VIDEO MASTERCLASS | Your First Edit - Premiere Pro Basics, Pt.1

all right everyone hello good morning good afternoon good evening wherever you are in the world my name is jason levine and welcome to the friday master class here on adobe live also being simulcast to behance and youtube great to see you all hope you had a great week it's friday and today i'm starting um a new series well a series of master classes all back to basics so it's funny right before the um july shutdown break i had a bunch of people uh contacting me via twitter and elsewhere after that ten thousand hour stream about hey you know i got inspired to like start using premiere right putting in my hours putting in my iterations and um struggling to find like just how to's like where to start and there's lots of videos around it and what about something in the latest version so i have a bunch of series where i did a whole complete run through of everything and how to get started and finish called how to make great videos they're from 2017 2018 they're still very timely and all the info is still valid but there's been a lot of changes along the way obviously in the last three to four years so over the next couple of weeks we're going to be doing back to basic streams here and today we're really going to focus on the fundamentals of starting your first edit in premiere pro so if you've never used premiere or you've kind of used it but you've fumbled your way through this is really meant to take you through the basics of getting started and specifically around these topics so we're going to start by you know starting the new project and looking at that first screen importing footage uh content view and selection and something new which wasn't in the older videos free form view for organizing your content creating a sequence from that content we're going to go through all the various editing tools in the tools panel again a lot of these things have shortcuts and other ways to to leverage them we're actually going to go to the tool directly and just kind of show you what they do talk a little bit about playback settings and optimizing hardware playback again not getting too deep into the weeds with all of the settings that stuff i went back to some of my older videos i spent 30 minutes talking about all the various settings before importing a single piece of footage i'm not going to do that to you here that's valid info but that's not what this is meant to be this is really going to help you kind of just get started a little bit faster and then just some basic editing uh a accoutrement transitions right if you're not going to do straight cuts and you want some kind of transition well you have options you can use classic things like cross dissolves or film dissolves or you know fade to black fade to white or you know various other traditional ones or you can leverage graphical transitions things that you might find uh via the essential graphics panel via adobe stock and of course we have thousands of free graphical transitional elements and you can use your own as well we can talk a little bit about that okay i want to remind everyone of course that uh i will be following the chat here at b.net adobe live so while i see some of you on my channel here hey what's up rick unique gamers minou what's amazing how are you i'll be seeing you later today uh eric great to see you all i see we've got allison and glenn roy and z by hp and reverb mike in the house doing comedy great to see you cody bear loves a good basic stream steve fest is coaster boom rob and bliss aka golden rose dale anderson wonderful to see you all uh ferry nice to see you too rick adams tristana all right and everybody else okay so again i've got all this in front of me but i'm really following this chat here so if you want to ask questions or kind of get them in front of me that is where you're going to want to be okay so without further ado let me um click over to premiere oh and one other just real quick thing so for those of you who did catch the uh the 10 000 hour stream the other day where i was showcasing my my nine-year-old's journey from you know stick figure man to uh to manga illustrator so this was uh the last two days just thought i'd share real quickly you know just show you that things are still still moving along it's always about the journey so this was yesterday and i think is this this character's name is it is it necco or deco i can't keep up with all the names or is this goku i think this is goku i i can't remember um but he drew this one yesterday and what i thought was cool about this and cody will appreciate so this was kind of his first real attempt at pencil you know pencil sketch and then inking and he was using again these proper ink pens again now that he's getting kind of into manga style so this was his first ink attempt and then later just today just before the stream he revisited the same character and did the same pencil ink and then added color pencil as well so you know just i just love seeing it proud dad but also successfully executed very proud son very well done okay so with that let's go to premiere so i've already got this screen open i'm going to close this real quick we'll come back to that i'm going to start here because this is if you are completely new to premiere this is the first thing you're going to see now remember a couple weeks ago we had that stream where i was showing you some of the new beta features specifically the redesigned ui ux import export which makes finding and kind of starting the process a lot easier that's in the beta so not everyone's using the beta not everybody wants to so we're going to cover the existing july 16th 2021 import experience for starting projects today okay now again this may change when that other version eventually sees the light of day um but this is how you're gonna do it today in the proper release version so up in the top left you'll see you've got your new project button here and this is where you're going to start also for those of you using rush just i had some questions about this mid-week if you work in rush you can also open rush projects created on mobile directly inside of premiere right here so this makes things really really super easy so you're going to go to new project all right hold on i'm just sending a message here because we are live and i can't answer and you're going to give it a name and we'll call it uh my first edit tell it where you want it to go all right i usually stick things in this folder here let's make a dump folder which i empty after every stream now there's a lot of things a lot of different various settings in here if you're new to premiere here's the awesome thing you don't really need you don't need to change any of this okay just real quickly you've got video rendering and playback and this is basically saying if it sees that you've got an accessible gpu it's going to enable that gpu for you what is gpu the gpu is your graphics card and it's going premiere is going to use that to accelerate playback among many other things like adding effects and other stuff you don't have to do this you don't have to touch it it's already going to be selected for you if you want to dive a little deeper you can see the other options in here i'd go with the recommended gpu in this case we're on mac os it's going to suggest metal you saw opencl was in there that since been deprecated but you can still use it or software only which is fine but you're not going to get any accelerated playback or accelerated effects playback or rendering so you can leave that alone these other things here i haven't changed these in two decades so you won't likely need to either your display format again you know if you're wanting to work in feet and frames or just frames good for you time code is pretty much how we all work audio you're going to display it milliseconds again very no reason to display in audio samples at all someone gave me a reason to display an audio samples as an audio nerd tell me why i don't know why that's even there that's completely useless at 48 000 samples per second not a not something you ever need to change and then capture format again this is if you're actually using if you're capturing from tape so dv hdv that's what this is for i actually recently had to do this because during my sabbatical i wound up trying to transfer a bunch of old dv tapes that's for another day and then color management here now this may seem like something important honestly this is not something you're going to have to change either because if you're new to premiere if you're already working in hdr you're kind of aware of those concepts then you're going to have a better idea of what all of these things do if you're not you needn't worry about this setting at all last two things here just real quickly again for anyone who's used photoshop your scratch disks same concept here where does your captured video and audio go your audio and video previews auto saves cc libraries downloads because of course cc libraries is integrated into premiere and then where do you store motion graphics template media that you use in the project essentially this is all going to go into these default locations keep it simple keep it safe if you're going to be you know creating stuff that you want to archive off later place it in in the local folder wherever your media is stored you can place it wherever you want again you generally never have to change the defaults and we're not going to worry about ingest for right now this is again slightly more advanced this just allows you options to convert the media on import to um to verify the media on import if you're new you really don't need to mess about with this there's other videos where i've covered that so we'll get back to that later we've done it we've given it a name we told it where we wanted to go and we click ok and here we are okay all right so at this point now this is where we can begin the process of importing our footage now this is one of the things that we redesigned in this beta that i showed which is i mean this is kind of scary right and you've heard people talk about this i've certainly heard people colleagues terry white has talked about you know that first moment you open indesign and there's just that blank just white canvas same in photoshop right same in illustrator same in after effects it's all kind of the same just something very scary about this it's just a lot of text on screen and it's very dark all right easiest way to import footage three easy ways right here you'll see now again your interface may not look exactly like mine but up in the project panel okay in the project panel in the center of the panel it says import media to start so you can simply double click right there inside of the project panel navigate to a drive so let's say here 2020 and go into this sfaz folder here and you know here's where i have a bunch of different quick times and things now this is okay i mean i can see you know the file type i could you know change my viewing options in here i suppose how i how i list them if i wanted to use icons instead again this is kind of using the operating system so you just don't get a lot about what's really in the footage here we can of course preview it i guess technically if we want you can multi-select things like this maybe grab a couple pieces of footage here click import and it's going to appear in your project panel and now you're going to see all of the attributes of that content right the name the frame rate the start and end the duration you know you can also modify what fields of metadata you're seeing here so this is all 4k content some of the audio is 44.1 some of it's mono some of it's 48k stereo okay some of these exported files some of these raw files right off the iphone so all that media is in i don't love bringing in media that way because again it's just sort of it's it's separated from you don't really know what you're grabbing so you also have the option to use the media browser now if you don't see the media browser you can find it under the window menu you can actually see that i have two of them open here they're already docked in this panel up here the media browser just as it sounds and you've probably seen it in other adobe apps as well allows you to navigate to any drive any connected device on your system you can rescale these thumbnails that we see here and then as i hover over them i can actually see what is inside of each of those pieces of footage so just in terms of starting the import process this is way easier because i can really get a good idea like okay yeah this take yeah that's good this one that's okay you know was it this one here yeah there's like a lot of yeah it's like not really a particularly great shot i don't need that so again i can just quickly visually review see if it's the piece of footage i want if there's duplicates or you know multiple takes of the same shot and then choose the one that i want so in the same way i can make a selection here all right i can scrub through it with a little play handle if i so desire all right go ahead and select my footage like this okay and then depending upon where you have the media browser docked i can grab the footage and actually drag it over to the project panel so i just took my mouse and dragged it over to the other dockable tab right here let go and all of that media now lives right here as well okay and i can turn this into thumbnails and again see all of my footage we're going to get to the third option here in a second what's cool with the media browser is if you go up to the fly out tab you'll see that you have an option here to add a new media browser panel which i believe i already did yes so i have a couple of different panels of footage open simultaneously so here's this one from the hills here's another one of footage that i shot in south africa so again just a quicker easier way to kind of organize and see what's on disk quickly review the content here so here was like a little time lapse uh sunrise here's another one this might be the un untimely yeah that's like the real time version all right let's grab some of these okay some lions some tigers no bears oh my uh hippo and water driving giraffe okay and same thing i'm gonna click and drag over to my project panel notice how i like tabbed through them there just kept the button down didn't let go release and all my footage is in here now okay now once you've got that footage in there now we can start to play around and kind of organize or storyboard out what we're trying to do how we're going to begin organizing this content to build a timeline so before we do that let me just check on the chats here max ruiz i see is adobe optimized for the new apple m1 mac chips so currently right now max as of today the existing beta for premiere pro audition and i believe rush desktop are all m1 fully uh fully native m1 in the betas these will be coming to the full release versions of those applications very soon okay for today premiere audition and i think premiere rush don't quote me on that 100 are m1 native in the beta versions so again if you wanted to access those you can go up to your creative cloud go into beta apps and you can download them right here okay um that will be coming to the release app it's just not in there today all right great question though love that and of course i think already uh i don't know if photoshop or lightroom or a couple of our other apps already have the native m1 versions commercially available i don't remember which but for video that's where we are right now okay cool cool cool okay reverb might still hook up to an old beta sp machine all the tapes are long gone though right i know and i'll tell you what finding those uh finding those dv tapes just i had two different devices to play them back on and then i was like oh i don't have a capture card that does it anymore i didn't think i did i found one very old black magic device you know no no longer a driver for it under mac os it was a it was a hassle and ultimately the footage was kind of like it's a memory so i didn't even transfer it okay thank you eric oh that's very kind eric guma jorge de la mora all right nice to see you there alison marquette like father like son oh you are very kind thank you for that did i pose for that jason living well you know i am a a fitness gym junkie so you know but no that was he did not model that goku character after my uh after my physique oh thank you and sarah you've got my instagram i'm not super big on instagram but uh i try and post there occasionally i'm very infrequent i'm trying to do more all right anika great to see you okay so let's get to it back to this back to the interface here all right so down below at the bottom of the project panel all right you've got three ways to view content list view icon view which we just saw a moment ago and then the freeform view all right now let me just real quick icon view is exactly what you think you're seeing the footage as icons okay you can kind of storyboard things out we can move things around oh it looks like i only selected the one piece of footage from africa let me grab let me grab a couple more of those shots i wanted more of those because they're just so so cool um make sure i just multi-select i don't think i had my my uh command button down all right this'll be good enough for right now drag these over boom more footage okay so with the icon view again you can do some basic storyboarding but it's all it's always going to be very linear so you can you can reorganize how things appear but it's always this you know left to right top-down sort of order you can also from within the footage here as you begin what we call making your selects right so this is like a long there's some rhino butt right there this is a long clip of rhinos i love this shot where you know the rhino is looking at me and wanting to uh you know attack here i don't necessarily need the shot of the butts although it is sort of cool and artistic and the light which is completely natural is beautiful i don't need that in my shot today so i can set my in and out points here as well i do that by using i and o on the keyboard this is the selection the piece of this footage that i want to use in my sequence in my story so i want the very beginning here i'm going to shuttle to the beginning hit i okay and i can use my jkl keys or i can simply scrub through so j to reverse k to pause l to go forward or i can click and drag the cursor here all right let's go back to the beginning i drag right where i turn away like that oh and now that little section that you see there in blue that's the section that will be added to my timeline okay that's my select that's my selection so you can make your selections of your content here but you're organizing very linearly all right now enter free form view and the free form view is just that so this essentially becomes your video art board all right to relate this to um to sort of a photoshop uh photoshop terminology all right meaning that i can freely move content around easily i can resize individual clips so let's say like this is a hero shot the san francisco skyline shot right click down at the bottom of the menu here i don't know if you can see that it says clip size all right and i can make this extra large because this is like a hero shot and note it's now bigger than everything else maybe this one of the of the sun is also a hero shot same thing clip size extra large okay maybe these will like anchor this edit and then as i come through here we'll have a couple more again maybe i can make this one large whatever i'm just going to start stacking these things together same thing here by the way as i'm moving footage around maybe there's a piece of this that i want what just happened there all right so i'm going to make this bigger so i can see it better large and then i'm going to click inside and i'm going to set my in and out point here okay maybe i want this little this little tilt as he's riding i for in this is also in slow-mo it's a little tilt down to the bike in the road set my out point okay right there and then i want that to follow the rhino and then maybe we'll go into the uh the uh leopard at night and use that whole shot in this silhouetted leopard then maybe i'll take this clip right here and then this clip right here and then another shot of san francisco at sunset and then sabi sabe sunrise okay you get the idea you can reorganize this you can group you can move things around uh you even have snapping which let's see is it the command key no no that that just duplicated it sorry i didn't want to do that option key yes the option key so option or control or yeah control on windows um will snap the videos together if you're like me and you're kind of ocd and you just need things like just clicked in place it'll snap together like that what is significant about this well first and foremost you can start to lay out multiple stories so maybe all of this doesn't exist in one timeline maybe you have multiple timelines or maybe you just want to organize by day or by city or by country or by whatever freeform lets you do that it's just like art boards here's the other super cool thing about this i can save this as a layout all right so i can save it as a layout it's like an artboard layout so i can come back to it later also you can align things to a grid if you want to do that but let's go ahead and save this as a layout and we'll call this first edit 01 okay now let's say i start doing more here i'm going to grab all these shots down here and let's group resize them so i just selected across them this is going to let me multi-select it's not letting me and my right click isn't working for some reason all right let's just place these down here not to worry about that again i can stack i can snap whatever feels comfortable for you okay maybe we have this one there at the beginning that is some text on it place this over the end here now this is a new layout right right click save as new layout first edit o2 so i did this i'm like ah you know what i kind of lost my story idea what was that first one right click restore layout first edit one everything goes back to the way it was all right freeform artboard video artboard video canvas call it what you want this is a really neat way to work and then once i have my footage in the order that i want it i'm going to select the first clip hold down shift select the last clip and i'm going to right click here and i'm going to choose new sequence from clip and this will now build the sequence in that order with that footage automatically for me alright so now here we are down in the timeline i'm going to hit space bar to play it back you know this is uh go ahead and just kind of scrub through this not really moving a lot in that footage okay so some of this is different resolution so again those iphone clips those were 4k uh this other stuff happens to be 1080p so i'll talk to you about this in just a second how we can scale this to all fit the same now if you're mixing 1080 and and 4k together which many of us do you've got to decide am i going to blow footage up am i going to enlarge things or am i going to scale the other stuff down if you've got you know well exposed and it doesn't have to be on an re alexa if you've got well exposed good looking 1080p you can do a basic scale to set the frame size scale to frame size in premiere which i'm going to show you and it's going to look great typically if you want to maintain the best quality probably cut at 1080 and scale the 4k stuff down all right for obvious reasons right it's just like images if you're going to take something smaller and blow it up we've got a lot of new algorithms including super resolution which will make things look a lot better but at the expense of there may be a little pixel as a pixelation particularly with video right now if it's like 422 super high quality 10 bit 1080p not really an issue this stuff is this is like 10 year old nikon dslr footage still looks pretty great but again i'll leave that up to you how do you do the quick rescale well like here i've got three clips in a row that i see needed four fives okay so these right here i'm going to select all of these clips in the timeline right click on one of them and go to scale to frame size and everything blows up so now it's all 4k all right just like that now like i said and it really i mean if you take a look here here i'll let me play this back at uh full res for you here i mean look at the detail it's it's sharp it's clean right and this isn't using some crazy uh you know ai algorithm this is just literally scaling it in the timeline there are more i would say more efficient no there are better uh ways to upscale things get into that again later i've also got a video on that using detail preserving upscale which take a lot of time to do by the way for most things this is probably gonna work for you again i recommend scaled down so if you've got large footage no smaller than 1080p but if you've got a mix of 1080p and 4k and 6k and 8k and whatever probably work in 1080 and scale everything else down it's just gonna look better overall but this looks pretty great all right so scale to frame size just like that we've now got all of our footage oh and this last one needs to be rescaled too our little uh time lapsed sunrise there that was shot with um so that's a nikon d800 with a 400 millimeter lens with the 2x extender uh sick and that sun i mean it was that big like it was just just breathtaking what i love about this shot again as you can see it's early morning there's like amazing detail in the shadows here you know and this is um i wouldn't say it's color treated i'd say it's it's been normalized so shot flat and just put the color back in um nothing nothing fancy no luts or anything like that so that's just the look of that particular lens so pretty cool all right so let's see what we have here just a couple of questions beautiful thank you cody abdullah okay allison okay thank you all right yes you can watch the replay uh fairy what format do you recommend to record videos with a camera so yeah you know a lot of this you're not going to have any control over you know most of our media that's coming like and i'll be the first to say these days i mean i love my i'm a nikon guy so i love my d850 it's 4k if i'm shooting 4k for real that's what i'll use um i could go to an external recorder via the clean hdmi out and i would probably record in prores if i had my choice through an atomos device or something like that but you know i don't own one of those so typically i'm just recording natively right to the card which is generating you know quicktime h264s right so that's really the format that most of our cameras are generating some flavor of h.264 compressed you know again we can get into the details of converting to other formats because h.264 isn't really the most optimized for playback and for editing but that's what almost all of us use especially if you're just shooting on your phone that's what you're making you're making you're making mp4 files essentially all right but if you have the option right you know obviously prores dnx dnxhr dnxhd that's kind of the avid standard um these are the two most common cinema uh um not cinema 4d what was i just going to say they'll come back to me in a second those are the two most common you know mxf some of your cameras are going to shoot an mxf a lot of it's going to have to do with do you have bitrate options you know if you shoot an 8-bit again this is no different than shooting jpeg versus raw if you're shooting 8-bit if you're new to video think of that as shooting jpeg all right you're losing a lot of data at the sensor you're just it's you're getting rid of it so you know this footage can still look good but you do have kind of a limitation on how much you can do to that footage without some kind of visual degradation and that vision that might be a very small amount but that's the nature of 8-bit if your camera does 10-bit 12-bit now you just have greater latitude when it comes to color correction and color processing in particular and exposure processing you're just gonna have more latitude with less noticeable visual degradation over time right so that's why your pro cameras you know most are connected to external devices or they're already shooting natively in prores or dnx or something like that or mxf generally at 8 or 10 bit and not all 8-bit is the same by the way you know you can have a compressed 8-bit h.264 that's 40 megabits it's getting very nerdy um that looks amazing and you can really do crazy color stuff to it and it it really still looks good at whatever size you're in or you can have you know uh 8-bit h.264 5 megabit footage i'm thinking of some of my old canon uh like powershoot that shot 1080p video they were just they were really low bit rates so even though the footage in its kind of native form looked great the moment you started to color correct it it just you'd get a lot of a lot of block you know blocky pixelated looking things uh just a lot of noise you know so not all are created equal but hopefully that kind of answers your question there okay that reminds me of a disney movie okay very cool all right so we've done import we've done uh uh creating the sequence oh and by the way if you're so inclined as well and you want to you know just kind of throw everything into a sequence if you're in list view the traditional view here you can also do this by selecting everything right clicking and choosing new sequence from clip okay you can do that by the way uh if you were wondering well how did it know to take 4k and make this timeline 4k the first piece of footage in that freeform selection this this was a 4k shot now let me let me do this let's say i wanted to take this footage here and make this into a timeline so let's do that new sequence from clip all of this footage happened to be 1080 the first clip was 1080 so it's a 1080 timeline okay it chooses the first clip in the sequence and let's keep me honest here [Laughter] is it gonna work let's see so i chose now a 4k piece of footage oh i'm sorry let me do this 1080 is first let's put 4k at the end new sequence okay so 1080 1080 4k right so now the 4k footage is oversized because the first clip in my selection in free form was 1080. so if i want this 4k now to fit into that 1080 window right click scaled frame size there it is okay so it's whatever the first piece of footage that you select is that ultimately determines the um the aspect ratio and the attributes of your sequence okay make sense okay uh-oh since we're talking export options i always observe a weird white outline when exporting an alpha channel am i doing something wrong well annika i don't know um yes you should not be experiencing that now if you're doing green screen keying i don't know what you're exporting that requires alpha probably i'm assuming some kind of green screen or maybe it's text or if it's graphical elements um if you're getting some kind of weird ghosting or graphical element um it could depending upon i don't know what format you're exporting in there's only a few that are really ideal for um for exporting with alpha channel prores 444 being one uh quicktime animation in the past i don't recommend that at all because it's just a really old heavy codec i think there's a dnx flavor that supports alpha there's a couple other um uh a couple other formats that support alpha as well but probably need a little more detail you should not see again that's usually an artifact of something wasn't keyed correctly or there's some kind of anti-aliasing applied to your text or something that you can you can defeat whether if you're doing it in after effects or wherever but probably need a little more detail on what it is that you're doing yeah graphical elements okay so yeah so there's it's probably something in the text style that you have that's causing this weird glow or ghost and we can chat about that a little later because that's that's kind of a different story but yes it is solvable it is resolvable just depends on what the nature of it is if you want to hit me up on twitter and show me an example i can probably tell you how to fix it okay all right so um so that's making our sequence got about 20 minutes left let's start talking about the tools okay so i'm gonna go into our uh our first little sequence that we made here all right with our mix of footages just love that rhino shot terry white was right next to me actually paul was with me too when we when we got this footage he might also have uh some images of this great beast we were i kid you not maybe maybe seven feet away from this gargantuan creature thank god it you know does it thank god it's it's an herbivore because they're still mean but um because it was massive and i was very terrified hand-holding a 400 millimeter lens to shoot that by the way uh it was pretty crazy all right so tools now again yours may not be in the same location here's what the tools panel looks like all right first tool selection tool also known as the adobe move tool standard shortcut key v as i've said many times on master class streams it is one of probably uh allison seven feet yeah no joke no joke really really close seven feet and in an open jeep and i'm standing at the back of the jeep with the lens like this stable that's why that's why the shot is so tight because the animal is so close coupled with this massive lens so yeah very very close indeed um how do we survive you have to watch some of the other footage because we came within inches of uh a sleepy uh leopard that we found in the in the dark that you saw there and it brushed up against the jeep and you could hear uh our guy this is also at night in complete darkness saying no sudden movements from the back [Laughter] yeah it was terrifying okay um all right what was it talking about tools okay so this is the classic adobe move tool right you want to move stuff around in your timeline pick up footage and move it adjust the track position you do just that okay now by the way while we're here while i've actually got footage in this timeline something else i wanted to show you too i showed you making a sequence by selecting multiple clips at a time if you have a clip let's say i have something that i want to insert right here before this maybe i want to put this uh this other piece of footage see what is this one let's find something else let's do this sf sunset warm clouds let's say i want to place this one right here i can also take that footage and drag it on top of the program monitor here and this gives me a series of what we call drop zones so now if you can read that on screen i can drop this footage before so based on where my cursor is i can drop it before the footage i can insert it right where the cursor is i can overlay it over top of the footage that's after the cursor right so onto its own track i can replace what's underneath i can overwrite or i can insert after so this is something that most people never discover because you're usually not dragging footage onto the program monitor but this is really really helpful so if i just wanted to insert this right here before this rhino so now we have two pieces oh it's actually the same clip it looks like we have two instances of this clip before the rhino okay or you know again if i were in this one here i'm just going into some of the 1080 footage and uh do we have the giraffe in this one at all okay let's put a giraffe in there so let's say i want the giraffe you know to be overlaid right here for some reason all right let's overlay the giraffe so again now it's on its own track so it didn't destroy anything underneath it's just now cutting to that giraffe and now if i so desire i can trim this back so that it cuts to the next shot which is our uh our cyclist transitions from that let's kill our audio here again all this handheld using our old warp stabilizer algorithm you know transitions to our cyclist okay all right so that's our little drop zones okay but back to tools so again tools allow us to move things around now as you just saw with the move tool or the selection tool i can simply trim the edges of my content in the timeline just by going to the extreme left or right you see it turns into this left arrow right arrow cursor and i can drag the end like this and i can drag the beginning all right now if i want to say you know i dragged in this whole giraffe clip maybe there's just a piece of this that i want to bring into my timeline well from the project panel i can double click to launch it in the source monitor or directly from the timeline i can double click this footage and that also brings me into the source monitor now this is yet another way to make your select like your best the best moment that you want to bring into your footage here i can do that so like i like this little bit at the end where is the with the bugs somewhere close up on his head that's right here you can see all the flies so maybe i want this to be the in and that to be the out okay notice because that footage was already in my timeline it automatically cut and adjusted the in and out for me of that content so let's say no you know what i want this i want our guy to keep walking here i'm going to click and drag extending my out point you see i'm doing that in the source monitor let me see if i can zoom in on that so okay i'm just dragging the out point right here with my cursor and pay attention to the to the sequence right there the little clip got longer right because we're adjusting the in and out via the source so you can do it there in advance you can do it here all right with the selection or move tool however you want to do it very very simple so the key is though is that this just drags the edges this is not performing what is known as a ripple which is where you you know slice off five seconds and everything that was next to it moves along with it we'll get to that tool in a second but this is an important one to know because you're going to use this a lot you're going to be trimming edges and making adjustments very very useful okay the tool below that is the track select forward tool now what this one does strangely named you select the track that you're on and the piece of footage you want and then it's going to move all the footage to the right simultaneously all adjacent footage in a single click now this is really useful because a lot of times again sometimes you're doing weird inserts or if you're crafting a story i don't know how many pieces of footage i need to place there but i want to take everything everything that's to the right of that cursor it's kind of done i know it's like in a basic almost finished mode so i can move everything off this is just a really quick way to do that by the way you could also just take the selection tool multi-select footage and do the same thing okay the reason why this particular one is useful no none of these timelines are very long is because if you have a lot of audio files and sometimes you know with sound design you'll have very very small pieces maybe you didn't catch it maybe it's 20 tracks down well you don't have to worry about that if it follows linearly this piece of footage or after all i have to do is click this top or most one and everything is going to move along with it okay so it's just a nice way again just revealing the tools here also shortcut key a on the us keyboard to move everything to the you know globally with a single uh with a single uh tool okay now we have the ripple edit tool all right now this one is for me you know this is the most common one that i use and i usually use this this is again one of the six or seven keyboard shortcuts that i know um which on the mac uh is also i think it's also the if you're in the selection tool i always have to remind myself with the selection tool so again our classic adobe move tool if i hold down the command key it turns into this yellow yellow icon that is indicating that this is a ripple edit all right if i just grab the ripple edit tool by itself it is already yellow and what the ripple edit tool does is as described okay i'm just i'm zoomed in here i know you want to see the video but so you can see what it's doing you know i decide okay yeah i only need the first 10 seconds or whatever or i can actually see my duration here i only want yeah 15 seconds of the hippo and water buck i'm going to cut that down and when i release all the footage that was again to the right of that ripples to this new edit position versus if i'm in the selection or move tool if i do the same thing and go back i only want 15 seconds now there's just a hole right so the ripple moves everything and snaps everything together some other audi video apps refer to this as like a magnetic like they call their timeline's magnetic timeline rush is a magnetic timeline it's always rippling it's actually doing that by default it's always it's never leaving a hole it's never leaving space here being a more sort of you know full-featured editor you have the options here so you can leave a hole you know maybe you're going to put stills whatever b roll in there um or you can use the ripple tool right to do what most of us wanting to do which is okay yeah i'm just going to i'm gonna shrink this up you know and just move everything over all right really simple really easy now let's take this a step further where you have i'm gonna and i'm just going to uh i'm gonna make some little in-out adjustments on this footage real quickly because i want to show you the uh sort of slip and slide concept here which is for if you've ever done traditional assembly editing may look familiar to some of you all right so if you double click between two clips you'll see that you get yet another icon here and this is going to allow you now to adjust the out point of the previous clip and the endpoint of the adjacent clip right you can see if you look at the monitor here those negative numbers that you're seeing next to the tools that's saying you know we're going 35 frames back we're going 12 frames ahead etc etc so this is allowing you to see you know this clip ends right there he's smiling at the camera and that clip begins right there 1345 2206 etc okay so you can make that change right there so when you play this back smiles at the camera cuts right to there all right some people like editing that way when you used to do assembly editing i used to edit like that all the time i must admit now i i don't i don't do that very often how do you get into that window again just double click between two clips and it'll pull up this window and then you'll see that you have your i don't remember do we call this slip and slide i don't remember what we call this shuttle i don't remember what it's called i don't remember you could also apply a default transition here which is i think a cross dissolve if you wanted to cross dissolve between those two that that editing environment lets you do that you can also just trim backward one frame five frames plus one plus five you get the idea okay and the reason that went black is because we ran out of frames there right that's why i was trimming the edges ahead of time so again just another useful way that you can do that okay do the same thing here real quickly i'm just going to ripple this up for a second because we're gonna go to our next tool oh and then we have the razor tool so this is shortcut key c us keyboard this one is obvious you're making cuts right so down here below you want to cut this up into a couple of different pieces and then again hit and move stuff around i use the razor tool for that okay it is no no no secret no surprise there right you've got something that's super long and you want to cut it into different sections all right you choose your razor tool and you cut and now you can again use your move tool or selection tool and move things around okay simple stuff every editor has the razor tool really easy okay next we're almost out of tools here this one is called oh this is okay this is our slip tool so the slip tool allows you to adjust where you are in the video so now if you already took the entire clip so remember we were making our in and out selections in this case i have the entire giraffe piece in my timeline all right do i primarily almost super long clip here okay i'm going to shrink this up because we're editing this all right and where i am in this edit right here i i don't i don't like this starting point right there i want i wanna go back in time so i can select my slip tool and again now i can shuttle back in time and say oh i want it to start there where i've got sort of the close-up on the face and the bugs all right and it adjusts the start time like that okay so before it was starting here i missed that beautiful giraffe chomping use my slip tool and go no no no i want i want to start here all right so this just allows you to readjust you know it's like you're you're literally like scru scrubbing through the media front and back on screen finding where you wanted to start in this particular part of the cut the slip tool all right and it doesn't affect anything below so again whereas we saw that side-by-side assembly editing where we we're adjusting the in and out of the adjacent clips this isn't touching anything on any other track this is only affecting what we're seeing in this giraffe clip okay and then your last three tools you have the pen tool here which is largely for if you're going to be doing any kind of masking and things and we'll get into that in another episode then you have your hand tool which is again to move elements around outside of video not going to need that here and then your text tool type tool which is just that if you're going to begin typing you know some kind of text via essential graphics all right and we wanted to type something like this okay giraffe we could place text it creates our little motion graphics block down here okay you can also do if you hold it down vertical type so we could start another vertical type right and do some vertical type there whatever right this is also a very cool feature that we added notice we have little guides there snapping guides if you click on the fly out menu this wrench settings menu all right snap and program monitor so you'll automatically get those snapping lines and then as of a couple versions ago we have show rulers and show guides so if you like the photoshop style rulers go ahead and turn those on now this is again very essential for doing any kind of graphics positioning if you're building motion graphics in premiere and then just like in photoshop uh you have the option here to show guides so these are some standard uh guides that i made you can also move them around by clicking and dragging on them you can also just by going to the edge drag on your own new guides at the top and bottom of the ruler just like that i don't know if you can see that i was grabbing new ones just by going to the top of the ruler and dragging a new guide down you can also adjust the color of those guides you've got total flexibility here you do add guide so you can tell it yeah where the position starts out the initial orientation and then the color okay um unit obviously you're going to want that in pixels i don't know why you would ever want it in a percentage but we have that option in there all right so guides rulers and again if you don't want to see them you can just choose to not see them i usually leave the rulers on just for better alignment okay all right and then lastly last thing here in the last two minutes transitions which you will find under the effects panel which you can find under the window menu and here you'll have video transitions dissolves again some of the classic ones here cross dissolve film dissolve dip to white dipped to black to apply them you simply click and drag over top of two clips all right and you can see that it's now applied a little oh it's the same duh i was cutting the same thing so here let me cut this whoops and uh quickly edit here all right so i can add a little dissolve for you between these two all right dissolving between different parts of the same clip but you get the idea also if we go into essential graphics adobe stock transitions free right this is going to show you all kinds of free graphical transitions that you can access a lot of these i already have so if there's one that you like i'm going to drag one into the timeline here this visual trends one okay and i can place it between these clips let's shrink up the giraffe here okay so again graphical transition this is coming directly from adobe stock versus your traditional cross dissolve which we have on the biker and the giraffe there okay or however you want it okay really cool graphical ones all part of adobe stock all right friends so those are some basics for getting started with your first edit i might say well how do i export now all right well that's that's basics part three but just real quickly if you just want to see the amazing work that you've done today look at that text what is that font file export media now again this is the non-simplified version um this is very detailed we're not going to get into this right now i'm going to show you an even easier way make sure your sequence is selected i have three sequences here the selection will show you you've got a white line under it blue line around it with your sequence selected upper right hand corner of your screen quick export click on it tell it where you want it to go it's going to my desktop choose a preset okay this is going to create an mp4 and h.264 for you and you know match the source high bit rate or you can choose a specific high quality based on frame size 4k 1080 what have you okay tells you the basic attributes how big it's going to be how long the estimated file size click export and you're done and it's going to render this right now to your desktop and that's it and you've created a video all right so that is all the time we have today my friends now we got our little notification it's done very very good i want to thank you so much for watching we've got julia coming up with the illustrator daily creative challenge so stick around for that thank you z give me and giving me a thumbs up appreciate that it looks easy when you do it jason ah thank you christelle tiffany thank you all right tim and rick and frozia very great to see that tim no star wipe yeah right all right and uh until next time have a great morning afternoon evening wherever you are in the world we'll see you next week for uh part two of premiere pro editing basics have a good one everybody bye-bye you

Channel: Jason Levine

Views: 1,897

Keywords: sound design, sound editing, how to edit sound, how to mix sound, how to mix audio, how to design sound, sound effects, SFX, Jason Levine, beatlejase, tutorial, premiere pro, adobe audition, protools, logic, mixing, how to mix sound for video

Id: pztOe_Hl1ac

Length: 60min 22sec (3622 seconds)

Published: Fri Jul 16 2021