Advanced Premiere Pro for Everyone | FREE COURSE

[Music] welcome to the advanced premiere pro for everyone course my name is dave bodie for envato and in this course you will learn techniques to help you work faster and create projects that look and sound great even though the lessons in this course cover more advanced subjects anyone who has used premiere before should be able to follow along without any trouble most of the assets that you will see in this course come from envato elements with envato elements you get access to millions yes millions of creative digital assets for one low price i'm talking about

stock footage motion graphics templates music photos vector graphics fonts sound effects after effects templates and so much more a single subscription gives you access to everything you need to create great projects see for yourself at elements.envato.com this course starts with edit techniques like source patching and track targeting track lock sync lock three point and four point edits slow motion speed ramps and more none of those techniques sound terribly exciting it's not lightsabers or explosions or close-up shots of kittens but knowing how those things work will save you a lot of headaches and help you to

edit faster after that you will learn how to work with raw footage log footage look up tables or luts how to use color checker cards and how to color match shots you will also learn how to work with audio by fixing audio drift using multiple compressors master bus effects and loudness normalization finally there's a section that i call edit enhancers where you will learn about using multiple monitors in premiere third party video effects motion graphics templates post production camera moves and creative edits using multi-box and split screens and techniques for editing to the beat of

the music faster than you ever thought possible to get started check out the next section where you are going to learn about advanced edit techniques [Music] in this lesson you're going to learn about track targeting in source patching so i'm working on a montage here with clips that i found on envato elements and a really great music track that i found on envato elements here i'm going to play you just a second of this [Music] i said it's just a second well that was a couple of seconds but i'm going to be using these clips

in the next few lessons so i'm going to mute my music track here so it remains quiet while i'm scrubbing on the timeline and let's jump into track targeting so track targeting controls things like copy paste match frame and navigation commands now you may have noticed when you create a new sequence or when you're editing that some of these video tracks and audio tracks over here sometimes are highlighted blue in this column right here and if you mouse over it'll tell you that the little switch here toggles the track targeting for this track which is

a mouthful but that controls things like copy and paste so let's talk about copy and paste if i take a clip down here and i copy it let's say i want to paste it right here in this gap you can see that it pasted on video track one even though i have video trunk one two and three targeted and that's because when you paste things it pastes to the lowest track that has been targeted so in this case that would be video one however if i deselect that and i paste it again you'll see that

it pastes to video two now usually if you want to do something more precise what you would probably do is just toggle the track targeting for the track that you wanted to paste that particular clip to so let's say i wanted to do maybe a split screen right here and i want that clip to be on video too because video two is the only one targeted that's the only thing that i need to worry about so that's usually what i do when i am copying and pasting is if i'm copying and pasting video or audio

i will make sure that the tracks are targeted where i want those clips to be pasted so that covers copy and paste now another thing that track targeting affects is match frame so if you want to find this source clip right here and bring it up in the source monitor you can hit f on the keyboard and that will do what's called a match frame and it will bring up this source clip you'll see it has an in and out but unlike when you double click the clip in the timeline when you hit f this

brings up the source clip so it essentially opens it up like you would from the project panel meaning if we adjust the in and the out times it's not going to adjust the in and the out here in our sequence and that's handy for a lot of different uses and how that affects match frame is when you're scrubbing along here in the timeline you'll see that my clips here are being selected as i scrub and that's because i have video one video two and video three all targeted and when i come over here i have

a stack of three and even four clips right here and so if i hit f on the keyboard even though there are four clips stacked here the one that is selected which is determined by the track targeting is the one that shows up in the source monitor track targeting also affects navigation commands so when you press up and down on the keyboard the cti will jump to the next edit point on the tracks that have been targeted for example if i only target video 3 and i press up this is going to jump to the

beginning of the sequence but then when i press down the cti is going to jump to this clip because that's the only track that has been targeted likewise if i do it on video 2 it's going to jump to the only clips that are on the video 2 layer but if i wanted to jump to all of the edit points what i would do is just select all of the tracks or target all the tracks by holding shift and then clicking and now when i press up and down you can see that it will jump

it looks like i have a bit of a mismatch there looks like that one is one frame off which is why the cti is jumping like that but you can see it's jumping to all of the edit points and it works the same for audio as well now i only have one audio clip here but if i duplicate this and slide it down and then press up and down you can see it's not going to jump to this edit point right here or here because that track has not been targeted but if i target it

now it will jump to that edit point and that is very handy to know so that is track targeting let's talk about source patching this is another thing that you are going to this is another thing that probably frustrated you at one point but i'm going to sort it out right now so when you have clips that you are inserting into your projects and you bring them up in the source monitor and maybe you want to use an insert or an overwrite those tracks get patched in wherever you have source patching enabled so this button

over here selects where that clip will be patched to you can see right now it says video one and the fact that it's labeled video one is a little bit confusing but i'm going to show you why it's labeled video one in a second so let's say i wanted to patch that to video two right here so i'm going to select the source patch for this video to be right here on track video 2. now the reason why that's confusing is because this says video 1 and that's because this particular clip has one video track

and you don't see any options down here for audio because this clip right here doesn't have any audio but if it did you would see an option to select the source patching or deselect it for this particular clip so if i do an overwrite edit right here you can see it gets patched in right there so i'm going to look in the project panel here and i'm going to find another clip with audio and video and now you can see that i have a v1 for the video track and an a1 for the audio track

here now if you have a video clip that has more than one audio track like you might find with particular cameras that shoot in more than two track audio there are some cameras that can shoot maybe four mono tracks or two stereo tracks or even six or more audio tracks you will see more options here for source patching you'll see a1 a2 a3 etc and so now with this clip right here when i want to patch that in i want to make sure that i have my audio and my video source patching set properly because

i don't want to overwrite my music so when i have my clip selected here and i do an overwrite you can see it gets patched in appropriately rather than like this where it's going to patch in over my audio so i hope that makes sense but let's say i didn't want the audio and i only wanted the video well i can just disable the audio for this patching right here and now when i patch this in and i do an overwrite you can see it only does the video and the same thing for audio let's

say i just want some audio and i'll scrub to a spot that actually has audio so right here and i patched that in well i want that to patch in down here and then when i hit the period key there's my audio it's quite faint but that's okay i think you see what's going on here i know for me a lot of times i'll be working with footage and i don't need any of the audio but a bunch of clips have audio it could be drone footage and i don't need any of the drone audio

that's more or less useless so knowing how source patching works is very handy like that i'm going to show you one more thing with source patching which is a little more of an obscure use case and that is when you are patching in a sequence so i have a sequence down here called multi now this sequence is not anything special i made it as quickly as possible but it's just for demonstration purposes you can see that i have four video tracks and three audio tracks now normally if i was to patch this in to my

project you're going to see this you're going to see one video track for source patching and one audio track and i'm going to jump to the end of my sequence here so i don't keep overwriting things so i'm going to press the period key here and you can see that's what got patched in however there's a switch here in the timeline which will toggle back and forth between patching in sequences as nests which is one video track and one audio track or individual clips so if i turn this off now what you'll see is i

have more options for source patching i have all the video tracks right here and all of the audio tracks so when i patch in it's going to patch all of those video and all those audio tracks i also want to show you that you don't have to patch all of them in so you can patch individual tracks in and you can also reorder how they're patched in so right now you can see it's video one two three and four but the audio tracks are reversed but i can easily go back to one two three by

clicking and dragging and now when i patch it in you'll see that it patches that way but just to show you the difference i'm going to revert to the other way and then patch that in and you can see that it did reverse or reorder how those were stacked up there the final thing that i want to show you is you can do something called a silent patch now you do that by alt clicking and what a silent patch does is it patches in a blank spot in your sequence so i'm going to actually do

that down here on video 1 so that you can see i'm going to toggle off the audio and now when i patch this clip in with period it's going to patch in the exact space that i set with the in and the out point here for this clip and it's going to overwrite that with nothing i wanted to show you that because that is a feature however it's not something that i've ever come across in any of my edits but i don't know maybe you will need to do something just like that maybe you're doing

something where you need a lot of i don't know rhythmical breaks and it's easiest to do one of these silent patches by alt clicking the source patching and getting this little black highlight here and maybe you'll find a use for that i don't know i have not found a use for that but now you know knowing is half the battle that's all for source patching and track targeting coming up in the next lesson you're going to learn about track lock in sync log in this lesson you're going to learn about sync lock and track lock

first let's talk about track lock a lot of times when you are editing something you need to lock something let's say for example i have my music set just right it's a certain length the length can't change and i don't want to mess with it if i do nothing to my project here and i continue editing maybe i'll do a ripple here and maybe i'll do a ripple here just a little bit because i need these shots to be a little bit longer to align with the music but as you see down here now i

have screwed up my music because i have a gap here because by default sync lock is enabled for all tracks that's what this toggle is right here this is a toggle for sync lock and by default all your tracks are unlocked it would be pretty annoying if you made a new sequence and everything was locked so because sync lock is enabled and track lock is disabled this is what happens you get gaps however let's say i didn't want my music track to move at all one way that you could go about that is to just

lock the track now when you lock a track whether it's video or audio you can't do anything to it it is completely frozen you can't unmute it you can't select anything on here you can't add any effects you can't add keyframes for audio clips you can't do anything to the track audio meaning you can't add any effects in the audio track mixer and you can't adjust the fader level here or the track volume level the entire thing is locked so this can be very handy because now i can go and edit however i want here

i can ripple i can insert everything that hasn't been locked will still move normally but this audio doesn't move very handy however there's another way to lock this in position but still allow you to select the clips and make some adjustments and that is sync lock now by default sync lock is enabled on all the tracks which is normally what you would want and i'll show you why in just a second but if i disable sync lock for this audio track now if i do a ripple edit you'll see that it basically behaves exactly the

same as when the track was locked however i can still select these clips i can adjust the track volume here in the audio track mixer i can add effects in the audio track mixer i can add effects over here in effects controls and modify and add keyframes but it doesn't move when i am doing ripples or inserts if i grab this clip right here and i do an insert the audio doesn't move so in that way it's similar to track lock but i can still access the clips and i can still move them if i

wanted disabling sync lock doesn't mean that everything is locked in time it just sort of protects this from being moved when you are editing other stuff on your timeline now the one area where you want to watch out with using sync lock is when you are using footage that has dialog or synced audio to it essentially so let's say for example i pull down this clip right here and i'm just going to pull down a couple of these real quick no idea what my buddy nate here is saying but that is unimportant i'm just going

to normalize there so you can see the waveforms there so let's say i have this video here up on video layer 2 or video track 2 audios on audio track 1 and i disable sync lock on video track two and then i do a ripple edit down here on video track one look at what happens this becomes out of sync and if i play this and the book is really about what happens to them when they go through this it's totally wrong now and it's totally screwed up and this clip here all of these clips

are still linked together meaning the audio is still linked to the video however the synchronization is now all goofed up and that's why we have these little flags here it's showing you that this is two seconds and 16 frames out of sync so when you're using sync lock you want to watch out for anything that has audio and video linked together or synced together because you don't always have audio and video synced together for example sometimes what i will do is use audio and video clips that are synced but then at some point i will

unlink them by selecting them and then choosing unlink so if i select all of these and then i choose unlink they're still synced but they're no longer linked meaning that i can move the video and sometimes i do this to do certain effects or whatever you know maybe i need to have this video play but paste in a different word because whoever was speaking bumble to word or something so i i paste in a word right here in general these items are synced but they're not linked and so this can present another hazard because if

i were to do the same thing and turn off sync lock here and then do something like a ripple now these are not in sync anymore but i have the added issue of it doesn't tell me that because the clips are not linked so before when they were linked together like this and i did that same operation it shows me that they are out of sync but when they are not linked by the way that keyboard shortcut that i'm using is ctrl l and i do the same thing it doesn't show me the sync error

there so you just want to watch out when you use sync lock or when you disable it because like i said before it is enabled by default but when you disable it because you need things to stay put watch out for your clips that are synced to audio that about wraps it up for track lock and sync lock coming up in the next lesson you're going to learn about three point and four point edits in this lesson you will learn about three and four point edits three and four point editing sounds really complicated but it's

actually really simple and it has to do with putting a clip in a spot in the timeline in a precise way so let's say i wanted to get a clip here in this gap right here i have this nice build up here happening in my music [Music] and i need a dope looking shot for this blank spot here so let me look in my assets i want to double click on my footage here and maybe i'll put this full screen here i think there's a really awesome helicopter clip in here oh here it is here

it is yes let's take a look at this up in the source monitor so we have this huge helo coming in and the rotor wash it's the camera he's like whoa dude i like it it's cool great shot so how do we get that clip into this gap here i'm going to mute my audio again i want to select maybe this area right here because i want that rotor wash bit in there well if i just patch in the video and i know i want it to go into video one let's see i will select

my clip here and then do an overwrite okay there we go i got it in there perfect however it's not filling the gap and this is where three and four point edit comes in to help you out so three and four point edit means we're going to have to set some points that's where the point comes in three and four point edit and the first two points are going to be in the timeline so we need to select an in and an out point because that's where we want to insert our footage so i'm going

to select an end point right here in an out point right here you can see that just selects this bit right here if i left the cti right here and i pressed o it's actually going to select one frame to the right and i don't want to do that i want it right here this is the gap that i want to fill so i have one point here an in point and an out point that's two of my three points now right here if i clear my out point and i have an end point that

is the third point of my three-point edit so i have one two three points so basically what i'm telling premiere is i want you to fill this gap right here and i want you to do it starting right here so now if i do an overwrite it's going to fill that gap for me and anything after my out point in my timeline just gets edited off i can also just set an out point let's say i don't know where this clip begins but i know i want it to end there so i'm going to clear

my in point and i'm going to do the same thing i'm just going to add it to the timeline here boom i got my clip in there perfect and it'll just set the end point for however that lines up right here in the timeline i'm going to undo that one more time that's a three-point edit we have three points of information an in and out point in the timeline and in my clip you have either an endpoint or an out point now a four-point edit is even more precise because now we're saying okay i want

you to fill this gap with an in and out and i want you to use this in and out so we have one two three four points and now when i hit overwrite i'm going to get a little pop-up here that says the source is shorter than the destination and then we have some options on what you want to do so you can change the clip speed to fill so because this is shorter if i choose this option what's going to happen is it's just going to do this clip in slow motion i set that

to frame size so you can see that's one option if i do this again i have these other options as well i can ignore the source endpoint i can ignore the source out point ignore the sequence endpoint or ignore the sequence out point and i can choose an option so that whichever i choose will always be the choice so that's basically a three or four point edit so what i'm going to do is i'm just going to ignore the end point which essentially makes it a three point edit but i think you understand the idea

because sometimes you just won't have enough footage to fill and you need to maybe make one of those other options there but that's basically all there is to a three and a four point edit you're just setting an in and out in the timeline and you're setting an in or an out with a three edit and with a four-point edit you're setting an in and and out and then if you haven't selected the right length of footage which you're almost certainly not going to do premiere is going to give you some options on how to

handle that so there you have it three and point edits coming up in the next lesson you're gonna learn about dynamic trimming [Music] in this lesson you will learn about dynamic trimming dynamic trimming is one of many ways that you can approach trimming your clips inside of premiere pro i have a really basic sequence set up here with two clips and i want to show you how dynamic trimming works so to do that i'm going to enter trim mode by hitting the keyboard shortcut shift t on the keyboard you can also come up to the

menu and go to sequence and then trim edit when you're in trim mode you can use the up and down arrows to cycle to and from the next edit point and just like you learned in the last lesson you can use track targeting to make sure that it's jumping to the next edit point that you want based on the tracks that are targeted so once you have the trim mode pulled up here just gonna expand this and make it a little bigger if you use jk and l on the keyboard what you can do is

you can play both clips at the same time and when you stop playback the edit will be performed now you can do a number of different edits like this right now it's going to do a rolling edit and you can tell that because it's playing both clips because in a rolling edit you're moving the edit point of both clips the out point of the clip on the left and the in point of the clip on the right so if i play backwards and then i press k to stop so that was j to play backwards

or rewind and then k to stop you can see that the edit point moved down here in the timeline and you can tell that this is going to do a rolling edit because the blue highlight is around both clips and it's playing both clips and additionally the edit point is red so let's say you didn't want to do a rolling edit and you wanted to do a ripple edit well if you click on the left clip here you'll see that the edit point turns yellow and we only have a highlight on the leftmost clip here

and this is going to do a ripple out meaning that it's going to perform a ripple trim to the out point of this clip on the left so now if i play backwards and i stop using j and k on the keyboard you can see that is rippling down here in the timeline similarly if i click on the right and i play forward and i press stop using l to play forward and k to stop that's going to perform a ripple trim exactly like if i were to just click and drag down here in the

timeline however this gives you a nicer sort of way to do that same sort of thing and that's basically it again to get into trim mode it's shift t on the keyboard and you can use the up and down arrows to navigate to get to the trim that you want to do then you can use j k and l and by default for me that is going to be a rolling edit but if i wanted to do a ripple i would just click over here and now i could ripple this back ripple this forward and

so on so let me show you how i would actually do this if i was editing these two clips together so let's say i want to get this clip to the point where this person this skier here is just about to land so i'm going to use ripple on the left side here so maybe get it right about here and then over here on the right i'm going to click and i'm going to play and i think i need to play backwards and i want to grab the spot yeah right about here when they're just

about to land so if i press spacebar what that should do is loop that point that i just made let's check that out so here we go here's the first clip and the second clip and then it should loop back and play that again so that i can make sure that that is correct i hit spacebar again and now i can make some refinements from there and that's basically it dynamic trimming is not some secret art it's really pretty simple it's not too much different than just using the regular trim tools that you have in

premiere so in my case there's an option in preferences to make it so that the default trim tool is the ripple tool and i believe if you haven't changed that option the default will be the regular trim tool like this but if i was doing a ripple i could do the same sort of thing like this it's just a little bit more clunky to do it by clicking and dragging although usually that's what i do and the reason why it's a little more clunky is because i normally have snap enabled and so if the playhead

is anywhere near here or you have other items in the timeline what will happen when you try and perform this ripple is that it will try and snap to other items and that makes getting the precise point kind of annoying sometimes it just won't get to the right point you can see right here at this zoom level moving back and forth like a pixel on my mouse jumps three frames and i can't get any more granularity like this unless i turn off snap by pressing s on the keyboard and now i can get to those

other frames if i move my mouse really really slow okay so that's dynamic trimming but while i have you here i'm going to show you another way to trim clips which you may have stumbled on by accident and then had to undo because you didn't know exactly what happened so there are two keyboard shortcuts that i want to tell you about one of them is q and the other is w and they have to do with trimming which is why i'm bringing them up now so what q does q takes the previous edit point so

the edit point to the left of the playhead or the cti and edits that to the playhead so this edit point right here when i press q is going to edit right here it's going to ripple that so watch what happens when i press q okay it's a very quick way to perform ripple edits similarly w takes the next edit point and ripples that to the playhead just like that so this can be useful if you have a bunch of footage that doesn't have very precise in and out points on your timeline and you're scrubbing

along or you're playing your footage so you can actually do this while you're playing and then you can press w or q to make edits so let's say you were playing this clip right here and you got to this point you said okay i don't need anything after this this is where i want to cut you don't need to go into dynamic trim or do anything fancy you can just press w on your keyboard similarly let's say i had more of this clip here like this and you're playing along in your timeline you say okay

yeah this is actually where i want to cut this to so i'm going to press q and that's going to ripple all of this like that and now i have this edit right here boom perfect it's another fast way that's it's kind of similar to dynamic trimming but i don't think adobe calls that dynamic trimming however it works in a similar way we're playing back the footage and you can perform an edit by pressing w and q it's not quite as refined but it's another fast way to make edits that's it for this lesson coming

up next you're going to learn how to automate to sequence in this lesson you're going to learn how to automate to sequence so automate to sequence is really pretty simple and i'm going to walk you through it in this lesson to start i'm going to navigate to some of my footage here i'm going to double click to open up this footage bin and i'm going to take a look at a couple of these shots in fact i really don't need to be too fussy about this you can be more precise when you are editing but

essentially what i'm going to do is i want to select some clips here these look good like this helicopter clip and like this iclip right here and then if i click this button down here that says automate to sequence i'm going to get a nice little pop-up here and i have a bunch of options on how premiere is going to take all of these clips and insert them in to a sequence if we look at the top here we have a couple of options so we have sort order or selection order i'm going to leave

it on selection order which is the order that i just selected those clips and i would think that's probably what you're going to want to do as well and then in terms of placement we have two options we have sequentially or at unnumbered markers and i'm going to show you in an upcoming lesson how you can use markers to create a really fast edit to music but for now i'm just going to leave it set to sequentially the method is going to be over right edit although we could choose insert clip overlap we have frames

or seconds if we had stills we can specify the number of frames for those we can apply default audio or video transitions and we have options for ignoring audio or video i don't think any of the clips that i had contained any audio so my only option is to ignore video and that doesn't seem like a good option so i'm not going to do that and i'm just going to click ok i'm going to hit tilde here to come out of full screen for that footage bin and over here in my sequence it's basically put

together that edit for me so if i had spent time setting in and out points here i'd have something really pretty nice i think the only thing that i need to do is select all of these and then choose set to frame size because this is a 1080 comp and some of this footage is either ultra hd or 4k obviously some of these in and out points don't really work um because i sort of selected these clips at random but you can see if you do take time to set in and out points you can

very quickly build an edit and then you have all kinds of options for getting that into a sequence very quickly and that's automate to sequence coming up in the next lesson you are going to learn about slow motion in this lesson you are going to learn about slow motion in the previous few lessons you will have seen more of this ski action footage here and you'll have noticed that some of it is playing back in slow motion some of it's playing back at normal speed and in this lesson i'm going to show you why that

is and i'm also going to show you how you can take conventional normal frame rate footage 24 25 30 frame per second footage and slow it down in which settings you need to check to make it look nice but first i want to show you this edit so you can check out where i'm at [Music] [Music] [Music] all right i think that's looking pretty nice if i do say so myself and i did just say so so that's the way it's going to be i'm going to mute my audio again and let's check out some

of these clips so let's take this clip for example and i'll play it back you can see that this is clearly playing back in slow motion the way those particles and water droplets come off this ski boot buckle is not happening in real time by the way the reason the footage looked a little grainy in the preview is because i turned on proxies so that it played back nice and smoothly if i turn off proxies this footage does look very very good so let's check out what is going on with this particular clip i'm going

to right click on this clip and choose reveal in project and that'll pull it up over here in the project panel and you can see that i have a frame rate of [Music] 23.976 which means that this frame rate matches my sequence frame rate if i come up here to sequence settings you can see that the time base for the sequence or the frame rate for the sequence is 23.976 so my footage is not high frame rate but it's playing back and it looks like slow motion footage this was done in one of probably two

ways either the footage was captured on a camera in high frame rate and then the camera wrote a video file that was a conventional frame rate like 23.976 that's pretty common another possibility is that this footage was captured at a high frame rate the camera wrote a high frame rate video file and then whoever uploaded this to envato elements stretched it out and then encoded it before it got uploaded such that when you played the video file back it wasn't high frame rate anymore it was 23.976 but it played back slowly and i'm going to

show you how to do that in just a second so we have a collection of those and sometimes on stock sites you'll find footage that's a normal frame rate and you'll find slow motion footage and sometimes you'll find high frame rate footage so let's look at a couple of examples of other clips that i have here if i look in my project here we go i have at least one clip that is a high frame rate clip let me bring that out here on the timeline so you can see what's going on so this clip

is 60 frames a second i don't know if you saw that over here in the project panel 60 frames a second which means that this clip has more frames in it than what my sequence is set to and if i play it back it's going to play back at regular speed i know it seems like this person is going really really fast but actually it's in real time and what this means is i can grab the rate stretch tool which is r on the keyboard and i can take the end of this clip and just

stretch it out and if i zoom in here you'll see that's about 40 percent speed is when i drop that down to and now when i play that back it's going to play back nice and slow and it doesn't look jittery at all and the reason it doesn't look jittery is because this was already high frame rate and when i stretched it out those extra frames sort of filled in the gaps where if i took conventional footage and stretched that out premiere would have to repeat frames in order to fill all of the time in

fact if i go frame by frame you'll see that there's probably not going to be any repeated frames now that's one way to take high frame rate footage and make it play back slow in a timeline it's not a very precise way for example if i stretched this out even more to like 20 now we'd probably be to the point where you're going to see a repeated frame every once in a while but it's certainly a totally fine way to do it and just kind of eyeball the speed or the length you know sometimes it's

a matter of you have a certain clip that needs to fill a certain gap and so it doesn't really matter what it looks like that clip has to go there i've been there more times than i can count another way to handle slowing this down is to make a copy of this clip so i'm just going to duplicate this clip with the keyboard shortcut i know that the keyboard shortcut that popped up there said ctrl shift question mark but it's actually ctrl shift forward slash i'm not really sure why it does that but that's what

it did so here you see i have my copy of the clip and what i'm going to do is i'm going to right click on the clip and go up to modify interpret footage under the frame rate option here i'm going to say assume this frame rate and type in 23.976 which is the frame rate of my sequence and click ok and it's going to stretch the clip out such that when i play this back it plays back perfectly with no repeated frames and i don't have to guess to know if that is gonna happen

at all it's not like repeated frames are a huge deal because they're certainly not but i think a lot of times you may prefer not to have them because i think they are pretty detectable by the human eye so that's dealing with high frame rate footage and 60 frames a second is not even really high frame rate footage these days a lot of cameras can shoot 120 and even up to 240 and certainly some specialized cameras can shoot even higher than that let's take a look at another piece of footage here that is conventional frame

rate so this is going to be around 25 frames a second yep here it is right here a lot of the clips that i have are actually slow motion so this is one of the few that i have that is regular speed i'm just going to set this to frame size because this is an ultra hd clip and let's just take a look at what this looks like so this is it looks to me like this is regular speed it's not slow motion it's 25 frames a second that's how it was acquired that's how the

file was written and this is basically happening in real time so what happens if i take this and i stretch this out so i just grab the rate stretch tool i know i change tools pretty quickly but i grab the rate stretch tool just like i did before and i stretched it out just like i did before and let's take a look at what it looks like and this is about 40 as well i'm gonna scrub forward or i'll do a slide edit here so we can see kind of more of the motion what you'll

see is this looks choppy i mean that's pretty plain for anyone even when this gets encoded and compressed that looks choppy and the reason it looks choppy if we go frame by frame is it's repeating frames so there's one new frame and then we'll go another frame that's a repeated frame there's a new frame repeat repeat so that's two repeated frames and it's basically cycling between one repeated frame and then two repeated frames to fill in all the gaps that to me does not look so hot but there are some options in premiere to make

that look better so i'm gonna slip edit again to a spot here okay so i'm going to get this to right about here where we can see a good amount of movement and i'm going to show you the two other options that you have for these type of clips so i'm going to duplicate that and then duplicate that again and for this i'm going to turn off proxies and then on this clip right here i'm going to show you one option for time interpolation and this is basically how premiere is handling making up for the

extra frames by default it's set to frame sampling which does not look great but usually on normal footage you can get away with this up to like maybe eighty percent speed anything past that and you're going to see repeated frames is going to be pretty obvious the next option which i don't think is very good but it does work sometimes is frame blending now you can kind of see what it did in the preview here it doesn't play back without pre-rendering it so you can see when it stops what it's sort of doing but when

you play it it basically reverts back to frame sampling at least that's my understanding but i'll show you what it looks like in just a second and we're going to compare all three of these so this is going to be frame sampling this one's going to be frame blending and this one is going to be the one that you normally should use and that is optical flow now optical flow looks fantastic when it works and looks like a hot mess when it does not work what optical flow does is it analyzes the pixels in the

video frame to frame and then calculates their vector or their motion so it'll say okay this little pixel from here to the next frame moved this much so when it gets stretched out it's going to take those pixels and move them somewhere in between and when it works it is absolutely fantastic but it doesn't always work all that well and if i play this you're not going to see anything because this needs to be rendered now that's pretty easy to do i'm just going to set an in point and an out point here and then

i'm going to come up to sequence and then choose render in to out and this is basically going to render all of these clips so that you can actually see what's happening so everything was rendered and it's playing back the rendered files now and again this is frame sampling this one is frame blending and this one is optical flow and check it out so you can clearly see that's frame blending it looks like a mess and then check out optical flow that looks really pretty good let me go back there we'll check that out again

in fact i'm going to bring up the loop here's a little bonus here there's a loop button here we can pull down and i'm going to turn on loop and that should loop from in to out point that's frame sampling chop chop chop frame blending it's a little bit better than frame sampling but it does look like kind of a mess and then this for the most part looks pretty darn smooth it's not perfect and like i said optical flow doesn't work with everything in fact i saw an error right here if you were to

watch this one time i'm not even sure you would have seen it but if we go back just a little bit i'm want to show you what i'm talking about so here's the frame blending and you can clearly see that it's frame blending i don't like that i think it looks terrible and then here is the optical flow and if you look right here it gets confused with this patch of pixels or maybe it was down here you can see they kind of they they do some weird transformations there so sometimes this works well sometimes

it doesn't it kind of looks like an avalanche is actually happening there which is i guess extra exciting for this particular clip those are your options for slowing down footage now certainly if i slowed it down less optical flow would look better frame blending might look a little bit better but i generally think that frame blending is pretty much useless in every single case but if i put these down to 75 or even 60 maybe even 50 percent optical flow is probably gonna do a little bit better again it doesn't work all the time and

you can't really see what it's going to do until you do a render i would not suggest putting optical flow on without doing that render to in and out before you export because then what will happen is you export it and that may take some time depending on your project and then you'll see optical flow didn't work and you're gonna have to go back and make adjustments so just set an in and out point render to in and out and then you'll see what that's going to look like this is not going to mess up

your final export or anything like that it's just a way for you to be able to see what optical flow is doing well that pretty much covers slow motion coming up in the next lesson you're going to learn about speed ramps in this lesson you are going to learn about speed ramps in the last lesson you learned about slow motion footage how to take high frame rate footage and slow it down how to take conventional footage and slow it down and what options you want to look for so that it can look a little bit

smoother and now we're going to look at speed ramps so unlike taking regular footage or high frame rate footage and slowing it down to just one speed a speed ramp alters the speed over time so we might start fast and go slow we might start slow and go fast that sort of thing and you saw this if you've been following along in the edit this shot right here is a speed ramp starts off really fast and then rolls down to slow at the end i'm going to show you how to do that right now i'm

going to take this footage and drop it into a new sequence here so if i right click on this clip at the very bottom of this menu i have an option to show clip keyframes and by default this is set to opacity but what i'm looking for is time remap speed i'm going to zoom up here make this a little bigger so you can see what's going on in fact i'm just going to delete all the extra tracks there we go nice and clean so if i click this line up we're going to increase the

speed of the clip and subsequently change the length of the clip you can see the whole clip got shorter if i pull this down we're going to make the clip much much longer but the real magic in speed ramps comes from the key frames so if i control click here now i have a keyframe so before this keyframe i can make the clip very very fast maybe i'll alt drag this down a little bit so i can get a really drastic difference here so we'll push this up to absurd values maybe i don't know something

like that maybe move this a little bit shorter that was too much one of the things with speed ramps is you can move this a little and because before this keyframe is set to like almost 2 000 speed if you move it too much the end point of the clip is going to come right up to the keyframe so it is a little bit fiddly in that regard but let's play what i've done so far okay pretty good pretty good i can make this a lot faster i think that'll be better and you can go

absurdly fast above ten thousand percent very cool that looks awesome let me undo that again it's ctrl click to add a keyframe and then if you alt click and drag you can move it down the timeline to reposition it you can also click and drag to split the keyframe now i'm going to make this a little bit slower here and adjust this in so you can see this a little bit better and now what we have is a bit of a transition so before it was basically a hard edge transition we were going fast and

then the next frame we were going slow and now what we have is we're going fast and then we're going to slowly transition to our normal frame rate down here at like 100 or close enough and it's happening over this period of time right here so if i make this bigger the clip is going to get shorter because over the transition period more of these frames are being played back faster and in fact that's how i did the speed ramp when i used the clip is i did something like this and the whole thing was

basically a speed ramp where we started very very quickly and went just like this but we have some other options here with these keyframes for one it doesn't have to be a linear transition if you click and drag we can make this a little bit more curvy so now it's more of a bezier type transition which is not going to look as smooth as it looks on this line but it does have a different feel to it that's for sure so i could do something like this and then i could speed this up again at

the very end and again this does get really fiddly when this gets really really fast me zoom in here so you can see what's going on fast we go down to slow and then we speed up again if this clip were 30 seconds longer we might have a little bit more room to play with but i think you can see where this is going i want to show you just a few more things and i'm going to reset this by going up here to effect controls and i'm going to delete the keyframes now premiere has

a really annoying pop-up every time you delete keyframes it asks you are you sure you want to do that it's probably one of my least favorite things about premiere but i believe you need actually one key frame for you to be able to use this if we delete all the keyframes you can see this is no longer blue and i can't actually move that line anymore to change the speed of the clip so i'm going to come back to the beginning and drop a single keyframe so one more thing that i want to show you

with speed ramps i'm going to put a single keyframe here and then i'm going to control drag over and what that's going to do is these arrows indicate that the clip is going to play backwards during this section so watch play forwards we play backwards and then we go forwards again it creates another keyframe because from this point it's essentially back in time and so it plays forward again to this which is basically the same as this keyframe right here we're going forward and then back to this point and then forward back to this point

but we should be able to do some interesting things here like maybe speed this up so we're going negative speed now and then back up here faster you can see these keyframes we can we can get kind of really funky with this these keyframes are all over their place so let's see what this looks like we're slowing down okay i really don't like that kind of slow down there and i want this to go much much much faster and let's go much much much faster here let's see what this looks like oh wait i think

that's quite amusing and you can come up with some really wacky combinations of speed ramps here where you're going in and out and in and out and it really looks pretty smooth that's all i have for speed ramps coming up next you're going to learn about scene edit detection in this lesson you're going to learn about scene edit detection sometimes when you're editing you don't get all the footage exactly how you would want it sometimes you get sent footage that has been edited already it's not uncommon to get footage from another production company that includes

a ton of b-roll that's basically all edited together in one long clip and in the old days sorting that out and breaking it up was pretty annoying but there's a newer option in premiere that makes sorting that out a lot easier and i'm going to show you that right now so i have in my project a ski montage clip that's basically my ski montage edit that i have exported and i'm going to use this to show you the scene edit detection so if i take my footage and i pull it out on the timeline i'm

going to mute the audio and if i right click on this i have an option right here for scene edit detection and what this is going to do is well it's going to do exactly what it says it's going to automatically detect scene changes in flattened footage which this is this one video file and there are multiple cuts and it's going to try and detect all of the scene changes and there are a few options on what the output is going to be so at the very basic level it's going to apply a cut at

each edit point a lot of times that's sufficient but we can also create a bin of sub clips for each detected cut point and create a clip marker at each detected cut point what i'm going to do is choose both of these and then click analyze and this is going to get to work analyzing the clips depending on the length of the clips involved here this can take some time but on my system and with this clip this should go pretty fast all right let's take a look at what we have i saw over here

in the project panel that it created a new bin for me here and i can see that there are a bunch of sub clips here which is very handy and if i look over here let's see if it got all of these edit points correct hey look at that very cool now it's not always going to get everything right for example it didn't necessarily understand that when the graphics came in here it didn't detect that as a scene change it probably has to do with the algorithm that's used it also may get tripped up when

various transitions are used so i didn't have any transitions in here i don't think there's any cross fades not in this version but in footage that does have crossfades that may not detect that super well obviously there isn't a definitive point in a crossfade so if it does detect it you know you could expect that it's not going to be great but this actually looks really good and that's basically all there is to scene edit detection it's not a fancy feature but it is a great feature to know about for breaking up big clips montage

footage and big pieces of footage that have a ton of b-roll clips in them coming up in the next section you're going to learn about raw footage log footage using color checker cards and shop matching [Music] in this lesson you are going to learn how to work with raw footage in premiere so for this lesson i have two pieces of raw footage that i want to show you how to work with the first is black magic raw or b-raw and i want to start here because this is going to be probably the footage that you

will encounter the most if you're working with raw footage at all throughout your editing journey and this is because blackmagic cameras are incredibly popular it doesn't require a tremendous amount of processing power to play in premiere it doesn't take up a ton of space because there are a lot of different compression options and getting the image to look good is really pretty simple now if you have blackmagic footage that you are working with the first thing that you need to do is go to blackmagic's site and download the latest version of the plugin for premiere

without that the footage isn't going to work in premiere at all but once you install that and it only takes a few minutes when you pull your footage into a sequence and you look over here in the effect controls and you look under the source tab which is over here and if you haven't noticed this before let me just explain how this works this is the clip tab so when you put effects on your video they're going to show up right here on this clip tab and if you have multiple instances of your clip you

can have different effects you can change the opacity of one or the scale or the position of one and the blend mode of one and that will be different from all the other instances of the clip however the source tab is where you can put an effect that will be applied to every instance of the clip and that is where premiere has put this blackmagic raw plug-in automatically to adjust the image of this clip because it does need to be adjusted this is not something that you would export it looks flat and ugly you might

think you could start over here in lumetri or lumetri as i like to say and you could give it a ton of contrast maybe bump the exposure a bit give it a little bit of saturation and call it a day this doesn't look terrible but i would suggest that you start using the blackmagic raw plugin because it gives you a little bit more options and it's probably going to squeeze a little bit more detail out of the image because blackmagic certainly knows how to get this image right here to a rec 709 kind of contrasty

image better than you or i at least that's my opinion so what i would do is come up here and change the decode option here to clip you're not going to see anything change but you will see all of these options here on lock so we have options for the color science and the latest color science is gen 5 and i don't think there's any reason to use gen 4 because gen 5 does look better you can change the white balance and the iso and the interesting thing about white balance and iso is this is

not an effect that it's applying this is adjusting the image exactly as if you were adjusting it in camera which works a lot better than when you tried and do the same operation in post using an effect like lumetri color or some other color correction effect if you've ever tried to correct an image that has been shot with the wrong white balance using this tool you'll know that you can get it close and sometimes it looks okay but it never looks as good as if you were to set the white balance correctly in camera so

that's a big advantage if something doesn't look right with the white balance you can change it right here to one of these presets and then you have more adjustments down here and it's a much better way and more precise way of getting the colors to look correct then using luma tree so that's why i would start here same thing for iso if you need to make an exposure adjustment here i would start using this iso before you reach for this exposure slider here this is probably going to result in a cleaner and better looking image

now if you don't want to fuss with too many of these settings and this is not overly complicated but maybe this is too complicated for you and that's totally fine here's the quick way to do it leave the color space set to blackmagic design and then change the gamma to blackmagic design extended video i'm going to put the iso back to 800 where it was before and you can call this a day this looks pretty good to me i might make a few little tweaks with the shadows and maybe pull them a little towards blue

but other than that i think this looks great now if you think this looks a little too contrasty you could roll off some of the contrast right here but be careful when you are adjusting these when you click and drag you'll notice that the entire range of the value for this particular adjustment is zero to two and if you look at zero it's fully gray and if you look at two it's like bananas so it's very fiddly here and you're definitely going to want to hold control while you're making this adjustment which will make a

much more fine movement of these values here the default value is 1.58 for blackmagic extended video so if you want this a little bit less contrasty you might crack it down to like 1.5 or somewhere in that neighborhood and then go from there you could add a little more saturation maybe check this use black video level switch right here and dial in the image and then if i wanted to make further adjustments to this i might hop over to lumetri color and dial in things to taste but really that's pretty much it it's pretty simple

to use this and even though this is raw it does not have to be overly complex let's look at another example this is a clip from a red scarlet provided to me by my friend and colleague andrew manzano and similarly if we select this clip and jump over to effect controls and look at the source tab you'll see that premiere has put the red plugin on this clip as well now this is not something that you have to install this comes with premiere and in a similar way this has a ton of settings for adjusting

the image now this red raw plugin has a lot more controls than the black magic raw plugin but you can take this image from looking super flat and adjust it really quickly you can set the image pipeline from legacy to ipp2 and then if you scroll down to the bottom under output transform settings you can change the color space to rec 709 and you're going to see a little shift in the colors there it's pretty subtle but they went from looking super desaturated and everything kind of green looking to well i would say more correct

looking and a little bit more saturated and then finally the gamma curve change it from log 3g 10 to bt 1886 and you could call this a day this is a nice contrasty image with good exposure if you wanted to make adjustments from here you could do that over here in lumetri color or you can explore all of the controls that there are in this plugin and like i said before there are a lot i don't think there's necessarily a right or correct way to go about doing this as long as the final image looks

good and it doesn't have a ton of noise in it i think you're good to go and if you were to make small adjustments with lumetri color to get this how you wanted it to look i think you'd be okay if you find that you are pushing the image a lot you might switch the gamma curve back to log and then make adjustments here to the image maybe bump up the exposure and adjust the shadows give it a little bit more saturation adjust the color a little bit really quickly you can get something that looks

pretty similar so that's not the whole story of raw but that should get you where you need to go for i would say 90 of the raw footage that you are going to encounter coming up in the next lesson you're going to learn about log footage and luts in this lesson you're going to learn how to use log footage and luts so first let's talk about what log footage is long footage is a way for a camera to store the information from the sensor in a non-linear way log stands for logarithmic and it's a way

to map the luminance values of the image to get more information into the video file now the result is that the image tends to look really flat and sort of lifeless like what you see here just about every camera manufacturer has cameras that shoot in log it's been around for many many years but it needs something in post-production to take it from looking like this which is very sad and lacking contrast and saturation and get it to something that looks appropriate for your final product it basically needs to be transformed and that's done usually with

something called a lut what stands for lookup table and it's just a list of numbers that corresponds to how to remap this very flat image and adjust the luminance to get it to look appropriate for the color space that you are trying to transform it to and most of the time it's going to be rec 709 unless you're working on a big feature film and they're working in dc ip3 a rec 2020 color or something more advanced like that and if you do some searching online you will find many hundreds if not thousands of luts

that you can use on your footage but those are going to be creative luts which we're going to look at in a minute what i would suggest to you is that you start using a manufacturer's lut to transform this image because they're going to be the experts on the image sensor the color science and in my experience that's the best place to start so that's what i'm going to show you here so this particular footage was shot with a zcam e2 and i'm going to use the manufacturer's lut to get this to look great in

just a couple of clicks to do that i'm going to come over here to lumetri color in the basic correction tab i'm going to come to this input lut drop down and then i'm going to go to browse i'm going to go to where i have my luts stored now zcam gives their users a ton of luts everything from default exposure to plus one minus one plus two minus two plus three and minus three exposures to compensate for however you shot the footage in this particular case i purposely shot this overexposed by roughly two spots

because that's what the manufacturer recommends so i'm going to use the negative 2 exposure lut to compensate for that other camera makers may not have this many luts available but that's one of the cool things about zcam so even though this list has a ton of luts in it what the manufacturer recommends is this zrgb ax2 lut so that's the one that i'm going to use and you're going to see with almost no work the image goes from looking terrible to looking pretty much ready to go with just a couple of clicks now i want

to show you the difference between using a lut to transform the image and just doing it using these controls right here in lumetri which you certainly can do but i wouldn't recommend it so this is the same exact clip and i'm going to come over here to luma tree i'm going to jack the contrast all the way to 150 which by the way this slider only goes to 100 but if you grab the number and click and drag you can get it up to 150 and we need that for this particular clip i'm going to

take the saturation and bump that up to around 150 as well and drop the exposure by negative 0.2 and i think you'll agree that that pretty much matches the exposure here on this clip right here which has the manufacturer's lut and no other adjustments in lumetri so in general the exposure and the contrast are pretty similar but they're not exactly the same and this is what i'm talking about by using the manufacturer's lut you could adjust the image on your own but why would you because this image is better and that's not subjective that's objective

if we look at the color of the skin here on my buddy john and to do that i'm going to use the crop effect and crop right up here on his forehead and thankfully john doesn't have a lot of hair so we have a lot of skin to work with in this case that's a good thing and i'm going to do the same thing over here i've applied the same crop effect and zoomed it in and then we look at lumetri scopes and i have the vectorscope yuv pulled up this line here in lumetri scopes

is the skin tone line and you can see on the clip that i adjusted the color the skin color is not exactly on the line it's close but it's not on the line and if you compare that to this one this is pretty much dead on the line it might be skewing just a hair to magenta but it's certainly a heck of a lot closer than this this would need to be adjusted maybe a little bit because it looks a little yellow to me and the scope verifies that it is looking a little yellow so

what i'm suggesting is that you start with the manufacturer's lut because it'll just save you work if you don't like this image and you want to make further refinements to it you could knock yourself out but at least you're starting with the correct colors because it came from the manufacturer that way now that's a basic transform lut we transformed it from log to a rec 709 color by using the manufacturer's lut now let's talk about creative luts creative luts are what you can use to take the image from here and give them that creative special

sauce it could be like a cinematic look or maybe an instagram sort of look and adobe comes with a number of these which you can see right here unfortunately because of how i have my monitor set up this list is going off the screen but adobe comes with a bunch of stock things that look like this or this or this and you can scroll through and you can kind of preview these but if these don't do it for you you have a lot more options i want to set this back to none and you can

find a ton of great looking creative luts on envato elements in fact i found one called 1000 color grading presets for premiere pro and it has probably more luts than you will ever need to use and you can load them into lumetri color by creating a folder so on windows if you navigate to the c drive program files adobe and common and you create a folder called luts right here and then inside this folder if you create a folder called technical and you create a folder called creative and inside the creative you copy over the

lut files they will show up in lumetri right here now there you can just see the end of that list the rest of it goes way up on one of my monitors above here but now they're available right here and you can actually scroll through and preview those right over here now one of the disadvantages of this is it's a little clunky to do because the list becomes very long and once you apply one of these this previewer resets so if you want to see a preview of another one you have to click like a

hundred times to get to the end of the list and that's pretty annoying thankfully this particular lut pack came with a preset file that you can install and that's very easy over here in the effects tab in this little fly out here you can choose import preset and then you can navigate to wherever you have that lut pack stored so for me it's right here and you can see this is the preset file and i've already imported that and now i have a preview right down here of what all of these look like i can

click on a folder i can scroll and find a lut that i think looks great and there are a ton of really good looking luts in here and i can just double click this and it applies to my footage here which is very cool now the one thing you want to watch out for is this applies luts in a different way so over here when i was showing you these creative luts it's applied in this single instance of lumetri color and it's applied in this creative tab right here if you're using the effects preset luts

right here when you select one let's say we do this violet one right here it inserts another luma tree color instance with that lut loaded on here i believe it's in the creative tab so if you come over here to the lumetri color panel and you click on this little effects drop down you can switch back and forth between this is the first instance of lumetri and this is the one with the lut loaded and you can see it's loaded right there so if you want to adjust the intensity of this you need to do

this on the second lumetri color plugin and you want to watch out for any other color correction that you were going to do if you need to do any kind of secondary color correction or do anything with the color wheels you want to probably add this creative lut at the very end of all of that otherwise that's going to give you trouble because this is affecting the colors quite severely but it's a super easy way to add a lot of different looks so if i wanted something different i'll just delete this and like i said

before i do like some of these instagram ones let's check these out i think these are pretty cool looking very cool that looks maybe a little too intense so i'd probably knock down that just a little bit but i think that's very cool so check out that pack from envato elements it's 1000 color grading presets a lot of great stuff in there there's even some vhs noise loops there are some film loops and some light leaks in that pack as well it's got some very cool stuff in there in the next lesson you are going

to learn how to use a color checker card in this lesson you're going to learn how to use a color checker chart to dial in your white balance and your color in premiere now this particular color checker chart was made by x right it's called the color checker video i believe it's the video passport because it's the smaller one they have a larger studio version and you can find other charts from companies like dsc labs and others over here you can check your white balance and exposure but for now we're concerned with color for the

highlights the mid tones and the shadows on this side we have even more kind of gray neutral chips this column represents a skin tone color and then over here we have some colors that correspond to colors in the vector scope so let's dig into this and make some adjustments now just judging by my eye and not paying attention to the scopes i would say that this looks pretty decent it may be a slight bit warm but there's not anything glaring about this but i think perhaps we can get it to a little bit better place

in terms of its color to do that i'm going to grab a crop effect and jump over to the effects here and i'm just going to crop in on these three chips right here and i'm going to zoom in on them then if i jump back over to the scopes this is lumetri scopes and i have the waveform monitor set to rgb you can see that actually my highlight and my mid-tone are skewing a little warm if these were pure white they would be white here because this is rgb and when you have pure white

the rgb overlay and it makes white in the scope and my shadow is actually skewing a little bit blue so how would i make an adjustment for this well i would probably start by going to the effects controls and maybe dialing back the color temperature slightly to something like 5400 and let me check back with the scopes here i think that's pretty close it's in a pretty good spot however my shadows are still kind of blue i mean you can pretty clearly see that if your monitor is anything close to accurate you'll see that that

looks very blue and that's not great to get it the rest of the way we're going to have to make some more refinements now i could mess back and forth with the color temperature here in fact it may be better to put it like a 53 40. let's check back over here i think that looks pretty good i may jump back to the crop and just crop the top a little more and that may help clean up this scope a little bit better i think that's pretty close so i'm going to leave it for now

one thing that needs to be dealt with is the shadows and they're definitely skewing blue and i think the best way to do that is to make a selection using hsl secondary this tool in lumetri gives you really sort of granular control over the selection that you make so in this case i'm going to deselect hue and saturation and i'm only going to deal with luminance i'm going to drag this down so that i'm just selecting this shadow section in here in fact i'll take off crop so i can see exactly what this is doing

i'll turn on this mask right here so i can see exactly what it's selecting so maybe just these darkest areas here is good to start i think that's pretty good i may turn up the denoise a little bit i'm going to leave the blur alone for now and now i can make an adjustment here i'm going to re-crop this and take off this mask so i can see what it's doing i'll pull up lumetri scopes again and then i can make an adjustment here to this white balance now i could use this color wheel here

this is actually just the mid-tone color wheel i believe but if i correct using the temperature intent sliders here it's going to correct all of the colors in my selection rather than just the mid tones if i reset these and i just try and drag the mid tones around you're going to see that it's not going to do maybe the exact thing that i want so i'm just going to make an adjustment here to the tint and the temperature and try and get that dialed in a little bit those are pretty drastic adjustments there but

let's see if i take off the crop effect what that looks like i think i think that actually worked pretty well so i'm going to leave that for now but look at my scopes those are all looking great for those chips right there i'm going to take my crop effect reset it and now let's look at these colors right here in this color column and i'm going to show you we're going to pull up the vector scope i'm going to zoom in on those and i'm going to change this to vector scope i'm going to

get rid of the waveform and now what you see is each one of these corresponds to one of the colors in the vectorscope we have yellow red magenta blue cyan and green i might crop in on the left side just a hair more and the right side just a hair more like that and that should clean up the vector scope very good now we're really cooking so to make some corrections here you can see that not all of these are in line with their boxes the further out the blobs are in this scope that has

to do with their saturation so all of these colors are not equally saturated and they probably should be so to make these sorts of adjustments i'm going to come into the curves i'm going to pull down the hue saturation curves here and i can make some selections to modify this now to make this just a little easier and a little more visible for you i'm going to jack up the saturation overall which is going to skew things out a little bit and that's going to make it a little bit easier to see what i'm doing

you don't always have to do this but for the sake of this demonstration i'm going to and for the hue versus hue i'm going to make a selection for the green so basically i'm selecting the green and i want to change the hue of the green you can see over here i've made a little selection and i want to select the middle dot here and i'm going to pull that back so that it's in line with this green box right here now i believe you can change the brightness for this if you want to juice

that up a little bit so that'll make it a little bit easier to view let's check out some of these other colors red is not quite right so we can grab red there and maybe pull that back just ever so slightly making this lumetri panel a little bigger can make it easier to make very fine adjustments if it's really small they can be they can be if it's really small they can be pretty fiddly so i'm gonna select magenta here and just push that over ever so slightly i'm going to push blue over just a

little bit there we go and i think cyan is looking pretty good next let's deal with some of these saturations so i've boosted the saturation up to 200 which is probably not going to look good overall but maybe i can take something like this yellow and reduce its saturation because according to the vector scope it looks more saturated than the other colors so let me just pull that back a little bit and i might take this cyan color here and maybe boost that up a touch something like that now things are looking a little bit

more equalized maybe blue could also use just a little bump in the saturation department just a hair i think that looks okay all right let's jump back to effects controls i'm going to take off my crop effect here and check out how my image looks okay things are looking not bad it is still hyper saturated so i'm going to pull that saturation back to more realistic levels here i think this image looks pretty good let's check out a before and after okay so i know this may be hard to see but it is actually doing

something let me zoom in to 100 percent here actually let me go to 50 so this is before oh this is after and this is what we had before so the shift is pretty subtle but you can definitely tell that the shadows now look cleaner and these colors look better they're more equalized in terms of their saturation and they're more representative of the colors that they're supposed to be so i think we're i think we're doing pretty good here i'm going to reset my view here and i'm going to reset my crop effect finally i'm

going to check in on these skin tone colors here if you do anything to correct the image i would say ignore the other colors and just get the skin tones right because really that's all people care about if skin doesn't look like the right color your eye is going to notice it right away it's kind of a thing that humans are really good at is knowing that skin tones look like skin tones and not too green or too yellow and in this case they don't look exactly right they're skewing a little bit yellow which is

perhaps not the best so i'm going to come back over here to the curves and hue saturation curves and i'm going to make a selection here and it's going to select orange because pretty much all people of all colors have orange skin whether they're very dark skinned or very light-skinned and we want these to be more along the skin tone line which is right here so i'm just going to push that hue up a little bit and get those back to looking like orange i think they do so that looks pretty good all right let's

make a final check on our image here there we go let's do a before and after yeah it's definitely looking like we did some we did some good work here so i'm pretty pleased with this that process is not incredibly difficult but it's also not as automated as it is in something like resolve where they have a tool specifically for this color checker that will balance the colors for you but it's really not too tricky once you get this dialed in and for a particular shoot if you're in the same location you only have to

do it once and then you can apply this lumetri effect to all the other clips to balance them as long as they're in the same lighting conditions this chip chart should read the same so it's not something you have to use for every shot as long as you're in the same location under the same lights you can apply this correction to all of your clips coming up next we're going to look at how to match shots from different cameras when you don't have a chip chart and that's going to be pretty interesting so check that

out coming up next in this lesson you're going to learn how to match shots for color so in this example i have two clips here that were part of a multi-camera shoot and unfortunately they're not from the same camera so they look different on top of that this was a shoot that i was doing and one of these cameras was basically handed to me about two minutes before the folks walked in to shoot so i didn't have time to set this particular shot right up here which was from a sony i think it was an

a6400 i didn't have time to go in and set it to one of the log picture profiles and get the white balance dialed in i thought i had it pretty close but clearly it is not that great at all these look wildly different so this was shot on my zcam e2 and it has been color corrected but it more or less looked like this out of the box this one hasn't been color corrected but you can see it definitely needs some help now there are some tools built into lumetri color that can potentially help you

to match these shots and that is in this section right here under color wheels and match in the lumetri color panel if you don't have this up you can go over here to window and then down here to luma tree color and in this section color wheels and match you can click comparison comparison view and then what this will allow you to do is set a reference frame which premiere will attempt to try and match the colors of so what i want to do is kind of scrub in the timeline here and if you have

a bunch of shots you can pick from any of them so i'm going to go let's see all right here's the frame that i want to use face detection is enabled and i'm going to click apply match let's see what happens hmm yeah so that didn't work at all let me reset this i'm going to click comparison view again okay let's try again okay that didn't work at all i wonder let me reset this one more time i'm gonna turn face detection off let me apply a match now hmm okay so this doesn't work for

this particular example and in fact i've not gotten this to work a whole bunch of times in other projects when i have gotten it to work it does work pretty well and i have no idea how people on youtube get this to work because i cannot get this to work with my footage anyway that's okay because i'm going to show you how to do it the old-fashioned way so let's get to that i'm going to take it off comparison view and then reset this i'm going to duplicate my footage by alt dragging and then i'm

going to bring it over here and throw it on the video layer above here and then throw a crop effect on this layer and just crop the side just a hair yeah something like that and then move this over to the side in fact i can probably move this over a little bit as well [Music] and then i'm going to make sure that i have lumetri scopes up and i don't want to look at the vector scope i want to look at the waveform rgb at least to start so the waveform is going to give

us luminance information the higher it is here the brighter it is but the waveform rgb is also going to give us color information you can kind of see the sections and kind of where the colors are sitting which will hopefully provide a little bit more information about getting these shots to match the first thing that i'm going to do is i'm going to lock this layer up here so i don't accidentally keep adjusting that layer here click down here and i'm going to make some exposure adjustments to try and match the exposure just a little

bit better because that's going to affect everything down the line and i can see at the very top of my waveform monitor that the white sections here are basically getting clipped they are above 100 and over here they are not so i think this is probably the same area right in here so if i take the whites and i pull those down i can kind of match where those are and in fact there is information there so it's not completely clipped as in no information if we look at a hundred percent here there are parts

of it that are clipped all the way but we did get back some detail for sure if we look at the before and after we're pulling down some tones it is subtle but there's something there and that's good i'm going to switch this back to fit and i'm going to make some other adjustments here maybe push up the exposure here just a touch pull down the whites just a hair more maybe bring up the shadows a little bit and trying to match the level of the background just a little bit maybe that's too much on

the shadows we can kind of use these scopes as a guide too so the background is sitting maybe just a little too bright bring that down here kind of match those up just a little bit now it's really hard to tell because this is clearly more blue so once i get the exposure in the zone close to matching this other shot here i'm going to take the temperature slider and just move that over a little bit now i don't want to go over too far because that is going to tint the highlights more than perhaps

i want so just a little bit of a temperature correction here i think is going to help and maybe bring those whites down a little bit more something like that i think going by the scopes here that looks like these exposures are pretty close now the skin tones still are not matching correctly but instead of pushing the temperature anymore i'm going to go to the color wheels and i'm going to just push the mid-tones a little bit instead of adjusting all the colors now that will still adjust highlights and shadows but it's going to more

so adjust the mid tones so just push those over to orange just a little bit i think will help now the background here went way out uh when before it was it was close but the skin tones didn't match so much maybe just back it off just a touch i think that's a little bit better i can see that the hair here uh there's a little bit more color here i'm going to zoom in so you can see that so if you look at just the hair i can see this this is a little red

and this is maybe just a touch less saturated so i can take these shadows over here and then maybe just pull those ever so slightly to blue or maybe yeah in this general blue direction and that will essentially take out some of the red in the shadows and that was a very subtle adjustment but you'll see if i go on and off hopefully you can see it's making a little bit of a shift there so we're getting the skin and the hair i think a little closer it looks maybe just a touch magenta so i

could push this just a little bit green i don't want to go too far because i don't want to make this really look that green but that looks like it could be close shirt color looks okay let's keep moving what other things here are sticking out well the jeans color is not quite close so let's address that i'm going to go to curves and i'm going to grab the hue versus hue color picker here and just pick the color of the jeans and see if i can adjust the hue of the genes now i can

see some tones shifting but i think i have to make a bigger selection here so i'm going to just expand that out and get these to more of a blueish color so let's see if you can see before and after it it definitely is shifting it's very very subtle i think another thing that may help is grabbing the hue versus saturation here and pushing up the saturation of just the blues in the image which will also be very subtle because there's just not very much blue in there to push up i don't want to push

it up a lot in fact the green is definitely not working but it looks like actually let me undo that looks like i can maybe pull the greens down to blue as well yeah look at that you can just barely see if i really push this around there's a section right in here that's kind of registering more as a green tone but i can pull that down to blue a little bit right down here there we go okay let me see is this doing anything a little bit so let's see if that made a difference

i think they look a little better than they were before so i'll turn off this whole adjustment here oh yeah that's definitely looking green and with the adjustment it's looking more blue it's not perfect but it's definitely closer okay it looks like the skin could go just a little bit more to the maybe orange side so i could possibly get that with a hue versus hue and just get that a little more orange although it's it's not looking quite right to me so i'm not going to do that let me just undo that maybe i'll

push the mid tones just a touch more orange for now the big thing that i want to tackle is i want to try and get this background a little bit more towards this kind of greenish red tone over here it's looking a little bit too magenta and monochromatic but i'm going to tackle the background and some final tweaks in the next lesson so check that out coming up next [Music] in this lesson i'm going to pick up where i left off in the last lesson working on color matching these shots so in the last lesson

i saw that the background was really not matched at all so let's pick it up there and try and fix that so to do that i'm going to rename this instance and i'll call this basic and then from the same drop down i'm going to add another lumetri color effect this time i'm going to go into hsl secondary and i'm going to grab the color picker here and i'm going to pick this range and then i'll grab the add color picker and then just click and drag here to make sure i get all of those

tones if i click on the show mask button here you can see yep i'm definitely grabbing all of the tones here i'm picking up a little in the face but that's just how it is in this shot the background is registering as the same color as his skin unfortunately there's nothing that can be done about that so i'm going to denoise this a little bit that's going to help clean up that selection and then i think i can just get away with pushing the mid tones over to green just a little bit that's looking better

it's not perfect but i think it's better i don't know if i can push the highlights up to orange but i think this is going in the right direction so this is before and this is after i think it definitely matches better i don't think i can get it perfect but they do look much more similar now if i was going to do one final step i know this video is getting kind of long but one final step here's what i would do i would take the crop effect and apply it to this layer down

here and i would crop up on a portion of the skin probably this cheek right here because it's nice and flat to the camera and then zoom up on it just like that and then i'll do the same thing to this shot over here so i'm going to crop up on the skin let me see just like this i know it's looking a little bit crazy stay with me here and slide this over so basically now i have the two different skin tones here the other thing that i can do is pull up the vector

scope and make sure that both of these are going to be filling the screen and i'll just go back and forth so i'm just going to reset the position on both of these so let's look at just where it falls on the skin tone line here in the vector scope so actually it's pretty close they're both on the line this is skewing maybe the highlights are skewing just maybe a little bit magenta it's tough to tell because i don't have the same kind of selection here but it's in the neighborhood i don't think that's too

much to uh to fuss about at this point so i can take that crop effect off and that would be fine the only thing that i would probably want to do with this luma tree color is because it is affecting a little bit of his skin is just draw a really quick and rough mask around him now if he moves the mask is obviously not going to get everything but that's okay and i'm just going to try and pull this out here just like this and give it a lot of feather something like that and

then invert this and so now if we look at the mask for example it's basically just going to take out all of this jazz right here which is fine because i don't want it to adjust his skin tone in the shadow regions at all i just wanted to adjust the chairs in the background and i think that is going to work just like that so there you go there's a very quick and dirty kind of color adjustment certainly this is a lot more difficult than if you have two cameras that are different and they're both

shooting in log because that's going to give you just a little bit more wiggle room to adjust the image but even if they're not you can do quite a bit to match the colors so for example this is where we were before and this is where we are now you can see that the the entire image looks better this looks like a hot mess it's way too contrasty these whites here are blown out it looks blue and this actually looks pretty good in fact if we were to go back and forth between this shot right

here i'll just play this for a second and this i don't think you would notice a huge huge shift there is some and there's probably a little bit more work that can be done and hopefully that will help you when you are trying to match shots all right coming up in the next section you're going to learn about audio editing in premiere in this lesson you are going to learn how to fix audio drift in premiere so audio drift is something that can happen when you are recording on devices that do not have the same

synchronization clock for audio these can be different cameras this can be a camera that records audio and a separate audio device and in this particular example i'm going to show you some audio drift although it's pretty mild that happened and i'm going to show you how to fix it this is my friend peter engler and you're looking at a clip that i shot of a podcast that i help my local church produce when they need to bring in remote guests and i have a sequence opened here with footage from my zcam e2 and the audio

that my zcam records is just scratch audio it's just the on-camera microphone and then i take peter's mic here and i send that over to an audio interface on my computer that i do the remote guest hosting on and i record the audio in reaper which is a audio workstation application and i also route it through a browser so that the guest can hear peter's nice audio coming from this microphone right here and what you'll see if i pull out pete's audio so i'm going to find it over here it looks like so i think

this is peter's audio right here so i'm gonna pull pete's audio out on the timeline and try and sync that up actually i'm just gonna right click and see if adobe can synchronize this for me okay let's see how close it got the audio here there you go there you go okay it's in the neighborhood but it's really not that close so i'm going to hit the tilde key to bring the sequence full screen and then just manually align this you can if you go into the menu of your sequence and then select show audio

time units we can get right in here and try and line this up a little better there you go there you go love it well so if you hear that sort of sound where it doesn't sound weird and phasey you know that it's pretty much in sync so the beginning is perfectly in sync but if i go all the way to the end and this is like a 55 minute ish recording so i'm going to go to the end and then zoom in here what you'll see is the audio is no longer in sync and

they don't line up but this is actually a really easy thing to fix and how i usually do that is i'll come to the end of the audio and i'll find two kind of audio blobs that i know match so i know this is actually supposed to be over here it's supposed to be in sync with the video and so what i'll do is i'll just trim this back to just the start of this audio blob then grab the rate stretch tool and pull that out so it just aligns to the beginning of this audio

blob here i can zoom in to get that much more precise and that's really probably as precise as i need to go with this and i bet if i play it right here episode go to y gotta whitepodcast.com it's gonna be perfectly in sync now you can drill down if you want if you're doing a similar sort of thing and really try to get this a little bit more in sync like it looks like maybe these three little blobs here might align better right here i don't know it's only a couple of samples off so

i wouldn't worry about this so now anywhere that i click in this anywhere that i click when peter is talking because you can see there's areas here where he's not talking these two files should sound more or less perfectly in sync because i think a lot of our listener yeah well yeah like so i'm sitting with you and your counseling off i'm liking free counseling and maybe that's a form of stuckness too so this all sounds perfectly acceptable to me there may be just a hair of weird sort of out-of-phase sound that you get here

and there but it's not going to be anything that i would be concerned about at all it's certainly better than having the audio slowly fall out of sync by the end and this sort of sound that you're hearing right here so like you talked about like marriage relationship where it sounds like it's maybe just a few samples out of sync is not anything that you'll notice once you mute this relationships um it's going to sound perfectly fine and you won't notice that it's out of sync at all with picture because we're talking about just a

handful of samples that the audio is shifted now there's two things that i want to draw your attention to so when you stretch audio and you use this sequence inside of another sequence premiere doesn't always display the waveforms correctly it won't show the stretched waveforms it'll display the waveforms as if this audio clip here was not stretched and that can be problematic if you are trying to edit and chasing down like weird mouth noises which will show up like little clicks like this because they're not going to be where they should be when i put

this sequence inside of another sequence so to get around that what you should do is render this out and to do that i just hit control m i set the format to waveform audio it should be on 48 kilohertz and the sample size should either be 16 or 24 bit if your recorded audio is 16-bit there's no reason to export a 24-bit file it's essentially just wasting space but if it's a 24-bit file coming in to premiere i would export it as a 24-bit file and you then want to just re-import it into the project

and that only takes just a couple of seconds in fact i'll do it right now so now if i look over here i should have an audio file here and the nice thing about this is it's going to match the length of my sequence perfectly so i don't have to worry about accidentally moving this clip at all so that's one thing let me just delete this here the other thing to note is that when you stretch an audio file either you make it longer or you make it shorter it does change the pitch of the

audio now if i right click on this and go to speed and duration what you'll see is the speed is set to 99.98 that's two one hundredths of a percent and that amount of pitch change is not going to be audible however if it was a percent or two if i had to set this to 99 or 98 at that point you'd probably be able to detect a very slight change in pitch if it's more than that you'll almost certainly be able to detect it so you have an option here to maintain audio pitch now

if that doesn't sound quite right to you and i expect that it probably would sound fine you have another option to add an audio effect over here in the audio track mixer in fact premiere comes with one called pitch shifter now i would guess that the maintain audio pitch option in the speed and duration is probably good enough but if it for whatever reason sounded weird you can try to manually correct the pitch either up or down using this effect right here i don't necessarily think that this would sound better but it's another option for

you so normally what i would do is just delete that and then throw in my new audio file here and i would be good to go so that's basically how to fix audio drift now like i said before there are a couple of other kind of forms of audio drift let's say for example you were recording with different cameras and some of those cameras were lower quality like mobile phone cameras or web cameras sometimes the video that you get from a mobile phone's camera or a web camera has really really odd sync issues you may

be able to sync the audio in the beginning and then you'll find that like five minutes later it's out of sync again but 10 minutes later it's back in sync which means at some point there's there was some kind of thing that made the video frame rate or even audio slow down a little bit and then speed back up and so in that case as long as it's not constant talking because if it's constant talking that's going to be a real trick but if it's like a podcast like this what i would do is cut

the audio every so often i'm going gonna mute this up here and then try and manually realign every place that it goes out of sync that's very tedious to do but i've had to do it even recently recording remote interviews sometimes the cameras and the files that you get just don't sync or sometimes they drift a little bit depending on an internet connection or whatever so that pretty much covers fixing audio drift in premiere coming up in the next lesson you're going to learn about merging audio clips with video clips in this lesson you're going

to learn how to merge audio and video clips in premiere let's say for example you have a project that's somewhat similar to this where you have a video clip with scratch audio and then you have separate audio recorded maybe on an audio recorder and you need to use those in multiple sequences now if you synchronize them in one sequence it can be annoying if you go over to your project panel and you navigate to your footage and then you pull it in again and then you have to find your audio and then pull that in

again that's more steps than you need to do because premiere has a feature that can merge these clips together and i'm going to show you how that works you can do it right from the sequence so from my zcam sequence here i can select both my video with the scratch audio and my audio i can right click and choose merge clips now i don't have a whole lot of options here i can change the name of the clip i can select use audio time code that's not really going to help in this example and if

i click ok i'm going to get my merged clip right over here and you can see what that has done to the audio files for some reason and i don't fully understand why but it's not a big deal it takes this stereo audio file and this stereo audio file and kind of splits them into four mono files what you can do is you can come over here right click on your merged file in the project panel go up to modify and then audio channels and then what i might do in this instance is just deselect

everything except the last clip that's because i know that this audio file here even though it's a stereo file it has the same content on the right and the left so there's no good reason to bring in two mono files if i click ok i'm just going to delete this out of my sequence and now when i pull it in you can see it's exactly how i would want it and that is the single video clip and my single audio clip this makes setting keyframes a heck of a lot easier in dealing with it so

now i can use this in multiple sequences it's got my synced audio and i'm good to go let me show you one other way to go about doing this and that is if you select your audio in the project panel and you select your video you right click and choose merge clips now you have a bunch of options for synchronizing now these clips are already synchronized so i don't really have to synchronize them using the audio or time code they don't have time code so that wouldn't work anyway but i can synchronize them with the

in point because i know that they both have the same exact endpoint and that'll work just fine however if you have audio that was recorded on an audio recorder there's almost no way that that's going to have the same endpoint as your video clip so what you'd probably want to do in that case is select audio and then select which track channel you want to try and synchronize from normally if you're using a pretty decent recorder and a pretty decent camera you're not going to have to worry about the audio drift issue that you saw

in the previous lesson synchronizing with the audio is a pretty good option but in my case i don't need to do that the other thing you can do when you are merging clips from the project panel is you can select remove audio from av clip this is going to remove the camera's audio so i don't have to go through that extra step so here's my merged clip it does make two mono clips again but i can quickly come in here go to modify select that boom i'm good to go merging clips is pretty simple to

do and it's a very handy thing to know how to do i will show you one other way that you can achieve the same thing and that is by just using a nested sequence so if i come over let's say i make a new sequence here i'm just going to pick whatever is loaded up there i can take my z cam sequence and pull it out and i basically have the same idea as a merged clip except now i can go in and i can put adjustment layers on this or effects and and other things

in this layer right here i can mute the audio and it should update yeah check that out now i have the right audio waveform displaying here you can see what happens when i unmute that it will revert to i think the camera's audio or maybe it's kind of mixing it together but if i go ahead and mute this one right here it's only going to show the good audio that i want so that essentially does the same thing as merging clips although it does take a few extra steps to set up so merging clips it's

a really handy thing to know how to do and that pretty much covers it all right coming up in the next lesson you're going to learn how to use multiple compressors in premiere [Music] in this lesson you are going to learn how and why you might want to use multiple compressors in premiere so picking up with the last few lessons i'm going to be showing you how i go about addressing the audio levels and processing for this podcast episode here in particular we're going to be taking a look at my buddy peter's voice here he's

the host of the why god y podcast it's a podcast that i help my local church produce when they bring in remote guests so let me play you the first couple of seconds of this so you can hear the music and get a feel for what's going on the only effect that i have applied right now is a parametric eq for pete's voice but that's it [Music] welcome to the why god y podcast i am hosting alone my name is peter engler and i'm here with our producer dave bodie um we have a special guest

today all the way from portland oregon um it's savon penn siobhan is a counselor and a life coach he also is a blogger and an author and we're really focusing our conversation today all right so you can hear that i made a small change to the audio gain this is actually fixing a slight mistake that i did when i recorded this he came into the podcast a little bit hotter than i was expecting and i was afraid it was going to clip so i turned him down and then realized that was a little too much

so i turned his gain back up but despite that you can hear that there are some kind of higher and lower levels here especially if i play this section right here and i'll just solo up pete's channel in the pandemic trying to make changes it's a universal theme we know where we want to go whether that's we want to be less anxious this sounds good but a compressor is really going to help so what i like to do is actually use a compressor to do two things one i like it to knock down these upper

peaks here and then boost up everything else and i also like to use a compressor or more specifically a dynamics processor to take things like the breath noises in between his words like this and i like to use a dynamics processor to push those down and the reason why i use multiple compressors is i can't use one to do both if i take this dynamics processor and by the way i am applying this effect in the audio track mixer and if you haven't used that before come up here to window and then you can pull

it up with this option right here audio track mixer and then you can apply a number of different effects over here and the effect that i just put on is under amplitude and compression and it's dynamics processing and i like to use this dynamics processor because it allows me to do compression which kind of looks like this so as the audio comes in on this line if it comes in at like negative 15 it's going to go out lower you can see that in fact if i do like kind of a limiter shape here it

shouldn't really let any audio past negative 20. that's what this line indicates here so anything that comes in above here is actually going to go out at negative 20. but i can also use this dynamics processor to do something called expansion and that is when the audio is below let's say this point right here so if the audio comes in it negative let's say negative 30 is actually going to go out at like negative 38. i like to set this up such that it's going to pull down these in-between moments and create just a little

bit more dynamic range and then i also like to use a compressor to kind of compress the top bits of the audio signal in a shape that kind of looks like this so right now this section is kind of boosting the level up such that if it comes in at let's say negative 20 you can see right there it's actually going to go out up here at close to negative 10. so it's kind of a 10 decibel increase in level but then as we go up here it's getting turned up and then kind of simultaneously

compressed you can see this top node here number one is doing some compression as well as kind of boosting the level the problem with this is in order to get this compressor to work and i'm just going to reset this here by selecting one of the presets and then changing it back to default the problem is in order to get the compressor to work so let's say i wanted this to do some hard limiting and this is not what i would do but just for instance in this case the compressor should not let anything above

negative 20 pass through this dynamics processor but if i play this know where we want to go and you look at the levels down here worried we might even want to you can see that it's definitely not doing that it's letting the levels go all the way up to negative eight which is about 12 decibels past this level here and the reason is because the attack time over here on the settings panel is too slow but if i pull the attack time down to zero and set it to peak mode now it is going to

do that we might even want to have a diet we might even which is totally fine but if i set it up like i did before like this and i make this kind of compression and expansion kind of shape where it's going to turn down the level down here it's going to turn it up up here and do a little bit of that compression with an attack time of zero on the gain processor it's going to sound a little bit chattery diet we might even want to work out a little bit more can you hear

what happened right here to this breath noise we might even wanna it's it almost sounds like a fizz kind of sound effect let's listen right here worried we might worried it's a little bit chattery i'm going to turn up the fader here on the track so you can hear a little bit better worried we might it's kind of going kind of like stuttering there when the expander part kicks in so in order to get it to not do that i have to increase the attack time on the gain processor but when i do that it

basically barely compresses anything so now this part should sound smoother worried we might even want to have a diet and it is doing that but you can see that now it's clipping where it wasn't before because it's letting a lot of those more peaky audio bits through and that's no good so there's a couple of different ways that you can go about doing this first you can just make this an expander and have it be nice and smooth with a slow attack time 26 milliseconds totally fine anxious less worried we and if i was doing

this i'd probably make this a little bit smoother something like this maybe turn on spline curves here i don't actually need all of these points here but something like this would probably be fine oops that's one too many points like that let's listen to this worried we might even want to have a diet we might even want to work out a little bit more but for all of us it's this universal feeling of stuckness so savannah so that's definitely working but it's not really doing any compression and it's not boosting the level at all so

one thing you could do is just add another dynamics processor but on this one set the mode to peak and set the attack time maybe zero or so and then you can draw a shape that looks like this and it's actually going to do some compression let's hear that trying to make changes it's a universal theme we know where we want to go whether that's we want to be less anxious less worried we might even want to have a diet we might even want to work out a little bit more but for all of us

it's this universal feeling of stuckness and that's pretty much it we have this compressor working nice and quickly and we have this compressor working pretty slow but that's because it's focused on this expansion down here now there is an effect in here called dynamics that does in fact have a compressor and an expander however this expander does not have attack and release times and it does sound very chattery when it's doing more gain reduction if it's set suddenly it's okay but i like to use dynamics processor here for doing that kind of expansion and actually

what i normally do is something that looks like this i'll take this compressor and make a shape that looks kind of like this where we're doing a little bit of boosting of the level up here and i know it's not going to do very much if any compression up here but i'll throw a third-party effect called fur comp on and this is a free effect and this is a very very clean compressor it's one of the few compressors that you can run with an attack time of less than one millisecond that doesn't sound like a

train wreck it sounds very very good with very low distortion you should definitely check it out and all i really do is pull the attack time pretty low pull the threshold down and set it from zero latency to look ahead which is f-i-r-l-a that stands for look ahead epidemic trying to make changes it's a universal theme we know where we want to go um whether that's we want to be less anxious less worried we might even want to have a diet and the reason why i like this better than using two dynamics processors is because

honestly i do not trust this dynamics processor to not make a clipping sound at some point because i have heard it with very fast attack and release times make an undesirable kind of chattery clipping sound so i think this is fine with more conservative attack and release times but for something that you need to react really quickly to give you that kind of podcast radio sound this comp is pretty spectacular at this all right coming up in the next lesson you're going to learn about master bus effects in this lesson you are going to learn

about using master bus audio effects so when it comes to audio effects i could talk for a really long time but i'm going to try and give you just some really quick useful good advice for what you should do for every single project on your master bus so your master bus is what all the audio gets routed to by default it's labeled as mix and all of your tracks dialog music sound effects whatever you have gets routed through this one master bus before it gets rendered out and so what i like to put in this

master bus is at least two things one is something to protect the levels so that they don't clip and that they don't do something called inter-sample peak clipping and two use another effect to keep an eye on the loudness of my project now to do that i'm going to click on the last effects slot in the audio track mixer on the mix bus and come down here to special and then choose loudness meter loudness meter is a newer effect that lets you keep an eye on the loudness i used to use loudness radar but these

days i use loudness meter and it's got some presets here for things like apple podcast netflix spotify and youtube and it lets you know some loudness information things like the true peak level which should never really go above negative one the integrated loudness which for different platforms should be somewhere around let's say like negative 18 to negative 15 and it gives you some other information about loudness it's got a settings page here so it looks like premiere is recommending a target loudness for youtube around negative 14. i think that's pretty close i've seen negative 15

but negative 14 is fine and if i play the beginning of this you're going to see it's going to show us all kinds of information about the loudness of this project welcome to the why god y podcast i am hosting alone my name is peter engler and i'm here with our producer dave bode we have a special guest today all the way from portland oregon um it's siobhan penn siobhan is a counselor and a life coach so things are looking pretty good if this was going to youtube the level might be just a hair low

but i would not be too worried about it youtube does some leveling of the audio and so it may turn this up by like one decibel which is not a big deal but the reason that it's handy to use this sort of effect is that if your audio had an integrated loudness that was way lower like negative 20 i wouldn't leave the gap between negative 20 and where youtube wants it at around negative 15 or negative 14 up to youtube i would want to be the one to control that so that i know what it

sounded like because believe it or not these different algorithms that spotify youtube title etc use don't all work the same and some of them don't sound all that hot but if you give them something that is at an appropriate loudness they're not going to do anything to the level or they'll do so little to it that you can't audibly hear so this is showing us that we're a tiny bit low for youtube but we're more or less in the zone and that's because i did some work previously managing the levels by setting these two tracks

here to the appropriate level using the essential sound i basically just marked them as dialogue and went into loudness and then auto matched them and then applied this basic setup here with this s curve on the dynamics processor and then i used fur comp i'm not even doing any level makeup gain here but i'm just kind of knocking down the peaks and for this project that is a pretty decent combination without using anything else but i'm only 26 seconds in so in addition to loudness meter what i like to add is a limiter now premiere

does have a hard limiter which you can apply it's in the dynamics and compression setting here and it's also got a multi-band compressor and a handful of other effects i don't think that this is great although if you don't want to get into third party effects this is probably okay to use it does have a true peak mode which is very handy if you saw here the true peak when i played this back before was around like negative four and you don't want your true peak to go above negative one because lossy audio formats things

like mp3 and most common aac do not handle peaks higher than negative one very gracefully and they can get distorted and kind of nasty sounding so you need something to be able to protect you from that now it just so happened that without any limiting the first 26 seconds of this i was totally in the clear which is great but you don't want to count on that so if you want to use one of the stock effects pull up the hard limiter set the max amplitude to negative 1 and i would leave all the rest

of the settings at default honestly i haven't used that effect a whole lot and i would never use that because i have way better effects one of them that i want to show you is a free effect and that's called limiter number six and you can get this for mac and pc and it's free it's totally awesome it's a little old there's a newer version of this that is much more advanced but it does cost money but the free version is still pretty awesome now this can look a little bit complicated but i'm going to

show you how to do some basic settings here that will be totally fine for basically all your projects the first thing that you want to look at is at the very end here because all the defaults if you did nothing else are probably fine but over here you want to set this protection section right here to isp so you want to click this toggle twice and the ceiling is already set to negative one anywhere from negative one to negative 1.5 is totally fine you don't want to set it higher than that because this is what's

going to do that true peak limiting technically it's isp limiting which is inter-sample peak but you don't really need to know too much about that just set it to isp precise with a ceiling of negative one and you're good to go you can for the most part completely ignore this whole section right here for video stuff this is mostly overkill these two sections here are basically just compressors this is kind of a slow compressor more of a leveling compressor and this is a compressor that focuses on peaks it will be very handy to knock down

peaks before they get to this protection section at the end which you do not want to see have a whole lot of activity in it so if i just play the beginning again watch what's going to happen here and i basically only set one thing on here and that was i toggled this button here up to isp precise [Music] welcome to the why god why podcast i am hosting alone my name is peter engler and i'm here with our producer dave bodie we have a special guest today all the way from portland oregon um it's

siobhan pens there we go you can see that my true peak level i think rose by maybe 0.3 my integrated loudness really didn't change all that much but now i have this nice limiter here that's going to protect me in case i wasn't so good at you know setting up all these levels here plus i have a whole 50 more minutes of jazz going on here so these are pretty good default settings the only thing that i normally change are in the peak limiter here i set this to c which i believe is the fastest

reacting type of peak limiter and i set the threshold up anywhere from negative 1 to negative 3. this is going to be content dependent so one setting is not going to work for every project you're going to have to tweak this a little bit for best results but you know anywhere in here is fine and then i usually pull the threshold down a touch and increase the attack time here on the compressor just to make it not react so much i also change the oversampling mode from 1x up here to 4x this can help with

aliasing and hopefully decrease distortion and that's pretty much it now there's many more effects that you could add one that i sometimes will add is a multi-band compressor and this is if i'm hearing some frequencies pop out every once in a while you can apply this usually i just set this to classical master and then set the attack times to 5 and the release to 10 and then disable this limiter here and that is a pretty general and pretty conservative setting although for this project i don't really need that but another thing that i like

to do sometimes is add fur comp to the slot right above limiter number six and the reason is that sometimes it's handy to have a really fast super clean compressor handle some of the peaks before they hit this limiter here because yeah this does have a peak limiter here but this can be handy for just knocking down really small peaks and i mean really really small peaks normally i would set the threshold up to like anywhere from maybe negative five to negative three set the release time pretty fast and the attack time pretty fast set

this to look ahead let's see if it's going to do anything welcome to the why god y podcast i am hosting alone my name is peter engler and i'm here with our producer dave bode we have a special guest today all the way from portland oregon it's going to do a very little bit for this particular project but on another project it may do a little bit more and that's pretty much it there are a lot of other effects that you could add here things like eq dynamic eq other types of compressors but if you

use one thing only well let's say if you use two things only use loudness meter so you can keep track of your loudness for your project so if i wanted to really quickly get this to youtube levels i would target this by clicking this button right here open up limiter number six and just turn up the gain by a little bit on the compressor and the peak limiter and that's it and now if i play this one more time we should see this much closer to negative 14. actually i'm gonna reset this and then play

it [Music] welcome to the why god y podcast i am hosting alone my name is peter engler and i'm here with our producer dave bodie we have a special guest today all the way from portland oregon it's siobhan penn siobhan is a counselor and a life coach he also is a blogger and an author and we're really focusing our conversation today on why am i so stuck so we think about the past year in the pandemic trying to make change so that looks really really good to me normally i don't try to get it quite

this loud but let's say that you did want to get it to negative 14 it does not need to read negative 14 for the entire time this is basically an average of everything that i have played since i reset it so this is totally appropriate and you can see with this one effect here which by the way it's free i can really easily manage my levels in fact if i didn't do anything or i did a lot less over here i'm just going to take off the fur cob instance that i had over here and

i play the beginning you're not going to see a whole lot change here because this compressor and this limiter and this other fur comp here is going to catch a lot of the extra peakiness and we should be in pretty good shape welcome to the why god y podcast i am hosting alone my name is peter engler and i'm here with our producer dave bode we have a special guest today all the way from portland oregon um it's siobhan penn siobhan is a counselor and a life coach he also is a blogger and an author

and we're really focusing our conversation today on why am i so stuck so we think about the past year so we're really close i'm within uh three quarters of one decibel and if i just turn this down just a little bit i'd be right there but even though this number is within one decibel of what it was before it does not sound the same it's not nearly as smooth so that's why i think this lesson is important the previous lesson is important about using compressors and this audio stuff it does matter and it can make

a big difference coming up in the next lesson i'm going to show you a really easy way to normalize your loudness for your entire project with one click is it going to sound the same as doing some work to manage your levels no but it's really easy to do so check that out coming up next in this lesson you will learn how to do loudness normalization on export so for this lesson i have set up a little example in a little comparison premiere has a great feature where you can do some loudness normalization when you

export your project let me show you that right now if you hit control m on the keyboard and bring up the export settings any format that has audio should have in the effects tab the option to do loudness normalization and if you check this you have a bunch of options here that you can set to manage the loudness of your project now the first two and i believe the default is going to be atsc which is a broadcast standard and the same thing for ebu that's also a broadcast standard i believe this is the north

american broadcast standard and this is the european broadcast standard both of those are completely irrelevant for anything that you're going to do on the web so what you want to choose is itu-bs 1770-3 and this will allow you to set your target loudness so for example if you wanted to do the youtube target loudness which is fairly loud of negative 14 loudness units full scale you can type that in there and then this is going to adjust the amplitude as your project goes along so that the end result is somewhere in the neighborhood of negative

14. now i say neighborhood because there is a tolerance setting here and what this does is if your project's loudness is already within the tolerance range of the target loudness right so if it's two loudness units away from negative 14 it's not going to be altered at all and you can adjust that if you need to nail negative 14 you probably want to bring that down to like a half a decibel or so i'm going to leave it at 2 for now you can set your max true peak level the default is negative 2. negative

1 should work for just about every major web platform out there and i also configured the true peak limiter here the default values are 12 milliseconds and 200 milliseconds this doesn't turn on and off the true peak limiter this just configures the settings so the default values are probably fine i just set a little faster look ahead and a little faster release time for that and you also have the option to write a loudness report if you want to see exactly how loud your project was you can check this box and it will write an

xml file you can also specify exactly where you want that report to be located so what i did for this example to show you the difference between setting up some compressors here and using master bus effects is i duplicated my sequence and over in the audio track mixer i took off both of the compressors that i had on pete's channel both of the compressors that i had on so von's channel and the two compressors that i had on the master bus i basically took off all of the dynamics processing on all of the channels and

the only thing that i left was this effect right here which technically is a dynamics processor but if you want to find out more information on this make sure to check out dan warhol's great explainer video that he did for tokyo dawn records on their youtube channel you can just google tokyo dawn nova and you'll find it this effect is a combination equalizer and dynamic equalizer as well as a wideband compressor and you don't really have to understand exactly what that does but just know that this is doing some general tone shaping so you can

think of this more or less as a really fancy eq and so i'm eq'ing pete's voice and i'm eq'ing so von's voice and i'm also doing some denoising but this processing right here is exactly the same as the processing over here and i exported both of these so we're going to look at one audio file that has processing with no loudness normalization so i am in control of the loudness normalization through my master bus fx through these processors right here and the only thing that i changed here is i took off all the compressors everything

else with the keyframes the levels of the individual audio files are exactly the same but i let premiere handle the loudness and i exported two minutes of each project and then i open them up in audition and what this allows me to do is take a look at the waveform it allows me to play them back and kind of a b them and it also allows me to look at the amplitude statistics so amplitude statistics measures a bunch of things in audition but the main thing that i want to draw your attention to right here

is the loudness and if i scan this it says that the version that i processed has a loudness of negative 15.05 if i jump over to the version that premiere processed and i just do another scan here of the entire file it's negative 15.08 for all intents and purposes that's exactly the same now i didn't set out to make it exactly the same loudness it just sort of ended up that way which i think will make for a nice comparison you can see up here the true peak level is negative one and in the one

that i processed it's also negative one so it's basically the same except if you look at the waveform it's definitely not the same in the version that i processed there's not as many waveform blobs as i like to call them that are going up to negative one you can see the the scale is kind of logarithmic here as the amplitude goes down so the top half of this actually encompasses only the top six decibels of the audio range but if you compare that to this version you can see a lot more of these little spikes

here are slamming into that negative one limiter so in general what you can see is that this file has a lot more kind of upper peaky bits and the lower peaky bits or waveform blobs just look maybe a hair smaller and on this version there are less spikes and really the difference here is just a couple of decibels but these middle bits here seem to be just a little bit fatter which means this should sound a little bit more consistent compared to the other mix now i'm going to play the beginning of both of these

for you and you can draw your own conclusion [Music] welcome to the why god why podcast i am hosting alone my name is peter engler and i'm here with our producer dave bode we have a special guest today all the way from portland oregon it's siobhan penn siobhan is a counselor and a life coach he also is a blogger and an author [Music] welcome to the why god y podcast i am hosting alone my name is peter engler and i'm here with our producer dave bodie we have a special guest today all the way from

portland oregon um it's siobhan penn siobhan is a counselor and a life coach he also is a blogger and an author my honest conclusion is that the version that premiere did the loudness normalization to actually sounds pretty good it's not bad i think i could recommend it for folks who maybe don't have a ton of time to make sure that their projects are hitting the appropriate levels now that doesn't mean that you should not do channel processing and you shouldn't do a little bit of compression on your channels and do some master bus effects especially

a limiter but when i took all of those off this really doesn't sound that bad but there are a few things to take note one the beginning of this is way louder the music intro here this sounds much more like it is well like it should be and the loudness is negative 16.7 and then if i scan this one you can clearly see the wave is bigger and it's a good bit louder by around five decibels or so and that is pretty significant i could hear that right away so it seems like the premier's loudness

algorithm came in a little bit strong and then the rest of this kind of tapered down so that the overall average was negative 14. in fact if i just scan the back half of this so this is where siobhan starts speaking this is going to come in at negative 18.4 and if i do the same on my version so the back half of this and i scan this negative 16.23 between negative 18.4 and 16.2 is only about 2.2 decibels that's right on the edge of what you might be able to hear but the point is

to show you that doing a little bit of processing makes your entire mix a good bit more consistent so using premier's loudness normalization is probably best done when you do a little bit of processing here in the audio track mixer however even if you don't do hardly anything with compressors it still sounds okay so it's definitely a tool that you should keep in mind for your projects but i would recommend at least putting loudness meter on your master bus so that you can keep an eye on your loudness and then using something like limiter number

six or this is the paid version the gentleman's edition of limiter number six which is essentially the same thing it's just a little fancier but putting something like this on your master bus to manage the levels just a little bit and what i've showed you so far is really only scratching the surface of audio processing audio mixing and effects make sure to subscribe to the envato youtube channel for more great content on audio and video processing and more well that about wraps it up for this lesson make sure to check out the next section where

you will learn about edit enhancers [Music] in this lesson you will learn about using multiple monitors in premiere so welcome to my office slash edit suite slash creative safe space as you can see behind me i have a pretty modest display setup for my monitors i have my main monitor here and then i have two additional monitors up here and all three of those are connected to the same workstation i have another laptop over here which you see is displaying the same thing as my program monitor and i'm going to get back to that in

just a minute but let's talk about why using multiple monitors in premiere will make you faster for me over the years i have found that using at least one extra monitor allows me to have options i can spread my interface out over multiple monitors you can see on one of my monitors over here i have some scopes i have the waveform monitor the vectorscope and i have a lumetri color panel over here sometimes i like to put my audio track mixer and some essential sound tools over here or maybe i like to just double click

on some of the plugins that i'm using in the audio track mixer so that i can float them and monitor multiple plug-in instances in another window and not kind of clogging up my main workspace over here i like to have my main monitor pretty clear of xs panels and so having one additional monitor allows me to spread some things out if i'm working on color if i'm working on audio i like to have some tools on another monitor so i can have a big fat timeline because a lot of times i have a lot of

elements so i like to have a little bit of height and i definitely like to have my timeline pretty wide so that's one aspect we can spread some of the tools out in premiere and you can save your workspaces for a single screen and multiple screens and that's very cool another reason is for communicating with other people if you're like me i work with other people a lot sometimes it's just communicating with an art director or somebody else involved in the project and i may send them a version of the video and they'll have some

notes so what i like to do is have those notes open on another monitor and be able to reference what's actually happening in my edit at the same time i really don't like to flip back and forth between full screen applications if i have premiere open on a single screen even if it's a big screen i have to minimize that or swap back and forth between full screen apps and i find that really annoying it's distracting and it kind of breaks my flow so i oftentimes will have a web browser over here with my email

with basecamp and all of my notes and documents and then i can have a full screen premiere instance open and that helps me to work faster in addition to those ideas for using multiple monitors you can also use a second or third monitor for full screen playback of your program monitor basically whatever you are playing in premiere will show up full screen on another monitor and this is really easy to do if you go into edit preferences as long as you have mercury transit enabled you will see an option if you have an additional monitor

for selecting that monitor to use for full screen playback and when you do you will see that your program monitor now shows up full screen without any interface and that is really handy because when it's bigger you'll be able to see details that you weren't able to see when it's smaller here in the program window because i'm guessing if you're like me a lot of times you edit in a workspace that looks something like this with a smaller program monitor and that's fine for editing content and putting things together but when you want to look

at the details of the color or you know maybe you've made some selections with lumetri color using some masks or whatever it's really handy to see that on a bigger display so definitely check that out now maybe you're in a situation where you only have one extra monitor available and you want that full screen video option as well well there is one other way and it's a little bit more technical to get that for you as you see over here like i referenced in the beginning of the video i have a laptop running the video

from premiere now this is a completely separate system this is not a display that's connected to my main workstation if i hit play in premiere you can see that it'll play over here now there is a little bit of delay and i'm sure you saw that which for me is not a huge deal this is not something that i use all the time but i wanted to show it to you because it gives you a few options how this is working is with a technology called ndi ndi is a video networking technology that allows you

to put very high quality video over on your local network and then be picked up by other devices they can be dedicated hardware devices they can be just another machine here it works on mac pc and linux and this allows you to have a display either close to your main workstation or very very far away because it'll work wirelessly and it'll probably work better wired but you can have a very long network infrastructure and put the ndi video from premiere on the network and have someone else in another part of the building very very far

away monitoring that so that definitely opens up some options now i'm not 100 sure that premiere comes with the ndi option available if you go to edit preferences if you see that ndi option there you're all set if you don't see that you're going to have to go to ndi.tv and download a little installer for ndi tools ndi tools comes with a bunch of really handy tools and one of those is the plugin for premiere and after effects once that is installed you should definitely see it in premiere and then you can experiment with ndi

now so far i haven't been able to get this ndi premier program monitor set up to work with audio i can get the picture to work and that's very easy and there are options for ndi playback in the premiere pro preferences however i can't see any way to actually make it work i select it for audio playback but it just doesn't work now they may fix that in the future they're always working on something at adobe but the audio portion doesn't really work at the moment at least for me your mileage may vary so that

about wraps it up for this lesson using multiple monitors with premiere or really any creative application will definitely help you to work faster all right coming up in the next lesson you are going to learn about third-party video effects [Music] in this lesson you're going to learn about some third-party video effects for premiere pro so premiere comes with a bunch of stock effects if i expand the effects panel here by hitting the tilde key on the keyboard and i drill down in the video effects you can see we have things for adjustments blurs and sharpening

we have some color correction some distortion effects some generators some perspective noise and grain a lot of basics are covered with these stock effects and you can even combine a lot of these stock effects to get things that are really pretty great looking with some adjustment layers and maybe even some very rudimentary keyframe animation of some of the effect parameters but sometimes this just doesn't cut it and it's faster and easier to use third party effects so i want to show you just a handful that i personally have used over the years in premiere now

for a more detailed list of the plugins that are available you can check out this plugin page on the premiere pro help site on adobe.com and this lists a bunch of third-party video effects right here some of them are good some of them are not so good but you can check those out and see what is available now a product that i have actually used i wouldn't say frequently but more than any other third-party video effect over the years is a product called universe formerly it was called red giant universe red giant has been acquired

by maxon the makers of cinema 4d and universe is a collection of 89 gpu accelerated video effects and transitions now i'm actually going to hop over to the max on site to show you these because it's a little bit quicker and faster to show you on their web page so this is maxon.net and this gives you a nice little preview of a bunch of these effects so some of their top effects i think are kind of listed at the top here chromatic aberration is a great kind of distortion effect where it distorts the outer parts

of the image kind of like a vignette and then apply some color shifting to that it's a very slick looking effect they have all kinds of vhs or stylization type effects here you can see you can make it look like old-timey footage that was recorded on a vhs player i think these are very strong as well there's some nice glitch effects that they do as well some of them are a little bit well glitchy you can control that to some extent in the effects but you can see some really nice distortions and breakups here very

cool glows are another area where universe i think really excels there are a bunch of different glows i think this is just the basic glow now premiere doesn't even come with a very good glow at all in fact i don't even think it has a glow there's something called vr glow that i've never used but other than that there's not really a good way to apply some glow to footage this glow looks pretty good there is also this glimmer which i think looks pretty nice and there are a few other glows that i'll show you

on the next page there's a retrograde for adding this kind of old-timey film look there's some typographic treatments that universe comes with there's a pretty cool reframe effect in here which does this picture in picture and sort of perspective distortion effect it's something that you could do in after effects pretty easily but in premiere keyframe animation is just more times than not it's more trouble than it's worth so this is a pretty cool effect if you need something like that i'll show you just a couple other effects that i think are pretty nice looking they

have some type on effects that are okay a camera shake effect which is okay some glitch transitions which are pretty cool there's some nice 16 millimeter film grain although this is something that you could just get from let's say envato elements and get some stock footage of film grain a lot of times that's actually easier to use and it plays back faster in premiere there's a nice edge glow a shrink ray effect which has kind of a fake tilt shift that's pretty cool prismatic displacement i'm not sure this is something that you'd ever use in

premiere but maybe misfire gives a kind of a really garbage looking film kind of look with all these blotches and scratches in your film here's another glow effect that i think is pretty cool it's called glo-fi 2 i mean you can just see on the preview here that looks pretty dope over light gives kind of a light leak sort of look that's pretty good but again this is something that you could do with stock footage and so you can see there's a collection of some useful stuff and some things that you or i would not

find very much use in now universe is a subscription-based product it's 200 united states dollarettes per year now you may be thinking that is a lot of money for this collection of effects or you may be thinking wow that's a really good deal it really depends on your personal needs this is something that i own and have owned for a few years but honestly i've not used it so much in the last year so i have not renewed my subscription it's going to run out in a month or so but i just wanted to show

you because for some folks these stylize effects here are going to be absolutely critical for the projects that they're doing so red giant universe or universe covers a ton of effects and it's definitely worth checking out another effect that i want to show you is more of a utility and that is called neat video neat video is widely regarded as one of the best denoisers for video that you can get premiere doesn't have a stock denoising or degrain effect to clean up noisy footage now cleaning up footage is not something that you need to do

all of the time and for some folks they're never going to do it but when you need to clean up footage neat video is probably the tool that you are going to reach for because it is really really good so i just want to show you a little example of how neat video works on this clip right here now i know the noise in this clip is going to be pretty hard to see so i'm going to bump in here and go to a hundred percent this is an ultra hd clip that was shot on

a phone the google pixel 4a 5g it was on a gimbal so this footage is reasonably smooth but you can see there's quite a bit of noise here in the image now some folks are bothered by the noise and some folks are not personally i'm not bothered by this noise at all but if you wanted to take care of it i want to show you how neat video works so they have an effect called reduce noise and this is the version five and this basically works on a clip to clip basis meaning this is not

an effect that you can apply to a bunch of footage although i suppose you could but you wouldn't want to because you really sort of tune this per clip not every clip even filmed in the same lighting and environment is going to have the same level of noise based on its highlight and shadow detail because you don't really see a lot of noise in the highlights especially this clip because the highlights are clipped but even the brighter parts of the image don't display a lot of noise you usually see in the dark parts of the

image where you can see this color noise creep in so neat video works by selecting an area of rather low detail that has a good amount of noise in it and then you build a noise profile then you can go over to this adjust and preview tab and dial in the noise reduction in a very very detailed and complex way although it doesn't have to be complex a lot of times i will just select an area of noise come over here and look at it and go yeah that looks good enough and then click apply

there are a ton of tools in here to tweak the temporal spatial and general performance and noise reduction that is going on in here and there are some handy helpful tips like this noise check and local filter check and repeated frames check that will kind of guide you in the process and there are some tool tips that you can use that will also help you to tune this if you're having trouble getting the right amount of noise reduction now in terms of how this actually looks if you go kind of back and forth i think

the initial impression both for me and i think most folks who look at this are going to say okay so it has reduced the noise but it's also made the footage look a little bit softer and it has a little bit but if you really look at some of the details here in like the hair right here you can see if we go from the before and after it hasn't really crushed out details it's just softened some areas a little bit more than they were before the reality is the original footage here is not that

sharp to begin with like i said you can get in there and tweak things really really specifically but you don't necessarily have to i didn't tweak anything i just selected some noise and then hit apply and if you look it's done a great job of cleaning up the noise here now the only negative to kind of this advanced noise reduction is that this will not play back i have a very fast workstation that i'm recording and showing this to you on and even on my computer this won't play back in real time it'll play a

couple of frames and then freeze up so this noise reduction pass is really best i found to do kind of when you're mostly done with your edit because you're not really going to be able to work on this you'd have to basically mute all of the effects in your project in order to get playback once you've applied neat video you can try or buy neat video over at neatvideo.com for premiere it's 75 united states dollars if you want a bundle for after effects and premiere it's uh you can get kind of a bundle deal here

or if you have other products that you want to get neat video for you can check that out over at neatvideo.com that's it for this lesson coming up next you're going to learn about motion graphics templates in this lesson you're going to learn about mogurts in premiere a mogart is a motion graphic template and if you have not been using these or if you've not heard of mogurts this is going to be really exciting for you because they are a way to get really complex looking or fantastic looking titles and transitions into your project without

having to know anything about animating or after effects and i want to show you just a few so to get started you're probably going to want to come up here to window and then pull up the essential graphics panel i already have it loaded over here and then in the browse tab you're going to see a collection of various templates now you're not going to have the same set that i do i have a collection of third-party mogurts as well as some stock adobe ones which i never use i think these ones are some stock

ones i think they're pretty terrible looking but they may work for you but most of these are made up of motion graphics templates or mogats that i downloaded from envato elements i have some transitions titles and i want to show you how they work so let's take a look at a really simple one one that i use all the time i think this is called smart title pack so i'm just going to drag it into my project here this has been made for 4k and right now my sequence is just 1080 so i'm going to

set the scale to 50 percent and you may be thinking i don't like these slanty type titles i don't like these slanty type titles very much either or actually it's skewed not exactly slanted which is that i like them just kind of straight ahead and simple for most of my work you can see over here in the edit tab i just made those adjustments while i was explaining it it's very very easy and this is the template side of the motion graphic template you don't need to know about how this animates in and it does

anime and it's got this really nice what i would consider a simple animation animates in and then it animates out but you can change a bunch of things about this to suit your needs maybe you don't need a three line title for your project no worries we'll just delete the text there and that completely disappears we can change this to something like motocross x factor that could be the name of our show or something i don't i don't exactly know you can change the size of this the tracking maybe we don't want it so wide

we can change all of the color so let's do a different color let's pick a i don't know black that's not very creative um pink i like pink pink will work yes that's very cool you can just basically look here i don't have to explain all this stuff to you it's pretty self-explanatory tracking middle fill on and off bottom tracking we can change the font the font style we can change all of these options here for full bold full italic all caps small caps and for this particular one you can change the slant and the

skew and maybe this is not in the right spot maybe you wanted to use this as a lower third well you can just move it to wherever you want i could scale it down even more and i could use this as a traditional lower third with like a name and a title sort of thing for me this is the sort of thing that works for a lot of different projects i work on a lot of corporate things things that are you know maybe not so flashy and so titles like this really work for me but

there's certainly a lot more what you might consider creative stuff and i wanted to show you a few of those as well i found this great pack here that has a bunch of these brush elements in them this is also kind of a 4k scaled thing here so i'm just going to scale that down a little bit you can see over here you don't like red no problem let's change that to blue boom nailed it we can change the text again all of the font properties we can change we can change position now some of

these get pretty wild with position because this is set for a 4k comp you can see that we can change the position either positive 3840 or negative 3840 which is probably way too much if you double click on any of these properties they go back to the default which is very very handy because sometimes they can get like out of control you know you might wing this at one place and then like where to go and then you're trying to get it right back to where it's supposed to be well you just double click it

and things will go back to their default positions this has a nice little animation on and uh i think this oh yeah this does animate off and you can see for this one this is too long i mean maybe it will work for you but for me this is too long i can just grab the rate stretch tool by pressing r on the keyboard and then just scooch this down and then it just kind of flies on i actually like the way this looks better and i think that works pretty well the nice thing about

this is that it i think it looks better to have something that's a little bit slower and then to be able to shrink it down or speed it up rather than the other way around if you have this short slowing it down may not look that great but if you go the other direction i think it does so that's another one that i think is pretty cool okay this one i think is very interesting this is another kind of 4k one you know everything's 4k these days but you'll see that this one takes a second

to load in i'm just going to set it to 50 and then i'm going to play and this brings up another very important thing that i want to talk about these motion graphics templates or mogurts are running in after effects in the background even though you don't see after effects running it's running in the after effects engine in the background and so some of these like you saw here when i chucked this into the timeline it didn't show up for a couple of seconds and that's because this one is quite a bit more complicated than

the first two that i just showed you here and it will play but it did take a few seconds for this to kind of load in i also have this set to half resolution playback if i set this to full resolution on my system it's probably not going to play back in real time it may chug yeah it chucked and i have a pretty fast computer this is a 16 core machine with 128 gigs of ram and a pretty decent video card and it's it's still not going to play this back so if you're on

a laptop if you're on a lower powered machine you may have to clock this down to like half resolution to get this to play at all this one is all being driven by shape layers and you can change the color of all of these shape layers to like whatever you want we can really get in here and customize and you can do the same thing for the text but i just wanted to point that out is that not all of these motion graphics templates are going to play back super smooth on your system you know

but that's the trade-off for for this more complex looking graphic here there's a couple different workarounds you can do to this like if you got this title just right you could nest this and then render it out it's something that you can do pretty easily for example you can just nest this chuck it in a nest and now this is just a video layer so i could go in here to my nest and i could just render this out i'd hit control m on the keyboard and i'd bring up the export settings set this to

quicktime and you'd want to pick a preset with an alpha channel i usually use gopro cineform 12-bit with alpha and then you render that out when it's rendered out it'll just be an alpha channeled video you can bring it back in and it will play like butter if butter was a thing that you could play which you can't but i think you understand what i'm saying it'll play back very smooth once it's been rendered out and sometimes you have to do that because it's just it's too painful to work with some of these more complex

motion graphics templates but they're not all that way some of them are pretty simple especially when it comes to these more simple titles like this which i think is another very cool title that i just found on envato elements i like this because it's a big title it takes up well not half of the screen but a good portion of the screen and this just like the other ones has a bunch of customization that you can do i mean you can see this is a big long list of things here we can change the box

width we can change the box opacity we can change these colors here maybe we want like a nice deep red there that looks fantastic i mean like i really like that that's not a dramatized statement i think this looks pretty awesome now not all of the motion graphics templates are titles some of them are transitions and a type of transition that i really like is a light leak or kind of a lens flare thing and this is another transition that i got on envato elements these are 4k light leak transitions i believe this is called

and if i set this to 50 you can kind of see what's going on here and you may be thinking well that's just a piece of footage that's playing and you're not wrong if you came to that conclusion because this sort of lens flare is not something that's being generated or animated in after effects necessarily it's probably a recorded piece of footage however the nice thing about having it as a mogurt is number one you don't have to keep importing them into your project every time but two it comes with all these preset customization options

in the edit tab here to make this work however you want we can do some flips we can change the hue of this without having to apply any effects now the effects are already applied in after effects i mean that's how this works but it sure is handy to just throw one of these things on there and then you're like well you know i don't really like the colors of this maybe i want to give it a little tint and you change things around super super fast and to actually use this i'd probably throw this

in either screen mode and then i would take this part right here and line that up right at the transition point something like this and now i have a nice lens flare type transition anyway a bunch of great transitions graphic elements and titles are available for mogurts and to add these motors what you want to do is come up here to the flyout menu in the essential graphics panel choose manage additional folders and from here you want to point premiere to the folder where the mogerts actually live you can also remove them here and that

will get them out of your project but let's say we want to add one in you can see here i have a pack it's called liquid transition pack premiere pro mowger if i click select folder and then i choose okay it's going to look like it refreshed over here but those liquid transitions are not in here and i want to show you that over here that's because in this folder this liquid transition pack premiere pro mogert there are no mogats they're actually inside this elements folder so that's the one trick with these is you have

to point premiere to where the mogerts actually are stored so if i click this elements folder here and then select folder and i click ok now it's going to update and i should see my liquid transitions there they are right at the bottom well that wraps it up for this lesson coming up in the next lesson you're going to learn about post-production camera moves [Music] in this lesson you're going to learn about post-production camera moves all right let's get one thing out of the way right off the bat number one these are not really camera

moves i know it says in the title and the effect that i'm going to show you kind of looks like a camera move but it's not really a camera move but we are gonna fake it to some degree and this is a really handy trick to know it can give your shots a little bit more movement when they don't have any so for example i'm gonna unmute my audio here and i'll play you the first couple seconds of this edit of this motocross edit one more time check this out it starts off okay we have

a nice shot kick starting the bike here revving it up taking off some dirt flying i really like this shot however the first two they don't really have as much energy as the rest where basically every shot is moving so let's say for example in this clip right here i wanted to do a little push in on the foot well what i would do is click on motion for this clip and that will bring up the transform handles here and also the anchor point right here and if i want this clip to scale from any

place other than dead center in the clip what i want to do is move this anchor point so i wanted to get it to scale from up here which is a lot more convenient than having it scale from the center and then also animating the position which you could do if you wanted but this will really save you some time if you do it this way so i'm going to drop a scale keyframe i'm going to pull that all the way to the beginning because i want this to start at 100 and then i'm just

going to scale up this clip a little bit yeah probably not 120 but maybe like 110 this is not a high res clip it's just 1080 so if you don't want things to look too soft you probably shouldn't scale things up a ton past 100 if you're dealing with kind of just native resolution footage this is a 1080p timeline and this is 1080p footage so you know 110 115 is that's probably okay and then i'll drag this keyframe almost to the end now a little trick that i'll show you here is if you press down

on the keyboard to go to the next edit point and you do have to make sure that your video track is targeted for this to work and then i'll press left this is where you want to snap the keyframe to you can snap the keyframe to the very end of the clip and this is the out point of the clip but that is essentially useless because if you want to put the cti in the effects controls window right over your keyframe and make an adjustment you can't because if you go to that keyframe by clicking

this button here go to next keyframe it goes to the next clip because that's where the keyframe actually is is at the start of this frame so it's kind of useless to put the keyframe right on the end there you can put it right here and it's a lot easier to work with so that's my trick it's not magic but you just press down and then the left arrow key there you go so that's where i want it to end let's see how this looks nice okay it's it's not magic but i think it gives

it a little bit more energy we could go maybe a little bit more here let's just let's just bump it up throw caution to the wind there we go okay it's not bad it's only for a second so i think it's okay we could do a similar thing here i could do another push in here i'm going to click on motion and make sure that my anchor point is over the glove here because that's that's the focal point of this shot right here and then i'm gonna go to the end there and hit the left

arrow and i'll just push in here just a little bit yeah something like that don't don't don't don't yes i can feel that intensity i don't know if you're feeling that from where you are sitting or standing or laying down but i'm feeling that that's looking pretty good so that's just kind of basic stuff if you've never thought to do that well now you have that in your skill set you have that in your pocket to use and that's really handy you know a lot of times i'm working on footage for corporate pieces and i'll

have shots that are like slider or dolly shots and it'll be like slider slider slider and then static shot and this is what the client really likes they like this particular shot but there's not a moving version of it so you can use this trick to help get you some movement another thing that you can do is you can just scale up the footage without animating the scale so let's say we put this app i don't know 115 and this will look a little bit better if you're working with like 4k footage or higher than

whatever your timeline or your sequence is set to and then you can do a bit of a pan now you can do this by hand if you want we'll set a position keyframe right here actually let's just go back to the beginning i'll click on motion if you hold ctrl you can actually just snap the footage right to the edge of the frame it's kind of a handy thing you can do and i'll go to this frame right here i'm going to click on motion again and then i'm just going to hold control while i

pull this down to the top corner and that'll just ensure that i don't accidentally move it just like one pixel inside and then there's a little black line over here that's that's not great looking so now i have a nice little extra movement to this shot now it already had some of that movement but i'm just making it a little bit nicer here by doing this position animation i think that looks a lot better gives the piece a lot more energy one final tip i'm going to show you and you may have seen it over

here because i left it open i've kind of given it away but i want to show you a free preset that you can download from premierepro.net called yarl's deadpool handheld camera presets that is indeed a mouthful but these presets created by yarl were used on the movie deadpool and they are handheld shake presets which are pretty cool so let's say we take this shot right here which is it's okay we got guys jumping off the the jump here and that's all looking fantastic but there's not much movement to it so let's apply one of these

cool presets here let's go for long lens and let's check out what this looks like now whoa check that out that's some nice looking camera shake i admit i'm saying that honestly that is not a dramatized statement i i really think that looks nice now yarl has some presets here for any footage this is code for footage that is not high res or higher res than what you're working with and then for oversized footage and the difference is that the oversized footage presets do not scale up the footage so you see that this scaled it

up to 105 percent so that you don't see the footage like moving off of the frame where you don't have any kind of black edges around and it works fantastic these are great presets we can take any of these and give them a little bit more punch let's do uh let's do one called more movement and this one is not made for oversize but we can actually use it anyway i'll just scale up the footage a little bit and that'll be fine so let's check this out hey i like that that looks pretty cool and

if it's not fitting quite right you can maybe scale it up a little more and then adjust the anchor point you're not going to be able to adjust the position because as you can see there's basically a keyframe on every frame or pretty much actually they don't line up with the frames but it doesn't matter you can't adjust the position because that's just going to insert a keyframe and there's already a bunch of keyframes so that's not really going to work however you can just adjust the anchor point and that'll shift all of your footage

in any direction that you want so if i wanted this to kind of bias more towards the top of the frame i would just make that adjustment here with the anchor point and then just scale the footage up a little bit more so that it's not running off the edge and then i get something like this boom i like it or we can go even crazier with that shot let's just drop one called even more movement or i guess it's more lots of movement that's what it's called and i'm going to have to scale this

up quite a bit and probably move this over just a little bit let's check out what that looks like nice that's not bad i probably want to really make sure this is at the edge of the frame here so that i get more of that action in there boom like that but they're really great looking presets they are free and they're super easy to install you just download them you can chuck them in any folder you want you can just right click here in presets go to import presets and then wherever you have put urls

deadpool camera shake presets you can point premiere there and then they will show up right inside premiere very very cool stuff make sure to check out the next lesson where you're going to learn about multi-box creative edits in this lesson you're going to learn how to create split screens and multi-box effects sometimes in editing you need to show more than one thing happening at the same time so let's say for example scrubbing through the footage here and i want to show this section but i want to kind of split screen it so we can see

the two things happening here at the same time so what i'm going to do is put both of these on separate layers and i'm going to extend out these clips so that they're both happening at the same time and i want to move this one over to the left side a little bit and i wanna kind of reveal the bottom clip underneath that most of the time what i do to do this is i will use a crop effect now if i was in after effects i would be using a track matte you can use

track mattes in premiere however i don't think they work very well for most applications it's faster for me to just use a crop effect if i want to get just a simple straight line down here i'm going to use a crop effect so to do that i'm going to throw the crop effect on the clip and then i'm going to crop the right side and if i want to do a dead center split here what i'll do is maybe throw a guide up here so i just enabled guides and if you click and drag i

want this right at nine sixty now the current zoom level makes it nearly impossible to get nine sixty but if you come into a hundred percent here you can get that right at 960. if you select the crop effect you can get this edge here however it's not going to want to snap right to the middle but if you're zoomed in a pretty good amount you can kind of move this over in small enough increments that you can line this right up with the center of the frame if it's off by like a pixel i

really don't think anyone's going to know the difference now this footage on the bottom here we're going to need to modify a little bit um probably the easiest way to do something like this which is a little bit more complex you know if this were two people talking like two talking heads this is pretty much all you need to do you can take this footage and just slide it over and move this footage and have that be right in place and they're not going to move with stuff like this it becomes a little bit more

complicated because the frames move and so my dirt bike rider here he goes out of the frame that's not really going to work for me so i think what i would probably do instead is take this footage here and nest it we'll call this uh ride away and then i'm going to take this footage here i'm going to reset the transform and then what i'm going to do is just animate this by hand um to make sure my guy here or woman i don't really know who is writing it's jesse it could be a man

or woman doesn't really make any difference but i'm just gonna push this person this rider over here with the position controls and make sure they're on that side of the screen and it may look a little bit herky-jerky here so i'm going to take this keyframe here and maybe give it a bezier there we go that looks fantastic now in my nest i'm going to reapply that crop and then just crop it to 50 because now i don't really have to worry about where exactly that is i know that this nest is 1920 by 1080.

if you didn't know that you can just come here to the nest sequence settings and just look it is 1920 by 1080 and if i crop it by 50 on the right it is in the exact right position i can do the same thing with this clip here it's probably the fastest way we'll call this uh ride toward and then i will do the same thing for this clip here i'm gonna drop a position keyframe here and i'm just gonna modify this so that it's in the exact right spot i don't think i have to

really modify this all that much however if i wanted to maybe scale this up a little bit things are going to get pretty hanky because i maybe want this guy to fill the frame a little bit more towards the end of this clip yeah i think that looks a little bit better so i'm just delete those keyframes and redo it here just a little bit yeah i think that looks better i'm going to go to the end and make sure that i put this keyframe right in the last frame there there we go and i

don't have to worry about cropping this at all very nice i think that works fantastically i'm going to get rid of my guides here by the way if i haven't said this before all of these buttons here are completely customizable you can click this button editor here and then you can reposition any of these you can just click and drag you can add you can see there's a bunch of buttons that i don't use but i'll just go over really quickly since i have you here some of the buttons that i do use there's the

add marker button show rulers global effects mute this is really handy if you have some effects which are incredibly processor intensive that you throw on and you can't leave them on while you're kind of watching through but you know you have them set right and you need to mute them or there's some other issue where you need to globally mute all of the effects in the project that's a cool button to have up there there's the show guides button then the standard buttons that are here by default and then another one which you may not

have is called toggle proxies anyway all that to say this is completely customizable including you can put some space down here like a little break between these sections if you will well that doesn't really work right let me try it right there click ok there we go and you can kind of break them apart a little bit if that's helpful for you now if i wanted to add a little break here a little visual graphic to break up these two frames because maybe you don't like the way that this kind of looks similar but it's

not exactly the same the colors don't quite match super easy to do over here in essential graphics i already have the panel open if i jump over to edit i can click on this new button here and just off the screen is rectangle let's create a new rectangle here and i'll just size this up now sizing this is a little bit kind of wonky because usually when you're making these sorts of things like after effects and some other programs if you use a keyboard modifier while you're clicking and dragging like alt or control it'll scale

both sides like if i hold alt it should scale both sides in towards each other but it doesn't but that's no big deal i could just make it as thin as i want and then grab the anchor point tool and hold ctrl and i can snap that to the center if that was important to me and then i can use this horizontal center here and i probably change the color to something like white or maybe even pink that's cool there you go and now i have a nice little break between those ah who am i

kidding i'm gonna change this back to white because i don't like i do like the color pink i just don't think it works here you can also use the scale controls here so i could make this skinnier with the scale like that that also works really simple to do and now i have a nice little split screen and you can get way more complicated than this maybe you want to do some kind of a quad box or maybe one over here and two over here no problem let's do it live let me take my guy

here reset my scale delete my position keyframes i find this one of the worst features in adobe premiere why do i need a babysitter i click the button if i want to undo it i'll just click undo but every single time you make a keyframe and then you delete it says hey hey are you sure you want to do that i mean you could really mess some stuff up okay i get it you know i get it thanks thanks for that friend all right so let's say i want to do a box like this okay

i already have a line there i'm going to drag another guide right to the middle of the frame which should be 1085 40. so let's get that close 540 boom and i'm going to position my rider right up there now this time i may have to do a little bit more to keep my rider in the frame maybe towards the end of the frame yeah so i'm going to do this i'm going to reset my position i'm going to grab motion here get rid of my guides for a second and snap the and snap the

anchor point to the upper corner and i think i can get away with just doing a scale i'm probably gonna have to do scale and position so i'm gonna go over here like this and then i'm going to position this over like this and i think actually that's all i'll have to do get this make sure this is on the last keyframe here just like that i think that'll keep my rider right here i could bring them up in the middle here like that probably want to set this to like a bezier here so it

doesn't look like it's ping-ponging all around let's see how that looks yes that looks fine perfect okay so i'm going to come back to my graphic here and i'm going to rename this to vert line very good and i'm going to duplicate that i'll rename this to horiz line stands for horizontal and then without messing with the scale of this i'll just rotate this line 90 degrees and just push it over i don't need to make sure anything lines up it's just white on white so it's going to be totally fine i'm going to get

rid of the guides now and let's take this shot here and bring that out and let me get rid of a hold shift and just enable this down here and find out what we're working with okay so i have jumping over here very good i may be able to just kind of slot this in behind these other two shots because at this point i can take my guy right here remember even though it's only showing me this bit right here this nest is the entire frame so i can put a crop effect on here i

can crop the left side by 50 and the bottom by 50 and that's going to lock this person to this upper corner i don't have to worry about positioning this at all i can do that in the nest if i need to make any adjustments but that's just a really easy way to get a nice corner shot there living up in the corner and then for this shot right here i'm going to just move this over and get that right down here i'll probably scale this down let me just line it up just like that

i think that'll work as long as it's pretty close to the middle i have some coverage there with that line there we go all right let's turn on these other layers holding shift and click very good let's see what we have here heck yeah that looks great i really like that let's see what it looks like with the music [Music] i like it so there you go a really quick and simple way to do multi-boxes you can do all kinds of combinations of multi-boxes you know third splits horizontal splits whatever you want to do it's

pretty simple to do you can use essential graphics to help break up the frame by creating some nice little white or various color frames you can get as creative as you want and really add some more dimension to your edits coming up in the next lesson you're going to learn how to add markers for really fast editing of music and video in this lesson you're going to learn how to use markers to create a rhythmical edit if you've been following along in this course you will have seen a few edits that i have put together

that have footage that is timed to the music like this motocross edit right here [Music] i don't need to play the whole thing you've seen it a few times by now i'm sure and i want to walk you through some different ideas that you can use to create these sort of rhythmical edits now i understand that not everyone is a musician and so this may be more of an abstract concept but i'm going to kind of walk you through the process i'm going to duplicate my sequence here and just open this up and i'm going

to delete all of my footage here and kind of start fresh with just the audio now even if you do have footage in your project what you might want to do is to just toggle off all of the track outputs for your project so that premiere doesn't slow down on any troublesome clip i mean let's be honest sometimes premiere does that for what seems like no reason whatsoever but turning off all of the outputs should help to clean things up so that you can very precisely get those markers to line up where you want them

to i would also disable all of the track targeting so that i don't accidentally have my clip selected here instead of creating sequence markers i would have created clip markers if i have this selected so without my audio clip selected if i press m on the keyboard that drops a marker so the idea here is that you play back the music and you tap the m key at some sort of rhythmical interval to drop sequence markers let me show you so i'm just going to tap one of my hands on my desk and then every

four beats i'm going to hit the m key and drop a sequence marker one two three four one two three four one two three four one two three four one two three yeah it's not bad i i kind of messed up the end there let me see if i if i undo the last two let me see if i can get this a little bit better at the end there we go okay so the last bit might have been a little advanced it may take you a few times through but i think you get the

idea here in fact i may drop maybe one or two more in the beginning here let me just listen through one two three four one two three one two three four one two three there we go i knew there was a little rhythmical hit coming up here because i've heard this song like i don't know 87 times by now and i knew in this measure there was this little thing bom bom so i just dropped two sequence markers there there we go now i have a bunch of sequence markers in my project and i can

use that with my footage and automate to sequence really quickly check this out select all my footage drag it to automate to sequence i'm just going to go with the selection order and i will change the placement to at unnumbered markers and then click ok and actually i want to go back to the beginning to do that that was stupid let me try that one more time there we go okay a couple of them are not going to make it all the way because they have an in and out point that is just a little

too short to fill the gaps but let's see what we have turn this on so we can actually see [Music] all right i think that's pretty good now maybe doing all that rhythmical tapping is too complicated for you i admit for some folks it may be because i accessed the inner drummer in me to pull off some of those more rhythmical taps and that's okay you know that's not everyone has that skill set that's totally fine and for those of you who don't have that skill set there is a product that you may be interested

in called beat edit two for premiere pro and i'll tell you right now this little message is not sponsored by be edit two but i think it's a really cool product for those of you who do this sort of thing you're making i don't know instagram supercuts you know a bunch of music and a bunch of footage or stills and graphics and you want a tool to help you do it this is the one it is 99 but i'm going to give you a quick demo and you can decide for yourself if you think it's

worth it you should definitely check out the demo as well on aescripts.com which is where you can find it so i just launched this by going to window extensions beat edit you can see i have two versions this is the old version which i do actually have a full license for and this is the new one be edit two and i just have a trial license but that's okay because it more or less works just gives me 15 seconds of markers which is plenty for this demo so i'm going to select my clip here in

the timeline and then click load music and you can see when i did it got to work doing some beat analysis here and then if i play this in the beat edit extension [Music] [Applause] you can hear it's created a little click at every single beat and if i took this as it was right here and i just clicked the create markers and i had it set to sequence markers it's going to drop a bunch of sequence markers in the project here and they're all right on the beat and this is way way more accurate

than you could do it by hand unless you were kind of a professional musician it's also way faster than you could do even if you were a professional musician because there's no way that i could do this faster than be edit and its algorithm could do everything that i just did now that added a marker at every beat which i don't think is ideal for this particular project however i can alter that by doing one beat every four beats and then if i click select [Music] let me go back to 1b and let's try that

one more time and i think if i put the cti in the extension right there there we go now it's gonna create one beat every four beats which is exactly what i did the first pass there we go now if i hit add markers you can see for the first 15 seconds because it is the trial it's going to do exactly what i just did but this gets even better i'm going to delete those markers and show you something else that's even cooler so you can have it add more beats by subdividing the beats like

this that's gonna drop a ton i don't really want that i want it to do one every i wanted to do one every four beats but i wanted to do it here but there's another option down here called add extra markers and what this is going to do when the slider is set to musical is it's going to listen more or calculate with the algorithm and drop some more markers in a very musical way now because this first couple of bars of the music has this kind of lo-fi high-frequency roll-off thing it's not going to

be able to grab on to some of the musical rhythms that are happening in this section here but you can see here throughout the rest of the piece of music check out what it's doing [Music] very very cool stuff so if i add these markers to the piece like that i get some great markers in here let's just do another automate to sequence looks good whoops let me put the cti back at the beginning and try that again cool let's check out what this edit looks like let me fix these few there we go all

right let's check this out obviously not the greatest cut of that first clip but that's okay okay if you're not impressed with that right there i mean let me just play this quick section right here again now i did select a pretty dope clip for this riser kind of sound effect in the background but i mean that was cool how that all lined up was very cool so again this is not a plug i don't get anything if you get this extension for premiere they haven't paid me for this but i just wanted to show

it to you because i honestly think this is a really excellent tool why don't i use it why haven't i purchased it because i went to college for music so this is not something that i actually need i'd prefer to spend my hard earned dollars and cents on you know effects and plug-ins and things of that nature but for you if you kind of struggle with lining things up in premiere to the music or creating edits to music that's probably the best tool that i have ever seen again that was just the trial version and

there are definitely way more features to that extension you should check that out over at aescripts.com that's it for this lesson make sure to check out the next lesson for some more great tips and tricks [Music] thanks so much for watching this course if you followed along you will have hopefully learned several new ideas techniques and skills even though this course didn't cover a lot of the new and exciting features of premiere pro what you did learn are solid techniques you can put to use on almost every project if you want to learn more about

premiere pro after effects photoshop illustrator and more check out envato tuts plus at tutsplus.com and if you want to access millions of digital creative assets for one low price check out envato elements with envato elements you get access to stock footage motion graphics templates music photos vector graphics fonts sound effects after effects templates and so much more a single subscription gives you access to everything that you will need to create great projects see for yourself at elements.com thanks again for watching this course my name is dave body for envato and i'll see you around [Music]