because we didn't change the

position over time the positions stayed

the same so let's change the position

here to better suit this part of the

clip remove that black part

and just like that it's going to turn

proxies off so we can get a full

resolution preview here

so now we are going from zoomed in

on her

we're zooming out keyframes are doing

all the work but it looks like the drone

was actually doing it but in reality it

was just the keyframes i don't want to

fly my drone that close to her because

you know i'm a respectful guy i don't

want to

intrude her personal space but

thankfully since this was 4k i can punch

in and set keyframes and make that

effect in post where it seems like i

start off really close to her and then i

move out when in reality i was pretty

far away from her the whole time so that

is one scenario where you can use

keyframes but keyframes are not limited

to just these parameters right here you

can use keyframes for pretty much any

effect in premiere pro so let me give

you another example let's open lumetri

color

let's bring in

lumetri color into our effect controls

here just drag it in

cool

now that we have that in there

let's go to basic correction

for all you basic

people out there

let's change the temperature of the clip

as we move through it so say we wanted

to start the clip off a bit colder

no pun intended let's start it at

negative 82 and let's hit that stopwatch

icon create a keyframe and then move to

where we want the clip to get warmer

let's make it very warm

and now let's play through that

as you can see

the clip goes from a cool temperature

all the way out here to a warm

temperature

does this make sense in this scenario

maybe it actually doesn't look as bad as

i thought it would

but um i personally wouldn't use this

for this but i do keyframe color grades

all the time it's a powerful tool and i

recommend that you do so also all right

so i'm going to show you guys one last

thing before we wrap up this lesson

let's add a luma key effect to this drag

it into the effect controls panel

and as you can see you can animate the

parameters in here just like anything

else but i don't want to animate the

parameters in the effect controls tab

let's do it within the timeline window

if we right click the little effects box

here we can go to luma key and then we

can click threshold alright so now we

have a line that popped up over here the

threshold is at zero that's why the

line's at the bottom but let's hold

command press on that line create a

keyframe and then let's go later on

throughout the clip hold command press

that line create another keyframe key

flame

damn that's a sick name

why didn't they call them key flames

all right but yeah we'll just i guess

we'll stick to keyframes for now and

we'll move that keyframe up to the top

of the clip and as you can see we are

animating that parameter as we move the

playhead through the clip that's so sick

look at that that's cool i'm down like

that's a pretty cool effect you know

that's something that i would actually

do in one of my videos

and you know we're not limited to just

that one effect you know whatever

effects you have applied to the clip

will pop up here you can animate motion

position scale

rotation opacity time remapping all that

fun stuff

all right so that is the lesson on key

frames as you can see they're powerful

as

but yeah which they were called key

flames but they're not they're just

keyframes uh in all seriousness hope you

guys enjoyed this lesson and i'll see

you in the next one

[Music]

all right guys today we're gonna be

talking about keyframing again but this

time we're going to go a little bit more

in depth and show you guys a bit more

functionality within premiere pro and

what you can achieve with more advanced

keyframing techniques i'm also going to

be showing you guys how i made this

little transition

it's super simple to do and made using a

very simple technique that will help you

guys with a lot of your editing in

premiere pro so let's jump right in and

get to it alright so we have this clip

of a drone going through these two rocks

revealing this really cool landscape

and i zoomed in on the clip a little bit

here in the motion

you can see we

punched in a little bit to give us a bit

more room and let's animate the

motion of the clip so let's start at

the bottom of the clip

let's actually start at the top let's

start at the top of the clip and then

have it slowly animate down to the

bottom

as though we have some gimbal movement

let's press play and watch that

you can see it's it's harsh doesn't look

clean so one thing that we could do is

right click on the keyframes and go to

temporal interpolation and go to ease in

now if we click this little drop down

arrow here we can see that we have this

line underneath the two keyframes

and this line basically shows you how

these keyframes are being animated and

you can see at the start it's still

quite abrupt and that's because it goes

from zero to right away a higher value

if we drag this down here we can expand

this so we can get a better look at it

let's click the keyframes so let's drag

this down here and push it over this way

we'll push this over here as well

and press play you can see it starts a

lot smoother now uh this is very fast

let's move the keyframe over and play

with it like that press play

we got ourselves a nice smooth motion

now this is called the velocity graph

this is where you control the velocity

of the keyframes so the velocity graph

is super important for all of my

transition work whether it's in premiere

pro or after effects i use it all the

time and i play around with it i

experiment to make my transitions as

smooth as possible super important get

familiar with it and understand

everything about it so as you can see we

can play around with this a ton we can

make the graph look like that

play it let's see what it looks like it

slowly goes in and then speeds up

towards the end that could be cool for

the end of the clip if we drag both the

keyframes to the end here and press play

that could be cool going into another

clip you know that starts with

uh top to bottom motion

and you can make them both work well

together another cool thing with

keyframing is you can actually see and

edit the keyframes on the clip itself

within the timeline you can right click

this little fx square in the top left

corner of a clip and then you can choose

what attributes you want to see on the

timeline in this case we want to go to

motion and we want to select

position

and it shows us right here what we have

made

up top

now we have the same options to animate

everything right here we can do it all

in the clip and in premiere pro i

actually use this feature a lot just

because i find it pretty easy to animate

the velocity graph right in the timeline

here and keep in mind you can also

animate the velocity of the scale as

well so let's add some scaling to this

we can add a keyframe over there we'll

add another one a little bit further up

ahead

all right so if we press play we see

that it is not smooth doesn't look too

good so let's go in

and animate these velocity parameters

let's play around with these and see

what's up

a lot smoother that looks good

nice

it almost looks like an actual like zoom

lens

so important tip to save you guys a lot

of time if you have an important

keyframe action like a zoom in or a pan

left to right or something a slide left

to right or something

like we have here

what you can do is actually save it as a

preset so you can go into the motion

right click click save preset call it

something we can call this one zoom

click ok and it will save it into your

preset folder automatically you can see

we have it here and this is great

because you can always go back to this

preset and use it whenever you want you

don't have to recreate it each time you

can simply just double click it and it

will apply it to your clip so as you can

see we have these two clips here we got

a drone clip and this sequence of

chelsea holding a ball

of light and i wanted to make a

transition out of these two clips

now

as you can see the right side of this

clip is all black and this clip starts

with black

we need the left side of this clip

specifically to be

dark or black

to make this work so what we're going to

do is drag an adjustment layer over top

of both of the clips now if we go into

the adjustment layer and we try to

animate the scale or position you can

see that it doesn't do anything to the

clips underneath we're actually

adjusting the scale and position of the

actual adjustment layer we don't see

anything because the adjustment layer is

transparent right now there's not

there's no effects on it there's no

color done on it so you can't see

anything but we're just moving the

adjustment layer let's reset that

now if we want the adjustment layer to

affect what's underneath it in terms of

a scale and position we gotta apply an

effect called transform on it

it's under the distort folder we're

gonna drag that on there and now if we

go to the transform effect we

change the scale we can see that we are

now affecting the scale of the clips

underneath this is huge super powerful

so let's work on this little transition

here so first thing we're going to do is

scale down the clips underneath we're

going to scale them down to 50

and let's move this one all the way to

the left

and we're also going to stack the clips

on top of each other so let's stack this

one on top of that one

make this one 50

and we're going to move this one all the

way to the right

this way

so now

if we go to around this part of the clip

where this side starts to get really

dark

and

this clip starts here to the right

we can imagine if we have a digital

camera that's zoomed in

on the left image

and then moves to the right image and if

it moves at the right time

we can get a cool transition out of this

so

let's do that right now let's use the

adjustment layer so this adjustment

layer is basically like our digital

camera that's that's basically like

filming within the program these two

clips it's going to move in move from

the left clip to the right clip let's

scale it in to

200 percent

to fill the frame and we're going to

move the position all the way to the

left image here

cool we're going to set a keyframe for

the position

and right about here we're going to want

to move it over to the right

so let's grab that position

nope not that

we're gonna grab the position of the

adjustment layer transform effect

move it to the right

and we want it to cover that entire

image

and for this video we're gonna have to

scale it up a tiny bit actually

because it doesn't quite fill the frame

all right so it happens a little fast so

there's

a lot of things wrong with this right

now but

let's just flow with it

let's

show the keyframes in here of the

transform effect

and let's

move them over we can hold shift to

select both of them

and let's move them over there let's

play around with these a little bit

move this one closer

and let's play around with the velocity

because right now it looks hideous

cool that happens a little bit late

or a little early

cool that looks pretty good as you can

see here this clip

is

not dark enough because this is like

pure black and you can still see detail

and stuff in here so what we're going to

do is hide the adjustment layer and by

we can do that by disabling it by

unclicking enable or

if you have a shortcut set up mine is h

you can disable that and as you can see

it exposes both the clips now now what

we can do is grab this clip over here

let's

apply lumetri color to it

now

let's

bring the exposure down

maybe bring up the contrast

and let's bring up the let's bring down

the blacks

and let's make a mask over the right

side so that only affects the right side

we'll make sure to feather it a bunch

and now the right side of the image is a

lot darker

it doesn't look good at this part it

looks good over there and works so i'm

just gonna quickly

animate that we'll set the exposure and

the contrast to

get really dark over there and the

blacks because we animated the blacks as

well

and over here we'll set all those back

to zero

now you can see

nice that should work well now let's

enable the adjustment layer again

and let's see what it looks like

cool that looks good i would say the

initial zoom in is very fast i'm gonna

drag it out a bit and

stretch that

play with the velocity now let's take a

look

cool that looks dope i like that

i think this clip could actually come in

a little bit earlier as well

just to make things a little faster

let's shift both of these keyframes over

to the left a bit and

see what happens

so actually using this adjustment layer

and the transform effect technique

within premiere pro is actually pretty

new to me i would always resort to after

effects when doing this kind of stuff

but this is a very powerful tool and i'm

very happy that i learned it because

it's going to save me a lot of

unnecessary time having to send my clips

to after effects and do this kind of

stuff in there

where i can now you know

animate a camera motion on top of other

clips within premiere pro again super

powerful tool to add to your toolkit and

i'm stoked that i get to be sharing this

knowledge with you guys hope you guys

enjoyed i'll catch you in the next one

[Music]

what's up guys today's lesson is about

masks so without further ado let's jump

right in

all right so sorry for that cheesy

little dad joke but uh today's class is

about masks just not those type of masks

masks in premiere pro we're going to be

talking about the power of masks and how

masks are used to define certain areas

of your image that you want to apply

blur color correction brightness any

kind of effect to and also how masks

allow you to cut out certain parts of

your image masks are a really powerful

tool that we're going to be using a lot

throughout this and i use them a ton

specifically when i'm doing all of my

crazy transitions and cool effects so

without further ado let's jump right

into this lesson and i'm excited for you

guys to learn some new things let's do

it alright guys so we are in premiere

pro i have three clips here on this

timeline that we're gonna be using to

show you guys the power of masks we're

gonna start off with this cool clip of

my friend paris and let's zoom in here

and start creating a mask

so this is a pretty cool clip i really

dig the vibes i think that i'd like to

make her eyes brighter but i would want

to only affect her eyes i wouldn't want

the rest of the image to be affected

and if we apply any kind of color

correction to this clip

lumetri

let's

let's drag lumetri into our custom bin

right here just so we don't have to keep

searching for it

we got lumetri color drag it into our

effect controls window and let's make

some changes

so let's see if we change the exposure

of the clip it's going to affect the

entire clip what if we only want to

affect her eyes well this is where masks

come into play

let's make the program window a little

bit bigger let's zoom in here let's go

to 200 percent

okay that's a little bit too much let's

go to 100 and let's go up to her eyes

okay so for making masks we have three

different options here these masking

options here are available on most

effects that you apply onto your clips

you have the ellipse mask tool a

four-point polygon mask tool and then

the free draw bezier tool i typically

just use the free draw bezier tool just

because that's what i'm used to but feel

free to use any of the ones that you

want we're going to draw a mask around

her eye cool so now that we have a mask

drawn around her eye let's change the

temperature

the mask is essentially isolating the

area that the effect will be applied to

in this case i don't want to change the

temperature let's just reset that using

the reset parameter tool let's go to

exposure and make it a little bit

brighter

all right cool so i think let's not go

too hard we can hold command to change

the value a bit slower and let's just

brighten them up a little bit we can go

to 0.5 as you can see the effect is

applied to that eye

but if we scroll through our timeline

let's leave a marker here so we know

where we left off

if we scroll through our timeline that

effect is going to wander off but it's

not actually wandering it's staying in

one place your clip is just moving

so what we need to do is have that mask

track the eyeball it needs to track the

motion of wherever this eye is now

premiere pro has a very cool option

built into it now which is very powerful

what we can do is make sure our mask is

selected here and what we can do is

press play here track selected mask

forward

and watch premiere do its magic

so as you can see it has tracked her

eyeball for the right side of the clip

now what we could do is go back to where

we started then click track selected

mask backwards and it's going to track

the rest of the clip before that

keyframe alright awesome so what we have

here is a bunch of keyframes

these keyframes are following the motion

of her eyeball

and i would say that premiere did a

pretty good job of it if we zoom in on

these keyframes

as you can see she closed her eyes so

we're going to want to go in and

manually change the mask

we can press page right to go to the

next keyframe let's zoom in on these

keyframes

and just fix the few frames that are out

of line

what we can do here is press this button

to go to the previous keyframe

and we can just continuously do that

hop between keyframes

and make manual adjustments

awesome

so as you can see the mask

the mask follows the shape of the eye

and normally if there's something that

you know goes in front of your subject

that you're tracking like this hair

premiere would struggle and have issues

but in this case it managed to hold on

to the eye which is great and makes my

life a lot easier so now that that mask

is tracking the eyeball correctly we can

modify some of the parameters of that

mask so normally one thing i do is

change the mask feather and what this

does is it feathers out the edges of the

mask so that they're not as harsh let me

show you guys an example between a

feathered mask and one that isn't

feathered so this is feathered right

here as you can see it looks pretty

clean

and let's bring that feather down to

zero and as you can see there is a hard

line that goes around and we do not want

that so let's bring that back up to 25

and just like that we have a clean mask

let's make the exposure a little bit

brighter let's fit the screen that's

definitely too much 0.5 looks about

right

and we can go through the footage just

like that and that looks really cool

but obviously in this clip things don't

look right because her other eye is a

lot darker than this eye so let's go

into that eye and do the exact same

thing

with the left eye as you can see we have

some of the cloth going over it

and a point like this the auto tracker

would just have no idea what to do so

we'll do this eye manually so let's go

in we'll zoom in on the clip a bit more

we'll go to a hundred percent let's go

to lumetri color grab that free draw

bezier and we're going to make another

mask

awesome

now that we have that other mask let's

make sure that the stopwatch for mask

path is selected since we are going to

be manually moving this mask around

click that it's going to create a

keyframe for that specific point in time

and let's zoom in on this little

timeline here

and let's start animating this mask so

let's move a couple frames forwards

eyeball moved over there so let's grab

that mask move it over

what you could do when you're in the

program window is you can simply just

scroll with your mouse which is a huge

time saver instead of going into your

timeline and moving the playhead

so since the stopwatch is on it's going

to record all of the changes that you

make throughout the clip

so the beautiful thing about setting

keyframes is that you don't have to do

every single frame you could do every

couple frames every 10 frames you can do

one frame at the beginning of the clip

and one at the end and premiere will

basically animate your mask in between

those keyframes

i'm going to zoom in a lot more

just because we're working with a very

small area here

i like to see the actual points on the

mask

awesome so we've manually tracked her

left eye and as you can see it looks

pretty awesome if we click this little

effects next to lumetri color or any

effect really it will turn the effect on

and off so as you can see that's pretty

cool we've managed to brighten her eyes

in a way that looks tasteful and

realistic

so i'm pumped on that you can also go in

and change the color of our eyes by

changing the temperature making it a bit

warmer or cooler and maybe we can change

a couple more things we can change the

contrast

make it a little darker

we can change the whites

those eyes right there look pretty sick

all right awesome so that's just one way

that we can use masks in the next video

i'm going to be showing you guys another

example of how i use masks to create a

pretty cool transition

so when i was out flying my drone

shooting this clip i basically had this

idea to mask out the top of the image

everything that isn't the building and

use this as an opportunity to transition

into a new location so that is what

we're going to be doing right now so as

you can see the clip starts off here and

it doesn't really reveal the top line

and uh about here you can start to see

where we would have to start masking so

to make my life a little bit easier i'm

probably going to just scale in a bit

more on this clip

so let's just scale in a bit here and

let's also push the clip up a bit that

way that line doesn't come up until

later on

so that way we don't have to mask as

many frames so here we only have to mask

from here until here

all right so let's get to it so in this

case i think i'm going to start towards

the end of the clip let's go right here

and create a new mask so in this case

we're going to be masking the opacity of

the clip we're going to grab the free

draw bezier tool

and let's zoom out a bit here let's go

to

25

and we're gonna draw a line

over this building

awesome let's make sure to click the

stopwatch on mask path

and now we can start animating

but as you can see it's going to be a

little bit hard to animate this mask as

we can't see the rest of the image so

what i like to do is simply turn off the

effect for opacity by clicking the

little effects button for opacity that

way we can still see the full image but

still be able to animate the mask all

right cool so let's jump to the next

frame

and we're going to move the mask down

to there

and we'll go a couple more frames move

that down

and that's the end of the clip awesome

now let's move some frames back and push

this mask all the way up there

and resize it

now as you can see to the left here we

did not do any work between these two

keyframes but because this is a pretty

linear motion we can see that the frames

that premiere has automatically

generated are pretty aligned and not too

far off but we can make minor

adjustments as we scroll through

manually masking clips can be very time

consuming so this is also a great time

to bust out your favorite music

licensing website and just start

listening to tracks that you could

potentially use for your edit

i typically like to play some

progressive music and kind of just get

lost in the music as i do my editing it

helps me get into a flow state so we

have successfully masked that part of

the clip out

so let's turn the opacity effect on

and as you can see we have a pretty

solid mask here

i would say that that is a little bit

too sharp for me so let's turn that

feather up and just like that it looks a

lot more realistic

all right guys so i have another clip

here that i thought would work well to

transition to it's just another drone

shot but it's in a different environment

let's drag it underneath this first clip

and let's see how things look over here

i'm gonna scale this background clip up

a little bit and as you can see here now

this line looks a little bit too

feathered so let's turn the feather down

a little bit on that mask

and voila just like that we have a

pretty cool seamless transition going

from a more urban environment

in the city to a crazy rocky

dune environment in saudi masking can

get a lot more complicated than this

which is something i'm going to be

touching on in future tutorials i do

more of my advanced masking in after

effects simply because the interface is

more comfortable for those types of

tasks but masking in premiere pro is

definitely pretty powerful and you can

do a lot in this program masking is an

incredibly powerful tool as you can see

we can use it for a ton of different

purposes to create cool transitions as

well as define certain areas of our

image that we want to apply effects to

hope you guys learned a ton from this

lesson and i'm excited to see what you

guys do with this new learned knowledge

i'll see you guys in the next one

[Music]

in this lesson we're going to be going

through my process of color correction

and color grading so there's a

difference between the two color

correction is the process of making sure

your images colors and exposure are

natural and look right typically you do

this to correct your image's look so

that it looks as real to life as

possible this is a step that allows you

to prepare your footage for the actual

color grading now to limit the amount of

color correction you need to do in post

you should make sure the settings are

correct when you're shooting and your

image looks as natural as possible in

camera in some scenarios the white

balance is off especially when dealing

with cameras that shoot auto color

temperature and exposure like my gopros

or my drones whereas color grading is

the art of manipulating the colors and

visual tone of your image

this is the step where you create unique

looks for your footage now there are

tons of different methods out there on

how to color correct and grade your

footage but to be straight up with you

guys my method is very different than

most and it's what has worked for me my

entire career in filmmaking and for me

it's a much faster method but before we

go into my exact method we're going to

be going through the tools in premiere

pro used for coloring and talking about

the power of these tools now you've

probably heard of something called a lut

by now a lut is basically a look up

table why it's called that i don't know

and it's not important a lut is really

just a color preset exactly the same as

a photo preset except for video now i

use luts all the time and we've actually

provided you guys with a bunch of really

beautiful luts provided in the download

section of this course now color grading

definitely isn't as easy as just

applying a lut to your footage and

calling it a day it could definitely

take a good amount of time to getting

the hang of but once you understand the

foundations it's a really fun process

and i personally love it now before we

jump into premiere there are a few terms

that we should understand first hue hue

is basically just the name that we use

for colors saturation that's the

intensity of the hue and then we got

luma that's the brightness or shade of

hue understanding these terms and how

they affect your image is important

because you'll be using them a lot and

they are the foundations of coloring

your image so with that being said let's

jump into premiere and start learning

about the color correction process all

right guys so we're in premiere pro

right now and we have a bunch of clips

lined up ready to be color graded now

typically i usually do all of my color

correction within the editing panel

simply because you could just type in

the color effects that you want like

lumetri and simply just drag it into

your effect controls and do all of your

work here but the color panel is also

pretty useful as you can just click

through it and then right away to the

right here you have the lumetri color

window ready to make color changes to

your selected clip so to work in either

of these panels is totally fine it's up

to you but since today's topic is

specifically about color we are gonna

stick to the color panel all right so

we're gonna be going through the three

main tools i use for all of my color

grading all right so the first one is of

course lumetri color this is the

built-in color correction that comes in

premiere pro and it's pretty powerful

it's got pretty much everything that you

need and we'll just be going through it

right now if we have a clip selected and

we make an adjustment automatically the

lumetri color effect is added into our

effect controls window now that lumetri

is in our effect controls window if we

go back to the editing panel it'll be

there as well and you can make

adjustments within the effect controls

window but moving back to the color

panel so the first thing we see is an

option to input a lut this is where you

can browse your computer find the luts

and import them into lumetri and apply

them to your image next we have the

temperature slider which affects the

temperature of your image and then the

tint right below it these are powerful i

use these all the time for color grading

then we have the exposure contrast

highlights shadows whites and blacks

these are all very key sliders that

we're going to be using for color

correcting our images

next we have the creative section which

also allows you to apply a lut here as

well but it also gives you the option to

change the intensity of your applied lut

you can also click through to get a

quick idea of what your luts look like

on your image

and below that we have even more options

i don't use these too much but go ahead

and experiment with all these parameters

because it's good to know how they

affect your image

now below that we have the option to

change the tint of our shadows and

highlights with these wheels

by clicking the center of one of these

wheels and dragging towards a certain

color in this case the shadow wheel we

are changing the shadows of the image to

that particular tint

and the same goes for the right here

if we want to affect only the highlights

of an image and change them to a

specific tint this is where we would do

that

you can also just double click to reset

the color wheel

alright and below that we have curves

and below the creative tab we have a

bunch of more tabs that we're going to

be going more in depth into in a future

tutorial but for today's lesson we're

going to keep it pretty simple and just

stay in the creative and basic

correction tabs so that is lumetri color

the next color correction effect i use a

ton is rgb curves

pro tip drag this into your custom bin

so it will always be easily accessible

when needed so rgb curves gives you

these four graphs and each one affects

your images colors and exposure

differently

we have the master here which allows you

to make changes to your exposure and

contrast with this you can add reds to

your highlights take them out of your

shadows or vice versa

same goes with the green graph and the

blue graph

rgb curves is a pretty powerful tool

that i use in a cool way which i'm going

to be showing you guys later on at the

end of this video

and lastly we have a plug-in called

colorista

this is a plug-in made by magic bullets

and you actually have to pay to get it

but i would personally recommend

purchasing it just because it gives you

a bit more functionality specifically

the hsl function here and these color

wheels what these color wheels allow you

to do is take a specific color in your

image let's say blue in this case well

first of all let's just brighten this

image so let's just bring up the

exposure let's do uh 0.5

all right so let's say i just want to

affect the ocean behind this girl in

this video now what we could do is take

the turquoise here which is the closest

resembling color and let's move it

towards the blue and make it a bit more

blue

now as you can see it has just affected

that blue color behind her and made it a

bit more blue

if i turn the effect on and off it

becomes a bit more apparent what it has

done

now the left wheel here is for the

highlights and the right one here is for

the shadows

the further in you drag a color the less

saturated that color will be and the

further out you drag it the more

saturated it'll be the hsl color wheels

are a very important tool for creating

unique cool looks and just adjusting

specific colors within your image for

example i like to desaturate my greens

all the time and this tool makes it very

easy to focus in on what color i want to

make adjustments to and easily change

the saturation and also the hue of that

certain color

so let's just click reset here

and lastly we have this new ability

within premiere pro to go in and color

grade raw footage this is a huge step

forward for premiere pro which now

allows us to take our black magic raw

footage and bring it right in here so i

have my black magic clip selected and as

you can see within our effect controls

window there is a tab here it gives us

the raw editing functionality so if we

go in and change the decode using to

clip

all of a sudden we have a lot more

functionality here we're able to go in

change the color temperature uh we can

change the exposure but we can also

change the iso of the image this is huge

because we can now change the iso of an

image after it's been shot you know

before raw video and raw photos this was

not something that was previously

possible but now we can go in and select

what iso we want this video to be at

which is really cool it just gives you

that extra flexibility to make some

serious changes to your image

so now one thing to note is that this

does not come with premiere pro it is a

free plugin available to download on the

blackmagic website which will be in the

information below this video being able

to go in and make changes directly to a

raw video in this window is huge and

it's something that i use all the time

raw video gives you a lot more

flexibility in posts when it comes to

color correction simply because you have

so much more data to work with than a

regular mp4 or mov video

if i could shoot everything in raw i

would raw is the future so one thing to

note is that premiere pro comes with

scopes so scopes are a tool some editors

use to understand what's going on in

their image better if i'm being totally

honest with you guys i personally don't

actually use the scopes for color

correction i know a lot of people do i

personally just like to reference my

actual image when making any changes so

now that we understand a bit more about

the tools premiere has to offer for

color correcting and color grading let's

go in and start color correcting some of

our footage it's important to start off

with color correction and then going in

and doing your grade so as we can see we

have this image first of all it looks a

little flat to me so the first thing i

do is any kind of exposure changes so in

this case it's a little dark let's

brighten this image up just by bringing

that slider a little bit to the right

this feels a lot better to me next up

the image seems a bit cold for my liking

so let's bring up the warmth a tiny bit

just a little bit and this still doesn't

feel totally right to me i think we also

have to go in and change up the tint a

little bit

now let's bring the tint a little bit

more to the pink side of things

and

yeah it looks a little too green if it's

too centered there just a tiny bit to

the right and

i think we have a much better looking

image

i personally don't think we have to do

much more with this

a lot of color correction tutorials on

youtube tell you to use the scopes to

make sure that your highlights aren't

too high or your shadows are too dark

but i mean if you have a pair of eyes i

think we can clearly see that the image

is pretty well exposed and nothing's too

bright or too dark i personally don't

want to use a graph to tell me what

looks good but i'm happy with just

looking at my image and seeing what

feels right to me in this case this

looks great so

in our effect controls panel let's turn

that on and off

and as you can see we've made some

decent changes to this image and have

color corrected it pretty successfully

let's do the same to the next clip

alright so we got this clip of a plane

over the landscape here and

right away i would also say it's a

little bit dark and it seems a little

bit green to me a little more to the

green and or blue and i feel like it's

not as neutral or natural as it can be

so

first things first let's bump up the

exposure here in the lumetri window

make it brighter

and let's play with the tint a bit

just

a tiny bit of tint added to that

looks a lot better in my opinion it

looks a lot more natural

the white balance seems to be right

um and

maybe a tiny bit of temperature change i

wouldn't go too heavy with this one

but yeah just like that the image looks

a lot cleaner to me let's turn the

effect on and off as you can see

although this is the original image here

this looks a lot better to me

with the minor color corrections that

we've done to it so let's go through the

rest of these images and do the same

thing

the next clip is me being an absolute

savage hanging out the side of this jeep

or this land rover out in saudi all

right so let's bring up the exposure

it's a little too dark

that looks good to me

and honestly i don't even think we need

to make any tint changes or anything

maybe a tiny bit

tint to the right

and that looks like a pretty natural

looking clip to me let's turn the effect

on and off

beautiful and then we have this clip of

a hot air balloon let's bring up the

exposure a tiny bit

let's bring the temperature down a bit i

feel like it's a little bit too warm

and let's change the tint tiny bit just

like that we've made a couple changes i

feel like that looks more true to life

and natural to me

awesome what we can do since we have two

similar clips here is we can just simply

take the lumetri color effect from this

clip command c copy it

and then command v paste it to the next

one just like that we've pasted the same

effect alright so now that we've color

corrected our footage it's time for

color grading all right so now let's

talk about color grading we can use

these same tools to now go in and really

push the grade and give the image a more

stylized look

alright so first let's add another

lumetri color effect to our clip

so in here we can open up the creative

panel and go in and select one of your

lights

now we have a folder here on my desktop

called luts and let's just import one of

these

as you can see it's given this image a

pretty cool stylized look i think this

looks pretty sweet right off the bat but

we can make a couple changes to this lut

firstly we can change the intensity of

the lut by just moving this value here

and then we can go in and get a bit more

creative with any other changes we want

to make

in this case i feel like the luts are

pretty dialed there's not too many

changes that i want to make but you can

go in

change the tint of the highlights you

can change the tint to the shadows you

can make a couple of changes just

experiment with the functions within

lumetri and just do what feels right to

you with just this applied and a few

minor changes i would say this clip

looks pretty clean

so that's basically the standard way of

color grading your footage after you've

color corrected everything

i'm going to be showing you guys a

different method

so typically the color correcting and

color grading is usually the last step

of putting together your edit and here

in front of me i have a completed edit

from start to finish of my trip to saudi

arabia we got a bunch of stuff going on

we're just getting these black bars on

the side because the proxies are toggled

on just so that we can scroll through

this a bit faster but this is a

completed edit and what i would do is go

into my project window and just create a

new adjustment layer so what we're going

to be doing to this adjustment layer is

applying a saved lut preset to it in

this case we have this one lut one

now as you can see the images below are

affected by the adjustment layer

and right away these all look pretty

dope so as you guys know already from my

making selects video applying this

adjustment layer is something i do while

i'm making selects just so my footage

doesn't look so boring and flat so

typically i'll have a finished edit with

this adjustment layer on the top of it

with my color grade on it now what we

can do is scroll through our entire

video and make individual color

corrections to each clip that doesn't

seem to fit in

so in this case here i would say things

are just a little bit too saturated

maybe a little bit too saturated

throughout the entire video so let's

just go into the adjustment layer and

bring down the saturation a little bit

so i'll say 90 is probably good

now what i'm gonna do here on all of

these clips down below is i'm going to

apply the rgb curves with all those

clips selected we can double click rgb

curves and apply it to every single clip

now that rgb curves is in each clip what

we can do now is just scroll through and

fix up the clips that don't seem right

so this clip here i feel i can use a bit

more exposure so let's go to our rgb

curves and just bring up the exposure a

bit

play with this curve

and

maybe bring out some of the reds just a

tiny bit

and maybe just add a hint in the shadows

that looks pretty good let's take a look

what it looks like before and after

minor changes but they make a big

difference

and continuously scrolling through here

i can see this clip looks a little

darker than the one previous so let's

select this clip

and try to match it a little bit we'll

just bring the master curve down a bit

and i think just with that simple

correction it looks a lot better flows

nicer

and honestly i think it can use a bit of

warmth too so let's just add another

lumetri color to this one

and go into basic correction

and let's just bring the temperature up

a tiny bit

awesome

so that looks a lot better than what we

had before

this is what it looked like before

and this is what it looks like now

so this sequence right here of these

three clips

looks a little dark so

let's go into one of them

and just bring up that master curve

and i'm digging that a lot more

let's just copy that curve over to the

other two command c and then command v

and we will have a consistent exposure

now throughout those three clips

i love that

epic

and this is pretty much the process that

i do going through my entire video

and lastly for color correction we have

a pretty cool tool in our color wheels

and match tab called comparison view

this is a pretty powerful tool to make

sure that your color correction is

consistent throughout your sequences

typically when you're dealing with two

different cameras in the same

environment one camera will record

things differently than the other this

comparison view is very helpful to match

those colors on both cameras and make

sure that they look as similar as

possible

so this method is how i do it and it

kind of goes against the typical method

of color grading because you're applying

the lut to everything first and then

making the color correction changes

after it might not be the right method

to use when doing this but for me this

is what has worked from the very start

and i personally love this method and i

feel like it saved me a lot of time so

hope you guys learned a lot in this

lesson we're going to be doing a lot

more in-depth color grading tutorials in

the future but for now i'll see you guys

in the next one

[Music]

[Music]

what's up guys so this is going to be a

quick video we're going to be going

through my render settings that i use

for both exporting for instagram and

youtube anywhere on the internet and

also exporting for programs like after

effects retaining as much information as

possible within the footage so that i

can do more with it within the other

programs so this is gonna be a pretty

straightforward one there's really only

two options that i use so let's get into

premiere pro i got some sequences loaded

up and we're gonna be walking you guys

through the export settings all right so

i have a sequence here this is a final

youtube cut

that i'm ready to export so what i'm

gonna do is just hit command m uh and

that is the shortcut to export and as

you can see i have a pop-up here that

says offline material is present in this

export so basically it's letting me know

you can see here that there are missing

files within my sequence in this case

you know we have some missing audio

files but that's not a problem right now

but this is good to know for future so

if you guys are missing files it'll

notify you let you know which is great

i'm just gonna click ok and basically

this video is going to youtube i'm not

going to put it into after effects i'm

not doing anything else with it this is

ready to go the settings i always use

are h.264

and underneath just custom

and all i do is just click match source

now because we

know what sequence settings we were

working with you know we intentionally

set the sequence settings at the start

we were using true 4k you can see here

so in this case this is a true 4k

sequence and what we could do is click

match source it's not going to do

anything because it's already within

the same dimensions but i i just click

match source either way just to make

sure then we're pretty much good one

last thing i like to do is just scroll

down to the bit rate settings typically

what the settings here are set to is vbr

one pass now i remember back when i was

rendering hey tim up until that point i

was always rendering things in vbr one

pass i would just set the target bitrate

a little bit higher between 20 and 30.

but i remember i was getting so much

artifacting in that video and i was

freaking out and i didn't know what the

issue was and i consulted with some

other people and it's because vbr one

pass only does one pass one render pass

throughout your whole video so

it can actually leave imperfections and

artifacting and things like that if you

want to up the quality make sure things

look better you can select vbr2 pass

nowadays i just always stick to cbr

which is constant bit rate

vbr stands for variable bit rate but i

just stick to constant bit rate and i

always set the bit rate between 20 and

30

and that's pretty much it for me i don't

click use maximum render quality because

i've experimented myself and don't

actually see a difference

if you want to click that go for it so

just stick with those settings they've

never failed me and you should be good

to go now let's say i'm working in

premiere pro and i have a clip that i

want to export for after effects because

i want to do some more advanced editing

on it in there

now what i could do is export it the

same way as we export our youtube videos

or anything else like that but

that format compresses it makes it into

a smaller file and you lose information

by doing that which is fine for

uploading to the internet but when

you're going to continue working on the

video it's good to retain as much

information as possible so that you can

manipulate the colors and just have more

information in your frame so in this

case i have this cool drone clip going

through

crack in a

wall out in saudi arabia this is a

really fun shot to get

so we'll just do command m again

and in here what i'm going to select is

quicktime

and for the preset

what i do is apple prores 422 hq and

i click match source and that's really

it i don't have to mess with any bitrate

settings or anything like that

this quicktime 422hq format retains a

lot of information the file size will be

much bigger than that than the h.264

format that you can do but for serious

editing where i want to take this clip

into another program like after effects

and then bring it back into premiere pro

this is the route that i will go to have

a better looking finished product and

that's pretty much it i use h.264 for

uploading anything to the internet for

finished youtube videos for instagram

insta stories and if i'm going to

continue doing work on these video clips

whether it's in after effects or davinci

any kind of color work tracking i will

export as a quicktime prores 422 hq to

retain as much information as possible

so i hope you guys took a lot away from

this video and i'll see in the next

[Music]

all right guys so today we're talking

about adobe media encoder media encoder

is not just meant for proxies but you

can use it to render anything from

premiere pro or after effects it'll

still be a very powerful tool for you to

line up all of the sequences or projects

that you need rendered and then when

you're done editing you can just press

play and let media encoder do all the

rendering while you can go sleep go to

the gym very important tool and i use it

regularly basically with every single

project so let's jump to the screen view

and show you guys what media encoder is

about all right so we're in premiere pro

and we have two different sequences here

we got a 16 by nine main video and then

we got a 60 second cut down

that is

a 4x5 aspect ratio so let's hit command

m

and we are going to make sure that all

of our settings are right and we're not

going to hit export but we're actually

going to hit the button next to it

that says q

and once you click that you're going to

notice that adobe media encoder pops up

and your sequence is loaded up in there

now what we could do is go to our next

video and also do the same thing hit

command m

let's make sure that all of our settings

are correct and we have found a place

that we want to render this to as well

and we are going to hit q as well and

it's gonna load up in adobe media

encoder

awesome

now just like in the proxy videos we

have all of these tasks lined up here in

media encoder ready for it to go and all

we need to do is press play and it's

going to go through each one of these

sequences render them out into their

destination folder

and

make your life a lot easier so that is

media encoder it's a very simple but

powerful tool it's helped me streamline

my process as an editor and not have to

constantly go between rendering and

editing i can just save my rendering

tasks for when i'm done editing and just

render everything at once it's been a

game-changing tool for me in my editing

career and i hope that you guys start

using it as well i'll catch you in the

next one

[Music]

so today we're talking about video

overlays video overlays are exactly what

they sound like it's basically just a

video overlaid on top of another video

now what that video is that you're

overlaying on top of another video

that's totally up to you typically i use

things like lens flares or film grain or

effects like fire or smoke to overlay on

top of footage to either enhance the

footage make it look a bit more magical

or to make my transitions or effects a

little bit more seamless and to the

unexperienced eye you might not be able

to even tell when i use video overlays

but when we compare the before and after

you'll see how big of a difference it

can make in your productions so let's

jump into premiere pro and show you guys

exactly how i use video overlays so

before we go into the exact

technicalities of overlays i just want

to show you guys a couple of cool

examples from the past that i've used in

hey tim there is a clip here of chelsea

in a car

and you can see these little flamey

embers flying around and obviously those

were not there so these embers were

actually an overlay they weren't

actually there in real life and i used

these in this scene in order to better

sell this transition into the next shot

which is this palm tree

on fire

and we follow embers down

into this next shot which i also use an

overlay here too and it wasn't too

strong it's you know very minimal but i

feel like it did wonders in making this

sequence flow really well especially

this area right here where i use the

embers to transition into the next shot

and because these embers are an overlay

they are their own layer i was able to

animate the opacity from 100 down to

zero right there also in my year 2016 we

can see a shot here

of

my friend tony

and

there's fire

flying around him right here in front of

him

this fire wasn't actually there the only

fire that was in the shot was the one

on the stick that he's holding this fire

was actually a clip that i downloaded

from youtube i think it was just i just

typed in fire overlay or something and

put it over top and it just made this

scene look so much more dynamic it gave

it a lot more depth you know you have

this crazy fire in the foreground it

almost looks like i'm filming inside of

a fire when in reality it wasn't there

so it definitely enhanced the shot and

made it look a lot better so these are

two more examples of overlays

uh here we have a shot of chelsea where

you can see these lens flares floating

around her and we could take a look at

the before

and as you can see it really stylizes

this clip and brings it to life i really

love the way it made it look

um we also have this clip of me here

and this clip was actually a bit more

complex there was a lot of

tracking involved and masking as you can

see the

lens flares behind me

they actually go behind my face so that

required masking they also seem as

though they are in the space they're

like actually floating around in the

space as they're moving with the

background you see how the background is

moving from right to left so are they at

the exact time so that was actually

tracked in after effects now

that is a lot more complex we'll be

going into motion tracking in after

effects in the after effects

section of this course but as you can

see overlays make a very big difference

and i use them a ton in all of my

productions so we have this saudi arabia

project file here and

in the original video i actually didn't

add any embers or flares here but now

looking back i'm thinking i probably

should have i think it would have been

pretty cool to add some kind of stylized

lens flares or something over top of

here you can get lens flares from pretty

much anywhere on the internet

you can find some on youtube there's

tons of people that sell them for free

so down below you guys will be able to

find links to film grain and

overlays that you guys can use for your

videos but you can pretty much find

assets like these all over the internet

you can you know scour youtube or just

you know random pages on the internet

and find tons and tons of cool stuff

anything will really work in this case

here we have this clip of fire and it

made me think

i should probably use that ember clip

that i have so within my documents i

have a folder called assets and in this

folder i have a bunch of different

visual or auto audio assets that i use

for my videos and within here i have a

couple ember videos that i saved from

the internet forget where i found them

but they were really cool

and you can see that

this is pretty much all it is it's just

a

black video with

some

fiery embers floating around so let's

take this video and drag it into

premiere pro let's move it to the assets

folder just so we can stay organized i

think this would be a cool place to put

these embers in so let's drag it over

top of this clip

and now what we're gonna do is in the

opacity section

of the effect controls we're gonna

change the blend mode the blend mode is

what allows you to change the way that

the video is overlaid on top of other

videos so in here the go to is typically

screen the screen mode basically takes

out the darker areas of your image

there's tons of different modes overlay

is another one that typically works

pretty well

and right off the bat you can see that

it looks pretty clean like i like the

way that that looks the motion of the

embers is you know not the same as the

camera motion

but

we can mess around with this a bit more

and make it look a bit more realistic

let's scale it up

a ton

move it around over there

and

[Music]

let's scale it up even more

and i want to give the illusion that

these embers are close to the camera

and

if they're closer to the camera that

would mean that they're a bit more out

of focus so let's type in blur in the

effects panel and let's grab gaussian

blur this is just an effective blur

and let's just turn up the blur of these

particles

i think just a little bit something like

yeah like eight or something will work

fine

and you can see there's a bit of black

around them so let's see what happens

when we click lighten there we go

lighten helps reduce that artifacting

that's happening around

if you look at the difference between

lighten and screen

screen you can see it's got these little

black

particles around and it just throws it

off that does not look real

but simply by you know just changing it

to lighten

that looks much more realistic yeah this

is not what i did in my

final saudi arabia video that i uploaded

on youtube looking back i wish that i

had done it because it looks really dope

i really like the way it looks

in another area of this video we have

this really cool clip of my friend

paris's face and i had the idea that

adding a lens flare over top of this

could

add a bit more of a magical feel so i'm

actually developing my own lens flare

pack which will be available soon and

will be free for all of you guys

but

for now a really good place to get your

lens flares is lens distortions they

have a ton of cool assets for videos

including lens flares

so let's grab some of the lens flares in

here

so

that's cool it's dreamy it's soft

i like it

let's drag it in here

and

let's select an in and out point in our

source window

now let's go into the blend mode and

look for screen

and just like that it gives us this

dreamy look let's see what lighten looks

like see in this case lighten does not

look good let's go back to screen

so let's watch the before and after this

is with the lens flare

and now this

is

without

it's very faint very minimal but i love

how big of an impact it makes on the

feel of the video

so we're gonna do one more just for fun

i have this very cool clip

of these hot air balloons in the morning

let's find another lens flare from lens

distortions

uh they got this luminary pack which has

some cool stuff

now that might look a little bit intense

but let's drag it in there and just play

around with it and see what we can get

out of it

that looks very intense i don't think

that that's going to work but maybe the

start of it will work well with what

we're doing here

scale that up to the frame size

and

let's select

screen

now in this case i feel like it makes

the image a little bit too cluttered i

feel like there's a lot going on so i

might just scale it up a bunch

just so that there's not as many

individual flares

and

i really like this area here if you look

that flare that comes over

that's cool i like that a lot and of

course just like any other clip in

premiere pro we can color grade it as

well i feel like these are a little bit

too blue compared to the background

we can make them a bit warmer so let's

grab lumetri color

and let's

just make it a bit warmer in the basic

correction into the temperature and just

slightly bump it up maybe it's like 15.

you know it's fast you know most people

won't even be able to tell but it's

these little things that make a big

difference i love spending time on each

clip in a video and asking myself how

can i make this look a little bit more

stylized how can i make it pop a bit

more and overlays are a great way to do

that

so that's my workflow with overlays in

premiere pro as you can see i've used

them a ton in my previous videos and

it's really cool to see how big of a

difference it can make in the feel of

your final video one thing i find myself

doing a lot when working on my

transitions is adding a simple lens

flare over top of everything to kind of

solidify the sequence and make it feel

like it's one clip so as you can see

overlays are an incredibly powerful tool

for your films and i'm excited to see

how you guys use these in your projects

hope you guys enjoyed this video and

i'll see you in the next one

[Music]

what's up guys today is a very exciting

day because we are creating our very

first transition within premiere pro

with the knowledge that we have learnt

from this course so far everything about

key frames masking color grading time

remapping and all the other tools that

we've learned and we're going to be

taking all of this knowledge and putting

it together to create this really cool

transition

i love the way this looks and i'm stoked

to be showing you guys exactly how i put

this together so let's jump into

premiere pro and dive right in

so this transition came about when i was

going through my pulse sound effects

footage that i recorded

and gathered this is just a bunch of

footage that me and my friends shot i

was trying to

come up with a sequence i wanted to you

know go from one of these environments

to another one not in any particular

order you know i'm not really telling

much of a story with this just you know

a combination of cool visuals

there's these shots of my friend hanging

out the car window that i really liked

and i wanted to make a sequence out of

that and then i was thinking i wanted to

somehow transition to another scene and

i was just scrubbing through

and i came across two clips

one of this hand hitting the bottom of

the ocean floor and the sand going all

over i love it super cinematic and like

dramatic and

because i was designing a video for a

sound effects pack i really envisioned

like a nice impact

sound effect right there i was like that

could be cool that was going through my

mind i was like that's a really sick

shot and because the shot has movement

in it that will give me a bit more to

work with when making some kind of

transition and i was thinking you know

maybe there's a way that we can combine

these two clips so as you can see the

speed of the hand at the beginning here

is very slow and the second one is very

fast so

first of all i looked for a moment that

could work

and over here you can see the hand goes

up it chills up there and then it goes

down

and i was thinking maybe when it goes

down over there

that could be the moment in time that we

stitch it to

the other clip because it's it's

actually moving in a downward motion

here so

i'm gonna speed up the ending of that

all right i'm gonna start from there and

then we'll speed it up to about there

and we'll

speed it up we'll just play around with

the

with the speed

that's not too fast

maybe make it go a bit faster

yeah and i think just to like right

there because afterwards it

like it it looks a bit awkward it's like

the only the initial down

right there and then it like

from there like it like jumps looks

weird

like like just that

initial amount i think works well

and i think we'd probably have to speed

it up a bit more

cool so

that works

now obviously the hand is in a

completely different position it's like

pointed upwards whereas this hand is

more

level

and this one is angled up that way so

what we are going to do next

is play with the rotation of the clip

now i think the best way to do this

right now is to just create an

adjustment layer

we can make a new adjustment layer

click ok

drag it over this clip

let's grab our transform effect drag it

on there and let's

set our

keyframes for scale

rotation

and position

and let's drag those over to

where we want to start animating i don't

want it to be too dramatic so we could

start over there and then move the clip

to our desired position later on now

let's rotate it a bit

if we go to the next scene we can see

arm is level so let's try to match that

we can zoom in

this looks more level this looks better

but obviously we can see the background

there's

dark space around so okay let's let's

let's open up our timeline a bit so we

have more room to play around here let's

move these up

alt up

and

let's copy

this clip underneath so we've duplicated

the clip now what we want to do is fill

that layer over there

let's

turn off the adjustment layer

disable it you can right click

check uncheck enable and

let's

actually just scale down this to 50

percent

and the one underneath as well

50

now

what we want to do is expand the top and

bottom edges because when we rotate in

the adjustment layer it's exposing

the top and bottom

of the clip and showing us the black

space behind

so

what we're going to want to do is drag

the clip underneath to the top

and

we're just going to want to vertically

flip it so we can click the vertical

flip effect and as you can see it looks

pretty seamless

and for something like this you're not

even going to be able to tell no one's

going to be able to know that it's like

an extension of the clip

and what we could do is copy that we can

alt drag down below

and do the same thing down there so

let's take the clip and let's move it

down now

and just like that we have extended

everything

now in some situations you might want to

do this same thing for the right side

and the left side of the clip but in

this case we're not going to need to so

let's

enable

the adjustment layer again

and now what we're going to want to do

is

scale in to

200 percent

we could just type it in

actually in this case we could expand

the left and right sides of the image by

doing the same method but i'm just gonna

make things easier for us and we're just

gonna scale in even more so

let's make sure the adjustment layer is

selected

and once the black

corners start to come in we can just

scale to compensate for that and it's a

lot less scaling that we'd have to do

versus you know scaling for that because

that's a big area we'd have to scale in

a whole lot so that helps us out

a lot

and as you can see we're already

getting a pretty good effect here now

what i find myself doing a lot when

creating

transitions like this and trying to make

them as seamless as possible is

i'll literally watch it

10 or 15 times back to back to back i'm

just constantly re-watching the video

just to try to catch what doesn't flow

what

i could do to make it

you know even more seamless and in this

case it looks pretty good i think

the hand we can actually

speed ramp it

even more

so

instead of going in and speed ramping

all of these all at once what we could

do is just nest them command e click

and

double click into the sequence and just

extend all of them so we have a bit more

room to play with when we're time

remapping

and let's just time

remap this now so towards the end

we wanted to speed up a little bit more

just a little bit

so

i think

it also just stays on too long you see

how initially here

moves fast and then it kind of slows

down

let's just cut off the end

drag it over to the right

cool

that's starting to look pretty good

now i think we can also just trim out

a little portion of this second clip as

well

and as you can see you know the hand in

this in this frame is here i'm going to

click the right arrow

and then the other hand is like taking

up a lot more space here here versus

here

so it's quite a big difference

so i think let's try to

just play with this adjustment layer a

bit more

and

maybe even punch it in more

let's zoom in on these keyframes move

this over

scale even more and let's

push the position over

and down

cool so now the hand is a little bit

more on the left side of the image bam

[Music]

doom that looks pretty dope let's

drag another adjustment layer over top

and

throw a lut on it so this is just an

adjustment layer with a color grade

thrown over the entire thing

and let's watch it bam

if you're having playback issues and you

can't preview what you've created in

real time and there's lots of lag you

can select the in and out point for the

area that you would like to preview

click i and o and then go up to sequence

uh click render ins out and it's going

to spend a bit of time

creating a render preview so that you

don't have any lag and you can actually

preview it in real time so this is what

we got so far

i think that looks pretty good i'm gonna

try to add one frame to the second clip

and just see

just see what it looks like

yeah i think that's better because

before i think it was a little faster

so with something like this you know the

difference between adding one frame and

removing one frame could be pretty big

awesome so i love the way that looks now

we're gonna do

one more thing to try to sell this

effect even more and that is some color

masking so

what we're gonna do is grab one more

adjustment layer and we're gonna throw

it over top of our hand footage here

as you can see the first hand is

a lot colder than the second hand second

hand's a warmer it's got a nice warmthy

vibe i was thinking towards the end of

this clip here we can get the color of

the hand to

warm up just so it'll help sell the

transition a bit more so let's give that

a go now what we're gonna do is take our

adjustment layer let's add lumetri color

to it and now in lumetri color we can

just go to basic correction

and let's turn up the temperature see

right away that looks a lot more like

the second one let's make a keyframe for

that

and let's bring it down to

zero

a little bit before so you can see it

animates i like the way that looks that

looks really dope i would say the only

difference between the first hand and

the second hand right here and here is

the first hand has a lot more highlights

in it so let's just play around with

those colors a bit more

so

maybe we

play with the highlights and the

exposure so we'll set the zero

markers here the zero keyframes and then

we could play with it at the end to get

our desired look

specifically the highlights are a bit

bright

i think the exposure i brought it down

too much

you know i don't even know if we need to

bring on the exposure i think just the

highlights

now one thing i noticed is at the top

you can see how the fingers start to

collide from both of the videos

if we

uh disable the

adjustment layer we could see that

you know the two clips start to collide

here so what you could do is just

you know continue playing with the

transform you can scale in scale out

another thing you could do is also just

add black bars that is

a hack of mine that i like to use a lot

um i'm just gonna create some new uh

black bars here really quick just to

give you guys an example if you

you know have black bars in your video

you can use them to hide you know flaws

or just

things that you don't want to be seen

and i do that a lot it helps make

a lot of these transitions a lot easier

so

let's

one last time render into out

so we can get a clean preview

and view our final product

so i love the way that it came out

super cool transition takes us from one

scene to another in a really cool way

if you

you know add some sound design to this

as well it really takes it to another

level so remember you guys should

definitely try this out yourselves you

can download the original footage that i

used in this project down below download

it try it out yourself and send us on

the facebook page what you've created

we'd love to give you our feedback and

see what you made so go out there have

fun make sure to experiment and i'll

catch you in the next one

[Music]

what's up guys today is a very exciting

topic we're talking about sound design

sound design is key to my productions a

lot of creatives don't understand the

power of sound design

in my personal opinion i feel like sound

is you know just as important as the

visual aspect of filmmaking we as human

beings have evolved to not just take

information in visually but also audibly

you know through all the other senses of

our body so you know a lot of the time

i'll finish a project and i'll watch it

with and without sound design and

it's just crazy how much more sound

design can immerse you in what you've

created you know so even if you're

working with you know some basic visuals

nothing too crazy you're not doing any

crazy transitions or effects sound

design can definitely help take what

you've created to the next level and

immerse the viewer's attention so in

this video you guys are gonna watch me

sound design this little clip uh for a

pulse sound effects promo video it's

just a simple sequence and we're gonna

sound design it from the start to finish

and we're gonna go through all the tools

that i use in terms of sound design in

premiere pro one thing i want to cover

before we go into premiere pro is where

i store my sound effects now on my

computer on the files if you go into my

documents i have a folder in there

called sound effects and that's where i

store all of my sound effects i have a

collection that has a ton of different

sound effects that i've purchased or

downloaded online right now my go-to

resource for downloading sound effects

is artlist.io

they're great

but there's also tons and tons of

different websites online so you might

have to look through a bunch of

different websites to find exactly what

you want at the quality that you want

lens distortions makes really cool sound

effects packs for filmmakers that have a

lot of essentials and of course my pulse

sound effects pack has a lot of the

essentials as well throughout my journey

i've basically updated this folder on my

computer that has tons and tons of sound

effects on it so if i'm editing in

premiere pro i can just have that folder

open to the right you know on another

screen or you know i could just press

command space bar on a mac and it opens

up the search on your mac and then you

can just type in whatever you want so

sometimes you know i'll do command space

bar type in birds or ocean and then

right away it'll just show me like a

list of all the things that i have on my

computer i could just drag it right into

premiere and then work with it from

there

obviously if you're on a set you have

something that's going on and you need

audio it's best to just have a

microphone on your camera a separate mic

that you can capture that audio with so

that later on you can just have your own

audio you don't have to purchase

sound effects you don't have to

you know go through the hassle of

finding stuff online and you know you

can store those sounds on your computer

label them and have them forever so with

that being said let's get into premiere

pro and let's start putting together

some sounds for this visual that we have

all right guys so we're in premiere pro

and we have this sequence that we've

created let's just quickly watch this so

we know what we're doing we got a guy in

a car

hand

we got that transition into the ocean

and then

goes from underwater to over water

that's what we're going to be sound

designing today

it's a short sequence

and you know this class is just meant to

show you guys the tools that i use uh

for sound design uh we're gonna be going

a lot more in depth into sound designing

a longer sequence in

uh the video where i actually create a

full edit from start to finish in this

course but for now this class is just

meant to show you guys the exact tools

that i use when sound designing

any kind of video so right off the bat

this is an intro before a drop for this

pulse sound effects video and uh i

wanted to start it with like a chiller

part of the song and then have a gradual

build up towards the end and then you

know we'd go into more sequences and

stuff from there

but i have this part of the track

so that's what i was envisioning uh for

this intro part and that like hit would

come in right where the hand hits the

ground so let's zoom in on the audio

here

that hit so i'm gonna press the i on

that and we could do out right after it

and just drag it into

where that hit is and then we can extend

it from there

and let's just play it with this song

cool so that works really well i can

envision on the drop at the end of the

sequence you know going into a lot more

uh

fast-paced visuals for now we're just

going to be sound designing this so

we're going to zoom in here

and typically what i like to do is i

leave the song at the very top

we can move the visuals up so that

they're not taking up as much space and

we can just focus in on what we're going

to be doing in the sound spectrum

of our project

so let's go through this one scene at a

time we're starting off here with my

friend hanging out of the car in you

know a nature setting um so what are

some sounds that we might want for this

let's think like a car driving maybe

some wind you know because we're moving

let's grab some wind i think in the

pulse sound effects pack we could find

in the ambience

there's a bunch of different winds

so i'm thinking like one or two uh maybe

even both we could just select any part

of that i and o just drag it in

and

right away it adds more depth to the

scene

cool i like that so you know we hear the

wind and it starts to fade

uh naturally because that's the end of

this clip right before that so i like

that it'll like you know make us focus

in

more on what's happening and then bam

probably not any of those let's look

through some ambience

maybe like a city or

you just grab some of that

and

and i think that that would probably

work for the first little section here

and then

what we could do is fade it because the

camera goes inside the car and

you know we want to make it feel like

we're in there so we won't hear any more

of the birds so we could just command

click on the volume

line on the clip itself and just animate

it to zero

and i'm pretty sure i have a sound of

car interior somewhere on my computer so

so let's play it back without the music

that one's cool about the middle part it

starts to duck like starts to get lower

in volume and i can envision that

uh playing out

right before the hand

yeah

so one thing that's very important when

sound designing is to keep your eye on

the audio meter panel on the right here

this tells you

what levels your audio is playing back

at so

when you have layers of audio you know

you're adding up audio levels and it's

going to be louder it's always super

important to watch that meter here to

the right and if you're getting red up

top like we are

there for a second if you're seeing red

it basically means that your audio is

clipping and it's going past the maximum

volume that it could play at and that's

going to sound bad in this case i

guarantee you it's not gonna do anything

it's very minimal but yeah let's watch

it right now

cool so let's just go through a couple

more whooshes

let's let's grab this first one and just

place it at the beginning and see what

it sounds like

so that's kind of cool i think it's like

a little bit too high-pitched one audio

effect i use a lot is low-pass

and if you type it in there you'll find

it under audio effects

it's in my swag folder which is my go to

folder

that i named when i was 16 that's why

it's called swag

cool so let's solo this layer so we can

just listen to what it sounds like with

the low pass

nice that's with it on and let's turn

low pass off

cool big difference right so what the

low pass is doing is it's cutting off

the high frequencies of the sound and

just letting the low frequencies pass

through these are

you know technicalities that you don't

necessarily need to know um you know you

could just know what

the effect does to your sound but you

know if you're getting more into

advanced sound design it's good to get

an understanding of how sound

frequencies work and how they affect

each other but yeah this is low pass

filter super important tool

and let's find uh another

whoosh sound effect

that one's kind of cool

let's

bring it in here

you know it works i feel like it would

work better if this was like a hand

going into another outdoor environment

but we're going underwater so

again let's throw the low-pass filter on

it

um

and here check what it sounds like

the way that low pass works is the lower

the number

the greater the effect that's basically

all you need to know so let's put it to

a thousand

that's cool let's try 500.

nice

cool

and

we could just turn up the volume on it

and keep in mind just like animating

volume and anything else you can right

click on the little effects tab on the

clip and you can animate

any other parameters so in this case you

know we have low pass on there we can

animate that here as well if we want to

cool so

nice now it feels very empty that's

simply because we don't have that hit

yet so let's go into the hits in

pull sound effects and listen through

some of these

that's a juicy one

that's cool we might want to layer some

of these

to get a bigger effect let's close all

these other ones just double click them

to collapse them

and let's put it at the right place

which is about here

so it doesn't even sound that loud to us

but yet you know the

meters on the right are is telling us

that it's uh peaking

and it's minor you know it's just

hitting the top a little bit that's

because the low end is uh very powerful

in this so we're gonna grab an effect uh

which is eq in the obsolete audio

effects we're gonna drag it over top of

this

and let's go into the effects

look at let's let's hit edit over here

we have this graph here uh this is

definitely more advanced this is

something that i learned later on in my

editing career but let's go into our

timeline hit i and let's hit the loop

playback button here now if you don't

see the loop playback button you can

press the plus button to the right over

here and it will show up in here and you

can simply just take it and drag it in

here and move your move your icons

around however you want

i already have mine here but what

basically what this does is it will loop

your in and out area so if we press play

it'll just keep looping it now if we go

into our effects

we can see

this is the visual

of the audio that's playing right now we

can see that you know the clip that we

have selected it has a lot of low end

this is the low end of the spectrum this

is the high end there's tons of

tutorials on youtube that go in depth

into this i'm not sure too in depth into

it in this course but maybe we will in a

future one but we can actually just

lower the level

uh over here so that it's not as great

so as you can see to the right here it's

no longer clipping

um it doesn't feel as full though that's

for sure but you know especially when

you're layering a lot of sounds that

have a lot of low end

and um

you know you're you're finding that

you're getting a lot of clipping

cool so you know we've

got a bit of that out let's clear the in

and out point

and let's solo this hit

cool so it doesn't have you know much of

us initial like strong hit um but

let's

let's layer in another sound in here so

this first one very powerful let's

drag it underneath this one and

watch what happens

juicy

it's a little bit late so we just scale

it we can just bring it over to the left

nice

and

you can see to the right on the audio

meters panel that we are in fact

clipping

again let's grab that eq throw it on

there

and

hit that in and out point

and this can definitely be annoying when

you're just hearing it play back and

back over and over but

needs to be done

you can see the low end is

really

before it would sit at the top for a bit

now it's just like skimming the top it's

just hitting it briefly

and you know i think that that's fine

you know this is something that you

might want to go back to if you render

out your video and you listen to it on

you know your headphones on your phone

or something and then it just sounds bad

then you're going to want to come back

and make sure that the peaking is not as

intense

and you know that's just a combination

of playing with your volume and the eq

but let's clear the in and out point

let's

play it back with the music now see what

we got going on

bring this over again

and same thing for the for the main song

[Music]

you know we have a big hit here

and

i'm gonna want to just animate the

volume of it so it's so it's not as

powerful and it allows those sounds to

shine a little bit too

awesome let's just play it back without

the

song

nice

let's just solo the song

nice i like the way that that sounds now

that we're in an underwater environment

what can be nice to do sometimes is to

add a low-pass filter on the main music

in this case we're gonna you know cancel

out the high frequencies of the song and

just allow the low ones to pass uh kind

of replicating the environment

underwater because that's what the sound

sounds like underwater so let's just

grab the low pass effect and throw it on

to

our song low pass automatically it

applies the low pass to the entire song

and sets it to around 1 500 hertz so

what we're gonna want to do is

shift hold and drag that all the way up

so that is

with the effect not being applied to it

we'll solo the track

and let's put this to 500 and or 400 and

we'll take a look at what that sounds

like

you see it sounds different we're

cancelling out the high frequencies so

let's animate it now so you know we have

let's set it to

i just hit like five a ton it'll set it

to the max

and we'll just hit the

keyframe button set a keyframe

and then over here we'll drop this down

to let's try 500 first and see how that

looks

or sounds

a little bit intense let's drag it apart

cool that sounds good maybe let's play

with the velocity a little bit and just

see what we can do to make it a little

bit smoother

cool so what i did was just command

click on this point right here

we can come and click on that one as

well

and you know 500 sounds like a little

bit too much so let's

drop it to 1000 not 500.

nice i like that and now that you know

this next part we're coming out of the

water we're gonna do the opposite so

we will set a keyframe again for a

thousand here and we're gonna be going

from a thousand

all the way back up to the top so you

know you could just shift and drag that

all the way up

nice all right we'll unsolo that and now

we need the sound of an ocean here so

i'm seeing a command spacebar type in

ocean on my computer because i should

have an ocean sound effect saved

somewhere

dope

now what we're going to do is just drag

it into

our folder for this sequence

command spacebar we'll just drag it in

here

and we'll double click it let's see what

we got

we'll just hit i

o

and that's going to be you know really

good filler for this environment

and now

what we could do with this sound is

animate the low pass of it so you know

we're going from underwater to above

water

and this is the sound of the environment

and you know we want to replicate what

it would actually sound like if your

head was going from underwater to above

water

just to make it as realistic as possible

so let's drag the low pass filter on

that

sound effect let's go to the effect

controls

and let's start it down low you have

1500 might actually be perfect

and then

up here we'll bring it to the top so

shift hold drag

and

nice i like that a lot we'll extend that

out a little bit and then we can just

command

and uh animate the volume so it starts

at zero or it starts at you know

negative

so it you know it ends up at zero

decibels because that's how audio works

you know zero is the baseline that's

where you wanna be and we're bringing it

down we're starting it from negative

infinity decibels all the way to zero so

let's solo that and just take a listen

dough sounds really cool let's listen to

it together as a whole

nice i like it

one thing that i like to do is sometimes

i just like to get creative and just

find cool little sound effects so let's

go back into pulse and let's find

uh some wooshes let's just just go

through and find any woosh

and

just find some places to put these in

so that one's cool let's throw it at the

beginning like i can envision that being

a car or something as well turn the

volume of it

very minimal but you know that's how

sound design is

maybe we could put this one in the

beginning somewhere as well

just works

cool so

i like it where we have this uh you know

this overlay of the film burn

that just works we'll play it without

the music

nice you know it's just about layering

sounds you know filling it in

that one works really well over there

and i'm envisioning you know we can even

use something for the end

ah cool so this one could work well with

this hand letting go of sand underwater

looks really majestic

dope

i really like the sound now

i feel like the visual what it could do

is speed up more so let's just go into

it there

and we'll just speed it we'll time remap

it towards the end so let's go into time

remapping speed

extend it out and

let's just you know have it go from slow

to

much faster

cool i like that a lot

heck yeah that's dope

so you know it just goes to show

risers hits whooshes so risers is

definitely a good one too this natural

build up that's in the song

we can intensify that even more with a

riser so let's go into our risers in in

the post sound effects let's double

click one of them

and like right away the first one i know

it's gonna work really well it sounds

really good

uh we're gonna we're gonna take the song

out of this so we'll just mute the song

track

and let's see what it sounds like

we're gonna extend it out to the end

nice so you know that's just a natural

riser it kind of like subconsciously

like starts to intensify the energy of

the scene audibly let's listen to

everything without the music

nice

uh and now let's listen to it with the

music i'm just gonna

render it into out it looks like we have

a completed project let's watch the

whole thing from start to finish full

screen

sick

love the way that that turned out we

layered so many different sounds uh to

give this scene a lot more dimension a

lot more depth you know we took it to

another level

and we're going to be immersing our

audience a lot more because of the work

that we put into sound design so to

recap the tools that i use most when

sound designing is the low pass filter i

also use the high pass filter which is

the opposite of the low pass filter i

use it a lot less but it is a tool that

i use uh it basically you know cancels

out the low end of the sound that you're

using and just allows the high spectrum

frequencies to come out i also use the

eq to filter what part of the sound is

coming out

you know it's super important when

layering different sounds and you don't

want to experience any peaking and then

of course volume animating the volume

throughout is very important one thing

you're gonna find yourself doing a lot

is

animating from you know negative

infinity to zero at the beginning of

audio clips and at the end uh because

you know when the playhead's skimming

over and you have a sound that just

starts abruptly uh it just starts at

like a high frequency you're gonna want

to

animate the volume to start from zero to

high otherwise you're gonna get like a

crackle or it's just gonna be very

intense but yeah that's pretty much my

process of sound design my

recommendation to you guys is to go out

sound design something yourself uh you

know whether it's you know sound effects

that you've downloaded online or sounds

that you recorded yourself experiment

with these tools and see what you come

up with the more you experiment the more

understanding you have of what these

tools are capable of but yeah hope you

guys enjoyed this lesson go out there

have fun sound design your own clips

send it to us on the facebook group and

we'd love to see what you guys make

[Music]

so today's topic is packaging sequences

when you're working in a project file

that has a lot going on like the saudi

arabia one that we've been working on

there's tons of different sequences we

have a sequence for every single day of

the project we also have a sequence of

just to select now

let's say we have a future project

where we want to track and take just to

select from the saudi arabia project

because we don't want everything right

there's like four terabytes of footage

within this project we just want just to

select

but we don't want to move the whole

project file into the new project file

which is something you can do you can

import a premiere pro project file just

drag it into a new premiere pro

project file and

drag it into the import window

and it will bring all of the elements

it'll import all the elements from that

project file into this new project file

and the reason that that could be a

major issue is because you're bringing

all the unnecessary stuff all the stuff

that you don't necessarily need into

this new project file and it's gonna

really clutter things up you know so

my sequence within this saudi arabia

project file of selects could be a

hundred gigs you know it's just the best

shots everything is cut down trimmed

whereas the whole project file

contains you know four terabytes of

footage

so a major game changer for me when

editing my my year videos for example

was learning to package sequences

so before

uh hey tim what i would always do was

drag in the full project file and do

that tedious process and it would cram

the premiere project files so much

because there's so much going on in

there that it would just lag and it

would have so many issues so when i was

working on hey tim i was like i gotta

find a solution a workaround for this

and i did and that's packaging sequences

so what i did was go throughout the

entire year of all the different

projects that i worked on and made a new

sequence within those project files

called heytim

and within that sequence i put all the

clips from each project file into the

hey tim sequence within that project

file all the clips that i thought were

worthy of the video and what i would do

is package that sequence from each

project and put it into

one

folder with all the package sequences

from all the different projects

throughout the years this was a huge

step for me because it allowed me to

have all the dopest stuff from the year

in one place without all the garbage all

the unnecessary things

and just made my life a lot easier so

today i'm going to be teaching you guys

this technique it's very simple

very straightforward something that i

wish i knew earlier on so i'm excited

for you guys to learn this i'm

personally amazed by how many editors i

come across that don't actually know how

to do this and yet it's one of the most

vital

steps

to creating the more complex projects

that i do so let's jump into premiere

and i'm going to show you guys how this

is done

all right so we have the project file

open let's go into the sequences folder

and open up all selects

and in here we have all of our favorite

selects so let's pretend i'm working on

a new my year video and i just want to

pull my favorite clips so let's make a

new sequence command n so we're going to

create the new sequence a uhd 4k

sequence and let's call this

my year

2020

selects

and then we'll put saudi in brackets

so this is as though we were

hypothetically creating my year 2020 and

we just want all the bangers from this

project to bring into the new meyer 2020

project

so we'll drag this sequence down here so

that we can see both the sequences we

can see the all selects and we can see

the meyer 20 20 select down here so now

what we'll do is bring in all the

selects from the all select sequence now

the absolute bangers within this

sequence are the ones that are one track

up that's one technique we learned

earlier to separate the bangers from all

the other clips now within this one

they're all bangers but these ones on

the upper track are only the absolute

bangers so it's command c

and command v into the new sequence

now as you can see we have a bunch of

gaps here and let's use the technique we

learned before to delete all the gaps

now remember we can always obviously

just select the gaps and click delete

but there's no way to select multiple

gaps so what we're going to do

is the technique we learned before

if you have watched all the videos you

should know how to do this but you're

going to select all the clips

and alt up up so that they leave

indent within the adjustment layer all

down so that they're back out of there

and now all we have to do is ripple

delete the adjustment layer to delete

all the gaps within the clips so my

ripple delete shortcut is d

and just like that all the clips are

together okay

cool so let's also say we want to bring

in the grade as well so let's just

unlock the adjustment layer throw it

over there on top

and command d to cut it there and we'll

just delete the end

so now we have this one

sequence with all our favorite clips

from this project that we want to bring

into the my ear sequence

so now that we have all of these

collected let's go to file

project manager

and this is where we can package

sequences now you can actually select at

the top here any of the sequences that

you want to

package in this case we only want one

the my year 2020 selects

we're in the project manager window now

let's go through all of these different

settings

as you can see up here we have all the

different sequences within the project

that we can select to package

in this case we only want to package

this one sequence so we have it selected

here resulting project collect files and

copy to new location that's the method

that i always use

or you can consolidate and transcode

i don't use that

so we're not going to tamper with that

but just make sure it's on collect files

and copy to new location select the

place that you want to export this

sequence to

so in this case if we have

you know a new

file here that's my year

2020

and we click choose so that my year 2020

folder would be where all of the

different sequences from all the various

projects we're looking for are gonna be

in and i'll show you guys what the

folder looks like once it's exported

or once it's packaged so to say so the

section on the right here it shows uh

some more options so

exclude unused clips yes that should

definitely be selected because you don't

want to be including clips that you have

not used within your sequence

include audio conform files include

preview files rename media files to

match clip names

that's typically

all that i have selected i won't even

i can't even select anything else

but you can deselect some things i

recommend to just leave those selected

and then down here at the bottom this is

really cool i love this about premiere

pro we can click calculate and it's

basically going to analyze that one

sequence

analyze all the clips within it and it's

going to calculate the size of the

packaged folder that's going to be

coming out of it

so let's see what it's going to tell us

here

it shows that the resulting project size

is going to be 12.93 gigabytes which is

very small

now keep in mind

all the clips within this sequence

they're trimmed but within the folder

that all the

elements of the sequence will be

packaged in it's going to have the full

length clip so just like how you have

the ability to still expand and

trim clips within this sequence you will

have that same ability later on just

because a clip is trimmed within this

sequence here does not mean that you

are limited to that length of trimming

in the new packaged file

so let's click ok

and it requires adobe to

save the project file we'll click yes

and now we're just going to wait for it

to

package the sequence so this might take

a bit especially if you're working with

very big files simply because it is

duplicating all of those files into a

new folder so

you know however fast your computer can

duplicate a file that's how long it's

going to take

so let's go into that drive

we got meyer 2020

and

it created a folder in here so what's

been created is a folder that has your

clips as well as the project file for

that specific sequence within it

now when i was working on hey tim i

basically created a folder like this for

every single project from the year

and they were all in one place and then

all i had to do was just drag the

sequence the project file for the

sequence into the project file and along

with it it brought all the clips and

everything what's going on guys so i

just wanted to let you know uh that i

realized as i'm editing this video that

actually the

b raw clips that were in that sequence

that i was packaging were actually not

exported into that individual folder so

this is important for

blackmagic users to know

premiere still hasn't updated their

program to allow you to package b-raw

clips now i didn't experience any issues

when editing hey tim because i didn't

shoot blackmagic up until that point but

now that i do if i need to package a

sequence that has black magic clips in

it i will run into issues i'm really

hoping that adobe comes out with a

solution for this but until then we're

going to run into issues trying to

package sequences that have black magic

footage in them all right so that is

basically how to package a sequence it's

a very very crucial step for

collaborative editing when you're

editing with other people and it's

really important in order to stay

organized and you know on top of all of

your selects from all your various

project files so hope you guys learned a

lot in this lesson and you start

implementing this technique into your

workflow i'll catch you guys in the next

video

[Music]

so one way to think of nesting is like

grouping or packaging a bunch of clips

into one clip so if you have a bunch of

different clips on top of each other

layers of clips select all of them and

they'll be in one clip in one layer so

that's pretty much all that nesting is

let's jump into premiere pro and show

you guys some examples so here i created

this little sequence that required three

clips to be on top of each other if you

press play we can see it says pull back

then this fire comes in now let's say we

don't want this sequence of clips to

take up three layers in our timeline

what we could do is select all of them

right click and hit nest so we'll name

this fire transition and as you can see

it nested all three of the clips into

this one clip now if we double click the

clip we can go in and see the original

layout of the clips and we can make

modifications in here and then they will

translate back to the original sequence

nesting is also really good for

situations where you have an effect or

something made and it involves more than

one clip and you want to do some time

remapping of that entire sequence what

you could do is select everything nest

it and then with the nested clip you can

play around with the time remapping in

this case there would be no way for us

to modify the speed of this entire

sequence here we could go in and

individually change the speed of each

clip but then we'd have to rework all of

this and it would be pretty tedious and

time consuming but since we've nested

the entire sequence here we can simply

just right click the effects box go to

time remapping speed and now we can

freely go in and play around with the

speed of this nested clip so as you can

see we've successfully time remapped

this sequence here

so that was a really quick one but super

important in your editing process and i

hope that you guys start implementing

this into your edits as well i hope you

guys enjoyed this video i'll see you in

the next one

[Music]

you