Ultimate Premiere Pro FAQ | FREE COURSE

[Music] welcome to the update to the intro to video editing in Premiere Pro course my name is Dave Bodi fort and Vado and in this course you get answers to some of the most frequently asked questions from the intro course you will learn a bit more about exporting dynamic linking between premiere and after effects using the essential sound panel for dialogue sound effects music and ambient sounds you will learn how to get your audio from premiere to audition for editing and then back into premiere in a seamless way you will learn about some of the new audio effects in Premiere Pro to make great mixes you will also learn how to make basic titles and animated titles with essential graphics learn how to export your own motion graphics templates and learn how to use third-party templates for titles and transitions from Envato elements you will also learn how to use proxies for faster editing learn how to create a multi-camera sequence from a single high res camera shop learn how to use the freeform view use auto reframe and learn how to work with captions this is a big update to the original course and there's a lot to learn to get started check out the first lesson on dynamic linking to After Effects [Music] in this lesson you will learn how to use Adobe's dynamic link to get your project or even parts of your project over to after-effects for additional graphics animation color correction and grading and mark so I have a real basic project here in Premiere let's threw together a little montage using stock clips of some skateboarders and right here I have a stack of three clips that I'd like to do kind of a three panel I have these three skateboarders each one is doing a trick and I'd like to do kind of a three up or three panel shot of this and for sure this can be done in Premiere but it would be a lot faster to do in After Effects and there's some things that well you can't do in Premiere because you don't have the same kind of plug-in set so I'm going to show you how to use a dynamic link to get these three Clips over to After Effects and then have premiere basically live update any changes that I make in After Effects and this is super simple you can just right click on these three clips or even a single clip and then choose replace with After Effects composition alright so After Effects loaded right up here and the first thing that it does is to ask us to save the project which you definitely should and you should also probably save the project in the same location as your premiere project maybe even in the same kind of folder structure it doesn't have to live right next to your premiere project and I'm just going to replace this after effects file right here Skater AE AE P I'll just replace that no big deal and After Effects will import those clips automatically and it will put those clips inside a composition that's the same length as my original clip if I go back to Premiere you can see that now those three clips are gone in what I have in its place is this dynamic linked media item right here so over in after effects I'm gonna do something just really really quick I'm gonna create a new shape layer and you don't have to follow along exactly I'm going to delete that stroke I'm going to change the shape of this just divide that by three I'm gonna hit enter and name this Center Matt I'm going to duplicate this name that right Matt I'll duplicate that name that left map and I'll bring up the alignment window because it's not already up here oh there it is doc that right over here I want to take the left one and align it to the left side I'll take the right one I'll line it to the right side and I'm going to use these three layers as track mats so I'm gonna drag them down above my footage layers and then select all of my footage layers and set them to alpha Matt now I'm going to take my Matt layers and lock them so that I can't move them around and then I'm just going to reposition my layers in the background so that they are centered up in each one of these frames not sure which one goes where okay we got that guy over there and then this skater over here really really quick really really easy I'll just save this and if I jump back to premiere check that out [Music] pretty easy right if we go back to After Effects I'll use video co-pilots FX console and I'll pull up the tritone effect which is a stock after effects effect maybe make this one orange I'll just copy that effect paste it down here maybe make this one kind of I don't know green maybe that looks cool in the center one maybe make this purple pretty cool [Music] really really simple really fast to do now depending on what you are doing in after-effects you can see that this media item here this clip is showing up red on the timeline that means that there are not cached frames and it might not play back in real time my system is pretty fast so I have a pretty high level of confidence that this sort of thing will play back in real time without dropping any frames but your mileage may vary and you may be on a maybe a mobile system or maybe a system that's a couple of years old and so dynamic linking in after-effects will work but you may find that the effects that you're using inside of after-effects are going to not play even close to real time so there's a way that you can kind of get around that pretty easily you can just take your clip here and then choose render and replace it's gonna pull up a render and replace window and it'll come up with some options here I'm going to leave this on individual clips format of QuickTime although you have some other options there and I'm just going to use GoPro cinah form and that'll be fine underneath destination you can choose next to original media or you can browse and I'm going to store this in my assets folder under a subfolder called AE renders you can put it wherever you'd like it's also going to render 30 frames as handles before and after the clip although I don't think that's gonna work quite right because there's the way that the clips were trimmed it doesn't matter though because this is gonna work fine I'll hit OK and this is going to basically render that out and replace it in the timeline there you go it's done and now you can see that portion of the timeline has turned yellow it'll basically play nice and smooth like any other clip because we have transcoded this into a nice intermediate codec I did go pro Cinna form 10 bit but you could also choose pro res either one it really makes no difference if you're doing something that has some kind of alpha Channel you'll probably want to pick one of those codecs that is labeled as having an alpha Channel so the only caveat here is that now when you go over to after-effects any changes that you might make maybe we want this to be blue save that we'll jump back here these will not update anymore however once you've made changes you can just replace this clip right here so you can right click on this and choose replace clip with and you want to make sure that you have your after-effects clip right here the one that ends in a EP and the timeline you want to make sure you have that selected you can come up here to replace clip from bin and that will replace it with this after effects media item right here no big deal so either way you can just leave the after effects media item in here or the dynamic link clip in here or you can render and replace if things are going a little bit slow but just know that once you've rendered and replaced it's like you've rendered it from after-effects so the updates or any more updates that you will make are not going to update and you'll have to replace it and then re render it to get those now a couple other things that you want to keep in mind you can also create a dynamically linked after effects project without sending anything over to After Effects if you just come up here to file and then go down to Adobe dynamic link you can do a new After Effects composition if you have a clip selected this option right here that is currently grayed out will be available which is what we did before you can also import an After Effects composition from another project which is pretty cool as well maybe you've already been working on some kind of motion graphic intro you want to put it in your project and still have option to be able to adjust it on the fly that's an option for you but let's say we want to create another After Effects composition and we'll just leave these at the default settings which match our timeline here and it'll create another comp in After Effects now the one kind of maybe unfortunate thing is that these comp names are not ideal and if you're sending a lot of stuff over to After Effects to do you know a whole bunch of different dynamically linked compositions these comp names if you rename them so let me rename this essential graphics linked comp oh seven which is just completely meaningless to text thing because I want to do some kind of text treatment to this it's also probably a good idea to just maybe do a little bit of organization in After Effects just like you would in Premiere just to just to keep yourself sane the problem with naming comps in After Effects even if we save this we jump back to Premiere those names don't update at all so you may want to just replace the first part of this media item right here with the same name as your composition so that you can just keep those things straight so now if I just bring this item right out on the timeline here of course it's not going to do anything because there's nothing in my After Effects comp but if I jump back over to After Effects and we come over to the text thing comp let's just throw some text in here there we go some text goes here that is obviously my favorite font I'll just Center that up there and if we jump back to Premiere you can see that updates here and that's a really simple thing I wouldn't throw things over to After Effects just to put text in there because you can do that with the essential graphics panel a lot easier but you know you could get in here and do all kinds of cool animation to this text you can use all kinds of effects that are not available in Adobe Premiere and you can have that live updates over in Premiere the cool thing about using text for this kind of dynamic linked workflow is if you have your clip selected here and go over to the effects controls and you jump over to the master tab check this out whoa the text will update from premiere and this gives you a lot of flexibility so you can design a really simple text thing and this is really similar to how the essential graphics now works with the Moger templates or motion graphic templates or you can basically just update the text and the thing that was built in After Effects will update automatically and this works even if you have multiple text layers so I just duplicated that with control D more text check this out right over and after effects whoa it updates which is really really cool now of course this is a really simple example and you can use the same idea to use all the great things in After Effects you know maybe you wanted to do some more advanced color grading than you can do with the luma tree color panel maybe you want to do some motion tracking and add some kind of cool maybe 3d ish type effects here all that is available you know anything you can do in After Effects you can do in this dynamically linked way the cool thing is you don't even need After Effects to remain open for this to work you can close After Effects and you can see that this will play basically in the background and because I'm pretty sure it's just running After Effects in the background but you don't have to remember to open up After Effects because I just closed that down every time you open up your premiere project and anytime you want to go back and make a change you just right click here and choose edit original and it'll fire After Effects right back up and you can get to work on making your updates well that about wraps it up for this lesson make sure to check out the next lesson where you are going to learn how to export your projects using the successor to h.264 h.265 or high efficiency video codec in this lesson you're going to learn how to export your projects using the successor to h.264 h.265 so h.265 or high efficiency video codec is the successor to h.264 and although h.264 is still very much a web standard at the moment for things like YouTube Vimeo Facebook etc you're going to see h.265 slowly start to take over because a shot to 65 is 25 to 50 percent more efficient what that basically means is you can have these same size of a file and you're going to get better quality or you could have the same quality at a much smaller file size now this is a big deal because online video is not slowing down in terms of its growth and it's spread and it's used for all kinds of different applications and if you can get the same quality in a smaller package you can bet that that standard is going to be adopted because storing big videos costs money so thankfully this is very easy to do using media encoder so in the same way you export any other project from premiere you can either from the timeline right here have your sequence selected or from the project panel have your sequence selected and you can use the keyboard shortcut ctrl M or you can come up to the menu you can choose export media same thing but I would learn the keyboard shortcuts now you're probably most used to selecting h.265 or maybe some other format but check this out we now have the option to use h EVC high efficiency video codec or h.265 and you're gonna see there are some different options but by and large you can probably get away with using some of these presets so if your composition is HD you can choose the HD preset and you'll see you'll get a very standard sort of resolution although you can change that if you like there are some other options down here in terms of what level you want to encode app and this is something that you're going to want to check if you are uploading to a specific platform now right now sites like YouTube and Vimeo will accept h.265 but they do not have recommended specifications for what level or what bitrate to use my guess is that you can basically get away with using the same thing that you would for h.264 but you'll be uploading a higher quality because if you're exporting at the same bitrate it's going to be grabbing more information for the most part now if you haven't checked out some of the options in Adobe Media encoder and this is just the exporter but these are all the settings that Adobe Media encoder will use there are a lot more options than there used to be in terms of the effects because now we can apply Luntz we can do standard dynamic range conforming we had image overlay name overlay timecode overlay I believe those were in the previous versions when the original intro to video editing in Premiere Pro was created we also have things like a video limiter a loudness normalisation and going through all of those would be its own mini course and you can explore what all of those options do over on Adobe's site they go into great detail the one thing I do want to mention here that is a new is this option right here for Hardware encoding now this is a big deal this is something that was added to the latest edition at least at the time that I recorded this lesson this just came out within the last I don't know two weeks or so now hardware encoding has been a part of the Adobe suite for a while but its implementation was sketchy at best it used to be that your options of software and coding or hardware encoding were the hardware encoder might be faster but the quality wasn't as good if you were comparing it to the software encoder with the latest update the hardware encoder is every bit as good as the software encoder and it is much much faster so this is a really cool option if you have the hardware for it so again you can probably stick with the presets here and they go all the way up to 8k Ultra HD which I'm guessing is probably not what you're producing videos at right now but when and if you do this codec has you covered and it's going to look fantastic and just like anything else will select this back to HD 1080p you want to just select the output name and output location click Save and then click Q and this is going to go right over to Adobe Media encoder there it is right there if you need to make any other adjustments once it gets over here you can click on this preset and it'll open up that export window again you can change any settings that you need to and you can just click the play button to start encoding now I'll pull up my task manager here so you can see exactly what the hardware encoder is going to do so let's see here if I sort by GPU you should see that Media encoder is going to utilize the GPU at least a little bit you know there goes up to 20% to rip down this encode now I have a ton of other stuff running in the background but the few projects that I have exported from a media encoder with that hardware encoder option enabled have gone a lot faster so there are some downsides to using h.265 one of those is that you need a much more powerful computer to be able to edit it so this is not the codec that you want to use if you are sending your projects to someone else either so that they can do some motion graphics or color correction or just to edit in a larger sequence for that you want to use an intermediate codec and to find out more about that make sure to check out the next lesson in this lesson you are going to learn how to export your projects to an intermediate codecs like Pro res Sinha form or dnx the first thing you may be asking yourself is what is an intermediate codec and that's a great question so an intermediate codec is something you use in the post production process it's not something you use typically to deliver a final product to an end destination any web platform they're all going to be looking for something much much smaller what you would use an intermediate codec for is to send an edited version of your project over to someone else to either have it color corrected to have motion graphics applied or to be part maybe of a longer video so the example that I'm showing here this is a short section of a video that I shoot each week from my church because at the time of recording this video we in the United States I live in the state of New York are under lockdown from the co vid 19 global pandemic and so any organization that does live events is rethinking how they're doing that and so what we're doing is we're shooting everything during the week editing all of it together and then broadcasting it on Sunday morning so my job is to shoot the sermon which is like the main portion the main speaking portion of our Sunday morning service I shoot that I edit it and I deliver it to another editor and then he combines that with the music the announcements he throws in the sermon the message and then any ending bits of the service so I don't want to give the editor a highly compressed delivery codec because he's going to take that whole edit and then compress it again so intermediate codecs have less visual loss to them then your typical delivery codec they have way more color information they have way more bit depth which is shades of gray in each one of the color channels and there are three main codecs that you have to choose from that our sort of industry standard one of them is Apple ProRes another is GoPros cinah form in the third is Avid's DNX so to export your projects to an intermediate codec it's the same as exporting a delivery codec we just need to change the format so I just hit ctrl M on the keyboard to bring up this export settings window here and instead of H dot 264 or h.265 if you want to use Avid's d NX and the only reason why you would use this is if you are sending it to someone who's using Avid otherwise almost everyone else is going to ask for either ProRes or sinha form in fact I've never had anyone ask for anything else except pro res but go pro Sinha forum is another great option in fact that's almost always what I use so when I export these projects I use the QuickTime format in QuickTime is not a codec it's you can kind of think of it like a bucket and inside that bucket you can use many different codecs so you can use QuickTime animation codec Apple ProRes you can actually use DNX codec inside of a quicktime wrapper or with a dot MOV file extension and you can see there are some other codecs that are not really popular anymore GoPro Sinha forum almost all the stuff that I have ever done is either GoPro Sinha forum or pro res I've been using GoPro Sinha forum because before Adobe had whatever license deal they now have with Apple to get pro res which you can see right here they had Sinha forum in cinah forum is just as good as pro res most of the time GoPro Sinha form y UV 10-bit or Apple four to two will be fine for 98% of the projects you ever send to anyone else but you want to check so that they're getting the type of file that they are expecting if someone just says send me a pro res file what they're looking for is Apple ProRes 4 to 2 this is the standard flavor of Pro res when someone says send me a pro res file there's a high quality version which is very high bitrate there's a lite version which is lower bitrate there's a proxy version which is even lower bitrate and then there are two ultra high quality versions with one is with an alpha Channel and the other one is not marked with an alpha Channel but this fourth four is where the Alpha Channel goes so I know what's up with that preset there but if you're ever exporting graphics from after-effects and they have a transparent background you're going to need a codec with an alpha channel or a flavor of a codec with an alpha channel so you'd want to pick either Apple ProRes 4444 with alpha or maybe go person to form 12 bit with alpha but like I said probably the two most common that you'll run into our Apple ProRes 4 to 2 which is what folks normally called just ProRes or gopro sinha form y UV 10 bit and the process of exporting is like anything else you just queue it right here to run there are not a lot of options like there are with h.264 and h.265 for cineforms you have a quality slider the preset for y UV 10 bit is on 4 and it only goes up to 5 v is what they call I think film scan 2 for is film scan 1 both 4 & 5 are nearly visually lossless so they're both very very high quality if you use a preset for ProRes you don't even get an option for the bandwidth because the bandwidth is in this Pro res preset when you pick Pro res for 2 - the bandwidth is tied to whatever resolution your project is in so if it's 4k it's going to be huge if it's 1080 it's going to be well less than 4k but just to give you an idea you can just queue it up in media encoder and it'll open right up so it shows right up in Adobe Media encoder and you can get that started now last thing I want to show you is this is the output folder for a recent video that I did this right here this 6 7 20 20 sermon this is a 30 minute video and it's almost 48 gigabytes so we're talking a big big file size difference compared to a delivery codec a delivery codec might be 1/5 of this size maybe a tenth of this size or a 30 minute h.264 video I'm thinking maybe 4 gigs is what it might be if it were two six four so major major difference here and if you're ascending things through the internet like I've been doing for the last few months you need to make sure you have a pretty fast connection to be able to upload files that are this big that about wraps it up for this lesson coming up in the next few lessons you're going to learn about some new audio workflows including the essential sound panel in this lesson you're going to learn about the essential sound panel and how you can use it to punch up and clean up your dialogue for better mixes I have a really simple project open here and before we jump into the essentials sound panel which you can see over here I just want to play a little bit of this project for you so that you can get an idea of where we're starting from in terms of the mix and where the dialogue is at and in this lesson we're gonna be talking mostly about how to treat dialogue or kind of talking tracks and then in the next lesson you're going to be learning about how to use the essential sound panel for treating your music sound effects and ambience so I'm gonna go back to the beginning here hi everyone my name is nate ransom and i wanted to tell you about a project that my brother-in-law chris and i have been working on for the past several months the project is a children's book that we've titled ducks on a boat and we're looking for some input from the community and a little help getting over the finish line as far as publishing costumes so one of the things we really think is exciting about this this book in this project is the characters that we've come up with we've started with the idea of ducks alright I think that's good enough so you can hear there are a few issues that need to be addressed and this is a simple project I have all of my dialogue stuff here which is just it's really a monologue but I call it kind of a talk track right this is where all the talking lives it's just one person speaking throughout this then I have a music track I have some sound effects of some ducks and some water kind of ambience down here and that's pretty much it it's all really simple but you can tell that we have kind of a level problem with the dialogue it starts off and it it seems like it's about the right level or volume if you will and then it gets too quiet and then the music comes up seemingly on its own it's actually in the track that the track kind of builds and gets louder with its intensity and then it sort of obscures the dialogue and that's something that definitely needs to be addressed and I'm going to do that with the essential sound panel now if you haven't brought this up before you can come right up here to the menu go to window and essential sound and that will pop up there's also a dedicated audio workspace which you can click if you have your workspace bar up here and I'll just reset this too they saved layout and that's something you can use as well I actually don't really like the audio workspace that doesn't really work for me so I'm just going to go back to editing with the essential sound panel open here so the way that this works is in your timeline in your sequence you select the clips that are the dialogue right so I'm selecting all of these clips here and I don't have to select all of the video portions because a few of them are unlinked from the video it doesn't really matter I'm only concerned with the audio here I'm going to select all of those and then tag them by clicking this button as dialog and when I do it's going to open up this very specific tool set here that is geared towards dealing with audio I'm just going to collapse these there's four main sections we have loudness Repair clarity and creative each of the sections actually has loudness and I think it's probably the most useful out of all of them because a lot of times you're dealing with clips and they're recorded at various levels or maybe the camera has some kind of auto gain thing and leveling out your clips is an important part to making this sound great so all I need to do is click this Auto match button and you can see in the timeline here what's going to happen all of these now our loudness matched to have the same loudness now loudness is a much more advanced process of analyzing the sound over time and it has much more to do with how we perceive loudness rather than what is the loudest sample in each one of these clips dealing with the loudest samples in each one of these clips is more of a peek normalization process and that doesn't do nearly as good of a job as loudness matching which the essential sound panel handles really well so now with just that one operation I'll play the first few seconds to this hi everyone my name is nate ransom and I wanted to tell you about a project that my brother-in-law Kris and I have been working on for the past several months the project is a children's book that we've titled ducks on a boat and we're looking for some input from the community and a little help getting over the finish line as far as publishing Costco so one of the things we really think is exciting about this this book and so already we're in a lot better spot than we were just a few minutes ago it's not perfect the music needs to be addressed but we're gonna look at that in the next lesson so I should say at this point if you ever deselect your clips like I just inadvertently did you can get back to the selection you had with all of your dialogue clips by just clicking this button over here in the essential sound panel and that'll select everything that you have tagged with dialogue you can also clear the audio type right up here if you've selected something that you don't want to be grouped with all this other stuff you can clear the audio tag and that will get rid of that and it'll reset everything it'll pull all the effects off in the loudness matching so I'm just going to undo that now we're reset to where we were before I should also point out that you can work on individual clips here and you can address those differently than how you are addressing all of the clips that you have tagged as dialog that becomes a little bit more complicated because there's no way to identify which specific clips have different settings applied so in general I prefer to just set them all the same and then come up with a different way to address individual clips that need more or different attention so the next section down here is repair if you want to do something really simple and really common which is to denoise your dialogue tracks maybe there was some ambient noise in the room you know wind noise could be the air handler in the room were a loud refrigerator some kind of appliance or maybe it's electronic noise noise that the microphone itself produced or maybe the recorder noise in the preamp almost everything that you record out in the field could use maybe a little bit of denoising and there's the option to do that right here and the default values for all of these is around five and when you apply this reduce noise and you play your clip listen to what happens project that we're doing is the characters that we've come up with we've started with the idea of ducks but introducing them into different scenarios where they can learn lessons the first book that we're actually focusing on is this idea that the Ducks have found a boat and this is something new to them so what you're hearing is at the beginning of each clip the denoising effect which by the way I don't know if you noticed but this little effects indicator here has turned green on all the clips and that is because all of these clips if you click on them and then go to the effects controls they now have an audio effect applied to them and so this denoise effect that is applied individually to each one of these clips is sort of analyzing the audio to try and figure out where the noises and then doing some magic to basically get rid of it and at the beginning of each clip it sounds muffled as the denoising effect is sort of analyzing the audio and so I had thought that this way to work was not really effective because you would have this thing that happened every time you played at the start of a clip I have a few young kids and I've been really excited it sounds bad what I found now is after experimenting with this more is that what you need to do is actually play this whole thing through ideally your whole sequence through at least twice because on the second playthrough the I guess the analyzation has been done and it works a lot better introducing them into different scenarios where they can learn lessons the first book that we're actually focusing on is this idea that the Ducks have found a boat and this is something new to them and they're very excited by it but what happens when they actually become too so you hear that monthly spot right there listen to what happens when we play it a second time and they're very excited by it but what happens in a third time due to them and they're very excited by it but what happens when they actually become too dependent on the boat so it's not perfect and it requires a few playthroughs of your entire sequence which to be honest does not work with my workflow but this is a pretty effective way to denoise your clips I do think that the default value of five is probably a little aggressive and you might want to experiment with moving it down to maybe be two to three and a half maybe for region four things with kind of light noise in the background if it has moderate to high noise you you are gonna have to Jack this up pretty high but I think all of the default values are maybe just a hair too aggressive for these repair functions here but again your mileage may vary it could be that the type of clips that you are working with all the default values work fine these tools right here for dealing with audio repair issues and that could be reducing reverb which is a really common thing de-essing which is addressing the harshness that you might get in certain microphones pointed in a certain way with certain people not every microphone has a real harsh sound but sometimes you hear footage that just sounds really harsh with s's and sibilant sounds and so the de-esser can jump in there and help you and I'm not going to demo all of these you can do that on your own but just know that the default values on some of these are may be a little bit aggressive all right let's jump down to the next section here and actually I'm just going to pull off the reduce noise for now in fact I actually need to reselect all my clips because I only had one clip selected and so taking the reduced noise effect off that one clip now gives us this warning and it tells us that some of the clips have some stuff enabled and others don't basically not all the settings are the same now again like I mentioned before if you're working on individual Clips you may need to do that you may have one clip that needs more noise reduction so you have to select that one individually and make an adjustment hello make an adjustment on that like that but when you go and select all of your clips it's going to say hey not all the clips have the same setting so if you want them to you're going to have to basically move this slider and as soon as you move this slider all of those effects update to have the exact same settings that's definitely something that you should know about the essential sound panel but for now I'm going to take this off and we can disable the whole repair section completely and with that I think it's a good place to end for this lesson now there are still a few more things to talk about as it relates to dialogue and the essential sound panel but for that you're going to have to check out the next lesson [Music] in this lesson we're gonna pick up right where we left off in the last lesson talking about the essential sound panel and learning how you can use it to help clean up and punch up your dialogue for great sounding mixes the next section down is clarity and there's some good things in here and there's some things that I don't think are super useful the one thing that I like is this dynamics feature I think this is pretty good and it has an analyze button here and will kind of analyze your clips and basically what this is going to do is help you to get a more consistent level in all of your clips and what this applies is a dynamics effect which is essentially a compressor and an expander and you don't really have to know exactly what that's doing but the effect is that it turns up the louder stuff in it turns down the quieter stuff and the quieter stuff is all of the stuff in the background so background noise maybe some weird mouth noises in a recorded dialogue track it could be traffic noise in the background although the lower level audio stuff gets pushed down and all of the upper level audio stuff in terms of the amplitude which is usually where the talking sits hopefully in your dialogue tracks the part that you want to hear is well above the background stuff and if that's the case then this will just make that more so it pushes the dialogue up above the rest of the audio and so just applying this dynamics effect to these clips check this out so one of the things I've realized in my life is that I actually really enjoy teaching I have a few young kids and I've been really excited by seeing them grow and how they learn it makes it a lot more consistent because things that are really loud get compressed a little bit but overall this is just a nice smoothing effect and again any values around right here in this kind of middle range are going to work the next section down is EQ and I'm kind of 50/50 split on this EQ setting here in the essentials sound panel I like the first kind of six presets that it has for background Voice intercom locked in the trunk old radio on the telephone outside the room yeah that's six I think all of these the EQ preset is actually pretty good if I wanted to for example make this clip right here sound like it was on the telephone check this out I like to see is taking this general idea of ducks that are learning lesson I think that's pretty good actually however the other options that it has here for podcast voice subtle boost that Public Radio sound and vocal presence I don't really like these as much because I think I think the curves are not in the right area at least for me and the microphones that I use and what I like to hear I don't think they do a great job of doing a subtle male boost it does boost something but I don't think it does in a way that makes it sound nice take a listen and kind of expanding it over a number of different ideas and these books you're gonna actually get to help us pick where we should focus one of the areas I am particularly passionate is different types of Technology and the ways that these Ducks could learn since about how it works and why some of the other areas we've disc now all of those are not bad they're just just not that great and there's better ways to EQ using the track mixer and a nicer parametric EQ effect but you may find that one of these presets works great for you again your mileage may vary finally we have the enhance speech option down here ways that these ducks could learn lessons about how it works and why some of the other areas we've discussed are actually things around freedoms or the way you would treat others and things like that so now that you've heard about our project how can you help it does enhance the voice I'll give them that I don't think it sounds quite as nice but again you're listening to something that was recorded in my studio with a really pretty nice microphone and some decent preamps it does have a tiny bit of noise on there but you may be dealing with audio that was recorded maybe with a lavell ear mic under a shirt and that is usually going to sound kind of muffle II and so you may need a little of this enhance speech effect to be able to give that a little bit of punch to be able to sit right in the mix again all of these effects are not things that you will reach for all of the time but it's good to know about them and finally we have the creative option down here at the bottom and basically all this does is add some reverb to your dialogue ways that these ducts could learn lessons about how it works and why now for the most part all the presets here are very nice sounding its usefulness in every situation I think is pretty limited this is much more of an effect maybe you're doing some kind of narrative piece and you have you need to match some clothes might dialogue with another mic that has a lot more room sound well there's a preset for that in a large reflective room or maybe small dry room and that may help you to very quickly kind of match what's going on for talking head stuff like this you know interviews reverb is not what you want to add because it's it's only going to mask the messaging basically if you have to do some kind of pickup voiceover where you recorded an interview like this in a quite reverberant space and you needed to match that that's when you may want to reach for this option here and put a tiny bit of reverb on that voiceover pickup you know maybe that pickup is over some b-roll so you can get away with it again just like everything else your mileage may vary but that about wraps it up for this dialogue section because audio is so important I wanted to give this lesson a little bit of space to be able to expand and explore and just give you a nice demo of what these tools can do to help clean up your audio well that about does it for this lesson make sure to check out the next lesson where you are going to learn how to use the essential sound panel to balance the music against dialogue sound effects ambience and more in this lesson you are going to learn how to use the essential sound panel to deal with sound effects and ambience alright let's check out what we have in terms of sound effects so I've selected my ducks quacking here nothing special with this clip so again we have a loudness automatch and I'll zoom up on this duck quack clip it could be a tongue twister and let's just see what this is going to do alright so this made it too loud that we've titled ducks on a boat so again then we can reset this and maybe give it another try here but yeah that's not gonna work but this would be good okay stay with me here that didn't work very well but if you had multiple sound effect Clips right and this is very common when you're dealing with sound effects is that the level of those sound effects is not going to be equalized between them you may have a big sounding explosion you may have something really quiet right so this automatch here is nice because it's going to make a very level playing field with a bunch of different sound effects now I just use it on one but you could see how that could be very very handy and then you could bring the level down using track keyframes for volume to mix against the rest of the things in your project another option we have here is reverb this is again something that'll work maybe a little bit better with high impact kind of sound effects and we're looking for some input from the community and a little help getting over the finish line as far as publishing Costco that sounds pretty good the nice thing about reverb is that I it has the effect of pushing things in the background so you can select something like heavy reverb and maybe just dial it up a little bit more sauna boat and we're looking for some quick way to add some reverb I think it's pretty cool I wouldn't use it in this particular instance but you have that option finally there's a pan this is kind of nice if you have a bunch of sound effect clips that you need to manage their position in terms of their stereo imaging right or left this is a quick way that you can do that and you don't have to go into the effect controls so you can just move this right or left and it's pretty simple to do that you'd be surprised at how much clearer you can make a mix by taking some sound effects and moving them around I mean if you had sound effects that were matching something happening on-screen you'd want to match those two you know if you had a explosion over here you wouldn't pan it to this side you'd probably pan it over here so that's nice in that respect but also if you have a lot of things going on spacing those out in terms of right and left can really open up your mix a lot more so experiment with that finally we have the ambience option and looks like I've messed with this before so let me just reset this a little bit actually I'll just clear that audio type and then reset that again so you can see at any point in time if you need to clear the audio type to remove like all the stuff that's happened to it maybe you were like oh man I have screwed this up really bad and I just want to start over you know to get an idea of what some different processes will sound like just go ahead and select your clips or you know you can click dialogue and then clear the audio type and when you do it or remove all the audio effects and it'll reset all the loudness so let's look at ambience I have some water here first thing I'll do is just throw some audio matching loudness on there and you can see that's brought up the level of that ambient clip considerably is that gonna work in this mix probably not and we're looking for some input from the community and that's a lot that's a lot of that's a lot of ambient noise in there but we'll leave it there for now so we can hear a few of these other effects again we have creative now this is reverb at this point you may be thinking creative is just a reverb it's not really that creative and I would agree but the nice thing about reverb is when you're dealing with ambient type sounds it has the effect of pushing the ambient sounds in the background right if something is further away from you it's going to sound more reverberant it's not really what's happening but the more reverberant a sound is the less clear it is because what's actually happening is you're hearing direct sound mixed with reflected sound that is time-delayed you hear the the direct sound gets to your ear first and then you hear the reflections of that sound bouncing off different surfaces and they all get to your ear at a later time that's what makes reverb in the effect is that it sounds less clear so if you need to kind of virtually push the ambience into the background Grimm's book that we've titled ducks on a boat and you can do that with reverb it's pretty cool now I'm going to take that off so you can hear the next effect and I'll solo up that water and that is stereo with this is a nice way to give your audio a wider or a more narrow stereo image check it out if I pull it all the way down to narrow it actually collapses this stereo recording into a mono track it's not really a mono track but it makes both the right and the left channels exactly the same which is more or less mono but if we push it the other way so I'll play it with it off it gives it this really hyper wide kind of sound which can be really useful and finally we have ducting so right now our ambient sound effect is way too loud so let's apply a little bit more aggressive ducting and generate some keyframes and it'll pull it down for us and let's see if this now fits into our mix project is a children's book that we've titled ducks on a boat and we're looking for some input from the community and a little help getting over not bad actually I think more 18 decibels might have done a better job the finish line as far as publishing crossbows that's pretty much it I mean to just dress this up I would apply maybe a little bit of crossfade or just chuck a couple of keyframes on here - maybe just fade these in and out in a nice subtle way and that's really pretty much it you can get this project here in a lot better shape just by tagging your clips as dialog music sound effects or ambience doing a little loudness Auto matching and adjusting some of the other parameters there to help things sit in the mix especially that ducking is very very useful it's not everything and it won't solve all your audio issues but if you're really unfamiliar with how to mix audio and even if you are familiar you'd be hard-pressed to do some of these operations in a faster and easier way so that about does it for this lesson now coming up in the next lesson I want to show you how to get a project like this over to Adobe Audition for some hardcore editing work in a really seamless way so check that out coming up next [Music] in this lesson you're going to learn how to use the essential sound panel to help you to mix and balance music against dialogue sound effects ambience and more [Music] so where we left off we took a look at the essential sound panel for dialogue but now let's check out what we can do when we select one or more pieces of music in your project in this case I just have one and we label that or tag that as music now I didn't mention in the last lesson but there are some presets up here which you can experiment with and these will do a bunch of different things at once again if you're doing something really quick and dirty and you don't have a lot of time to mess with some things this can get you pretty close to where you want to be possibly it's something to experiment with but let's just go through the options individually really quick the first one just like in dialogue is loudness now loudness is another nice feature to have here because I think for a lot of folks they may struggle with balancing dialogue versus music you know it what sounds right to one person may sound like way overdone in terms of the music you know it's got too much music and not enough dialogue or I can barely hear the music in the background you know that sort of thing this kind of gives you a nice level playing field here so if I just hit the auto match button you can see what it's gonna do I'll just reset this here so you can watch it processing in the background it's really pretty quick again this is analyzing the loudness not the loudest thing so it's actually listening to the entire track or analyzing in computer terms and it's determining how loud it actually is not just what the loudest thing in this clip happens to be and so just by doing a loudness match and all that I've done to the dialogue so far is applied a loudness Auto match to it check out how it sounds compared to when we first started hi everyone my name is nate ransom and i wanted to tell you about a project that my brother-in-law Chris and I have been working on for the past several months the project is a children's book that we've titled ducks on a boat and we're looking for some input from the community and a little help getting over the finish line as far as publishing Costco so one of the things we really think is exciting about this this book in this project so already it's really pretty good however if we jump to the middle and I play a little bit more probably in this area here it's about how it works some of the other areas we've discussed are actually things around ah you can see that it started out sounding really good and you were thinking man I didn't know it could be this easy or maybe woman I didn't know it could be this easy because it sounded like it was gonna be really great but the problem is that this is a particularly troublesome music clip because it starts kind of quiet and then slowly kind of builds in intensity in a rather subtle way but you can clearly see it that this wave down here is smaller and then it gets fatter up here right and that means it's louder essentially so this loudest matching automatch dealio here it's great but it isn't everything and you are going to have to do a little bit of work to be able to manage the level of your music but this gets in a lot closer to where it needs to be for the final product and I like that I really do the next thing that we have is a duration now if you enable this and then we change the duration say this clip was longer like this and you really wanted this ending bit right here where it kind of fades out in a really nice way you want that to be kind of where our whole piece ends so you just maybe you're trying to shorten this up a little bit let's see what that's gonna do yeah we need it shorter than that okay maybe a little longer yeah something like this yeah let's hear that oh hang on it's got a render this first no big deal we'll just let that render in the background there but hang on but hang on was it well well what that sounds weird pick through the different foot here's the thing this duration option here does not do something fancy or clever it basically does the same thing as getting the rate stretch tool which I can select by hitting R and just scooching it in like that funding levels except that it pitch matches it so it brings the pitch down to where it was before so it's not a great option it is an option but it's not a great option because it's essentially just increasing the speed of the music and then pitch shifting it down and those two processes do not sound great now the great thing is you can remix music in an incredibly seamless way something that I would say gets you 90% of the way to what a real pro like myself would do by listening to it and deciding where to make the cuts you can do that in audition in fact the essential sound panel in audition the duration option in there uses their remix algorithm or their remix engine I don't know exactly what they call it but that doesn't rather advanced analyzation of the music and determines where to make edits that remix feature is absolutely incredible so the duration you know if you're gonna plus or minus it just a hair it's probably okay if you're gonna make larger adjustments like I shows you here I would just maybe trim it up like this and just do a fade out with a couple of keyframes something like that okay finally we have this ducking option let's enable this the ducking option basically will pull the audio down which is what ducking means right it'll duck it to get it out of the way of something else and that something else is something that you can determine right up here by enabling one of these buttons now by default which is what you want I would say most of the time the audio will duck against dialogue that's what's enabled right here but you can also have it duck against music or sound effects or ambience or duck against any clips without assigned audio types so it's pretty cool and we have some options here to adjust sensitivity the duck amount and the fade times but if we leave them at their defaults and just click generate keyframes we'll see you that it will do something no I don't know exactly how it's gonna handle this end fade here that I did but oh there we go it just got rid of it completely so we'll have to deal with that again which is no big deal you do that in less than one second but now our audio is going to be at a little bit more of an appropriate level here especially in this middle section here where you can see that the audio gets a little bit louder let's check it out B and the ways that these Ducks could learn lessons about how it works and why some of the other areas we've just know I'd say that that's that's probably really pretty close to how I would mix it I'd probably bump it up a little bit but if you were a novice I'm not sure you could really get it better by fussing with it too much if you didn't know what you were doing now as you saw it didn't really generate a whole lot of keyframes and that's because all this dialogue is jammed it's like really compressed you know it's just talk talk talk talk talk talk talk if there was a space in here you select this music again and generate keyframes what you'll see is that it will push the audio up here drumroll please there we go it does a good job of bringing the level up when there's no dialogue and then bringing it back down when there is dialogue it works pretty well I'd say doing that boop boop let's just undo all of that so there you go that's what you have in terms of options for music well that's a great place to stop for this lesson there is a little bit more to explore with the essential sound panel in dealing with sound effects and ambience and you're gonna learn all about that coming up in the next lesson [Music] in this lesson I'm going to show you how to round-trip your audio from premiere to adobe audition and back to premiere in a super seamless way alright so in the last lesson you learned about the essential sound panel and I'm gonna go ahead and close this because in this lesson I'm going to show you how to get this whole project over to Adobe Audition to do some much more intensive audio at work now I should say not every project needs to go to Adobe Audition to do more hardcore editing work in fact I almost never do that but I know some folks are more comfortable using Adobe Audition for audio at the end of their projects and that's totally fine I am of the mindset that you can get your mixes to sound just as good and do 95% of the things that you would do in audition in premiere without having to ever deal with it the advantage of doing that is that it leaves you flexible to make changes down the road because when you go to Adobe Audition and you come back and if you change anything in terms of where your clips are placed in your project this sort of negates all the work that you did in Dolby audition because you're gonna have to go back and make tweaks again so for this process you really need to be kind of at the end stage of your project you know your edit is more or less lot and if that's the case let's get this project over to Adobe Audition if we want to get this whole sequence over to Adobe Audition we can just come up here to edit edit in Adobe Audition if I had a single clip selected we'd have the option to send a single clip over but I'm gonna send the entire sequence over and this is how it's going to work it's gonna come up with a pop-up window here we can name this I'm just gonna leave it at ducks on a boat too because that is the sequence that I'm working on we can set a path for this and I've already created a folder in this kickstarter video project folder and that works for me we have a bunch of other options here for the selection whether we want to send the entire sequence or an in-and-out how we want to send the video i would recommend sending it through dynamic link or not sending it exporting it through DV preview video is kind of an older way to do it audio handles this gives you the option to have a little bit extra on the beginning and end of each audio clip that can be useful depending on your workflow and then what to do with the audio clip effects you want to transfer the settings in the same for the audio track effects you want to transfer the settings remove all or render clips with non-transferable effects if I had effects on these clips most likely all of them would transfer over fine if I had audio track effects they would also transfer over unless you're using a third-party effect that you do not have enabled in Adobe Audition but by and large everything that you have in your premiere project will transfer over in fact let's just take a look at another project this is the same project right here and in this case I have effects and some of them are third-party effects things like this limiter number six here this is not a stock effect but if I go to edit in addition I leave all these at their defaults and I click OK it says this directory already exists we'll just override it no problem now unlike the old way to do this it's not actually going to render and replace all of my audio inside premiere which i think is really handy that always annoyed me because it basically locks you in to whatever you had in Premiere and I don't like that everything in Premiere remains untouched unless you need to render things out because you have effects that won't transfer over so the cool thing about this and I actually did want to show you this other project is that all of your settings in Premiere keyframes your crossfades even check this out your effects if you don't have this toggled on here your track effects bada-boom D reverb de noise dynamics processing even scroll down here to the bottom our master buss effects loudness radar limiter number six multiband compressor they're all here and all of the settings that we had in premiere are in audition that is pretty cool right thank you for that round of applause you don't have to clap for me that's fun you're clapping for Adobe like I mentioned before if you want to do work in Adobe Audition right maybe you want to remix this check this out in the essential sound panel I just labeled this as music or tagged it as music I'll click on the duration instead of the stretch option is the only option I now have the remix option now again I told you that it may not work for this clip because this clip does not have a very definitive pulse in terms of its percussion right but for most things that have a very definitive pulse for you non-musicians that's some kind of music track with some nice drums in it you know it doesn't have to be house or techno could be any style but something with a definitive pulse this remix feature is awesome it is very very cool so we can maybe shorten this down and what you'll see is it'll put in some edits here and when you go and play over those edits huh can you did you hear that it was seamless now to be fair this part does have some percussion so full credit this worked pretty well I mean wow it's no way you could do that faster so this remix feature is pretty awesome it's yeah I don't use adobe audition a tremendous amount if I'm honest because I can do almost everything in premiere including because I'm a musician I can I can mix and chopped up my own audio and I prefer to do it that way so that I you know I get the chorus or I get the intro just where I want and I can reuse little parts here and there I can do it in a way that makes sense to me musically as remix feature is not gonna know that this is a more intimate part of the video and you want a softer part of the music there however it can do an incredible job of taking a music track and just making it shorter making it longer way better than way better than you could do if you're not a pro musician that I can guarantee but you can do all kinds of things in Adobe Premiere you can analyze your audio you can fix if you have a clip like this that's particularly troublesome you can double click on it open it up in the waveform editor here you can make adjustments to things like this selecting various parts of your audio fixing the level you can also bring up this thing down at the bottom and look at the spectrogram or spectrograph view and you can select like some bird chirping sounds or maybe a dog barking in the background or something and get rid of it completely so you've got these options you got the waveform editor you have the multitrack editor you have a lot more effect slots that you can do so right now I have four effect slots and in Premiere I believe there's only five available there's only been a handful of times when I've ever needed to use more than five but it's really doubtful you're going to use more than sixteen if you use more than sixteen effects you need to reevaluate some things about what you're doing if you can do in audition particularly one of the things that I love about audition is the way that you can select clips and use this crossfade dealio here I think this is awesome the way that it cross fades and you can adjust the shape and the size if you will of this a crossfade and there's other options to make it asymmetrical or to make it linear I think this is really cool you can't do this in Premiere so it's it's really great anyway when you're done save your project I'm gonna save this in that location that I set up there bada-boom it's saved now we need to export this now you could just export a multitrack mix down just the stereo file or you can export to Adobe Premiere Pro when you do this you also have some options now before I do that I'm gonna go ahead and label which you might want to do all of my audio tracks so that when they get exported they will have the correct labels because if you leave them as their default they're just gonna get exported as audio one two three and four that may not be very helpful for you down the road so once again just save this really quick but a boom good export export to Adobe Premiere Pro we have some options down here we can mix down the entire session or we can export each track as a stem I'm gonna make sure this open in Adobe Premiere Pro is selected and hit export it's going to say actually these are already there because I've done this previously and take one two three or four of this lesson but I'm just going to click yes it's going to overwrite those files no big deal alright it's going to do that and it's going to open up in Premiere Pro drum roll please [Music] that was pretty fast now we get this dialog box that says copy Adobe Audition tracks where do you want to put them I'm gonna put them in new audio track check that out there they are right there all I need to do is mute to my originals hi everyone my name is Nate ransom and I wanted to tell you about a project that my brother-in-law Chris and I have been working on for the past several months the project is a children's book that we've titled ducks on a boat so just like that we can get this mixed in audition we can pull it back into Adobe Premiere Pro now here's the thing if we need to go back and make adjustments let's say that we don't like something happening in the mix here we can remix it a little bit in Premiere but if we want to go back and do something in audition all we need to do is right-click on any one of these files and then just edit original now I know you would think that you might want to edit clip in audition but if you choose edit original it's going to reopen that adobe audition file instead of just importing that one clip into adobe audition and you can make your changes and you can re export just like you did before so we'll just export to Adobe Premiere Pro I'm going to leave everything exactly the same except this time I am NOT going to open in Premiere Pro I'm just going to click export it's going to ask me if I want to overwrite the files and I do because just imagine that I've made some changes here and I click yes and it's going to overwrite those files and if you watch right down here see that they just updated and so now those files have been overwritten and you don't have to worry about dealing with more files that have been imported if I left that checkbox open in Premiere Pro and I didn't overwrite the files or even if I did it would still re import them into the project here and then I would have a duplicate set of files audio files with the same names it becomes confusing so as long as you deselect that open in Premiere Pro and you overwrite the files it essentially overwrites these tracks right here in it updates in Premiere Pro now the nice thing about exporting stems as opposed to exporting a full mix is that you can leave your master buss effects on the things that are going to adjust your overall loudness of your entire mix and take care of your limiting and things of that nature it did bake in all of my track effects when I exported those stems so all of the track effects the things that have like the things that I had on as like the things that I had on like D noise and D reverb all of those effects are applied which is fine I don't need to reapply them in Premiere here so all of that stuff is baked into these tracks now and the only thing that I really need to do is make sure that I have some limiting and things of that nature on my master buss and I'm good to go so it's a really seamless way to get in and out of Adobe Audition I will say really quick before we wrap this lesson up you can also import a file in audition and instead of just like a wave or something you can actually just pick your premiere project and you can open up your sequence in a similar way that we sent this project over to audition you can just open the project directly in audition and do the same process to get it back inside of Premiere really simple really easy and I hope that you found that useful all right coming up in the next lesson I'm going to show you how to utilize some of the new audio effects that you can find in Premiere Pro to do almost everything that you'll need to do in terms of audio mixing it's really great so check that out coming up next [Music] in this lesson you're going to learn about some of the newer audio effects available in Premiere Pro to make your projects sound great so if you haven't used the audio track mixer before that's what I'm going to be showing in this lesson and to get it you can come up to the menu here and just go down to audio track mixer and open that up the audio track mixer is not what you see in kind of these standard editing layout if if I reset this to the saved layout by default it shows you the audio clip mixer I don't find that very useful I can very quickly in any one of these clips here just ctrl click on the track volume or the track gain here and that will give me a little keyframe and I can move it up and down and I can basically mix it like this it's a quick way to do it I've been doing it for years and I think it works pretty well and so for most of the dialog stuff what I do is I will get it all lined up and do my edit and then when it comes time to really refine the audio I'll select all of my audio for the dialogue and then I'll bring up the essential sound panel I'll mark it all as dialogue and you'll see it is already marked as dialog and then I'll automatically essential sound panel because that's basically all I use it for for all of the rest of the audio treatment I do that in the track mixer I created a workspace here that has only the things that I like and I use and gets rid of the stuff that I don't use very frequently but if you want to bring up that audio track mixer you just come up here to window and then audio track mixer so in the audio track mixer I usually will keep all of my talk tracks in the first two or three or four slots or all the dialogue tracks if you will and then I load those tracks up here in the audio track mixer with some effects these are not audio plugins that were released in the last edition they're actually a few years but since my original intro to video editing in Premiere Pro these are some new and updated effects so let's start with the EQ this is something that I use a ton on dialogue sometimes on music although usually music is pretty well produced and it doesn't need corrective EQ although sometimes you will need to throw an EQ on to carve out some frequencies for speech intelligibility but we're just going to be taking a look at basic kind of dialogue stuff in this lesson this is a really nice updated EQ I really like that we have a high-pass filter with a variable slope so what this means is we set the high-pass frequency and it's only going to pass frequencies above this point and below this point it's going to reduce the amplitude or intensity if you will of those frequencies by differing amounts so if we sent this to 6 decibels per octave you can see that's a very smooth roll-off and so you can very carefully roll-off in various amounts the low energy off dialogue tracks and this is something that I always do with dialogue tracks because none of this information below like 50 60 70 Hertz is really useful but it can sneak in to mixes and cause some weird rumbling and obscure other tracks with Low Energy so I just get rid of it and then I just use the rest of these nodes and there are quite a few of them there is a low shelf and a high shelf and then there are five fully parametric bands of Equalization now like you saw in some of the previous lessons the denoise effect which is very good is available in this audio track mixer along with ad reverb effect which is also very good I normally don't use D noise and D reverb on every single track usually I will apply some D noise on a dialogue track because there's usually just a little bit of noise depending on how much it bothers you or how audible it is the stock D noise effect is excellent even if you jack up the amount like all the way to 100% it's still pretty great sounding although I don't recommend that unless you have seriously noisy audio but these are both excellent effects and I use them all of the time another effect that I think is fantastic is this dynamics processing effect right here and by the way you can load these effects by just clicking into any of these empty slots here and then they're all categorized so amplitude and compression are dynamic type effects these are things that affect the amplitude of your signal but you can find the rest of the audio effects all categorized here as well this dynamics processing effect is really nice this is basically a compressor and an expander all in one and the thing that I like about it is that it has a really nice visual to it where you can see the audio coming in and see exactly how you might want to set this up based on the audio coming into this input/output graph here so this is really nice it's got a spline curve which without this is a little bit harsher sounding I think so I usually will enable this spline curve which gives a softer curve to this compression slope here it also has a nice settings section where you can adjust the look ahead time the level detection the gain processing and the band limiting here as well it's a really great effect on the master buss show you the three effects that I use all of the time one of those is the multiband compressor this is a newer effect premier has had a multiband compressor for a while they used a licensed one I believe from iZotope and now they have their own which looks very very similar this is a kind of multistage dynamics processor so a multiband compressor splits the signal into at least four bands all that you can disable these and have it work on less than four bands and then you can compress them individually I use this on the master buss to basically smooth out all of the frequencies and it's set very very conservatively with a ratio of one point five to one so that's not very much compression at all this effect also has a limiting section right here it's got a limiter and then there's a brick wall limiter down here which you can enable I haven't found these to be incredibly effective so I usually do not enable the limiter section here and I don't check on this brick wall limiter and the reason is because I use this third-party limiter here this is called limiter number six which by the way is free and it's awesome I use this in my master bus to do a few things it does a very gentle amount of compression although you can set this up however you want I use it for very gentle compression it has a multiband peak limiter or though you can set it's a single band or mid side it's got a ton of options but I use it as a multi band peak limiter and I don't use the high frequency limiter or the clipper but I do use this last section this has a final what's labeled as a protection limiting stage at the very end and one of the modes you can set it to digital clip inter sample peak fast an inter sample peak precise this measures the peaks in between the audio samples of a digital audio system so the peaks that you see here in the master bus these are sort of lying to you because these do not read inter sample Peaks and sometimes inter sample piece can actually be three decibels higher than what your standard sample peak limiter is showing you that can be problematic because to meet certain audio standards you need to have inter sample peak basically capped at a certain level sometimes it's negative 1.5 sometimes it's negative 2 negative 2 will pretty much cover you for I think most all standards out there the limiter that is built into this multiband compressor both this limiter right here in the brick wall limiter I have been able to pass Peaks above where I have set these thresholds and that's no good so I always use this limiter number 6 for some very gentle compression and peak limiting and to make sure that my absolute true Peaks are not higher than negative 2 or sometimes negative 1.5 it's a fantastic effect now to use third-party effects in premiere you could come right over here to the audio track mixer and there's a little three line what I call a hamburger menu and if you click that you can come down here to audio plug-in manager there's also an audio plug-in manager for audition and then when you download effects from the internet free effects or commercial effects effects that you pay for you put those all in a folder they have to be 64-bit plugins which is pretty standard these days and then you can point this audio plug-in manager to that folder by adding it here and you add the directory and it will scan those and then you can enable or disable any of the effects that you want to show up in premiere you can see I have quite a few but I only really use a handful of the VST effects that could work in premiere I I don't use all of them I only need a handful between the third party effects and the fantastic stock effects that you get especially this denoise indie reverb you can get a ton of audio work done right inside of premiere now like I mentioned before there are some limitations in the main limitation is that at this point in time you can't save an effects chain in the audio track mixer meaning I can't save these or effects in the configuration that I have them so you have to load them individually every time which is fine because you don't necessarily need all of these for every dialogue track the other limitation is once you get a setting that you like in one of these effects maybe it's this multiband compressor I have to set this up every time because there is no way currently to store an audio track preset you can save presets when you apply them to clips as an audio effect if I were to drop that on a clip but you can't do that to the master buss and you can't apply effect presets to any of these that they just have these stock presets which I don't think are very good so usually what I'll do is I'll just pick a preset that closely matches what I want to do and then just adjust a few of the parameters usually that is let's just set it back to default the classical master is a good place to start and then usually what I'll do is just change the attack times here to five instead of ten because that's too slow and then just disable the limiter and that's pretty much it so it really only takes a few seconds to do but it is a feature that they should have and it is a user requested feature but it's not available yet now the one workaround to this is you can create a project with a blank sequence with no footage load up the audio track mixer creates all of the kind of audio layouts that you want with your dialogue tracks here with all the effects configured exactly how you like them and then just save that project and then when you start a new project you'll load that project that's kind of a project template you can also have all of your folders in there as well for organization which is a time-saver so that is a workaround it's not a great workaround but if there was something that I would complain or caution you against using this method for that would be it however I don't find that a huge limitation it's really not a big deal so that about does it for this lesson make sure to check out the next lesson where you're going to learn about the essential graphics panel in premiere in this lesson you are going to learn how to create some basic but really nice-looking titles right inside premiere using the essential graphics panel the essential graphics panel was added to premiere a few years ago and since then it has had some updates which really make the functionality quite nice and he can do a lot of things from very simple titling and texts and graphic elements to things that are really pretty complex without ever having to go to after-effects now the cool thing about the essential graphics panel is it does have a link with After Effects so you can build some really complex looking graphics and lower thirds and titles in After Effects and sort of template eyes them so that they work with the essential graphics panel and I'm going to show you that in an upcoming lesson but for now let's look at how to get the graphics panel out here so you can start working with it if you come up here to the menu and go to window you can find the essential graphics panel right down here there's also a dedicated graphics workspace which you can find right here and that should pull out the essential graphics panel as well I'm just going to switch back to my Bodhi workspace because it's a little less cluttered now the essential graphics panel has two tabs on it there's a browse tab here and this is where you can store and search all of the templates that you want to use for titles and other kind of graphic treatments that you might have some of these you can create and make inside of premiere and a lot of the ones that you're seeing here actually came from in photo elements and those have been designed in After Effects and a lot of them are quite a bit more complex than what you could do easily in the essential graphics panel by itself but this is a really nice way to get some really really high-end looks very very simply and I'm going to show you more about these sort of templates and how you can use them in an upcoming lesson but for right now let's look at how to get some basic titles into project I want to do a really simple lower third for my skater man here so I'm just going to grab the type tool here the keyboard shortcut is T and if I click in the program window I'll make a little title here Johnny Smith if I hit escape and then V I can switch back to the selection tool unlike After Effects you can't use the Enter key on the numeric keypad to kind of enter in your text but you can just switch back to the selection tool and then you can grab your text and position it here visually you can scale it up and down however you want and if you look over here in the Edit tab you can see we have a ton of options for modifying this text we have a whole align and transform set of tools here where we can align this to various parts of the frame or the horizontal and vertical centers you can also see that as I move the text around the program monitor it's snapping now you may not have snapping an abled but to enable it you can just click on the wrench icon here and then you can enable and disable snap in program monitor without snapping enabled you'll see as I move it around it's not going to snap anywhere however if you hold down control you can temporarily unable snapping which I think is perhaps a little bit more useful so you don't have it snapping to things all of the time that's how I prefer to use it so over here these are your basic kind of transform controls we get scale rotation anchor point position opacity here in the next section down here we can store and recall what Adobe calls master text styles and that's basically a style that includes your font your font style and all this other jazz that you can find below here so if you create a look for your text that you'd like and you want to reuse it and be able to recall it very quickly you can create a master textile and then that and recall that anytime you like so we have a full drop-down here of all of the fonts that you have on your system those are all available you can adjust the tracking the letting the line spacing the whole thing down here under the appearance section you have a bunch of options to adjust the fill color maybe you want this a light blue we can drop a stroke on this we can adjust the stroke width you can also enable multiple strokes to create some more interesting or unique sort of styling for your texts here and if you click on the wrench icon we have stroke styles that we can use so we can change the line join from mitre to round you can also change the cap type although for this text it's not going to make any difference but you can see as I change that to round join now it's got kind of more round and puffy sort of look to it which is kind of nice I actually prefer the miter joint I think but I'll get rid of those to show you the next option which is background this is a really cool option that creates a bounding box or a background box here that is linked to your text layer and you have control over the color the opacity and the padding which is really cool so you no longer have to use another element like you did in the past in the essential graphics panel to create a linked kind of background box for your text and this will auto-update or act in a responsive way so maybe we want to add a second line here Pro Skater and you can see that the background box there updated exactly like it should have and if we adjust the maybe the font size here and the style and the line spacing or letting here you can see that it acts exactly like you would expect it's really cool and really really fast to create some nice-looking titles here with a cool little background change the color here maybe we want this to be orange blue and orange whoa okay that was a terrible act II who thought of that maybe a dark orange maybe we'll just set this back to black yeah that works pretty well finally you can throw a shadow on and you have a bunch of controls over the shadow here I'll let you explore that and you can mask things with your text layer which is pretty cool so you can pull in graphics and video so for example I have a piece of footage here that I got from envato elements and I can just drop this in underneath my text here and if I select my text and I choose mask with text now it's going to essentially make the text a track mat or it's going to mask this layer here with the text now it doesn't work perfectly with this layer and I think this is a great example but I just wanted to show it to you so you can get an idea of what it can do so you can create all kinds of nice maybe big bold text if we changed our text here to something maybe just a single line we select that text again just double click here and I'll just make this a single line I'll hit escape and just make some adjustments over here maybe I'll Center this up and put it in the middle make the text quite big something like this maybe I'll recenter that in the middle there you can see you can create some really nice-looking effects and we can have this kind of blow right up to reveal the background layer and use that as maybe a transitional element and a lot of these properties here if not all of them can actually be animated as well now I'm not going to show you that in this lesson because that's going to be too much to cram in but you can create some really nice-looking animated text treatments or graphic treatments right inside Premiere Pro without ever having to jump over to After Effects which is really neat finally I want to show you you can add effects to any of these layers now I don't know if all of the effects work but a great many of them do and for something like this I might want to maybe adjust this video layer here by throwing a curves on it now this is still listed as an obsolete effect but it'll work just fine and that should help this to look a little bit nicer maybe pull some of the greens out of it to give it some more contrast push up some of the Reds here I don't know something like that pretty cool in addition you can create some basic shapes in here you can add a rectangle and we can actually use this as a background box for the text if you wanted to so let me just get this right here and I'll recenter up this Anchor Point maybe kind of Center it here pull it down to the bottom it's not quite centered on the text but that's kind of in the neighborhood if you hold down shift in alt you can use the arrow keys here to position things a little bit more easily so I'm gonna take my shape layer here and it looks like it's actually being masked by the text because we can't see it so I'm gonna take all of these layers here I'm gonna put them in their own group and I can rename this text and that works fine and now I can change my fill color here maybe do like a white or something and you can see now you have it I'm gonna have to reposition that just a little bit here but the cool thing about these shapes is I can actually pin this to my text layer here so I just selected that from the drop-down and I can select which signs I want to pin it to but now if I go and change my text so I'll select my text here mark Col check that out my background box changed with the text and it'll also follow it along if I want to animate it or move it around really really cool and you can also load graphics here from a file as well you can even grab pen tool and start drawing a maybe more abstract shape here and you have a bunch of controls over that as well we can pull that down in the layer stack change the color of this I don't think that was a great shape for a demo but I think you get the idea here and you can maybe make this a stroke only maybe make this a really bright red perfect look at that excellent now you can see that with any of the shape layers you can also make those a mask as well so maybe you want to take let's get rid of this guy here we'll call this rectangle maybe you want to duplicate your bubbles footage pull it down here and then set your rectangle to mask that then maybe throw an RGB curves on that and then push this up so you get kind of this sort of effect here you can see I'm just kind of messing around here but you can do a lot of really nice things in this essential graphics panel over here and make some really great-looking text treatments so that about wraps it up for this lesson coming up in the next lesson I'm gonna show you how to make some nice animated lower thirds right inside the essential graphics panel so check that out coming up next [Music] in this lesson you're gonna learn how to do some basic motion graphics title animations right inside premiere so I have my basic skater sequence loaded up here and I want to do a nice little lower third treatment here so I'm gonna grab the type tool and I'm gonna click to add some text now what I do you can see it's already added a background and when I start typing it has the font that I want to use already selected and that's because the essential graphics panel will use whatever settings you have used last which is pretty convenient when you are making multiple titles so that you don't have to change the style in the font and the background in your stroke every single time so that's why I have the background already selected here with a hundred percent opacity and 35 units of padding I don't know if that's pixels or percents I don't really know what's going on with that but there are thirty five point three units of padding around a lot of the work is already done so that's quite nice I might make a few tweaks here to the styling there we go something like that now at this point I just want to throw out a little bit of caution when you are making graphics in trying to animate them inside of premiere my advice is to keep it really simple although you can do a lot of complex things meaning there is the ability to add many many layers over here and stack all kinds of effects I wouldn't recommend it because the more complex that you make your essential graphic at least built inside of Premiere I would say the more likely it is that Premiere will crash or there will be some kind of problem in the render or even inside your project in fact I was recording this very lesson two days ago and I was building just a really basic title animation here very similar to this but I was not using this background instead I was using these rectangles here that you can load up and I had these pinned to the text layer and I had maybe three of them one of them was working as a mask one of them was kind of a skinny bar along the side and I was animating their position and scale that's it super super basic well somehow I had managed to corrupt my essential graphic inside of Premiere and it made my entire program window turn black for the entire project and it would not come back unless I switched the renderer underneath project settings general to software only which is not a great solution because that is extremely slow I was on with support for over two hours trying to figure out what the problem was with premiere I needed up installing an older version of premiere an older version of After Effects only to find out that right inside premiere eated somehow created a corrupted essential graphic so although you can create some cool-looking animations inside premiere your mileage may vary and I would recommend keeping it really simple especially if you want your text to remain somewhat responsive meaning that if we add more text to this your background will kind of scale along with that there with that said let's try and animate this a little bit right inside of Premiere so over in the effect controls I'm going to start with a really simple sort of position animation and I'll come out let's see a hold shift and then hit the right arrow 1 2 3 4 5 6 7 8 8 times that'll put me out about 40 frames and then I'll go back about 1 second which is 30 frames and every time you hold shift and then press either right or left arrow it moves the CTI or the playhead here 5 frames so that is back 30 frames and I'm just gonna push this off the screen here maybe hold shift there we go so it's completely off the screen now just to give me a little bit more wiggle room you might want to push it over even farther you can see the bounding box there in case you make a bigger title so you may want to just move it over like that and I'll select my keyframes here and choose bezzie a and then actually you know I won't do that instead I'll make this one ease in and this one ease out for me this is just an easier way to get the handles kind of closer to where they need to be because as you can see positioning these is not very easy what I want to do is drag this line straight out and there's no way to kind of constrain this handle to do that because it wants to move up pinned down just a little bit but if you start with ease out on the first keyframe and ease in on the second one it gets it pretty close and this is the curve that I want to make here by twirling down the position we can adjust the velocity of these keyframes here such that it kind of just flies out so let's check it out right here yeah just kind of like that it doesn't look right now but I'm gonna add something else to this and I think it'll look pretty nice so the next thing I'm going to add is a rectangle and what I want it to do is I want to make kind of a rectangle that starts over here and I want it to scale up in this direction and then basically fly off and the effect is it's going to look like a rectangle grows from over here and reveals the text so I'm just going to make the rectangle kind of cover up my text here and then right at this point here which is ten frames out so you know that's ten frames I am going to find my shape and I'm gonna unlink the uniform scale here because I only want to adjust the horizontal scale and so right here I want it to be at a hundred percent scale and again I move the anchor point if you didn't catch that before this is the anchor point and I move that and snapped it by holding down control right here on the edge so that it scales from this point here and then I'll go back to the beginning and set the scale to zero I'm gonna go back to this same point here by the way I'm getting the CTI to snap to these key frames by holding shift so write it ten frames out I'm gonna pop a position keyframe and I'm gonna move let's see one two three four five six thirty frames six times five is thirty yup okay my math works out I'm gonna hold shift and just push this rectangle right off the screen so this is basically what I have right now barrel like that it really helps if you make sound effects when you're doing these graphics that's just something I learned a long time ago now the keyframes on that don't look very good so I'm gonna select these two and choose ease in and select the beginning - and choose ease out that's gonna make it look a little better but I still want to make a few adjustments to that so I'm going to twirl down position I'm gonna drag this handle back and pull this handle out I'm trying to keep this line nice and smooth there and the same thing for scale let's see so I'll drink drag that handle to the left and that handle to the left there we go maybe let me pull that one out just a hair that looks that looks pretty decent maybe I could make this a nice bright color that might look okay oh let's try that again there we go that looks okay pretty cool now I probably want to make this just a hair longer because up here in the effects controls you'll see there's a little kind of blue rectangle right here and if you drag this out this will create a protected intro essentially and all of these keyframes here will be protected such that when we make this layer longer or shorter it'll still maintain our intro animation here which is pretty cool we can do the same on the outro and I think I will basically just reverse this whole process here on the outro so I'm just going to drop a keyframe here and I'll go maybe 30 frames 1 2 3 4 5 6 it looks like I'm gonna have to make this just a little bit longer let's try that again I'll start from here 1 2 3 4 5 6 and I will paste that second keyframe right there and we don't want the keyframes to be exactly the same but I'll adjust those in a second and then I'll go 10 frames so shift right right and I'll set the scale to zero which will basically reverse that whole animation just like that so keyframes still look a little bit funky but that's okay I'm going to do the same thing down here underneath the text position I'll drop a keyframe and then go 30 frames 1 2 3 4 5 six and then just basically paste this position and that should be good so let's just play that yeah keyframes are still a little hokey no big deal maybe I'll have that one start a little slow cool not bad and then right here I'll have this kind of start a little slower and maybe what's really hard to see what's going on here maybe it will zoom up here just a little bit there we go maybe pull that handle out let's try that yeah it looks pretty good I like that maybe smooth that out just a little here let's play that back cool not bad so right here I'm just going to trim it up to this point and then I will create a protected outro duration right about there so here's our title not bad and then it'll basically reverse itself out pretty cool so the nice thing about this is that and you can see down here this is our protected outro and our protected intro if I make this longer it's going to hang around longer but my intro and outro are still exactly where they should be now this is different to the way keyframes normally work in any other layer basically if you take any other layer with keyframes on it and you make it longer the keyframes stay where they are but now they're kind of glued to the end point and the end point and even if I make this really really short here in fact I wonder if it'll hit a limit yeah I guess the intro and the outro basically just compressed there which is kind of funny if you make it too small it just kind of shortens up the intro and the outro animation I don't know if you could see that but make it really really small here zip look look at yeah I wouldn't recommend that that's probably too short for folks to read but that's just a real basic animation that you can do with some simple keyframes now there's a ton of different things that you can do over here using effects you can make some nice kind of cinematic blurring titles and all kinds of things using graphics and photos in the mask capability of texts and shape layers to create all kinds of really nice-looking stuff but again I would recommend that you keep it on the simple side I found that the more complex I make these essential graphics built in Premiere the more likely they are to give me problems down the road now that you've created this nice looking lower third here wouldn't it be great if you could use it in other projects without having to build it from scratch well you can and I'm going to show you how to make your own motion graphics template from this essential graphics layer coming up in the next lesson in this lesson you will learn how to take your essential graphic animation and export it as a motion graphics template so you've created a nice little animation here with the essential graphics panel and you'd like to use this in other projects in the future so what you can do is export this as a motion graphics template all you need to do is right click on your layer and choose export asthma motion graphics template you can also find this up in the menu right here export asthma motion graphics template and it'll come up with a pop-up window and you can name this I'm just gonna name this lower third actually yeah I'll make it singular bori lower third I like to put my name on all the ones that I've created because over here in this Browse menu you may have noticed that there are a bunch of titles and graphics with very similar names and when you download maybe a pack of these from envato elements you'll find that a lot of them are named very similar and so you may have a whole bunch of titles that are named lower third one lower third to lower third three or basic lower third one basic lower third to so I like to give them a unique identifier so that I can just type in my last name Bodi and all the ones that I've created will come up you can also add keywords down here I always like to add my name and then lower third and then in the middle here we have some compatibility warnings and you can check these or you can leave them unchecked basically it's asking if you want a warning if this template uses fonts that are not available on Adobe fonts and warn me if this graphics template uses any effects not included with Premiere Pro so if you're using any third party effects from something like red giant universe that would give you a warning and finally warn me if this motion graphics template is not compatible with premiere rush actually I'm not so concerned about premiere rush because that's not something that I use all the time but maybe you do so you may want to have that checked we have an option here to include a video thumbnail and where do we want to put this here if you put it in the local templates folder it should Auto populate in the Browse tab of the essential graphics panel here that is the main place where you install motion graphics templates so I will install this here and I'll click OK it's going to go and export that and then if I look over here and I search under my name bori boom check that out right here bori lower third rift that's the one that I just created and so I can now pull that into my project here and I can update this text with something different and it works exactly as expected so it's really quite simple to do coming up in the next lesson I'm going to show you how to use and install some of these third-party templates you can find on and Bato elements so check that out coming up next [Music] in this lesson you're going to learn how to customize use install and find great-looking motion graphics title templates so like you've seen in some of the previous lessons I have a browse tab here and in my browse tab I have a bunch of third party in a few motion graphics templates that came with After Effects but most of these are third-party titles that I found on in photo elements and you can get motion graphics templates that do titles some that do kind of graphic elements some that do transitions which I'm going to show you in the next lesson but let's look at a few of these titles because I want to kind of give you the lay of the land not all of these motion graphics title templates are created equal many of them look really nice but their usefulness sort of varies so I'm just going to pull in this guy right here maybe I'll move it down the timeline here and as you can see this one is really big because it's actually an Ultra HD title and so if I right-click on that and choose set to frame size that'll set that to 50% over here underneath effects controls and then in the essential graphics panel you can see we have a bunch of options that are quite a bit different than what you saw when I built a title from scratch inside premiere that's because these are made in After Effects and that's where some of the issue comes when you are using them a template like this is really nice because we can change all of these text fields here so I'll just put some placeholder text in there but in addition we can also change the font and we can change the font style we can make all of these all caps if we want and we can change the size of our font as well we can change the color we can toggle with different isometric kind of perspective views here which is really cool we can turn off this background or adjust the color or opacity a ton of options other templates for titles don't have very many options at all and that's where it becomes a little bit hit or miss in terms of their usability let me show you another one that I like this one right here this is another Ultra HD title so I'm going to set that to frame size this is a really cool title that I found on in bottle elements I'm playing this back at half resolution here because sometimes some of these motion graphics templates do not like to play back at full resolution if I pull up my task manager here you can see that After Effects is running in the background most of these will need After Effects to run in the background and depending on the complexity of the footage and the other stuff you have going on in your sequence these may or may not playback smoothly for you so you can change the text and the font and the font style and the font size and all of these font styling options so fold faux italic all caps small caps you can change the text tracking which is really cool you can change all of the color for the background color the text color in each one of these boxes you can actually just get rid of one of these lines just by deleting the text and nothing in that element will render which is really cool so it doesn't it doesn't have a little bar that sweeps across but if I put the text back you can see that there's the little white bar in the background but again if you don't want these in there maybe you just want the middle bit right so you just you can delete the top line and the bottom line and now you just have the middle bit there which is really cool down at the bottom you have options for skewing this so you can just have it straight rectangular or put it askew or give it a slant or give it a skew and a slant really really cool stuff there you can also adjust where this is positioned they don't have controls in the Edit tab here sometimes there is a general kind of scale and position that will control the entire title but you can just do that right over here in the effects controls underneath motion and just adjust the position of this so you could use this for a nice little lower third maybe just kind of put it right here so you could say Bob Smithee master skater there we go let's check this out nice and then I'd position that well probably over on this side because it's right justified for that bit but I can also just push this over whoops bottom alignment I could push this over to the other side make it left justified put it over on the left side really cool stuff for that I think that's really neat now as you saw at the end there this does have an ending animation that's another thing that you want to make sure that you have sorted with these if the default length doesn't work for you and I'm just going to hazard a guess that you're going to want to you at some point make this longer or shorter some of these motion graphics templates when you make it shorter will just cut off the ending animation however this one doesn't do that which is really cool but some of them do some of them to make them longer what you need to do is come into the middle here make two cuts like this and then just extend this bit here I just did an alt drag and you you have to get a little bit creative with extending them depending on how it's built you can see right there when I after I made that edit where I chopped it in the middle I no longer have the ending animation no matter how long I make this it's still gonna do a heart cut at the end if I want that ending bit again I'm just gonna have to delete that REE pull it back in and then make all my changes like I did before and then I'll get this nice little ending animation there just something to know about so how do you install these that's a great question you're going to learn about that and where to find great-looking templates on Envato elements coming up in the next lesson in this lesson you will learn how to install motion graphics templates and you will see how to find great-looking title templates on Envato elements [Music] over in the Browse tab right down here there's a button install motion graphics template and this will allow you to navigate to wherever you have downloaded and I believe this will only install one at a time if you want to install multiple templates you need to go to the default directory where these are stored and on Windows that is in this location so usually the users folder is located on the C Drive so C Drive users my username underneath app data roaming Adobe common and then motion graphics template it's a little bit of a journey but once you get here you can see that these are where all of the mo Girt files are installed and you can just download them unzip them and drag them into this folder and then you will see them populate over here in the Browse tab some of these I have pulled over in a folder so I have a collection that's called boxed and that's in a folder called boxed they don't actually show up in a folder over here but just to keep things a little bit more organized it sometimes helps to put them in folders inside this motion graphics template folder because a lot of these are labeled in a really similar way let's see if I can find one yeah this essential pack here you can see this one's just called minimal title and you can imagine there are other titles this one's called modern title you can imagine there are other motion graphics templates that you may download that may also have the title of minimal title so that could get a little confusing it can also get confusing over here as well so it's just something to keep in mind you don't have to install all of them that come with all packs I tend to check them out inside of premiere if they're ones that look like I'm going to keep them I'll leave them here if it looks like I'm never going to use them I'll just go ahead and remove them which you can do by right-clicking on them and then choosing delete or you can just pull them out of this folder right here you can just delete them here now I also wanted to show you a few of these onon photo elements so if you go to Envato elements and you search under video templates you can do a search for mo Gert and that'll pull up a bunch of video motion graphics type templates I have it sorted for Premiere Pro so all of these should be ones that you can install in a similar way not all of these are titles you can further sort under titles and you'll get a bunch of different options sometimes you'll find a motion graphics template that doesn't have very much customization for example if I pull in one of these titles here and you've probably seen these if you've ever seen anything on Facebook or Instagram these kind of very big block text quotes these sorts of graphics here and if you look there's not a ton of customization there's a bit but you can't change the font or the font style it's basically you replace the text and there are a few options for positioning I'll show you another one here this one for example and I'll just set to frame size this one has very little options for well anything we have a slider here that adjusts the padding of the blocks this slider here I don't know what that does doesn't seem to do much of anything but this we can only change the text color the background box fill and the text so no text style font size or really anything we can't even turn off the background so your mileage may vary with these motion graphics templates is definitely something that you want to be aware of you may see something really cool on envato some of these have very minimal descriptions for the text so you'll find one that looks great this one looks great but until you download this you'll have no idea because it has no description whether or not we can change any of these fonts maybe this font will work for you maybe it won't maybe if you change the number of characters the background will scale I imagine this one would but not all of them that I have demo do most of them that I've downloaded work just fine and have a pretty good amount of customization I demoed this one right here this one only comes with 16 but it has so much customization that you could take just this one and I could probably realistically use this 10 or 15 different ways with different fonts with different colors different tracking different arrangements with one two three lines I could use this as a main banner as a lower third as some kind of call-out so the more customization that it has I think the better because you can not have so many to sort through and you know exactly kind of what it's going to do and how you can use it this is another pack that I think works really well it doesn't say in the description that you can change everything it says in the video preview that the fonts are changeable which is nice this is one that I also demoed right at the beginning of the lesson this comes with a bunch of different options as well so this is another great one that I like I usually don't keep this many in my browse tab I usually just will populate this with the ones that I will use most often which is really just a handful but I wanted to show you that there are a ton of options available most of these that you are seeing here came from three different packs so all of these on the bottom up until about here are from that pack that has like 90 in them and then these are the sixteen from the smart title pack version two and then there are some Adobe stock in here and then a bunch more from that big giant pack some more Adobe stock in here there are some that I have made and then more from that big giant pack and then I have some down here that are labeled box boxed and that's another pack that I have that I bought I believe on videohive but that about wraps it up for this lesson coming up in the next lesson you're gonna learn how to use a motion graphics template for transitions so check that out coming up next in this lesson you're going to learn how to use motion graphics templates designed for transitions so I thought I would take you through the whole process of downloading and installing these so you can see what it's like for any of these Moger tour motion graphics templates if I jump over to envato elements I just did a search underneath video templates for mo Gert transitions and I got all these great options here some of them will have a bit of a description some of them won't but you can see there's a ton of really cool liquid stuff there's some more flat designed transition elements here like this and like this from Suites underscore fxm and most of these should be in mo Girt format so they're very easy to install so I downloaded this 100 flat-pack design transition pack and I unzipped it and then inside this folder you can see we have a few different things there is the original After Effects file so you could go in and make some modifications sometimes what you'll find is some of these transition elements have been designed for a lower frame rate than the project that you are currently working in so my skater kind of demo project here is 29.97 so anything that has been designed in 24p or maybe 25 frames a second may not look as smooth as something that was designed for 30 P so you could if you were reasonably skilled in After Effects you could come in here and make some modifications to the comps and then maybe you re-export some things that's probably way too much for this lesson so I'm just going to show you how the stock motion graphics work for this particular pack right here this one comes with a couple of tutorials which is really handy to help you to be able to use these and then in this folder here transitions underscore eg eg stands for essential graphics these are the folders that you want to install in your motion graphics folder right here and in fact what did is I just pulled that this entire transitions underscore eg folder right over into my motion graphics template folder on windows again for Mac that's going to be a different address or a different location on your system and then once I did that they are all right here they all populated in the Browse tab I tend to like these kind of geometric bar shape transitions I think this is pretty cool oh and that just happened to be within maybe one frame let me just select this and a hold bolt and then use the arrow keys to get this just right yeah this one doesn't look like it lines up a this one doesn't look like it may line up exactly for a transition point meaning that it doesn't cover the entire screen again this may be designed for 25p and I am in a 29.97 sequence but if I get this right about here this will make a pretty smooth transition you're not even really gonna see it even though it doesn't cover up the entire screen it's still pretty nice-looking and if we select this mo Girt here over in the Edit tab you can see we have some options for customization basically it's color now different transitions may offer some different customization I found that the transition motion graphics templates don't offer a lot of customization but it's not always needed it's nice that you can change the color here I'm guessing that the stock colors are probably not going to work for all of your projects so we could do something like just pick colors here that are already in the frame something like this maybe this purple maybe that'll match a little bit better yeah that's pretty cool or work with whatever color scheme that you are working with again it's just as easy as dragging and dropping these into your project you could also use any of these as track mats as well which is another way that you could use these for example maybe we want to adjust our edit here and do something like I'll get rid of this one right here maybe I'll take this cool kind of three panel thing throw it up here and then for this one I'll put a track mat key on this so the track mat two video three and now it's just gonna kind of blink on and blink off which could be cool it may not work for this particular example but you can see how that could be really useful I'll show you another pack that I found and installed here this one is called liquid transition and you can find this on Envato elements as well and if I pull this out on the timeline this one gives you some customization as well here it also comes with a sound effect in the background that you can hear which is pretty cool I'm gonna meet that because that's gonna get annoying but let me position that up I think this one just goes on I don't think this one actually goes off so this basically just comes on and you could use this just as kind of a wipe so it just kind of wipes on like this maybe you put it like at the end here boom and then it goes to just something else or we could also use this as a track mount element and so if I put the trash the effect on here and I set this to video 3 you can see it's gonna wipe on with this video and that looks pretty cool and what do we have over here for customization well we have scale so we can scale this up and it looks like this is a vector driven layer and so when you scale this up it's going to maintain really nice sharp edges which is very cool just reset that we have rotation and that's not really going to be helpful that's no different than just changing the rotation over here because we're still gonna see kind of the edges there but I suppose you could scale it up and then rotate it and that would work for you if we didn't use this as a track mat so let's take this track mat key off and we used it just in its default state here as a essentially a piece of footage it's got a glow here we can change the glow color to something like I don't know red or this purpley color I guess no I don't like that something bright pink that looks cool pixelization pixelization intensity it's got a couple of cool options on it now all of these are just effects that are on the original After Effects composition that's running in the background here but it's still cool to have some customization not all of the transitions have that so lots of different options for transitions and they're super easy to use inside a premiere it's definitely something that you should check out coming up in the next lesson you're going to learn about proxies and how that can totally change your life when working with high resolution or difficult codecs check that out coming up next [Music] in this lesson you will learn how to use and create proxies for a faster editing experience so you're looking at a project here that I did recently that I shot with my camera for my local church where I recorded the main Sunday morning message we call it a sermon other churches may call it something else and my camera can use a few different codecs but usually I use h.265 because it's very space efficient and it looks very good and h.265 is not a very easy codec to edit and you may find that using multiple streams of h.264 in Ultra HD or even higher resolutions may be difficult for your machine to edit maybe your machine is not quite powerful enough or maybe your hard drives aren't quite fast enough anyway you cut it you don't really need to work with the full resolution files when you're editing especially if you're not using a full screen preview if you're just using the program monitor like I am here maybe on a single monitor or even if it's not full size on a large monitor having a proxy file which is a smaller resolution lower bitrate version of your original video is not going to make any difference but it will make the editing performance much much faster so this file right here will play reasonably well in the timeline actually several weeks ago now and I said we're gonna grow some plants right from the seeds and we bought these pods that we could plant seeds in now it looks like it's playing back reasonably well and it is but that's only because it sat here and found the frame to start on for several minutes watch what happens when I scrub in the timeline watch right here [Music] oh my goodness I think I had two birthdays in that amount of time so the scrubbing performance is absolutely terrible and this is running at half resolution it's actually a little worse when it's running at full resolution you can drop it down lower but it's not going to make a difference a Scott 265 is tricky for computers to edit and my computer is a very fast machine the key to this is not faster better hardware it's creating proxies proxies are a lower resolution lower bitrate version of the same file like I mentioned earlier and depending on where you are in your editing process creating proxies is pretty simple now I already have my footage pulled into my project so the way to create proxies here in premier is to right-click and choose proxy create proxies we have a couple of options here you can choose QuickTime or h.264 my system can rip through h.264 plenty fine including multiple streams it's that's no problem the issue comes with these three presets which are the stock h.264 presets I don't think they're very good so I like to create a custom preset that is 1280 in the horizontal and then whatever the vertical resolution is relative to the original file so if you are shooting Ultra HD that's going to be 1280 by 720 if you're shooting cinema 4k which is 4096 by 2160 that should be 1280 by 674 I believe it's kind of a weird aspect ratio and so to create a custom ingest preset we need to jump over to Adobe Media encoder and what we're gonna be doing here is making a custom ingest preset which is different than a custom encoding preset however we need a custom encoding preset for the ingest preset I know that's a little bit confusing it'll make sense in a second so to make a custom encoding preset you can click on the plus button here in the preset browser choose create an encoding preset you can name this and for my particular footage it's like I mentioned before cinema for K so it's 4096 by 2160 so let's name this preset I'm gonna call it C for K and I'll call it proxy I'm gonna use the format of h.264 and usually when you create one for the first time this will say match source high bitrate however I don't want that because I don't want to create full resolution proxies I want to create much lower resolution proxies so I'm gonna uncheck this check under matched source here and I'm gonna change the resolution so you can see it's come up with the resolution right here 4096 by 2160 and I'm just going to use 1280 as the width and that's going to create 1280 by 674 which is some weird aspect ratio it doesn't really matter that's the only thing that I need to change and that's gonna be plenty good enough and it'll look fine in the program monitor will see some compression artifacts for sure but that's not a big deal because we're going for speed and not super quality and then under bitrate you can really choose anything but you can probably go as low as maybe 2 or 3 again this is gonna look a little bit on the potato vision side but at any point in time you can switch back within a second or two and look at the full resolution files and I prefer really small proxies you can bump this up and experiment with different codecs and different formats however you choose the point is that I want to create this specific resolution 1280 by 674 for my cinema 4k files now if you're shooting Ultra HD which many cameras do you would want to create one that's probably 1280 by 720 when you're done with this you can click OK now I've already created these several times to make an ingest preset you click this plus button create an ingest preset I'll call this C for K ingest I'm not going to copy files to destination because I pull the files off the card in a different way and that's just sort of my workflow what I do want to have checked is transcode files to destination because that's going to actually create the proxies and I'm going to click OK now over in premier when we go to create proxies we have this button here add ingest preset and it may not come up with this folder but this is the location where you want to go to point premier to this c4k ingest preset that you just created hit open it's as a preset with this name already exist do you want to overwrite yes it's not going to say that for you because you haven't already created one but I have right down here I have the option to put the files next to the original media in a proxy folder that's usually the option that I choose but you can put them in another folder if you want as soon as you click OK it's going to send the files over to Adobe Media encoder and it's going to begin encoding them now while that's finishing creating those proxies I want to show you a few of the other ways that you can create proxies you can also create proxies when you pull in footage from the Media Browser which you just saw me grab over here in the window and then down to Media Browser if you navigate to your files and I'll show you the same files that I am working on in this project these are the only two files that I need right here and there's an ingest checkbox right here before you go ahead and import those click on the wrench icon right up here and choose an ingest setting that you want to use what you may want is to create proxies only if you are copying the files from a different destination you may want to choose copy and create proxies if you want to just Transco these to something like ProRes and then not use proxies at all you have that option as well but to do a similar operation that I showed you before I'm just going to create proxies you can choose whichever preset you have created here the proxy the nation you can choose same as project or use preset destination which you can see right down here we'll put the footage in my footage folder in a subfolder called proxies that's usually the one that I choose and then you press ok then when you import these files it's going to pull them into the project and then if we look over in media encoder it adds them to the queue right here and it will do basically the same thing so if you know you're going to create proxies with your footage this is kind of a faster step it should Auto link these and make them available as soon as it's done encoding I'm just going to delete those there and then get rid of them in my project another option is you can create proxies manually and then you can link them to your original footage after you have created them so if you know that you're not going to be editing right away and your computer is going to be maybe free overnight or something to create some proxies because depending on the length of your footage in the number of files you have it could take a pretty decent amount of time you can just pull your files right over here into media encoder and then choose not your ingest preset but you're encoding preset for the proxies and then just manually place them in that proxy folder and then I'll show you how to link them as soon as these proxies are finished so that's another way that you can create proxies without going through this process as well so there's a few different ways to do the same thing depending on your workflow back in premier now if you've created proxies from premier it should have attached the proxies to the original files automatically and if you click this toggle proxies button on right here you should see it switch over to the proxies now you probably can't see that here but if I put this in fullscreen you'll be able to see a quality shift here when the proxies are on and the proxies are off right so you can definitely see if you're looking in a blown-up view here or maybe you're watching on a fullscreen monitor you'll definitely see a quality shift because we're looking at like 1/8 of the resolution here with these proxies but when it's in this size right here you really can't see too much of a difference especially when it's in motion now to get this toggle proxies button in the program monitor there is a button editor right down here and you can pull the toggle proxies button down to your button menu right here this little button toolbar and then press ok and then check out the scrubbing performance here we'll just really stress it out so you can see the Edit performance is super fast at any point in time you can just disable the proxies to get back to the high-resolution footage you want to make sure that you disable your proxies and you go back to your high-resolution footage before you export because that would not look fantastic and if for whatever reason your proxies were not attached to your original files maybe because you created your proxies manually that's no problem you can just select your files over here go to proxy attached proxies it'll come up with the first clip you can see in the file name here and then you click attach and then it should point to the proxy folder if not you'll have to navigate to it over here in this folder tree so I'm going to select the proxies folder and then I want to choose the file with the corresponding file name to my first file in the list here and then click attach and it will attach usually what will happen is it will automatically attach both files but I think because they were already attached it it didn't do that this time if for whatever reason your full resolution files go offline for example if you created proxies and you put them on a different Drive or your full resolution files are on different Drive and you need to reconnect your full resolution files before you export you have that option here and in the same way that you attached your proxies you can attach your full resolution files to the proxy files again just make sure you uncheck toggle proxies before you export and everything should be cool that about does it for this lesson make sure to check out the next lesson or you're going to learn how to use one high-resolution video file to get to camera shots in this lesson you're going to learn how to create multiple cameras from a single camera shot these days cameras can shoot at very very high resolutions a 4k camera is not uncommon however the need to output a 4k version of your file is not really something that everyone needs to do and that's because many end-users are still only using 1080p screens so a very common thing for folks to do when they're shooting is to shoot in 4k and maybe shoot a little bit wider and then arrange those files in Premiere to get to different camera shots in this sequence right here that's basically what you are looking at I'm just gonna mute the audio here and you can see as I scrub along I'm gonna turn proxies back on here so this goes a little bit faster you can see that I have a nice wide shot and a tight shot but this is coming from the same camera and if I turn proxies back off and I look at this at a hundred percent resolution you can see that it actually still looks plenty fine it's nice and sharp plenty of resolution here and so you don't really lose anything with this technique so let me show you how I set that up so I have one file here I'm just going to do it with one of my footage files and I'm just going to drag this over and create a new sequence now you can see that the color does not look right and that's because my camera is shooting in a log color profile but don't worry about that for right now for this technique instead of color correcting all of the individual footage layers I just do one color correction adjustment layer at the end because that's a little less processing overhead so the next thing I'll do is I will come up here to sequence settings and change the resolution to 1920 by 1080 it'll say changes to preview file format or color space require all preview files to be deleted no problem doesn't make any difference so now you can see my cinema 4k file which is my original file is 4096 by 2160 at 100% scale if we look over here in the effects controls tab gives us a lot of room to play with to kind of reposition this image here and so what I usually like to do is set up my wide shot first and I will go something like 52% scale and that's because I shoot it a little bit wider if I just right-click on the file down here and choose set to frame size that'll set the width to the frame size and I'll get these black bars at the top and the bottom now maybe you like that as some kind of aesthetic choice but I don't I like it to fill the frame and so I usually will set the scale to something like 50 and even at 50 it leaves me a little room if I click on motion you can see that's how much wiggle room I have on the right and the left to recenter this image usually in my tool bar here I will have the safe margins here which gives me a really nice center spot and so if I have to recenter this or just move it over to exactly center of the frame shooting in 4096 by 2160 gives me just a bit of wiggle room to be able to move the image right or left a little bit so I could move it all the way over here and not lose anything or move it all the way over here and not lose anything if I'm shooting with someone in the center or someone on camera right or camera left that's pretty handy to be able to balance them if I'm using kind of 1/3 graphics over here it really helps to be able to refine that so I will go at least 50% if I need to kind of adjust where the head space is here I'll bump it up to something like 52% maybe I'll click on motion so I can see where the bounding box is and then push it up maybe just a hair something like that you can also move it manually if you click in the program monitor here and if you hold ctrl or you have snapping enabled it will snap to the edges of the sequence box here or if you have guides it'll also snap to the guides but I prefer to just kind of move the position over here and that works for me so this is one camera shot right so this is gonna be my wide shot the second thing that I do is I will alt drag the video up onto a second video layer and this is gonna be my tight shot and I usually don't go a hundred percent now I could go a hundred percent and I'm not technically losing any information here because this still looks reasonably sharp however I don't always feel like I need to get this tight so I will usually go to something like 85 or maybe 90% and that's enough of a difference to make a pretty convincing two shot out of this one camera shop but you can do it however you like so if I play this you'll hear that I'm using just the built-in camera mics for my camera and I haven't recorded the shotgun microphone to my camera so the final step that I need to do and you may not need to do this is to put my audio in here as well and synchronize it with my clip now it's already pretty close to being synchronized but if I right-click on those two files the camera audio and the audio from my audio recorder I can come up here to synchronize and then choose audio track 1 to synchronize to and it's going to go ahead and analyze those there we go and now those should be reasonably well synchronised the only thing that I need to do is just maybe trim up the beginning here there we go and then finally for this multicam a thing to work properly I want to pull my camera audio down and put my audio from my audio recorder on audio track one and then mute audio track two and that's because as I switch between cameras it's going to by default just follow audio track number one now there are different ways to set up the multi camera switching in Premiere but having the camera switch and having the audio lock to audio track one works fine I'm just going to name my sequence over here I'm just going to drag it to the bottom and if I drag my sequence into a new sequence I'll call this main just so we can keep these clear to make this a multicam sequence all I need to do is right click on this go to multicam and then enable and then I can toggle on my multicam view right here and if you don't have this button you can access it with the button editor right here and now you can see I have my wide camera in my tight camera right here and so I can edit this really easily your high school students who are really missing prom and they're missing grant now I'm going to mute the audio here so I can talk over this but as I play this back what I can do is I can cut back and forth either with my mouse here or I can use the keyboard the numbers above the QWERTY keyboard will correspond to these camera shots so one is here two is here if you had multiple camera shots three and four would be down here and you can put as many cameras as you want in here and you can see that the bounding box here turns red when it is recording what you are doing as soon as you stop it turns yellow and then when you play this back it will basically follow that switch exactly like I did it and so this is a super fast way to edit between two different camera shots that came from one higher resolution camera file if at any point in time you need to make an adjustment like you say oh you know what maybe I want a little bit more Headroom here you just jump back to your multicam project and then make a little adjustment to the position no problem you jump back here it's all set the final thing that I do is add a color correction layer to my footage which I do with an adjustment layer turn multicam off and check that out that's a super simple way to create two camera shots from one camera but if you wanted to adjust any of these transitions you can just slide that edit point along or you can click on this individual clip here and then you can just change it by clicking on the camera or you can just play it back in at any point in time as soon as you click to switch cameras it's going to start recording your camera sort of automation if you will and if you stop it it's going to leave whatever camera switches you have done down the timeline to the right but if you keep playing it you will overwrite any of these edits right here boop-boop boop-boop boop-boop you can see it overwrites any other edits that I have so experiment with this it definitely makes editing this kind of content a lot faster and it's really simple to do that about does it for this lesson up in the next lesson you're gonna learn how to use the freeform view to review organize and prepare media for your projects in this lesson you will learn how to use the freeform view to review organize and prepare media for your projects I have a project here that I just started to put together that contains several clips of a farming or agriculture nature I found all of these clips on Envato elements and I want to show you how to use the freeform view to perhaps more creatively or more visually put these clips together and start organizing them in a visual kind of workflow or flowchart sort of method to get a better idea of what your edit is going to look like using the project panel is plenty fine for a lot of projects but it doesn't give you the same sort of visual flowchart feel as the freeform view so let's check it out you may want to switch over to the assembly workflow and I'll just reset this so that it looks very similar to yours and then if you have your footage in a bin or a folder go ahead and double click that to bring it in its own panel here so we can work with just the footage here although you can use the freeform view in the project panel but it will include all your sequences and all your other items I'm just going to show you the freeform view for just my footage items here so right down at the bottom of the project panel there is the freeform View button and you can adjust these signs if your Clips here I'm just going to kind of leave them about like this in fact I'm just gonna put this footage bin panel here full screen by hitting the tilde key and what the freeform view allows you to do is to arrange these clips in a non grid sort of way we can overlap you can do a lot of the same things that you can do in the project panel but you can kind of lay things out visually from top to bottom or left to right in a way that makes sense for you visually now I'm just going to reset these to the grid by name and I'll just go through how I might start laying this out in the freeform view so you can see I have a number of Clips here some of them have people in them and if I hover over these clips they will scrub by default the poster frame is the beginning of the clip but if for any of these you wanted to set a different poster frame for example the poster frame for this clip right here is not this guy smiling but it's a nice clip of this farmer gentleman smiling so we may want to set that as the poster frame maybe something like that you can right-click on it and then choose set poster frame if we wanted to set another poster frame maybe this guy holding the clipboard here that would be shift P on the keyboard so let's say shift P you can also use JK and L to scrub through these clips so we can set an in and an out point here so now we can start kind of laying this out in a way that makes sense and get really creative with how things look here so I might want to start with let's see I have this nice shot of the sunrise and I can just take all these and kind of stack them whoa maybe stack them over here it'll make a little room and I'll start to lay this out over here on the right side I'm going to change this clip size here to extra-large maybe this will be the shot that I start on you can also adjust what is displayed here if you click on the little three bar or hamburger menu fly out here we can change the freeform view options and we can change the metadata one from name to whatever metadata item you want but you can also change the metadata to line to something like a video duration that'll give you an idea of how long this clip is here 11 seconds that's probably too long I'll just trim up that a point there and maybe I'd like to go to this farmer guy here cuz that's also kind of sunrise II sort of looking I can set these clips over here to maybe small there we go and I can also realign those to a grid and then I might want some other kind of agro looking stuff here maybe we show a bear field then we show the guy doing some seeds here that make sense to me then we show the guy planting the seeds that's looking pretty good maybe he's gonna walk and evaluate okay I'm following here then we go down here we see the overhead shot of the tractor here that's pretty cool we don't necessarily have to keep all these separated here we can also sort of overlap these if you want as well you can kind of arrange it however you need to we can get into maybe this shot here well maybe come back to farmer guy show some cows here let's see what do we have here get some eggs maybe we'll show these guys here this is a great shot of horses it doesn't really fit with the farm vibe but it's a great shot so I might might put it right there maybe we'll come down to one more nice aerial clip right here that's fantastic we'll get this guy smiling cuz that's very nice and then maybe we'll end with that shot there but before there maybe we have if you have this clip right here and then this guy looking at some stuff cool so that is that's our arrangement and that's kind of the flow that I want to have for this project now if I like this if I feel like this is pretty solid what I can do is save this layout and that way if I want to start something new if I want to let's say reset this to a grid based on the file name I can come back to restore layout farm 1 and I have this laid out just like I like you can also label clips so if you wanted to maybe label all of these as teal maybe label all of these as blue so that they're just distinguished a little bit differently or labeled a little bit differently in the timeline you can do that as well and I'm just going really quickly and then once you have it kind of laid out in a way that makes sense you can control click these and you can see as I hover over these overlapped items here they pop up so I can click them and I can right-click and then choose new sequence from clip and then check this out right over here in the timeline I've created a new sequence which has the name of the first clip that I used or I selected and now I have this nice little project here and all those edits with my in in my out point are all updated here I see that I have a little variation in the clip size might change my sequence setting make this a 1080 comp and that'll right-click on all these and set to frame size and there we go nice check this out I got a nice flow of things cool and that was the freeform view it's a nice tool to be able to visually lay things out something that you couldn't really do very easily in the project panel and it's definitely worth experimenting coming up with different views you know you can create a completely different edit just by arranging the clips differently in this freeform view and you can do that a lot faster then you could sort of picking up individual clips here in the timeline or even the project panel to rearrange things and then create a new sequence coming up in the next lesson you're going to learn how to use the auto reframe effect to crop your videos to different aspect ratios so check that out coming up next [Music] in this lesson you will learn how to use the auto reframe feature to reframe your videos for different aspect ratio outputs in the last lesson we looked at the freeform view and you saw me create this really simple farm sequence here and I changed the sequence setting to make this 1920 by 1080 but what if you wanted to export a vertical video something that wasn't 16 by 9 but 9 by 16 or a square video well premiere has a really nice feature to be able to do that and if you want to do it to your whole sequence and have it a little bit more automated all you need to do is right-click on your sequence you can see here's my farm 1920 by 1080 sequence and I can choose Auto reframe sequence it's going to come up with this dialog box here and there are a few different presets let's first check out 9 by 16 it has a motion tracking drop-down here where we can pick a few different options depending on the type of motion in our video if there's a lot of fast moving action and we want it to move between the subjects or the things that are sort of in focus or being featured we want to choose the fast motion option I'm just going to leave it on default and choose create alright here is my project right over here let's check out how good of a job it did it's still analyzing down here so we'll let that finish analyzing all of the clips and then if you look at these individual Clips over here in the effects controls Auto reframe which is an effect which you can find right down here in the effects panel this Auto reframe effect has been applied to almost all of these Clips here with the exception of this essential graphics element that I have here but that's been centered up nicely so let's check out what it has done here I'll play this looks like we have the Sun in view hey check that out we got our farmer in view this is reframed pretty well look at this so it basically analyzes the footage and tries to figure out what is the thing that I need to be focusing on it's doing a fantastic job so far it's getting this guy in there very good it's getting the cows face very nice looks like it's giving us a little pan there look at that it looks like it it caught on maybe to one of those horses there and was doing a little pan and scan which is pretty cool it's keeping our guy's face in view they're very nice same thing here overall I'd say it's doing a really nice job but let's look at a few of the options so I'm gonna find this horse clip here because I did see a little bit of weirdness on that shot there so let me zoom up here in the sequence and I think what is doing is it may be tracking this horse here and then panning over but if we change the preset for motion tracking to fast motion it's going to reanalyze this clip and let's see what it looks like now so kind of a similar thing let's try slower motion and let's see what it looks like alright so slower motion it basically ignored that fast-moving horse here right here where I think in fast motion it was trying to get a little bit more of that horses action in the frame but the slower motion preset basically ignores that everything else here looked really pretty nice however on this last clip here it kind of has to decide what it wants to do because the way that this clip is in the timeline you can see any way you slice it 9 by 16 is not going to work to be able to get both of these guys in without having some black bars on the top and the bottom so let's look at how you might want to deal with this we can experiment with maybe slower motion see what that's gonna do here we get a little bit of this guy is it gonna stay with him the whole time okay yeah it is if we choose faster motion what's gonna happen okay it's gonna it's going to hang with this first guy here with this back turn and then we're going to go over here to the second guy now we can edit these keyframes and you can see basically what it is done to the position in order to do that move that it did right there so I'm gonna go to this first keyframe here and I'm gonna delete these other ones this will be my start keyframe maybe I'll just push this over here we'll start with this guy right here and then we'll just slowly move over here to the second gentleman right here and we can adjust the temporal interpolation so maybe we do an ease out and an ease in something like this I think I like that a little bit better than what the automated tracking solution gave us so at any point in time if the presets here are not doing it for you you can go in here and basically do it yourself manually now that's not too different than just keyframing the motion for each one of these but I would say for probably 90% of the clips the auto frame effect that it puts on here by default is really going to do a fantastic job and you can see over here in the project panel I have a new folder that is my Auto reframed sequence and you can see that it has my original name and then in parentheses it says 9 by 16 let's just check out one more variation of this and let's do a square clip we'll just create that and then let it do its magic with the analyzation all right so that was pretty fast and let's play this down and see what we have here so the title still looks good that's nice and centered although I wouldn't expect it to be too off this clip is looking nice that's looking nice we have a little bit more wiggle room with a square sequence as opposed to a 9 by 16 which is really pretty skinny so I'm guessing that this is going to be pretty smooth and we shouldn't have to adjust too much because we should be able to get those two gentlemen at the end into frame a little bit easier than the 9 by 16 version which I'll admit is really not my favorite that looks great with the horses I think that worked fine this guy is gonna look great there that's an that's an easy track that machine not much movement so no big deal there this gentleman here he's looking fine not much movement there how we gonna do here with the last one not great okay so for this last one we may want to come in here and and just edit these key frames you can see it came up with a different solution which in my estimation is still bad let's see if we can Center that up here I'm just going to hold shift and lock the CTI to this first keyframe and see if we can get you know we can't really get both of these guys in here so in this particular instance what you might want to do is delete the auto reframe effect and maybe just scale this down a hair like this maybe push it up to another video track and then do the old blur the background sort of trick like this where we put a Gaussian blur on the background video here and just blur that way out maybe something like that that might work for shots that are too difficult to get in and shots that you don't want to see that weird kind of pan and scan action like you saw before there so that pretty much does it for the Auto reframe in premiere super super handy and I would say 90% of the it's gonna get really great results all right coming up in the next lesson you are going to learn how to work with captions in Premiere so check that out coming up next in this lesson you are going to learn how to create and export captions in Premiere Pro creating captions in Premiere Pro is really easy you can just come over here to the project panel right click on a blank area come up to new item and then choose caption you can also get to a new item down here with a new item button now there are a few different options under the standard drop-down here we have cea-608 and several others and Adobe's documentation on what these are or why you would want to use them is not fantastic in fact it's almost non-existent and what I have learned is this 6:08 is for analog broadcasts 708 is for digital broadcasts teletext is used in some PAL countries Australian is used in Australia Open subtitling can be burned into the video or it can be exported as a sidecar file but it doesn't offer any styling and it looks pretty terrible so I think the best abet for most folks is open captions and that's what I'm going to use right here you want to make sure that your time base and your resolution match your project these do so I'm going to click OK and you can see that was added over here in my project panel and I'm just going to drag that out on the timeline here and extend it all the way to the end of the sequence I'm not going to make captions for this entire one minute and 50 second portion but I'll just show you a little bit here at the beginning so you can see how it works if I click on my caption item in the timeline and I come over here to the caption window and if you don't have the caption window open you can find that right up here underneath window and then captions and you'll see I have a bunch of style options and you can see my captions being displayed right here so by default these type of open captions will be burned into the video so that will be appropriate for your Facebook's and your instagrams and many other types of social media platforms where you want the captions burned in a lot of times when you're scrolling through the social feed folks like to read the captions without turning on sound and so that's very handy to do that but you have the option with open captions to export the file separately export the captions file and so you can get a clean version of your video with a separate subtitle file and I'll show you that in just a few minutes here so the process of creating captions is really simple you can see it created one caption here one kind of block of text and in the timeline you can adjust the end point in the out point so I'm just going to leave the end point where it is and adjust the out point to right about here where I can see there is a blank spot in this dialogue waveform here and if I play the audio let me tell you a little story about disappointment from my life I'm going to type that over here there we go a couple of things you want to keep in mind long lines like this don't always work for captions when you export them as a sidecar file because when you export them and they are displayed in another application like YouTube or if you are viewing them on a media player like VLC you don't have control exactly on how the line is broken up and if the player will wordwrap this so if the settings in the player that you are viewing this back are such that this line is too long to fit on screen it may or may not break it automatically and put the words on a second line so it's probably safest to just manually do a line break by hitting enter here and putting longer lines like this on two separate lines I'd also probably Center this up and probably make this a little bit bigger something like forty five something like that and you can adjust the font the font style the size and a bunch of other parameters from faux bold to italic you can set the background color you can set the font color and all of that that's not going to affect the sidecar file that's only going to affect the burned in captions to add another caption here we can just click the plus button I love gardening alright pretty easy there we go you can see this this is a very iterative process to add another caption you just click add caption right down here and then add the next line the process of actually typing this in is I think where captions become really tedious and sort of painful and thankfully there are a few automated tools to be able to help you and I wanted to show you a few of those one of those is a third-party service something like Rev or scribble or something like transcripted from digital anarchy all of these cost money so in the case of transcripted this is a plugin which you can see that lives inside of premiere and it will do the transcriptions and it'll follow along with the video you pay for the plugin and then you pay for the transcription so it's a one-time fee for the plugin and then every time you want something transcribed there is a fee that is either a per word or per time I believe that's something you can look into and then something like Rev is a transcription service that's done with humans and so that tends to cost a little bit more long term but the accuracy is close to 100% so if you're doing a lot of transcription those are options that you to look into I have found a little bit of a workaround and there's a couple of different ways to do this but you can get something as simple as a Google Doc to transcribe for you if you have a microphone connected to your system and let me show you how that works so I'm just gonna pin a premiere over here and I'm gonna roll this back a little bit and in the Google Doc underneath tools there's an option for voice typing which I already have enabled if I start to play my sequence here and then I click this microphone button check out what will happen and it's a way for me to watch things grow it's also a way for me hopefully to eat a couple things in the summertime and this year I decided to really kick up my gardening level a notch okay the only downside to this is as soon as you click outside the tab it stops the microphone and so you kind of have to leave this tab active for however long you are going to do this kind of automated transcription thing and it doesn't do any punctuation however you can't take advantage of grammerly if you have that installed and the built-in spell check which is also really really handy another option that I found and I've actually used this more than this Google Doc method is using a Google app and this is only for Android phones but there's probably something out there for iOS as well Google tends to be a real powerhouse in the world of transcription and they have a few apps that you can use to do this sort of automated transcription for free one of those is live transcribe this works on older devices so the phone that I use is about four years old and that works just fine with this and the really cool thing about live transcribe is it does punctuation and it'll go back and fix punctuation like 30 seconds back in the past so you'll see it go down and be transcribing and it'll sort of guess on the fly at what the punctuation is but then as it discovers that it has like a 85 word run-on sentence it'll go back and add the punctuation and it is incredibly accurate every once in a while it has a little bit of a hiccup and you have to use a device to do this so basically what I do is I launch the app I play the audio that I want to have transcribed and I've had this run for a couple of minutes without any sort of problem I stop my audio I copy the text from this live transcribe app and then I switch apps on my phone over to this Google Doc that I already have open and then I paste the text in here let me show you the difference between this Google Doc method in this live transcribed method I ran in that same section and a little bit further so I could pick up some of the punctuation it took only about maybe fifteen to thirty seconds longer than doing it in this Google Doc but check this out now I have all of the punctuation here and it's not all perfect you can see that we have a little issue here where that should be the same sentence there but it's really pretty good and I'm going to go with this to finish adding a few captions here to my project so let's talk about how to export your projects we have captions I'm going to disable my proxies I'll make sure that my sequence is selected I'll hit ctrl M I'll pick my preset so let's say I'm going to say we're going to Facebook right over here in the captions tab we have the option to burn in our captions and so it's not going to burn in for the entire time here but if we shorten this up - something like this we'll give this a quick render and you can see exactly how this is going to look when you upload it to Facebook so I'm going to set an output here and then queue that in Media encoder I'm going to get that started and then I'm going to export this again and I'm going to use about the same in and the out point which is fine but this time when I scroll back here so you can see the caption I'm going to select underneath export options create a sidecar file and what I do you're going to see the captions which look like they were going to be burned in disappear and so what this is going to do is it's going to export the captions as a separate file that's what a sidecar file is something that lives along the main file and you have a few different options here you can use the STL format and you have a bunch of different options down here probably the one that I have seen used most often is SRT I believe that's what YouTube uses and so I'm going to just export it with the same settings that I had before I'm going to queue this in media encoder and let's take a look at both of those when that's finished exporting alright here's what we have we have the video with the burned in captions let's check that out let me tell you a little story about disappointment from my life I love gardening and it's a way for me to watch things grow it's also a way for me hopefully to eat a couple things in the summertime that looks exactly like you expect it the captions are burned in let's check out this second file here let me tell you a little story about disappointment from my life I love gardening now you can see the captions look different and that's because they are being displayed by VLC so the captions are right down here in this SRT file in fact this is really simple it's just a simple text document with a SRT file extension and there's timecode up here it's kind of the beginning and end code for each one of these caption blocks if you will and then the number of the caption and that's really pretty much it I mean you could almost make your own captions manually in this text file here and so you can use that to upload to YouTube and I like using the open captions because it gives you the option to create nice kind of stylized burned-in captions like this and export your file as a sidecar well that about wraps it up for this lesson and in fact wraps it up for this course I hope you found this course useful and I hope that you learned a few things to make your editing experience easier faster and more enjoyable thanks so much for watching again my name is Dave bode for envato and I'll see you around [Music]

Channel: Envato Tuts+

Views: 120,195

Rating: 4.8920088 out of 5

Keywords: premiere pro, video editing, adobe premiere pro, Envato Tuts+, Envato, Tuts+, Introduction to Video Editing in Adobe Premiere Pro, Intro video editing, Adobe Premiere, Premiere Pro, basics of video editing, how to use Adobe Premiere, Instructional Video, premiere pro tutorial, premiere pro cc, adobe premiere pro cc tutorial, adobe premiere intro, adobe premiere, premiere pro for beginners, how to edit, adobe premiere pro tutorial, how to use premiere pro, premiere pro tips

Id: 6y0OpXQ-Bgs

Length: 200min 18sec (12018 seconds)

Published: Tue Jul 21 2020