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Creativelive adobe premiere pro cc video editing the complete guide fco free download

Again that’s a keyboard shortcut I really don’t remember, because I know where it is, and I can right click on something to do it.

So that’s one of the big ones. I do want to point a couple of the grayed out ones. We’ve talked about some of these. I’ll zoom in a little bit, even though they’re grayed out, so you can see it. What these are so you’re just aware of them.

Again you’re probably not gonna use a lot of them. Batch list is basically an export list of the clips you used, you probably won’t use that. Again a lot of these are for broadcast.

Titles we did talk about when we looked at titling. So if you have a title that you have selected, you can export that as something that you can then save to a thumb drive, email somebody or even put on your Creative Cloud folder, so you can access it and import that into another show.

Again, a powerful program that we’re using. Everything from our photography sizzle reals all the way through broadcast television, which is required to have captioning, to theatrical films. All of it is embedded in here. Tape, I find that amusing.

I don’t think I’ve put anything out to tape in years. But there is probably some facilities that are archiving things to tape. You will always probably be putting it out to file. Maybe DVD, that’s gonna be a question that people ask. If you need to make a DVD, which again, is now an obsolete technology. Adobe has a legacy one, but they’ve realized that people aren’t doing it, so they’re not even updating it.

But there’s a couple out there. DVD authoring is all you need to search on the web. Okay so really when you’re getting down here, it’s the media, you see this whole list.

We’ll look at Premiere Pro project file, and that’s not highlighted because I don’t have a sequence selected. So let’s just go ahead, I just want you to be aware of that. It’s interesting I said, «Well what about exporting a frame? We’ve already looked at that not necessarily in super amount of detail, but if I needed to send a frame of video either to put as many a promotional thing on my website or I want to print it somewhere, I can go that from directly inside the interface, and I can print either what’s inside the source window, and let me switch back to my editing view for this, for our export.

So if I have something inside my source window, and we don’t want it to be an audio clip, so let’s go back here. I’ll just match frame that, it’ll be easier. We learned about match framing if you hit the F key. Being able to see this stuff is great. There we go. And let’s reset this back to the default look. So if I want to say that or that, I can either go here and grab this little camera and click on it.

But what I didn’t go into was what size is this image? Because we wanted it to be the perfect size for video, and it was, so there was no need to talk about it. When I export anything from Premiere, it will export that as the size of the image that you have. So if it’s a piece of video that you recorded in by , it’s gonna be a two megapixel image. If you need it larger, I would take it into Photoshop and scale it up.

So the left side. If you’re grabbing that camera from the right side, it’s gonna be whatever the size of the sequence is, and you can save it in whatever format. Why is it so small? It’s because it’s using that information. So it’s important to understand that.

It’s also very useful because, you know, just a still image from video is fine. If you have a photograph, you want to go back to the photograph. If it’s something where you’ve created a layer, now I have two clips on top of each other.

And this would’ve been something I should’ve caught when I was doing my finishing, and I wanted to bring this up because I did miss it. It’s like oh I put this cut away, but I see the seam behind it by accident.

Okay so I need to scale these up. But if I built something that had some text on it or some sort of compositing. So let’s say I did use this image and I’m gonna go ahead and squeeze it as a picture in picture, ‘cause we want to see what’s happening there. If I grab that freeze frame, it will be this entire image right here. So this is great if you’re create like a title sequence, and you want to show somebody and example of what it’s gonna look like with some stills, you can go ahead and export that with shift D or using the little camera button.

Very useful, but remember, it’s not really print quality, because it’s only two megapixels. But it’s great to send somebody if they wanna do approval, and if you need it bigger, take it into Photoshop, they have great upscaling tools. So that’s exporting a picture.

Now let’s talk about, again, I used this expression already once. Where the rubber meets the road. What you really want to do which is exporting your show and how confusing that can be at first blush. So to export a sequence you have to have one of two things selected. You either have to have the sequence selected, or you have to be in the project file, and select the sequence icon there.

And you’re gonna get this dialog box. And let’s just kind of explain this. Got a nice freeze frame there. And this as I said can be very very confusing at fist. So you open this up and you see export settings and you see all this confusing information.

Is this a little confusing, scary? Yeah, okay it is, it is scary. It’s scary for me and I’ve seen it a lot. The reason it’s scary is because there is so many options and so many things it can do, they gave you these options, that you can be overwhelmed by choices. The nice thing is that there’s a lot of great presets that you don’t have to think about all these numbers. I can drag and drop, if I have something in a folder, I can go ahead and I can grab it, and let me just grab something that is not very critical.

So I could organize everything and just drag it all in. Sometimes that’s great. Other times you have so much stuff, you wanna actually be able to look and choose what you wanna bring in. And that’s where the real trick comes into play, and that’s to use something called the Media Browser. So, if we look closely here, there’s something called the Media Browser, and this is like a search box.

It’s similar to Bridge, if you’ve ever used Bridge, but it’s really designed for video, so if I go to Media Browser, I can again look for what I want, I have my local drives, I should be able to have a shortcut to my home folder. There we go, I just used that drop-down to go to my Home Directory.

And what I’m gonna do here is I’m gonna zoom out so you can see the whole screen and I’m gonna teach you one of my favorite shortcuts. There’s a couple keyboard shortcuts that I will recommend that you remember, and this one is the Tilda key or the grave key, okay, in the upper left-hand corner of your computer, you guys see that squiggly line, or the French accent grave.

It’s a great little tool, because whatever window you’re hovering over in Premiere, and if I hit that key, it brings it full-frame, so it takes that small panel and makes it big. So this is great, ‘cause I can see things better. And hopefully you can see things better. I have a little slider down here, if I wanna see these bigger. So now I can start digging for what I want, I wanna dig for what’s on my desktop. So my desktop, mumbles and on my desktop, there we go, there’s all my interview stuff, if I click into this folder, I’m seeing all my folders, once I get inside a folder, okay, once I get inside a folder just say, my interview.

I now can see all of my interview pieces. And I can choose what I wanna bring in. Now, what’s really nice about using the Media Browser is I can scrub through this really easily, so if it’s footage that I don’t know what’s on it, so let me step back just one step, and I’ll go to the actual B-roll that I was gonna bring in of the video, I’m gonna go ahead, I’m gonna go to the bottom, I can make this bigger, there’s keyboard shortcuts for all of these to make things bigger and smaller if you’re a keyboard shortcut person.

So I can just hover my mouse over this and I can see very quickly what’s on that clip and this says oh, do I wanna bring that in or do I not wanna bring that in? So it’s a very quick way, instead of bringing in all this junk, you can be very selective.

Now, you’ll bring in the entire clip that you shot from the moment you turned on the camera to the moment you turned off the camera. That’s just the way these work. There are ways to bring in just a little slice, but usually you bring the whole thing in, and then you sub-clip it or you pick out elements from the big clip.

But it allows you to see what you want. Another great thing is if I’m working with photographs, so once again, I’ll step back and I’ll look at the photographic images, So now, instead of like remembering the name, or let’s say, you’re shooting an event, a wedding or a conference, and they give you a thumb drive with photos and say, oh yeah, find the one of the CEO or the bride, you know, doing this, and instead of having to open each one and figuring out which one it is to import it, I can see right here all my photographs, okay?

So this is a beautiful thing. So let’s look at how I would bring this in. I’m gonna want to keep the organizational structure. I’m stepping back here, to a higher level, I can either use these buttons here, or I can just go up to a higher level, and if I want to bring any of these in, I can simply select what I want, we don’t want projects, let’s go ahead and bring in, we brought in the B-roll already by dragging it, I wanna bring in my interviews. Click import, and this will bring in the whole folder.

If I wanted to, if I wanted to just bring in an element, I can click on any one of these images. Okay, and I want to point something out. If I don’t click on it, you see there’s no blue line here? You see there is a blue line here, okay? So if I clicked on it, if I move my mouse left and right, it doesn’t scrub. It’s only if it’s not selected.

If it is selected, you get the blue bar, then I can play it by scrubbing through with the blue bar or hitting the Space key. The Space is your play bar. Plays and stops okay? So, it’s just I don’t want you to get frustrated that oh, why is it not working in some cases, and why is it working in other, if it’s selected. Okay, so that’s just one thing to keep in mind.

Let’s say I really wanna look at this much larger, but I’m not sure if I wanna import it yet. We saw that we could import by dragging or right-clicking, Control-clicking if you don’t have a right-click mouse.

There’s also something called Open in Source Monitor, and this is great. What this does is it brings it into our interface, okay? It brings it into Premiere and you can look at it and hear it, and you have a lot more control, but it doesn’t bring it into your project area, yet, because maybe you don’t want to use it. Maybe you just wanna look at it. And that’s really nice, and if you choose to use it, you can then bring it in, or you can automatically bring it in. So if I want to look at this, and if I wanted to look at this big, does anybody remember that keyboard shortcut?

Tilda, right, so I just hover my mouse over it, hit the Tilda key, now full-frame. And I can look at that. So, it allows me to view my footage. So far so good? I’ve never even tried video editing before this class.

I opened the program once and panicked. After only 9 lessons I was able to throw a short video together basic of course, but still pretty cool.

I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can’t even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. Lesson 31 of In this one we’re gonna look at titles and graphics. It’s a natural evolution, in that you wanna create these titles.

You hear terms like lower third. That’s the title that IDs somebody at the bottom of the screen. There’s titles that fly in. There’s graphics that you’re gonna build within the framework of Premiere and we’re also gonna look at graphics that you may have built in, say Photoshop and working with Photoshop documents. What we’re gonna look at in this lesson is we’re gonna create a title from scratch, using the internal titling tool, which is very powerful.

Of course Adobe is text, when you think about it and they have a very powerful tool within the application. We’ll look at how you can modify that to create rolling credits and crawling credits, if you need something to crawl across the bottom. Creating a basic title in Photoshop. We’ll actually start in Premiere and go out to Photoshop to create a title and bring it back. It’s actually a very fluid workflow, a very natur And then we’ll look at working with existing graphics, whether they’re flattened or a single layer or, in some cases, you’re dealing with a graphic that is multiple layers; background layer, maybe a text later, maybe some graphics and you have a lot of control on how you bring that into the application and how you work with it in the application.

So that’s pretty much what we’re gonna be looking at over the next hour or so. And why don’t we just hop in and get going and then if you have any questions, of course raise your hand, grab a mic and I’ll be happy to answer. Let’s go ahead. I have a project that I’ve already put in, a nice little background. As you will see, I am a huge fan of time lapse and all the different flavors of time lapse. I was in a hotel room overlooking an airport, so what do I do? I set up my camera and I do a time lapse and this was really fun and we talk more about time lapse, but when you’re shooting at night you can leave your shutter open longer and you get this really nice fluid blurring of traffic at night.

Big fan. So anyways, I though it would be a fun background to put our titles on. If you wanna make a title, there’s actually a full dropdown section in the menu bar to create new titles. And we’re gonna start with making a still, a simple still for some text. And it’s at first just like Premiere. It seems a little overwhelming, when you first open it. You don’t know what button to push, at first. The title tool is a little bit the same way. When you say make a new title, you should be in your sequence and ideally you wanna be parked over the clip that you want to highlight, that you want to create the title on the lower third and you wanna do that, because it’ll actually let you see that as you create the title.

It will give you this dialog box that basically says this title is gonna be the size of your sequence, in this case x It will default exactly what matches the sequence. We had talked, earlier on, in some of the previous lessons 30 frames versus In this case, I did this at 24 frames a second, Of course the most important thing is labeling your title instead of calling it Title 1, Title 2.

So we’re gonna call this Timelapse overlay. And when I do that I want you to see what happens in my project pane. It actually will create this title already and put it into my show. Doesn’t put it on the sequence, but I get this new interface, this new dialog box, which will be a default size, like that, but stretch it out.

Give yourself all the real estate you need. As a matter of fact, one thing I like is just to grow the window. So I’ll just hit the green button. Now I have a lot of real estate to work with. Much like Premiere, you can adjust the sizes of your panes to get as much real estate as you want. So let me explain a couple things, for those of you who haven’t worked in video.

What would we have these two boxes in our frame? This is something called title safe and action safe and it really goes back to the days of tube television, CRT televisions, because when you broadcast something and the image was projected on the front of the screen, I should say, on the glass, some of that image would be behind the bezel of the television. So whenever they created titles, or lower thirds, they wanted to make sure that it wouldn’t be offscreen and also if it gets too close to the edges on those old CRTs it would get distorted, because they were curved.

So you had an area that said okay let’s stay inside this area and your text is going to look good, your bugs, if you do like a lower third bug, will look good.

And then just to make sure you see everything you need to see, don’t put any critical action outside this outer frame. That’s why you have action safe and title safe. It is not as critical now, with the new flat screens, however I have seen on some flat screens that people put things right to the edge and then when they played it back for their people part of the text was offscreen, because it automatically assumed a little bit of an overscan.

This is random. It is a safety issue that you wanna make sure what you put there is seen and I’ve seen people do picture in picture right in the corner and then they play it back and you only see part of the image.

So that’s what this is there for, take into account when creating a title. It should be like second nature. Outer one action; inner one text, bugs, critical things. The first thing I wanna do is I’m gonna go to the text tool and I can simply type what I wanna say.

So I click on this and we’ll call this Airport Timelapse. So I type in what I need. The beautiful thing about the text tool is I have full control for every letter, for typeface or font, size, color, position, stroke, glow a letter at a time, a word at a time, and whatnot and I can making groupings here. So it’s a great tool. I don’t have to step out to Photoshop to do this. I could type this in. I will select it and there’s two areas where you can actually modify the text.

There is this area up in the top where you have some basic adjustments. Different typeface, whether it’s bold, italic whatnot; scaling; kerning the spaces between the letters; leading the spaces between lines. These are nice quick things; justified left, justified right.

And then if you go over to the right area, you have a lot of the same controls, but you additionally have way more controls. If you want small caps, if you want underlines, if you wanna fill the letters with a gradient or a color or nothing at all, make them a ghost and just use the stroke.

You can spend an amazing amount of time in here and I recommend, if you wanna get good at creating text, play with it. My philosophy with learning these application is get a little bit of knowledge, and play.

Do something fun. As a matter of fact, I haven’t mentioned this yet in the class and this is one of the things that sometimes breaks my heart. It doesn’t really break my heart, but I’ll have people come to a class and they’ll say, «My boss says I have to cut this video on Wednesday», and they’re taking the class Monday and Tuesday.

And I’m like, «You are going to hate life. You don’t have a deadline. If you mess up, nobody cares. And that’s what you should do when practicing a lot of the skills we’re learning. And it’s of great use when playing with the text tool, because some of you may have a lot of experience with typography and you may know everything about leading and kerning and all that stuff and negative white space.

Again, geeky background, stuff I have.

Lesson 48 of Media management and archiving. You’re done with your show, okay? You never want to look at it again. You spent all this time, but you really need to at one point, so what’s the best way to clean house and make it so that your show is accessible to you later and you also are clearing off your drives and managing locations.

And again, this is one of those challenging things about I have all this media. How do I store it, how do I archive it? It’s one of the challenges because we are able to shoot so much because we have so many tools to capture video now and video is so large.

So I want to kind creativelive adobe premiere pro cc video editing the complete guide fco free download just have a conversation to start this off. We’ll talk about the importance of media management and archiving. Hear some of your questions, concerns, maybe some of your experiences with trying to save archive projects.

We’ll look at some strategies. That’s part of the discussion. I’m going to actually step in to Premiere and show you the project manager, which is part of the software that allo So with that, does anybody have at this point questions about oh my gosh, media management archiving? So I have questions not just about the archiving piece of it, but the best practices of where you want to store things as you’re, obviously we talked about ingesting, but where you want to store things as you’re working with them versus creativelive adobe premiere pro cc video editing the complete guide fco free download where you want to store them later to save space and obviously we know there’s the creative cloud, people may have like, I happen to have a network attached storage drive and then there are things like OneDrive and I’m sure Amazon has some sort of a solution as well, other types of clouds that you could use.

Probably called Amazon Drive. Probably something like that laughs. But sort of, what are the best practices for places that you’re storing it at different points in your workflow? I think that that’s a great place to start because you can actually clear house and organize, where have you kept things to start with?

And depending on your personalities, how retentive you are or how free flowing and ADD you might be and having files everywhere. So where you’re storing your media to start with is important and some of that is based on whether you’re working on it for desktop, which you may have a lot of internal storage or attached storage that you’re not going to remove the drives, or you may be working off a laptop or you’re always on the go and you have lots of external storage, but sometimes you want to just be able to run and gun and work with just what you have locally.

So the challenge is probably it’s a little bit of everything. We saw when we actually ingested media, we do have the luxury of working with proxy посетить страницу источник. So if you wanted to, you could archive all of your big files on an external drive and then put those proxies on your laptop and then you’re a lot more mobile and then you’re not filling up the limited hard drive space on a laptop, so that’s one thing to keep in mind.

But as a best practices option, you should try to always use some sort of storage workflow that works best for your media whether it’s storing everything on a production drive.

I have a situation where if I’m working for multiple clients I may have a dedicated hard drive for each of those clients, so as I’m doing more жмите, I’m going to copy and plug in that drive and target that drive and that way if the client needs something, I can find it a lot easier.

I also use software to clone those drives or back up those drives in case that drive gets corrupt, I don’t lose the entire client’s database of information and as I indicated in an earlier lesson, I use a lot of solid state drives but I may back up to a massing network area storage device or Raid, which is cheaper per megabyte or per gigabyte or per terabyte but gives me the redundancy.

So deciding where your media should go is important from the beginning because you want to be able to find it and move it when necessary. Now the next question is, well what about things like speed and storage space and whatnot?

Video are large files, so you may not want to store it internally. I, myself, actually carry around quite a number of drives because I have so much media and I’m always filling up my internal drive and you can, with some formats, I sometimes record 4K that is ultra high definition files using Apple ProRes, something we learned about earlier and I will fill up a half a terabyte on a half hour shoot, okay? So I mean, that’s a ridiculous amount of space, so I can’t put that internally and I want по этому адресу be able to move those files quickly because again, I’m an impatient person, so that’s where I use the solid state drives.

So choosing a good drive is a good place to start. I currently, this is my personal thing. I have a little greater fear of spinning drives these days than I did five years ago. They’re a lot cheaper, but I feel that they fail more frequently and so I tend to lean towards the solid states and I’ll back them up to spinning drives, but I always back up and I’m going to emphasize this throughout. The speed of your drive matters in some instances.

If you’re dealing with having to move very large bandwidth files and if you ever did a Get Info when you’re playing a QuickTime movie or something, it can actually tell you. It tells you frames per second, but перейти also tells you how many megabytes per second and some of these higher definition uncompressed movies, they need a lot of bandwidth and what happens is, if you have a lot of those playing at once, for instance, multi-cam.

Maybe you have five or six cameras. You are reading five or six video files off that drive at the same time and sometimes you’ll get a performance hit no matter how fast your computer is because you’re limited by the speed of your hard drive and there are software programs, applications that are free. One that comes to mind is Blackmagic, which is actually manufactured. They make something called the Blackmagic Speed Test or something, you can just Google it.

And what you do is you point to a drive and it says how fast you can read and write to that drive and that’s an important thing to understand, how fast your drives are, because maybe you want to store something on an older or slower drive, but when you want to edit, you want to know which are your faster drives and it’s surprising sometimes, the result.

And just as a side note, I have even discovered that with some of my fast drives, if I use a cheaper USB cable, I actually get a performance hit and sometimes I’ll have this, it’s like, this drive is really great, but I have a kink in the cable and for some reason it’s now writing and reading at http://replace.me/1884.txt quarter of a speed that it should, so I swap out the cable and I’m back again.

So that’s just something to file away that it may not be the drive, it may not be the computer, it may be the cable, it may be the fact you plugged it into a USB two port on your PC versus the USB three port on your PC.

So these are all variables. So when I’m editing, I want the fastest drive for what I need. So if I’m using something highly compressed like H. So getting it from the drive to my CPU is pretty easy. The CPU is going to work a little bit harder to decode it in some cases. Apple ProRes, which is nice and big, I may have a challenge getting two streams out of the drive, but the computer would be fine once it gets it, so maybe I need to move that to a faster drive or internal.

So it’s this juggling piece of information. You’ll also, when you start getting more exposed to working in video, you’ll do a lot of reading on the web and you’ll see things such as oh, you should have one drive that you’re reading from and then creativelive adobe premiere pro cc video editing the complete guide fco free download drive that you’re writing creativelive adobe premiere pro cc video editing the complete guide fco free download and another drive for your preview files because you don’t have to worry about bottlenecks and speed.

In a perfect world, that’s really nice, but it’s not a perfect world, you’re not a production studio. Drives are a lot faster. Computers are a lot more efficient. I use my laptop, I read, I write, and write my preview or render files all to the same drive at the same time and if it slows down a little, Creativelive adobe premiere pro cc video editing the complete guide fco free download really don’t notice. So yes, you will see that stuff, creativelive adobe premiere pro cc video editing the complete guide fco free download don’t let it confuse you.

You can generally read and write работа! download minecraft windows 10 free 2019 Вам the same drive. If you have big files and you’re exporting, sometimes I’ll export it to an external drive, so I’m reading off of one and writing to another. Often I don’t do that unless it’s something really huge like a one hour documentary with hundreds and hundreds of edits and clips.

So knowing where things are is important. The problem is and this is where coming to using the creativelive adobe premiere pro cc video editing the complete guide fco free download manager is a lot of times when you’re cutting a show, you’ll bring something and you’ll go oh, I’ll download this piece of royalty stock footage from the web. I drag it to my desktop, I do it, and then I put it into Premiere and I’ve successfully now put something into my program that is not properly stored.

This is going to happen all the time whether it’s a graphic style, maybe you built something in After Effects and you saved it over here and you drag it over here. We’re not all perfect, though we hope we are, but ideally you should move it into the right folder creativelive adobe premiere pro cc video editing the complete guide fco free download and then ingest it into Смотрите подробнее. In the real wold, you’re running and gunning, so you’re going to be moving stuff and that’s where the challenge comes in, is what happens to media that isn’t necessarily in the right location so I can’t just grab that project folder and copy it over.

The other challenge that you’re facing is well, what if I didn’t use all this footage? Why do I need to archive it and save it because it really doesn’t necessarily belong with this one show? So I want to be able to consolidate everything as small as possible in a single location creativelive adobe premiere pro cc video editing the complete guide fco free download if I need to go back and work with it, I can find it and that’s really where we’re moving to with this section of the class. So that’s kind of understanding the important of knowing where things are, but now больше информации have to figure out the important of cleaning house.

One is so you can find everything when you need it and two, you want to be able to delete it from the hard drive or your internal drive so you have the available space to work on your next project.

So with that said, let’s go ahead and hop into Premiere. I’m going to be working with one of the files that we had open, actually right in the earlier lesson.

So this is the opening show. It’s mumbles we go in. So I have this and I want to go ahead and I want to archive this. I want to. I’ve already exported, I printed my movies, life is good.

Now I have to figure out what to do with all this media. So I’m going to go ahead and under File, there is something called the Project Manager and this is the best way to clean house and make sure you have everything you need.

So what we’re going to do, really, for the rest of this lesson is we’re going to step through what all these options are so you’re in power to know what you can do and what you адрес to do. So as soon as I open up the project manager, I’ll see this interface and if you look closely, these are all of my sequences that I built in this project and in a sense, but not in a sense, but I have a couple of sequences that I don’t remember building, but what happened was, I created a nest.

We talked about nests earlier. Okay, we put a bunch of things inside a container. Well, that nest is considered a sequence, so that’s why it shows up. I made basically this nest of some of my animation so it would be easier to work with, so I see that and what’s nice here is I can choose what I want to back up, so there might be different reasons I’m backing things up.

I might be backing up just that one sequence because I want to just save that or hand it off to somebody and they don’t need all the other clutter. I don’t have to back everything up from this project. По этой ссылке the creativelive adobe premiere pro cc video editing the complete guide fco free download side, maybe I do want to back up everything but I want to make sure it’s all in one place and organized, so I can creativelive adobe premiere pro cc video editing the complete guide fco free download at this point in time, what sequences and I’ll see every sequence that is in that project in this first location that I want to back up.

So I’m going to go ahead and I am going to check everything. Now I’m going game underground 2 pc move down and we have some other choices based upon what our objective is. So the first checkbox. The default one says collect files and copy to a new location. And this is great. This says I’m going to archive this to an external hard drive or another location on my current drive.

And when you do that, it will actually take all the files, move it to a single location so you don’t have to theoretically worry that you have lost something that later on when you open it up, it was in your music folder.

Abba will cover essential topics such as creating time lapse videos, building a rough cut, working with audio and incorporating motion and titles in your videos. Join one of the best editing instructors, Abba Shapiro, to learn how to work effectively in Premiere Pro ®. In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your 92%(38). Join Abba Shapiro for Lesson Multi-Camera Editing: Creating A Sequence of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today. Join Abba Shapiro for Lesson Sharing & Exporting: Overview of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today.

There are ways to bring in just a little slice, but usually you bring the whole thing in, and then you sub-clip it or you pick out elements from the big clip. But it allows you to see what you want. Another great thing is if I’m working with photographs, so once again, I’ll step back and I’ll look at the photographic images, So now, instead of like remembering the name, or let’s say, you’re shooting an event, a wedding or a conference, and they give you a thumb drive with photos and say, oh yeah, find the one of the CEO or the bride, you know, doing this, and instead of having to open each one and figuring out which one it is to import it, I can see right here all my photographs, okay?

Click import, and this will bring in the whole folder. If I wanted to, if I wanted to just bring in an element, I can click on any one of these images. Okay, and I want to point something out. If I don’t click on it, you see there’s no blue line here? You see there is a blue line here, okay?

So if I clicked on it, if I move my mouse left and right, it doesn’t scrub. It’s only if it’s not selected. If it is selected, you get the blue bar, then I can play it by scrubbing through with the blue bar or hitting the Space key.

The Space is your play bar. Plays and stops okay? So, it’s just I don’t want you to get frustrated that oh, why is it not working in some cases, and why is it working in other, if it’s selected. Okay, so that’s just one thing to keep in mind. Let’s say I really wanna look at this much larger, but I’m not sure if I wanna import it yet.

We saw that we could import by dragging or right-clicking, Control-clicking if you don’t have a right-click mouse.

And I can look at that. So, it allows me to view my footage. So far so good? Or does it feel like a fire hose is hitting you? Good, good. For those people at home, they said the fire hose is not hitting them. Hopefully it’s not hitting the folks at home, either. So, let’s talk about making sure everything’s brought in, I’m gonna go ahead and I’m gonna hit the Tilda key again, brings it back to the regular interface, gonna go down here, try to remember what I organized, so this is the Media Browser, and this is another point of confusion for some folks when they first start using it.

Project is stuff that you have brought in to work with, that you’ve already collected. You can always go back to the Media Browser and bring it in, but that’s where a lot of folks get confused. So let’s go back to the Media Browser, I’m gonna simply go here and select the clips that I want, I can actually do it in the sidebar, we brought the B-roll in, gonna bring in the interview, his photos, and I can hold down, it doesn’t let me do that there, so, I’m going to go this way, zoom back out, and grab the ones that I want.

So we’re gonna do, we don’t need the graphics for this yet, interview clips, I’ll select that, his photos, the music that I grabbed, and projects is where we’re storing our projects, and what’s down here, not sure what that is ‘cause I don’t remember and I can’t see, it’s probably sound effects, gonna right-click, I’m gonna say import.

So you guys are gonna be brilliant. Okay, so what I did is, when I imported it, I had this folder selected, and guess what, it put it inside that folder. So we’re gonna look a little bit about cleaning things up and organizing things and once you have them in, and a little bit of navigation here. Understanding organization is gonna make your life a whole lot easier when you finally start to edit. So, I can look, and I’m gonna make this small so you can again see where it is, it’s this bottom window, I’m just hitting the Tilda so it’s full-screen.

I can look at this in an icon view or in a list view, and to toggle that, I can use these little buttons here, okay, so if I switch to the list view, I see this as a folder, and then I can open up the folder and see the contents of the folder. I can also make this bigger with the slider down here, and as you see, inside the music folder, not only do I have my music, I have all the other folders. All I have to do is grab them, drag them out to the higher level, and now we have our folders there, if you go in you can see, they’re all named, and in this view, I can scroll down and should be able to see my contents.

There’s my photos, there’s those interview clips, and I brought an extra folder here that’s empty, I’m gonna simply delete that, this is useful, but not really useful, because remember in the Media Browser, I could see these really nice? So in the list view, unless you do some real kind of gyrations with the software, you really don’t see the images, and that’s where stepping into a folder and switching to the icon view gives you that ability to see your images or to see your footage.

Can you please explain the difference between importing and Ingesting? To do that, I’m could do the razor blade which I taught you about, the cut C, or the keyboard shortcut command K, the German cut. So I cut this in half. I’m going to go over here and the filter’s still on both sides. And I can if I want to just deactivate it, hit the FX button. The filter is there but it’s turned off. You can kind of see it on the edge there. Color should come back in.

If I wanted deleted completely, I could just select it and hit delete. So now I’m in a situation where we’re going from black and white, color on the move, and I change my default transition.

I’m not going to get caught in this. And I also made it six frames long so I’m not going to get caught on that. Let me fix those preferences from the previous lesson. Okay, preference, general, make this 30 frames. Go down here under dissolve. We don’t want to dip to white, cross dissolve. Right click as we learn, select that as my default, transition.

Cross my fingers, shift D, spread it out a little bit longer. Luckily, it worked. So this is a case where I kind of faked it. It’s a great way. And I love doing this, being able to go from black and white to color. And sometimes I’ll do it really, really like a long dissolve so they don’t even notice.

And suddenly it’s like, «Wait a second? It’s going to hurt me on my next thing though because I want to do this blurry thing, right? Again, it’s going to create a problem. I like creating problems for myself. Well, I don’t know if I like it but I’m very good at it. I’m going to show you how to create the blur move and then you’ll see where it breaks. So we’re going to go to this next clip here which is a fairly long clip. Nice underwater stuff.

We made it blurry before. As a matter of fact, our Gaussian blur is still there set to zero. We learned in the audio lesson about key framing. We’re going to key frame here also. We want the blur to change over time. And I know I can key frame something because I see these little stop watches that I saw with the audio that says «Yes, you can key frame something.

So I want this to start off fuzzy and then I want it to go to clear. I’ll probably pick where I want the clear to be. I’m working backwards so you don’t have to but it’s easier to work backwards. And I’m going to simply hit that stopwatch and you’ll see as soon as I do that, it has created a little diamond here which is a key frame and has locked in this parameter at this moment in time, okay?

Keep that in mind, it’s a time parameter key frame. So I’m going to go now back in time and I can do that either in my effects panel or in the sequence. You see that both the play heads move at the same time. And now, because I have one key frame, if I modify that parameter, it will automatically create a new key frame in that location. So I’m going to go over here and just make it a little bit blurry.

You see a new key frame has been created. And I think that’s a good level of blurriness. So as I play it from this point to this point, it should come into focus. And I say, «Well, that’s great. So I can either grab these individually and move them. So now I’m moving this key frame. Or if I needed to, I could actually grab a group of them and move them as a chunk. So I want it to actually start getting in focus a lot quicker.

And I can go back and I can play it, and see okay it’s coming into focus and it’s sharp. So I’m going to put a title over there or something. Now this is my problem. I was really clever about the black and white thing but if I want the black and white and focus to happen at the same time, it’s going to be really hard.

I could come into focus first, right? And then I could come into black and white but I want them both to happen and my head’s about to blow up trying to figure out a solution. A third party plug in would let me have done maybe the black and white another way. And there’s actually some built in ones where you can do it but I’m creating a challenge here.

I want to be able to put something else on top of this effect. And I have a couple of choices. I could do something called nesting which we’ve talked about in an earlier lesson where you can literally put this into a container and then I could put the filter on that container.

So if I want to nest this Because right now if I put that dissolve on, it would stop at this edit point. I would select, then right click it and there’s an option to say nest. And it’s going to ask me what I want to call the nest. And I’m going to call this my open time lapse. So I’m gonna go ahead and hit okay. So that it doesn’t distract me from maybe the other multi cam stuff I need to make next? Maybe you have lots of stuff, so it organizes it into a folder called processed clips.

If you uncheck it, it just leaves it where it is. So it’s a nice rule of thumb, they’re all there. It just helps organize the structure, and this is what it has created. It has created camera one master, so it took that first camera, let me go ahead and stretch this out so you can see it, and it named it after the camera through multi cam on there. And I want you to see the icon.

That’s the icon that is created. That is the icon for a multi camera clip. Okay, we saw earlier that the icon for any kind of a sequence or timeline looks similar, but things are not aligned. So that’s a sequence, the other’s a clip, and the reason it’s nice and clean on the side because basically it is, if I clicked on this to load this into my source monitor, what you see is one box. And you’re going, well why do I only see one box. Well this camera was rolling first.

As I go through and play it, as the other cameras came online because we’re linking with the audio, they’re all lining up. And probably at the end, as a matter of fact, the 4K camera turned off after five minutes because it heats up, so then I was dropping down to two. But I’m gonna go back here, if I hit play, so you can see that my lips and his lips are in sync on all four of these cameras.

This was the master, the C, these two shots were from the 4K, okay so there’s the wide shot I had, and then I pushed in to the closeup. And it still maintained resolution, you can blow things up a little bit, it’s digital.

And then I had the iso camera on me. So I really have a lot to choose from here, okay. And it took the clean audio from one. So I’m gonna go ahead and take this and I’m gonna make this into a sequence, I’m gonna put this in a sequence. I could go ahead and mark my in and out points at the beginning, so I could go back here, and wait till we actually start talking.

Which is the proper way to do it. I’m relatively lazy, so what I do is I simply right click on it and I’m gonna say make a new sequence from this clip. This is something that we’ve done with just a single clip right, and it puts it in and formats the sequence just right, same thing, make a sequence from a clip. It’s gonna name it after the camera master, and it just looks like a regular piece of video.

There’s my good audio, and when I do that, if I zoom out, we see now the primary camera in here, and this looks like clip, what just happened to my magic. You had to switch a couple of selections to go into that multi camera editing mode. So now I have a great sequence, I’m ready to start switching, I am done for the time being with what’s in my source monitor.

Now move that out of the way. I wanna focus what’s happening here. So, I’m ready to do a multi camera edit. We’ve already synced the clips, we brought the clips into a new timeline, that we created from the clip itself.

It was named after the clip of course, you could go ahead and change that name if you want, and if you by the way if you do wanna change the name of a sequence after you created it and you don’t remember exactly where it was, you can right click on it and say reveal in finder.

Reveal sequence in projects, sorry not reveal in finder. It’ll actually find it in your bins and you can rename it very easily. But we’re not talking about that now. Short on time? In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos.

Abba will show basic color correction techniques, as well as incorporating filters to enhance the look of your final video. By the end of this class, you will feel proficient in creating videos with this complex program. If you’ve been paying for Adobe ‘s Creative Cloud, this is your guide to understanding and using one of the best tools within your subscription.

For more interaction with Abba during the Bootcamp, you can join his Facebook group:. I’ve never even tried video editing before this class.

Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos. Abba will show basic color correction techniques, as well as incorporating filters to enhance the look of your final video. By the end of this class, you will feel proficient in creating videos with this complex program. If you’ve been paying for Adobe ‘s Creative Cloud, this is your guide to understanding and using one of the best tools within your subscription.

For more interaction with Abba during the Bootcamp, you can join his Facebook group:. I’ve never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together basic of course, but still pretty cool. I wish all of my teachers growing up were just like Abba.

Lesson 3 of I wanna talk about some of the nuances of video in relation to photography. That will be our initial touchdown. And so I kind of made this little animation here, and I’ll bring it full screen, but I want to talk about it first.

How many people here shoot still video? You don’t have to hold the mic. Okay still video, that’s not good. You wanna shoot motion video. Now how many people shoot photography, shoot stills? Everybody, it’s not gonna polarize any. Anybody, you have an iPhone? Okay exactly. What’s the resolution of your cameras? Just you can jump it out.

Okay thank you. We’re coming and shooting some stuff after this class. Okay that’s a huge image. Is that about, what’s the square root of 40? Math people here? I could take out my phone and ask Siri. Many megapixel apply many, many, 20, 20, 20 by Yeah that’s pretty big. Other sizes Do you shoot with your phone? What phone do you have? Okay oh yes that’s right. I’ll try to remember but I will repeat if you haven’t picked up the mic.

You are like 12 megapixels. I have some numbers coming, some comments here. I did this for a reason. How many people have hi-def televisions? Oh come on, if you don’t have a hi-def television, you must have a phone, no.

So hi-def television. Guess how many megapixels it is? This blows people away. It is the highest of currently broadcast hi-def television is pixels wide by pixels high. There’s some jargon that we are already learning.

Think about this that 20 megapixel image that’s the average or the 18 megapixel image is by pixels. Way, way bigger than television and that’s considered hi-def. So here’s a little example of this image if it were video, if it actually was placed into a hi-def photograph.

And I’m gonna bring this full screen. So should be playing, yeah it is playing. So this is what you see in your x This is a screen grab from a photograph I took at Niagara Falls. I should be doing perhaps a time lapse with this. This is the original image. That’s how small it is. Now I’d bring this point into play for a couple of reasons.

You can do beautiful moves on images, because you have so much resolution to work with. And if you do a time lapse, and this is where it gets really cool, you have motion, you have this giant resolution video now, and you can do pans across your time lapse, without having to have any fancy tools or anything because you’ve already shot it at full resolution.

We’re gonna look at that. Understanding that is pretty amazing. It also presents some issues that we’re gonna talk about, if you have that mindset of photography and you are starting to work with video.

You’ll notice that on this image, I put some white bars on the side. I didn’t really put white bars on the side. Still images that we’re working with tend to be more square than rectangular. The aspect ratio is a little different.

And generally there’s two flavors or two formats of sizes that you’ll find. Now I patiently wait for this to play to where I want it to be, hoping that the small little dialog box, I may fast forward here a little bit. It’s exciting, it’s exciting. There we go. That’s one of the aspect ratios that some cameras shoot.

And if I pop this into a regular high definition television screen, I’m gonna, if I wanna see every part of my original image, I’m gonna have white bars so I have to think about that, that I’m dealing with a different aspect ratio when I’m shooting video.

I have a different frame to work with, or if I’m gonna be bringing my images in to say that sizzle real, am I going to make a decision of putting bars or color behind it, or am I gonna do a move on it, or am I gonna blow it up a little bit?

So for example that’s 3 x 2. The other format or aspect ratio that we tend to use is 4 x 3. And in that case, as you can see we even have more white space. So our photography is a different aspect ratio. And this as I said is important because not only are you deciding how you’re gonna deal with your photographs if you’re gonna put them into a shot. But you also have to kind of change your mindset that you’re working with a different frame, that it’s like more theatrical and how you’re composing your image is different.

How you’re moving, how you can move people through it is different. So this is what you would end up doing if I shot this image and I needed to put it into video. That’s 16 x 9. Very subtle things but a different vibe. I think I zoomed out and hopefully I’m gonna play that back a little bit.

So this is one of the things we do. Oh I don’t have the fix there. Okay so here’s your choices. This is the shot that I took in Japan. I thought it was great. This little coffee shop at the base of Mount Fuji you would think you were in Seattle, but no you are And this is, «Okay, come here, have coffee.

I took this picture. If I want to put it in, I can either crop it, I can blow it up so it touches the sides, but then I lose the top and bottom. Or I pillar box it so I can see everything. Same thing here. This is just such an example. I would crop it and then I would probably have to zoom in but we have the resolution. So we were talking about how large a photographic image is.

And this is one of the challenges that a lot of photographers face is they jump in, they kind of get a feel for this. And it’s like you’re making your computer do so much extra work because you’re bringing in such a huge image, it’s better to downsample that image to something that’s more reasonable than that 40 megapixel which is beautiful, if you want that landscape details, I’m jealous.

But that’s one thing I do and you know, where am I getting these strange numbers from? Well I’m thinking of a world where we are dealing with high definition television, x So I’m gonna jump to the middle one because the math is easier. I just basically double everything. If I do x , it’s double, it’s x The key is you have to think about, how much movement am I gonna do on this? Am I gonna do a little push?

Maybe I only have to make the image this big.

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Lesson 50 of Страница I’m going to select just the four cameras first. Cause I wanna explain the difference because you may not always be recording this wild audio.

Though I do recommend, if you have any option to do that, it never hurts to have options. Cameras don’t get plugged in and whatnot. There’s even other ones that plug right into the lightning port. Great stuff, it’s very cool. So I will go with that, but we’re gonna go ahead and we’re gonna merge these clips, and I wanna show you one thing we did before, so I’m gonna open up the clip and Mike and I are talking at the very beginning, and make sure they have good audio, okay. And I’ll bring those microsoft office 2010 professional free download frame by hitting the tilda key.

This is how exciting it is before an interview. There we go, this is what I want. So what I do here is, I do, this is a human clapboard. Okay, it So it’s a good backup, we actually ended up not needing it, but I do it as a rule of thumb.

Another thing to keep in mind, in the old days, five years ago, if you wanted to sync up cameras, the rule of thumb was once you start rolling, don’t turn the camera off, because then you only have to align all your cameras once and you’re good to go. If you turn them off, then you need to align them as they turn on and off and on and off. With being able to sync by wave form, that’s less of an issue. These apps are pretty clever. But if you can keep them rolling, you add some extra footage, it’s less brain power for the computer, less likely that you’re gonna have one camera that it can’t quite find the other ones.

Rarely is that an issue, but I wanted to bring that up as a point. The other I want to bring up, because some folks might have come from other editing programs or might have been in the industry for a while, there is something called timecode.

Timecode, when we traditionally have recorded things on broadcast cameras, it would put meta data time stamp, not on the actual image but underneath in the digital part of time of day. You sync it to time of day, and it’s again, it’s 23 hours, 10 minutes, five seconds, four frames, and you could sync up your cameras based upon that time of day.

The camera gets synced to an atomic clock, and then you can sync up the cameras that way. Now, what’s interesting is I’ve shot with iPads and iPhones, and when you do that, and I believe I’m remembering this correctly after what, 15 lessons, is that it does have the date and time creativelive adobe premiere pro cc video editing the complete guide fco free download when you recorded that. So you can actually sync by date and time, if you can’t see the audio or hear the audio, you would hear the audio.

Something you recorded from a great distance, a wide shot, if creativelive adobe premiere pro cc video editing the complete guide fco free download was creativelive adobe premiere pro cc video editing the complete guide fco free download mic. So there’s a lot of things that you can sync up to but primarily, the clap, or we’re gonna use audio wave forms. I think it does make a click sound, but you can have a digital clapboard.

Okay, so with that I’m gonna go ahead and shrink this down again, and we’re gonna go ahead and if you notice in all of these, there is, if I look at the audio, I do do that clap at the creativelive adobe premiere pro cc video editing the complete guide fco free download, but I’m not even gonna worry about marking it, because we’re not gonna use that, we’re gonna make it easy.

I’m gonna select the four cameras, and I do recommend, if you’ve numbered them, to organize them, you should number your master camera as one, you can ссылка на страницу all this stuff afterwards but why make extra work. Premiere tends to create the order of the cameras by the order that you select these. So, it’s kind of, if I clicked from the bottom up, camera four then shift click to the top, it would think I went four, three, two, one, and then when I make the multi cam camera four will appear in the upper left corner.

I can switch that around, but it’s just, it tries to order things by the order you selected them. So if I selected, four, two, one, three, it would try to put it in that order. The good thing is if you haven’t really aimed your camera, it’s a good way to preorganize your clips.

So let me select this the proper way. One, through four. I’m going to now right click on these clips, I’ve selected all four, and there’s an option that says create a multicam source sequence. So what it’s going to do, it’s going to merge these together and create one clip that basically has all four of these clips inside. Okay, not creating new media, just creating a new way we look at the media.

The other thing to keep in mind when you’re starting to do multicam, and this references some of the questions по этому адресу had earlier on in the course, is that when you’re doing multicam, off a hard drive, it is reading four streams of video at the same time. So this is an instant where if you have a slower drive, or if you have really big bandwidth files, you might get a little bit of stuttering.

Now four really should not be an issue. But you could do nine, you could do a lot of cameras. And it’ll sink it up. And the more cameras, the more demand on your hard drive and your bandwidth, so that’s where you start seeing some of that issues with dropped frames. And so the decision is either get a faster drive or remember and I’ll show this as soon as we bring this in, remember how we can change the viewing resolution in both our source and our program monitor?

You may want to cut that from one half to one quarter. And you’ll find that you have smoother playback. Most of the time, I never even see these issues unless I really have lots, like nine angles or something. But I do want to point that out because we do have a lot of different environments.

So I’m gonna say create multicam sequence, I’m gonna get this great little dialog box that will look kind of confusing to you at first, but don’t worry, because you’re gonna be, you’re gonna own this in 10 minutes.

The first thing is how do you wanna name this new clip? You can leave it at the default. If you leave it at the default, it’ll name it after the clips name, one of the clips name, the primary clip name, and then it’ll throw multi cam. You can change that however you want. You can name it after the audio file, maybe you’ve renamed the audio file, the name of the interview.

This is the least of the things you need to worry about. I’ll leave that at the default. This is where really I wanna talk about stuff. So, I indicated that it can sync through multiple options. You can mark inpoints, wherever that clap was.

So if for some reason it isn’t syncing up and you have created a sync http://replace.me/7257.txt, and that sync point could be the clap, if you didn’t do it, maybe you’re at a concert, it could be a camera flash, or a wedding. You’re getting close, you see that this is where a picture was taken, from three angles, and you get that flash, that’s a momentary instant that you can just put an inpoint so it’s visual and link it up to that inpoint.

On the flip side, if you forget to do any kind of a clapboard, you could actually mark an outpoint and it’ll just use that as a reference. Maybe at the end of the interview, go I forgot to do a clap. Make that an outpoint. All it needs is a common point, that’s why either one of these and you can always adjust it, and then I’ll just go through these and I’ll take that question.

Timecode, if there is timecode, it’s an option. If it doesn’t see timecode, it won’t even let you do it. So don’t worry, unless you’re doing broadcast, actually let me add to this.

If you’re using timecode, one of the cool things it can do is because it’s using this time of day actually it’s free run, it’ll actually not only make the clip but it’ll put it in the time line because if the camera is turned off for 20 minutes, it just leaves a big blank space. And I’ll explain that but I wanna take this question first. So if for some reason you were in a position where you had to use inpoints or outpoints, would you have to go onto every single camera and every single piece of audio and figure out for yourself what that inpoint and outpoint is and mark that before you go into this?

So just to clarify the question and my response, if you don’t have good audio, do you have to do it to every single one. Absolutely, because that’s what you’re connecting it by, which is why it goes back to if you let all the cameras roll you only have to do it once on each one of the pieces of media.

So, even with this, with four cameras, I find one common point, whether it’s a noise, whether it’s a flash, whether it’s just an action, I’ve had situations where I’m just kinda watching, and as soon as I see somebody’s hand reach the apex of raising it, I say that’s my inpoint. All you’re gonna do is find creativelive adobe premiere pro cc video editing the complete guide fco free download common action or point and mark your in and the перейти на страницу thing with audio, now sometimes you have to listen.

Because you don’t have a visual representation there, but you can do it. So yes, you sometimes have to do it if you’re gonna use the inpoint.

And you have to do it in all of it otherwise it will just skip that clip, it won’t be able to align it. So, we selected audio, we have a couple of choices here, what the basic choices are, do I want to use the audio that was recorded on channel one of my video, do I wanna use the audio that was quoted on channel two of my video, sometimes you might not have audio on a certain track, you just didn’t record it, so you want to point it in the right direction.

Sometimes you might have different audio on each channel. Maybe you had the Lavalier on one, and you just had wild room sound on two, say oh use one, because it’s gonna be easier. I have found that it’s pretty successful to mix both channels together, and figure it out.

Okay, creativelive adobe premiere pro cc video editing the complete guide fco free download I usually leave it to mix down, it’s more bullet proof. This is if the original video was out of sync with the audio on the recording.

Usually that’s if you’re in a studio when there’s a slight delay, or if you’re recording maybe from the backup of a concert hall and you’re dealing with the echo and the delay with lip sync. Again, keep it simple. This is where you start making decisions that will affect you and remember, it’s all non destructive, so if you mess up, you can just hit undo, or you can delete the new clip that you made and try it again.

And this is something that you’ll probably end up doing and wanna do to see how it works with different settings. So this is saying how am I going to wanna handle the audio between all of my cameras? So if I have a primary camera, and when I record I try to put the best audio on my primary camera.

Depending on the complexity of the shoot, you can sometimes have people, the audio guys can run the same audio to all your cameras, in which case it’s not an issue.

So, I’m saying, you know what, на этой странице best audio is on camera one.

I’m gonna probably end up creativelive adobe premiere pro cc video editing the complete guide fco free download my video but I’ll абсолютно acdsee pro 10 vs ultimate free занимательно wanna keep the audio on one consistent so that I don’t have creativelive adobe premiere pro cc video editing the complete guide fco free download worry about level changes and quality changes.

But that’s not always the case for some environments. There might be a situation, and we’re actually gonna create a sequence with all of these choices so you can see what the result is, but if I switched to all cameras, that gives me the option to see all of my audio tracks at the same time on my sequence, so when I switch my video, maybe I want to cut the video, to maybe I’m doing a hockey game and I cut to the crowd, and I want to be able to use the sound of the crowd cheering, but then maybe I still wanna use the primary camera of the actual sound from the ice or maybe people talking, giving the play by plays.

And that will allow you to quickly get to it. Again that’s a keyboard shortcut I really don’t remember, because I know where it is, and I can right click on something to do it. So that’s one of the big ones. I do want to point a couple of the grayed out ones. We’ve talked about some of these. I’ll zoom in a little bit, even though they’re grayed out, so you can see it.

What these are so you’re just aware of them. Again you’re probably not gonna use a lot of them. Batch list is basically an export list of the clips you used, you probably won’t use that.

Again a lot of these are for broadcast. Titles we did talk about when we looked at titling. So if you have a title that you have selected, you can export that as something that you can then save to a thumb drive, email somebody or even put on your Creative Cloud folder, so you can access it and import that into another show.

Premier actually allows you to do closed captioning, where you can manually type things in. And with closed captioning, you can also either buy software, which is ridiculously expensive, or you can send out the audio to get a transcript that you can then import a special type of file. And so you’ll be able to do the captioning, what not. Again, a powerful program that we’re using. Everything from our photography sizzle reals all the way through broadcast television, which is required to have captioning, to theatrical films.

All of it is embedded in here. Tape, I find that amusing. I don’t think I’ve put anything out to tape in years. But there is probably some facilities that are archiving things to tape. You will always probably be putting it out to file. Maybe DVD, that’s gonna be a question that people ask. If you need to make a DVD, which again, is now an obsolete technology. Adobe has a legacy one, but they’ve realized that people aren’t doing it, so they’re not even updating it. But there’s a couple out there.

DVD authoring is all you need to search on the web. Okay so really when you’re getting down here, it’s the media, you see this whole list. We’ll look at Premiere Pro project file, and that’s not highlighted because I don’t have a sequence selected. So let’s just go ahead, I just want you to be aware of that. It’s interesting I said, «Well what about exporting a frame?

We’ve already looked at that not necessarily in super amount of detail, but if I needed to send a frame of video either to put as many a promotional thing on my website or I want to print it somewhere, I can go that from directly inside the interface, and I can print either what’s inside the source window, and let me switch back to my editing view for this, for our export.

Shift E is how I would export it. It creates a file that you can choose. But this is why I wanted to revisit this. We saw this earlier when we were actually working with speed changes, and you saw that you have a variety of formats. But what I didn’t go into was what size is this image? Because we wanted it to be the perfect size for video, and it was, so there was no need to talk about it.

When I export anything from Premiere, it will export that as the size of the image that you have. So if it’s a piece of video that you recorded in by , it’s gonna be a two megapixel image. If you need it larger, I would take it into Photoshop and scale it up.

If you do it from your sequence, if it’s by , your sequence, it will be that. If you sequence is p, that image will be p. If you are using something say a 4K image and you bring it into the source monitor and export it, it’ll be the size of the 4K image, which is almost by a little over So it’s whatever it’s original size is, if you haven’t brought it into the sequence. So the left side. If you’re grabbing that camera from the right side, it’s gonna be whatever the size of the sequence is, and you can save it in whatever format.

Why is it so small? It’s because it’s using that information. So it’s important to understand that. It’s also very useful because, you know, just a still image from video is fine. If you have a photograph, you want to go back to the photograph. If it’s something where you’ve created a layer, now I have two clips on top of each other. And this would’ve been something I should’ve caught when I was doing my finishing, and I wanted to bring this up because I did miss it.

It’s like oh I put this cut away, but I see the seam behind it by accident. Okay so I need to scale these up. But if I built something that had some text on it or some sort of compositing. So let’s say I did use this image and I’m gonna go ahead and squeeze it as a picture in picture, ‘cause we want to see what’s happening there. If I grab that freeze frame, it will be this entire image right here.

So this is great if you’re create like a title sequence, and you want to show somebody and example of what it’s gonna look like with some stills, you can go ahead and export that with shift D or using the little camera button. Very useful, but remember, it’s not really print quality, because it’s only two megapixels.

But it’s great to send somebody if they wanna do approval, and if you need it bigger, take it into Photoshop, they have great upscaling tools. So that’s exporting a picture. Now let’s talk about, again, I used this expression already once.

Where the rubber meets the road. What you really want to do which is exporting your show and how confusing that can be at first blush. So to export a sequence you have to have one of two things selected. You either have to have the sequence selected, or you have to be in the project file, and select the sequence icon there.

Okay it has to know what you want to export. So if for reason that’s grayed out, or you don’t see the right thing, make sure you have the right thing selected. So we’re gonna go ahead, we’re gonna hit export media. And you’re gonna get this dialog box. And let’s just kind of explain this. Got a nice freeze frame there. And this as I said can be very very confusing at fist. So you open this up and you see export settings and you see all this confusing information.

The nice thing is that there’s a lot of great presets that you don’t have to think about all these numbers. When we first started going to digital video and people were putting things on the web, and you saw you could download stuff from iTunes and whatnot, people had entire jobs, and there still are people out there, they were compressionists, and this art form, this voodoo art form of how I can take something that’s huge and make it digestible that I can download, and you know there’s a real science to this.

But that could be in the tens of gigabytes. Some of these files I’ve had have been 60, 70, 80 gigabytes, even larger, depending on the length of the show. That’s something that I can keep on a drive, but it’s not anything I’m gonna send anybody. I’m not even gonna Dropbox that likely to anybody. So I want to make it smaller. So let’s take a look at some of these settings and how they will affect you. Sometimes you just want to click on match sequence settings. And by the way it generally tries to remember the last set of settings that you use.

So if you’re continually using stuff it will do that. And so this will try to match everything to whatever your sequence presets are, okay? And it’s just trying to make a clone. But if you want to change any of that, you can go down and you have a lot of control.

I’m gonna uncheck it, and what you would first choose is the format. So here you’re making kind of a decision about, okay what’s my need, and what do I want to do with it? And even this list is overwhelming. But the nice thing is is that for the most part, you may use only two, maybe three of these choices to start with. It is very likely that you’ll probably use H. That’s pretty much the defacto standard at this point in time for the web.

And they’re getting better and better with the codec. Some of these are older codecs, some are broadcast codecs. But not everything can play it back. So that’s why I’d go back here, and for specific things, if you’re putting out to Blue-ray, you’re making a Blue-ray DVD, learn about that when you need it. The other one that some people choose is QuickTime. Because we all are aware of QuickTime, and I had mentioned this earlier, but it merits repeating, because this is all very confusing.

When you hear about compression, there are a couple parts to it. There’s codec, which is the math to compress it. That’s things like H. The algorithm, it’s a big word for basically what we’re gonna through away and what we’re gonna keep. That’s the codec. And then there’s something called wrappers, which is what you put this compressed stuff in. And you’ll see things such as QuickTime is a wrapper. If you see M4V or MP4, that’s a wrapper. It’s basically what’s the container that this file is in.

Some containers have very specific rules for what’s inside, some can hold almost anything, okay? Generally the presets are fine, they’ll figure it out, you don’t have to worry about that. But that’s just a little thing so you can get your head wrapped around it.

You know Windows used to have one, and they discontinued it, and I already forgot what it’s called. Whatever there. But you know. MOV would be an example of a container, okay? So this is the codec, once you pick the codec, then you’ll have some choices in the next section. So we’re gonna look at two of these now.

We’re gonna look at H. And then as soon as I do H. But compress it to H. We had a question I think, I was talking about bitrate and bandwidth. So when you’re streaming something off the web, whether it’s Netflix or something off of YouTube, you know depending on how fast your internet connection is, how sharp it’s going to be.

It’s a bigger file and it may be more challenging to say view that on an iPhone on cellular than it is to view on your high speed internet at home, okay? It’s gonna create a larger file too, so if you’re looking to send it to somebody, what it’s saying is, I’m going to cap out, and this is going to be jargon for some of you, at 12 megabits per second, okay? So if you don’t have that fast of a connection, there could be a problem. And you may go to medium and say, I’m gonna cap out at six megabits per second.

So it’s a smaller file, less demanding, but it’s not gonna be as sharp. So those are some things, and you might, when you’re putting out your show, export it both ways and see if you can see a difference. Depending on the complexity of your show, you may not need it.

And something to keep in mind is, it’s really hard to compress complex imagery and lots of motion. So if I’m just standing here, you can compress me to a smaller file.

I fell like this is Willy Wonka right now. You can compress me to a smaller file. If I’m waving my hands like normally I do when I teach, there’s a lot of action that it has to compress, it won’t get to be a small of a file, and if you try to make it a small file by forcing it, my arms may get all, you know, artifact-y and break up as I wave them. So these are some of kind of an overview of the challenges you have when deciding compression.

Guess what? A lot of these are the exact same configurations, but they put them all in because some people are very literal and they go, I need to send one out that my friend can watch on their Nook, okay?

And you can pick it. And this may end up being exactly the same one as the Android one, but that way they don’t have to go and try to figure it out. So don’t be overwhelmed. Most of the time you’re going to use the first two. But they try, and they update this with each version. If something’s getting more popular, you know, the Vimeo stuff, and they can tweak it. So if you know you’re going to Vimeo, make a Vimeo version. It follows the specs so when you upload it.

So these are very accessible, but don’t worry about these ones that you don’t understand. Why do I have to know them all, okay? That’s basically the rule of thumb. If I switch to QuickTime, just to show you as an example, and sometimes I master to QuickTime, that’s a different wrapper. I don’t have as many options. And then we’ll look at working with existing graphics, whether they’re flattened or a single layer or, in some cases, you’re dealing with a graphic that is multiple layers; background layer, maybe a text later, maybe some graphics and you have a lot of control on how you bring that into the application and how you work with it in the application.

Let’s go ahead. I have a project that I’ve already put in, a nice little background. As you will see, I am a huge fan of time lapse and all the different flavors of time lapse.

I was in a hotel room overlooking an airport, so what do I do? I set up my camera and I do a time lapse and this was really fun and we talk more about time lapse, but when you’re shooting at night you can leave your shutter open longer and you get this really nice fluid blurring of traffic at night. Big fan. So anyways, I though it would be a fun background to put our titles on. If you wanna make a title, there’s actually a full dropdown section in the menu bar to create new titles.

And we’re gonna start with making a still, a simple still for some text. And it’s at first just like Premiere. It seems a little overwhelming, when you first open it. You don’t know what button to push, at first. The title tool is a little bit the same way.

When you say make a new title, you should be in your sequence and ideally you wanna be parked over the clip that you want to highlight, that you want to create the title on the lower third and you wanna do that, because it’ll actually let you see that as you create the title.

It actually will create this title already and put it into my show. Doesn’t put it on the sequence, but I get this new interface, this new dialog box, which will be a default size, like that, but stretch it out. Give yourself all the real estate you need. As a matter of fact, one thing I like is just to grow the window. So I’ll just hit the green button. Now I have a lot of real estate to work with. Much like Premiere, you can adjust the sizes of your panes to get as much real estate as you want.

So let me explain a couple things, for those of you who haven’t worked in video. What would we have these two boxes in our frame? This is something called title safe and action safe and it really goes back to the days of tube television, CRT televisions, because when you broadcast something and the image was projected on the front of the screen, I should say, on the glass, some of that image would be behind the bezel of the television.

So whenever they created titles, or lower thirds, they wanted to make sure that it wouldn’t be offscreen and also if it gets too close to the edges on those old CRTs it would get distorted, because they were curved. So you had an area that said okay let’s stay inside this area and your text is going to look good, your bugs, if you do like a lower third bug, will look good. And then just to make sure you see everything you need to see, don’t put any critical action outside this outer frame.

That’s why you have action safe and title safe. It is not as critical now, with the new flat screens, however I have seen on some flat screens that people put things right to the edge and then when they played it back for their people part of the text was offscreen, because it automatically assumed a little bit of an overscan.

Even though we technically don’t need it these days, with these LEDs, they still do it and it varies from television to television. So it’s a safety issue. Not a safety that someone will come and attack you, but it’s a safety issue. This is random. It is a safety issue that you wanna make sure what you put there is seen and I’ve seen people do picture in picture right in the corner and then they play it back and you only see part of the image. So that’s what this is there for, take into account when creating a title.

It should be like second nature. Outer one action; inner one text, bugs, critical things. The first thing I wanna do is I’m gonna go to the text tool and I can simply type what I wanna say. So I click on this and we’ll call this Airport Timelapse.

So I type in what I need. The beautiful thing about the text tool is I have full control for every letter, for typeface or font, size, color, position, stroke, glow a letter at a time, a word at a time, and whatnot and I can making groupings here. So it’s a great tool. I don’t have to step out to Photoshop to do this.

I could type this in. I will select it and there’s two areas where you can actually modify the text. There is this area up in the top where you have some basic adjustments. Different typeface, whether it’s bold, italic whatnot; scaling; kerning the spaces between the letters; leading the spaces between lines. These are nice quick things; justified left, justified right. And then if you go over to the right area, you have a lot of the same controls, but you additionally have way more controls.

If you want small caps, if you want underlines, if you wanna fill the letters with a gradient or a color or nothing at all, make them a ghost and just use the stroke. You can spend an amazing amount of time in here and I recommend, if you wanna get good at creating text, play with it. My philosophy with learning these application is get a little bit of knowledge, and play. Do something fun. As a matter of fact, I haven’t mentioned this yet in the class and this is one of the things that sometimes breaks my heart.

It doesn’t really break my heart, but I’ll have people come to a class and they’ll say, «My boss says I have to cut this video on Wednesday», and they’re taking the class Monday and Tuesday.

And others, you’re just like I wanna write the word and I want it to look good. So you have as much power as you want or you can control it and just do the basic stuff that you need. With that in play, let’s go ahead and change the typeface.

The nice thing about this, when you’re dealing with typefaces, with Adobe, is that you can actually usually see what the font looks like when you switch to it. Any font that’s in your operating system will be available to you. As a matter of fact, with the cloud you have access to the Adobe Typekit where you can download additional fonts if they’re not already in your computer.

It’s one of the beauties of this cloud, this family of applications and technologies, is you have much better access to this stuff, instead of having to hunt for the typeface if somebody gives you something that wasn’t in your system.

I’m gonna just pick something arbitrary here. I shouldn’t pick something arbitrary. I should pick something that actually is nice.

We’ll go with Gill Sans, which I just saw. Here we go. Arial is fine. It immediately updates as I make those changes. I could just work with this as it is.

I could go ahead, using my text tool, if I switch back to my selection tool, I can position it wherever I want. I can scale the box and it scales and as you can see I can affect it’s aspect ratio. Hold down the shift key constrains the aspect ratio. It’s an old Photoshop trick.

I don’t wanna call it a trick. It’s just the way it works. But I can take this to a much greater level. I can go ahead and, if I wanted to, switch back to the text tool, keyboard shortcut T and say I’m gonna just select the word Airport and I can go in and I have a lot of control, everything from changing the color of the text to the position and I wanna point out that I can do some of that here.

You’re gonna get into a habit of I’m either gonna go to the top or I’m gonna go to the side and there’s nothing wrong, it’s either way. I tend to go to the side, so I’m kind of like breaking my own rule here, but I can scale it up here, as I said. Kerning is the space between letters, depending on the typeface. If I had two lines, this would be called leading.

And that actually goes back to; I like throwing these little things out; back when people would physically lay type. The amount of lead they’d put between each of the lines was how much space it was there, so that’s why it’s called leading. You could be really popular at a really boring cocktail party, with that piece of information.

And then you have your whether you wanna justify it left and right. But when I go over here, this is where I can really control things, nuances on transforming the size of the letters. I can access my fonts here and I can see a dropdown list. You can also type in and find what you need.

Depending on the typeface, some will be italicized options, some will be bold and you can change all this, but it’s when you get down here it gets interesting. First of all I can pick the color I want. I can go ahead and select this and go into the color picker and I can change it to this wonderful yellow. Let’s see if I have things selected right. Airport, we love that, don’t we?

You can also go ahead and grab the eye dropper and I can grab a color from within here. Maybe I wanna grab this red. Not very red is it? We’re gonna make this bright red. So there’s your colors. In addition to color, this is where you started getting some nice power. I can put a nice little gradient in the text. I can also do this ghosting thing, which I’ll show you in a moment, which is nice if you wanna do just outlines.

But I could go ahead and I could do a linear gradient. It gives me my options. You’ve got this little graphic here. And our gradient right now is red to red, which isn’t much of a gradient at all. I’m gonna zoom out just a little bit so you can actually see how this is affected. Go ahead. If I wanna change the color, I click on it, go to blue and there we go. We can see this gradient. By the way, when it comes to text, usually simpler is better.

Don’t get too crazy, but I just wanna show you that you do have that luxury. Also, square fonts, I tend to also avoid serif fonts. There’s sans serif and serif, is a term you’ll hear and basically a serif font is a font with all the little curly Qs.

I’m being a T right now. I’m being a T without being the serif. This is my other job. It’s just easier to read. You can use them, they look pretty.

If you’re gonna use one with all the curls it should be larger, but if you make it small, it becomes a little more difficult to read and the whole point of your titling or any text you put on is legibility. Keep that in mind. Another thing to keep in mind is how your viewer’s gonna see this, when you’re creating text.

You might be sitting a foot from your computer screen and can read that text great. Well, is the person watching this gonna be watching it on television from across the room and going, «I can’t read that»?

Are they gonna be watching it on their phone so now what’s this size for you is this size for them. So take into account your delivery medium and how it’s gonna be viewed, when thinking about text. You want it not to be frustrating for your viewer. I have this selected. And some of the things that I would do is I like to add an outer stroke to my text. If I click on add and I have timelapse selected, so we should be able to see it. I can add an outer stroke and I can control with the edges. The reason I like to add a stroke to text; and I usually keep it black; is that no matter what it’s over, it’s easier to read.

So if it’s over something that’s light; we have these lights back here; I can still see it, it won’t blend in. And if it’s a situation where I choose a darker color, maybe black text, I may wanna make it stand out with a glow or with a different type of a white edge.

Sometimes I just have to think about where I’m using it and you can create your stroke as thin or as thick as you need. And generally I base that on the size of the letter and what’s aesthetically pleasing. You can also, with the stroke, choose what the color of the stroke is. Again, I usually stick with black or white unless I have a specific purpose for that and I just keep it simple.

You can play with inners and outers, but I like using an outer stroke. It just makes things stand out a little bit. I’m gonna go back up here to that fill. We looked at a gradient, we looked at a solid. If I go ghost. What I’m basically doing is It’s kinda hard to see, because I picked a horrible Well, you can kinda see it. I have now created translucent or that could be transparent text.

So you can just see the edges and stylistically this may be something you wanna do. My goal is to empower you. Play with stuff. It may work great.

Maybe if I’m gonna do that it’s hard to see, so I would go down here and under my stroke I would change the color from black to white. Or I might do yellow, because it pops.

If you came from Photoshop or Lightroom, you’re probably familiar with a Gaussian blur or a gowsheen blur. If you have vision like me, everything might be a blur. So that’s why I want to use this filter.

I put it on and isn’t that wonderfully blurred? It’s blurred to me, I can’t see that. When it goes on by default, it’s blur level is zero. Zero amount of blurriness. So if I wanted to make this blurry, I would simply go up here and I could just use the slider, and automatically bring it to the amount of blur that I want. Why would I want to take my beautiful sharp photography and make it blurry, you ask.

Well, maybe I’m running a title over it and I just kind of want this movement in the background, and then I want to bring it into focus. There’s a lot of reasons that I may want to have a little bit of blur to something.

Especially if I’m compositing or if I’m layering. So it has some nice things. Now I want to point out something that I really think was brilliant with the guys who designed this. When you make something really blurry And you might have done this in a video editing program, you might have done this in a photo editing program such as Photoshop.

Sometimes you get this blurry edge of black and that’s because what the software wants to do is blur the black outside of your image in with your image which isn’t necessarily what you want. And they did a nice job here, they made a little button that says, «Repeat the edge pixels. So you can see it’s very easy to manipulate this. But I want something more, I want to create something more dynamic.

So I’m going to go ahead and I actually want to take this scene, and maybe have it go from black and white to color and from blurry to in focus. And I have to do a couple of tricks here because I’m working with a very limited filter. You saw that black and white filter was either on or off, right? So let’s do that challenge first. I’m going to zoom in. I want to go to color. What if I cut this clip in half and took the filter off in the second half, and then did a dissolve?

Think that might work? No, you don’t think that’ll work? I hope it works. This’ll be great if it doesn’t work, I’ll just be To do that, I’m could do the razor blade which I taught you about, the cut C, or the keyboard shortcut command K, the German cut. So I cut this in half. I’m going to go over here and the filter’s still on both sides. And I can if I want to just deactivate it, hit the FX button.

The filter is there but it’s turned off. You can kind of see it on the edge there. Color should come back in. If I wanted deleted completely, I could just select it and hit delete.

So now I’m in a situation where we’re going from black and white, color on the move, and I change my default transition. I’m not going to get caught in this. And I also made it six frames long so I’m not going to get caught on that. Let me fix those preferences from the previous lesson. Okay, preference, general, make this 30 frames.

Go down here under dissolve. We don’t want to dip to white, cross dissolve. Right click as we learn, select that as my default, transition. Cross my fingers, shift D, spread it out a little bit longer. Luckily, it worked. So this is a case where I kind of faked it. It’s a great way. And I love doing this, being able to go from black and white to color. And sometimes I’ll do it really, really like a long dissolve so they don’t even notice. And suddenly it’s like, «Wait a second? It’s going to hurt me on my next thing though because I want to do this blurry thing, right?

Again, it’s going to create a problem. I like creating problems for myself. Well, I don’t know if I like it but I’m very good at it.

I’m going to show you how to create the blur move and then you’ll see where it breaks. So we’re going to go to this next clip here which is a fairly long clip. Nice underwater stuff. We made it blurry before. As a matter of fact, our Gaussian blur is still there set to zero. We learned in the audio lesson about key framing. We’re going to key frame here also. We want the blur to change over time.

And I know I can key frame something because I see these little stop watches that I saw with the audio that says «Yes, you can key frame something. So I want this to start off fuzzy and then I want it to go to clear. I’ll probably pick where I want the clear to be. I’m working backwards so you don’t have to but it’s easier to work backwards. And I’m going to simply hit that stopwatch and you’ll see as soon as I do that, it has created a little diamond here which is a key frame and has locked in this parameter at this moment in time, okay?

So I want it to actually start getting in focus a lot quicker. And I can go back and I can play it, and see okay it’s coming into focus and it’s sharp. So I’m going to put a title over there or something.

Now this is my problem. I was really clever about the black and white thing but if I want the black and white and focus to happen at the same time, it’s going to be really hard. I could come into focus first, right? And then I could come into black and white but I want them both to happen and my head’s about to blow up trying to figure out a solution. A third party plug in would let me have done maybe the black and white another way.

And there’s actually some built in ones where you can do it but I’m creating a challenge here. I want to be able to put something else on top of this effect. So you open this up and you see export settings and you see all this confusing information. Is this a little confusing, scary? Yeah, okay it is, it is scary. It’s scary for me and I’ve seen it a lot. The reason it’s scary is because there is so many options and so many things it can do, they gave you these options, that you can be overwhelmed by choices.

And the average person would like send it out, or you would go with these presets. Now we can do pretty much most of what we need to on our own, but the whole point is you wanna put out your program and sometimes as I said archival, you want to keep it completely uncompressed. But that could be in the tens of gigabytes. Some of these files I’ve had have been 60, 70, 80 gigabytes, even larger, depending on the length of the show. That’s something that I can keep on a drive, but it’s not anything I’m gonna send anybody.

I’m not even gonna Dropbox that likely to anybody. So I want to make it smaller. So let’s take a look at some of these settings and how they will affect you. Sometimes you just want to click on match sequence settings. And by the way it generally tries to remember the last set of settings that you use. So if you’re continually using stuff it will do that.

And so this will try to match everything to whatever your sequence presets are, okay? And it’s just trying to make a clone. But if you want to change any of that, you can go down and you have a lot of control. I’m gonna uncheck it, and what you would first choose is the format.

So here you’re making kind of a decision about, okay what’s my need, and what do I want to do with it? And even this list is overwhelming. But the nice thing is is that for the most part, you may use only two, maybe three of these choices to start with.

It is very likely that you’ll probably use H. That’s pretty much the defacto standard at this point in time for the web.

On Facebook, whether you’re downloading it or playing it. It’s usually compressed with this codec, we’ve talked about codec briefly called H. And what this is it’s really smart math to throw away the information that you don’t need to make the file smaller, okay? And they’re getting better and better with the codec. Some of these are older codecs, some are broadcast codecs. But not everything can play it back.

So that’s why I’d go back here, and for specific things, if you’re putting out to Blue-ray, you’re making a Blue-ray DVD, learn about that when you need it. The other one that some people choose is QuickTime. Because we all are aware of QuickTime, and I had mentioned this earlier, but it merits repeating, because this is all very confusing. When you hear about compression, there are a couple parts to it. There’s codec, which is the math to compress it.

That’s things like H. The algorithm, it’s a big word for basically what we’re gonna through away and what we’re gonna keep. That’s the codec. And then there’s something called wrappers, which is what you put this compressed stuff in. And you’ll see things such as QuickTime is a wrapper. If you see M4V or MP4, that’s a wrapper. It’s basically what’s the container that this file is in. Some containers have very specific rules for what’s inside, some can hold almost anything, okay?

Generally the presets are fine, they’ll figure it out, you don’t have to worry about that. But that’s just a little thing so you can get your head wrapped around it. You know Windows used to have one, and they discontinued it, and I already forgot what it’s called.

Whatever there. But you know. MOV would be an example of a container, okay? So this is the codec, once you pick the codec, then you’ll have some choices in the next section. So we’re gonna look at two of these now. We’re gonna look at H. And then as soon as I do H. But compress it to H. We had a question I think, I was talking about bitrate and bandwidth. So when you’re streaming something off the web, whether it’s Netflix or something off of YouTube, you know depending on how fast your internet connection is, how sharp it’s going to be.

Whether it’s going to buffer and whether it’s going to be pixelated or not. Those are all things that we’ve all experienced from the viewers point of view. So a high bitrate is it’s trying to send more information down the pipe. It’s a bigger file and it may be more challenging to say view that on an iPhone on cellular than it is to view on your high speed internet at home, okay?

It’s gonna create a larger file too, so if you’re looking to send it to somebody, what it’s saying is, I’m going to cap out, and this is going to be jargon for some of you, at 12 megabits per second, okay? So if you don’t have that fast of a connection, there could be a problem. And you may go to medium and say, I’m gonna cap out at six megabits per second.

Depending on the complexity of your show, you may not need it. And something to keep in mind is, it’s really hard to compress complex imagery and lots of motion. So if I’m just standing here, you can compress me to a smaller file.

These are the two that I jump to the most, the defaults. They’re easy, they work great. If you go down the list, you will see way too many variations of like, oh the Kindle, the Fire, the Android phone. Guess what? A lot of these are the exact same configurations, but they put them all in because some people are very literal and they go, I need to send one out that my friend can watch on their Nook, okay? And you can pick it. And this may end up being exactly the same one as the Android one, but that way they don’t have to go and try to figure it out.

So don’t be overwhelmed. Most of the time you’re going to use the first two. But they try, and they update this with each version. If something’s getting more popular, you know, the Vimeo stuff, and they can tweak it. So if you know you’re going to Vimeo, make a Vimeo version.

It follows the specs so when you upload it. So these are very accessible, but don’t worry about these ones that you don’t understand. Why do I have to know them all, okay? That’s basically the rule of thumb. If I switch to QuickTime, just to show you as an example, and sometimes I master to QuickTime, that’s a different wrapper. I don’t have as many options. And you can go ahead and you can say, oh yeah, put it in a, see it says rewrap? QuickTime is the container. And so I say, ah, rewrap, good.

It’s giving me a lovely error, won’t let me do a rewrap. So I can go ahead and I can do custom ones. We’ll leave it at DV for now, ‘cause that’s gonna change. So you can go through and make all of these modifications to your video settings.

And I just want to clarify what some of them are, if you need to make a change. So I went up here and I said I’m going QuickTime, and I’m picking just one of these defaults that it will let me pick. I want to pick something generic. I’m gonna go ahead with, we’ll go with DV Widescreen.

So I can look down here and that says, oh look, that’s by My original is by I know I don’t want this. But I can go down and I can customize all of this again. Again it gets a little bit mentally confusing at first, but I can then pick what codec. And if you’re familiar with Apple, they have their own codecs for very high quality stuff, one is called ProRes, and it’s a very uncompressed formula or algorithm.

And I can go ahead and check that, and this would be something I might do for mastering. So as soon as I make that change, I can start making some other changes. My preset was , well I don’t want , I want So I change that, as soon as I change that, because there’s this little lock here, it switches to by And I don’t have to sit there and change everything, but I’m gonna go down here and you know, there’s lots of things you can make, it’s progressive.

The point I want to make here is once you make these changes if you know you’re gonna do this a lot, and probably you would make these changes if somebody came to you and said, «I have these specific settings «I need for my video that you’re giving me.

That will happen from a web designer, that may happen from a broadcast facility. I can’t even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more.

This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I’ve learned in his course to create a video. The first 9 lessons were already worth what I paid for the entire course. Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now! I highly recommend! You won’t find this thorough of a course for this decent price!

Just bought this yesterday and cannot stop watching!!!! For someone like me who has a zillion questions it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that’s easy to grasp and remember.

Join Abba Shapiro for Lesson 3: Understanding Editing: Video Examples of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today%(38). Join Abba Shapiro for Lesson Filters & Effects: Overview of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today%(38). Abba will cover essential topics such as creating time lapse videos, building a rough cut, working with audio and incorporating motion and titles in your videos. Join Abba Shapiro for Lesson Building a Rough Cut: Selecting Media of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today%(38). Join Abba Shapiro for Lesson Titling & Graphics: Overview of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today.

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Lesson 25 of Okay, we’re going to look at filters now. We just looked at transitions and guess what? If you got your head wrapped around transitions, filters are easy because you don’t have to worry about handles, you just put it on a clip. Now let’s take a look. We’re going to look at filters and effects. They kind of fall into the same category.

We’re going to look at applying filters and modifying like we did with transitions, changing them over time because that’s a big thing. Like maybe you want something to go from in focus to blurry or you want it to fly somewhere, or you как сообщается здесь to modify it, color in or go to black and white.

Stacking filters because sometimes you may want to get an effect by putting two filters on top of each other to give something a certain look or a certain feel. Audio filters. There’s a whole slew of audio filters that come in Premiere. We’ll look at those briefly. My opinion with audio filters, unless you really know what you’re doing, you tend to make audio worse. Not that everything creativelive adobe premiere pro cc video editing the complete guide fco free download isn’t good.

It’s just I am like the average person, my audio usually sounds worse once I start playing with these audio filters. And by the way, never say audio filter to a sound engineer because a filter is something very specific. It’s an effect. A filter cuts out a certain bandwidth and they will wag their ponytail at you. Copying and pasting effects. You build something you like. How do you move it to another clip?

And also there’s something really cool called an adjustment layer and if you’ve worked in Photoshop, you’re probably familiar a little bit with this. But it allows you to put a filter on a bunch of clips instead of putting them on one at a time. So with that said, let’s hop in to look at filters. Now we’re going to use some of the same material that we worked with in our transitions, we’re just going to use them differently.

So if I want to put a filter on a clip, I select the clip. Once again, I would go into my effects tab. Now you can work with this a couple of ways. You can work with it in your traditional editing layout. And a lot of people like that because it’s a comfort factor, you’re familiar with where everything is.

Again, what Adobe has done is they’ve actually made work spaces for working with effects. And what that does is it keeps pretty much the same Windows but it reorganizes them to where they’re a little more useful. So for instance, we have our creativelive adobe premiere pro cc video editing the complete guide fco free download controls here where we can modify the filters. We don’t usually have a big space for our project window because usually, everything’s in the timeline already.

So that said, «We can push that aside. So this is a nice view to work with. I’m going to step back to our traditional view just because you’re used to looking in certain locations. But I wanted you to be aware that there are different work spaces for working with your audio, your effects. There is one specifically for color correction that we will be going to when we do look deeper into color. Color is one of the filters or effects that you will see but we’re not going to go so deep into it here, we’re just going to do some general over arching 10, foot view of filters.

So I’m going to go back to editing. Going to throw it open to the class a little bit. So what do you think are some reasons that you would use filters or effects? Why would you want them?

Why are you taking this lesson? You don’t know. I’ll let you speak. Like they’re giving a mood. A mood. Yeah, perfect. You want to give a fill to it, a look.

Maybe you want to creativelive adobe premiere pro cc video editing the complete guide fco free download it feel like cooler, temperature wise, make it a little bluer and it has this different источник статьи or it make it like a desert like, warmer. Probably we have to match them to the pictures too. Match them to the pictures. Maybe you have two or three different images and you want to color balance them so everything looks like it was shot with the same camera or the same time of day.

So you would use color correction filters to do that. Or the Lumetri filter to be able. So you’re using it to give a look was one thing, stylize. You’re also looking at to fix a problem. Our challenge where our images don’t necessarily all visually match.

So you’re fixing things, or you’re creating a look or a feel, or stylizing something. Those are what these filters can do.

It allows you to modify a clip. So much like before where we found our video transitions under the effects tab, it’s also where we’re going to find all of our filters, are our video effects. And again, these are broken down into categories so they’re easy to find what you’re looking for. A lot more of these are native to Premiere that are really nice as opposed to transitions which are more limited.

Again, third creativelive adobe premiere pro cc video editing the complete guide fco free download stuff, great stuff out there. If you go to the Adobe website and you look at third party under Premiere, you can get a link for third party plug ins. That’s what they’re called, plug ins. And it will lead you to some great stuff. There’s a lot of free stuff out there. A lot of these developers give away stuff to bring you to their site and it’s really good stuff in both transitions and filters, and I think you should look into that, they’re very easy to install.

So the Adobe website, it’s safe to link to that, you’re not going to get any viruses. Life is good, these things are pretty self-contained. I’ve never had a problem and I’ve found some great free stuff so I do recommend looking there. But let’s go ahead and work with what we have. So if I want to apply a filter and we’re going to just apply maybe a simple black and white filter, okay? So I have no idea where the black and white filter is and that’s okay because I can go up here and I can search.

So if I go into this search box and I type in black and white, let’s see if it’s under So let’s see what we see. And what’s interesting is I had a feeling it wasn’t going to be under black and white. But you see these things? Hero three black? Creativelive adobe premiere pro cc video editing the complete guide fco free download a specific GoPro.

Black magic cinema cameras. They have filters that will compensate for things such as the distortion that you will get when you’re shooting with a GoPro and it automatically fixes that. Now it’s very CPU intensive but it does quickly fix distortion of that wide angle view.

The thing is it’s not going to creativelive adobe premiere pro cc video editing the complete guide fco free download under black and white, it’s going to actually be under desaturate. Well, there it is, it is under black and white. So I want to apply this. I can simply grab it and drag it or if I already have it selected, if I double click on it, it applies the creativelive adobe premiere pro cc video editing the complete guide fco free download to whatever clip is selected.

So I just applied a black and white http://replace.me/20673.txt this beautiful video time lapse, okay? And if you look over here, we are in the effects control tab. Once again, to find that, we were in the source area and under effects control when you select a clip, you can now see and there it is.

Black and white. And the thing with this filter is it’s basically on or off. Okay, it’s black and white or it’s not black and white as opposed to something you can do degree of desaturation. So let me go over here and type in desaturate.

Беккер застонал и провел рукой по волосам. – Когда он вылетает. – В два часа ночи по воскресеньям. Она сейчас наверняка уже над Атлантикой.

You’re going to, import. Guess what, they’re tricking you. Import works, it’s ugly, and I wanna show you how this works. You know, this is very kludgy. And as a matter of fact, some camera formats aren’t even recognized by import dialogue box. So yes, you can do it, but there’s two other ways that are probably better and easier, if you’ve already organized stuff.

I’m gonna go ahead and grab the music. I could just drag it there, and it now has made a shortcut or an alias, and it’s kept it inside the folder so my organizational, or my hierarchical structure is preserved. So I could organize everything and just drag it all in. Sometimes that’s great. Other times you have so much stuff, you wanna actually be able to look and choose what you wanna bring in. And that’s where the real trick comes into play, and that’s to use something called the Media Browser.

So, if we look closely here, there’s something called the Media Browser, and this is like a search box. It’s similar to Bridge, if you’ve ever used Bridge, but it’s really designed for video, so if I go to Media Browser, I can again look for what I want, I have my local drives, I should be able to have a shortcut to my home folder.

There we go, I just used that drop-down to go to my Home Directory. And what I’m gonna do here is I’m gonna zoom out so you can see the whole screen and I’m gonna teach you one of my favorite shortcuts. There’s a couple keyboard shortcuts that I will recommend that you remember, and this one is the Tilda key or the grave key, okay, in the upper left-hand corner of your computer, you guys see that squiggly line, or the French accent grave.

So now I can start digging for what I want, I wanna dig for what’s on my desktop. So my desktop, mumbles and on my desktop, there we go, there’s all my interview stuff, if I click into this folder, I’m seeing all my folders, once I get inside a folder, okay, once I get inside a folder just say, my interview.

You see there is a blue line here, okay? So if I clicked on it, if I move my mouse left and right, it doesn’t scrub. It’s only if it’s not selected.

Okay, so that’s just one thing to keep in mind. Let’s say I really wanna look at this much larger, but I’m not sure if I wanna import it yet.

We saw that we could import by dragging or right-clicking, Control-clicking if you don’t have a right-click mouse. There’s also something called Open in Source Monitor, and this is great. What this does is it brings it into our interface, okay? It brings it into Premiere and you can look at it and hear it, and you have a lot more control, but it doesn’t bring it into your project area, yet, because maybe you don’t want to use it.

Maybe you just wanna look at it. And that’s really nice, and if you choose to use it, you can then bring it in, or you can automatically bring it in. So if I want to look at this, and if I wanted to look at this big, does anybody remember that keyboard shortcut? Tilda, right, so I just hover my mouse over it, hit the Tilda key, now full-frame. And I can look at that. So, it allows me to view my footage. So far so good? Or does it feel like a fire hose is hitting you? Good, good. For those people at home, they said the fire hose is not hitting them.

Hopefully it’s not hitting the folks at home, either. So, let’s talk about making sure everything’s brought in, I’m gonna go ahead and I’m gonna hit the Tilda key again, brings it back to the regular interface, gonna go down here, try to remember what I organized, so this is the Media Browser, and this is another point of confusion for some folks when they first start using it.

They might be in the Media Browser and they see all their folders or they see all their media, but they have to switch back, or you have to switch back to your project to see what you’ve actually Ingested, so that’s, Media Browser is where you go and you get stuff, it looks very similar. Project is stuff that you have brought in to work with, that you’ve already collected. You can always go back to the Media Browser and bring it in, but that’s where a lot of folks get confused.

So let’s go back to the Media Browser, I’m gonna simply go here and select the clips that I want, I can actually do it in the sidebar, we brought the B-roll in, gonna bring in the interview, his photos, and I can hold down, it doesn’t let me do that there, so, I’m going to go this way, zoom back out, and grab the ones that I want.

And then I’m gonna jump back over to my project window and we should see this populate. Now, I did something wrong here, and this is a good thing. Every time I make a mistake, it’s an opportunity for you to learn something. And I make mistakes all the time students chuckle. So you guys are gonna be brilliant. Okay, so what I did is, when I imported it, I had this folder selected, and guess what, it put it inside that folder.

So we’re gonna look a little bit about cleaning things up and organizing things and once you have them in, and a little bit of navigation here. Understanding organization is gonna make your life a whole lot easier when you finally start to edit. So, I can look, and I’m gonna make this small so you can again see where it is, it’s this bottom window, I’m just hitting the Tilda so it’s full-screen. I can look at this in an icon view or in a list view, and to toggle that, I can use these little buttons here, okay, so if I switch to the list view, I see this as a folder, and then I can open up the folder and see the contents of the folder.

I can also make this bigger with the slider down here, and as you see, inside the music folder, not only do I have my music, I have all the other folders.

All I have to do is grab them, drag them out to the higher level, and now we have our folders there, if you go in you can see, they’re all named, and in this view, I can scroll down and should be able to see my contents. There’s my photos, there’s those interview clips, and I brought an extra folder here that’s empty, I’m gonna simply delete that, this is useful, but not really useful, because remember in the Media Browser, I could see these really nice? So in the list view, unless you do some real kind of gyrations with the software, you really don’t see the images, and that’s where stepping into a folder and switching to the icon view gives you that ability to see your images or to see your footage.

Can you please explain the difference between importing and Ingesting? Yes, so the question was, for everybody here, what’s the difference between importing and Ingesting, and a lot of times we use those terms very cavalierly. Technically, Ingesting is getting it off the card or another drive onto your system, into the program. Importing, and people will switch these back and forth, and I do, I’m guilty of this, is pointing to where the media is and basically creating the shortcuts or the aliases with inside the project file.

So, we’ll use the term import to bring it into the program, but people will also use the term Ingest. Technically, some people use Ingest when you’re really getting it off the card and bringing it in, and it’s a good question, because we’ll discuss this later in the import, Ingest section, but Premiere by default does not move any of your files, and by the way, it’s completely non-destructive.

When you’re editing, you don’t mess with, you don’t hurt the integrity of your original media files. It’s just creating pointers to parts of the files. So here’s the gotcha, if you take a camera card, you put it in, and you click import and you bring it into the project, and then you eject the card, guess what, your media will go offline because it’s looking at the card. And so that’s one thing you have to keep in mind, it’s a good rule of thumb, is that you copy your card onto your hard drive and then you import.

There are programs, we won’t get deep into them, one comes with Creative Cloud, it’s called Prelude which does allow you to refine what you bring in, and also in the latest release of Premiere, there is an option that when you Ingest, it does copy, and even sometimes, if you want, converts it to a different file format that may be easier for your computer to use.

That, calms down that question, oh there’s a follow-up, yes? So I think I saw a little check-box I think maybe in the Media Browser that said Ingest, so that means that if you check that, then the media would be copied? It’ll give you a dialogue box that we’ll look at in the Ingest part that gives you choices of copying the media. Copying it where you want it copied, if you want it converted, it allows you to not worry about the fact that you can just edit right off the card.

The advantage of editing off the card, and what their original thoughts were, is that if you’re in a news environment, sometimes, here’s the footage, you just wanna plug it in, you don’t wanna wait for it to move over, you just wanna be able to tell the story, you print, which is basically putting out your video, and you’re done, and they don’t wanna waste the time.

So there are instances where it is beneficial, but for the most part, especially for the average person who’s creating a story, photographers, storytellers, documentarians, we do wanna protect our media, and that’s a redundancy, redundancy, the same rules that when we follow with photography, make copies and copies and then realize you have a million copies of the same thing.

But that will work. Short on time? In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos. Abba will show basic color correction techniques, as well as incorporating filters to enhance the look of your final video. By the end of this class, you will feel proficient in creating videos with this complex program.

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You can also, with the stroke, choose what the color of the stroke is. Again, I usually stick with black or white unless I have a specific purpose for that and I just keep it simple. You can play with inners and outers, but I like using an outer stroke.

It just makes things stand out a little bit. I’m gonna go back up here to that fill. We looked at a gradient, we looked at a solid.

If I go ghost. What I’m basically doing is It’s kinda hard to see, because I picked a horrible Well, you can kinda see it. I have now created translucent or that could be transparent text. So you can just see the edges and stylistically this may be something you wanna do. My goal is to empower you. Play with stuff.

It may work great. Maybe if I’m gonna do that it’s hard to see, so I would go down here and under my stroke I would change the color from black to white. Or I might do yellow, because it pops. I successfully have that selected. Let’s try that again. Different thing. I hit the selection tool, the arrow key.

Let’s move that to the bottom and you can see that actually pops a little better. It’s just to kinda give you a feel how to do things. As a matter of fact I really hate this Airport thing, so we’re just gonna delete it, instead of changing it. So we have Timelapse. You can put drop shadows on it. You can actually even create a little bit of a background for a bar, but I would do that differently. But let’s take a look at what happens when I bring this in and then we can look at modifying it and duplicating it and how we can leverage what we’ve already built.

I’ve actually already saved it when I created it. Remember we gave it a name and we saw it pop up in our project, on the lower left corner of the interface. I’m gonna go ahead and close this and there it is. Timelapse overlay, it’s how I named it and now I can bring it in and I have it and it’s good to go. I can move it around. It is positioned exactly where I positioned it when I created it.

I can move this. If I double click on it, it selects it and I can move it around if I need to. Yes, I can go back into the text and position it, but I can also position it here. Just to expand on what we learned in the last lesson, I can animate this, because now it works just like the clip. So if I wanted this to fly in I could. If I wanted to put in any sort of a transition, I could go ahead and put in a default transition of a dissolve and I could slowly bring that up.

And I have a very nice little title. If I need to change that, maybe I spelled timelapse wrong, maybe they said bring back airport, because nobody knows this is an airport. All I need to do is double click on it. It launches it again and I can make modifications and will immediately update. Maybe I like Timelapse there and I could go ahead and type Airport, but there’s a lot more power here. Maybe I just wanna make Airport its own line and I like everything I built here. When we copy something, in a lot of programs, including Premiere, if you hold down the option or the Alt key and you drag it, it will make a duplicate.

Those who have worked in Photoshop probably have experience with that. It’s a very useful too. It works really well here, not only with text, but you can actually do it with clips on your timeline. We’re gonna do that in just a moment. I’m gonna hold down the option key and drag and now I have Timelapse twice. I can go ahead hit the T key to select my text and change that back to Airport.

Select it. Maybe I wanna make this a little bit smaller. Go ahead, position it down here and as soon as I close this this has been updated. Now I did mess it up, because remember I moved it. We learned how do stuff, it’s in the Motion tab. It’s under Effects Control. There I have moved things around. I wanna show you something. These are Reset buttons, the counterclockwise arrows. So if I wanna reset this back to being centered I could try to move it, but it’s a lot easier just to hit this reset button and now it goes back to the default location and we can see that.

So creating this is pretty easy. Let’s go ahead, I’m gonna create another one. I wanna show you about some of the preset, our predefined titles that are there. Some are nice and some are horrible. If you wanna recreate that 80s look, you have a lot of options. And I think the challenge is, with a lot of folks, they’ll open the title tool And let’s go ahead and we’ll make a brand new title.

I could make it from that upper dropdown menu. I can also go down here under the new item, and again, you can make titles there. Same net effect. We’ll call this one Horrid. I hope I spelled horrid Good, that’s the bane of my existence, is spelling. New title. The background that we had is behind, so we can decide that. If I start typing here it goes back to the default, but if I go down here; and I’m gonna actually stretch this up a little bit; we have all of these presets.

The good thing about these is they’re really easy to modify and it’s a good starting point. I have a friend, Richard Harrington, great author, great teacher, has a sense of Hobo being the worst typeface ever created. Green Hobo probably being the worst color combination. He’s probably kinda right, because it tend to like a nice pretty thing, but you can start with that and say I like the feel of everything about that, other than the typeface and then I could go over here and I could switch it to Gill Sans or something.

Easy enough to do. So it’s now less horrid. So you have a lot of power in leveraging these. The other nice this is, let’s say there’s an aspect of this that you like I’m gonna go ahead and select this and if I go down to some of these presets and I really like the stroke here, if you right click on this; a lot of people don’t know this; I think this is a pretty cool little thing; is I can apply the whole style or I can just say the color only.

I can not necessarily do the whole thing, but I can do just part of it. Apply this style color and it changes that or I can go ahead and let’s see if I can do this with the font size. There we go and I got the drop shadow, I can change it. The other thing you can do is you can also save these, if you really like them. But you have this incredible control and you can put as many titles as you want and one of the things that was asked earlier on in the class was this thing called transparency or a alpha channel.

And this is the first example of where we’re dealing with something that has an alpha channel. And that’s because when you think about this, this is a big clip, but you only see the text. It’s the only opaque element and everything else is transparent. So that’s really when you hear to term alpha channel, it just has transparency information so when you lay it on a layer above a clip you can see through it. So when you create something in Photoshop that has a transparent background and you bring it into Premiere, you can then look through and see maybe a bar that you created or a graphic that you created and you have you have that transparent layer.

And the term for that, it’s called the alpha channel. We’ll touch on this later, but I wanna kinda place this seed in your minds about video and alpha channels. When you’re inside of Premiere, you can create all these elements. When you export it; and maybe you wanna create something you can use later on that has transparency, like the question we had earlier about I wanna add it to a website and it needs to be video with transparency.

There are only some specific video formats that allow you to have that transparency information, that carry and alpha channel, such as Apple has ProRes 4×4, carries alpha or transparency information, the animation codec. We’ll explore this, but it’s a question that came up earlier and we’re not gonna get to it until much later, but video can have transparency channels and the beauty is sometimes maybe you’ll create an animation graphic and it’s a video clip and you wanna just be able to bring it in, put it on and be able to see through part of it, so you need to save it in a format that can maintain that transparency information and the jargon is alpha channel.

We have our text. I wanna show you a couple of other things that we can do. I’m gonna go ahead and save this. Not that I really wanna use this, but let’s say I have my Airport Timelapse and I wanna make another title using pretty much the same thing. I don’t wanna go back here and double click on Timelapse and make the change and bring it in, because I’m affecting the original title that I made.

I need to duplicate this first. And I can either do that inside of my project pane. I can simply right click on it and do duplicate. If should be up here, if I’m lucky. There we go. I could do it that way and then you would see it would say copy. Let me actually do that. So now I have one that says copy.

If I stretch this out, you’ll actually be able to see it says copy. Copy one. And if I bring that in, place it wherever I want, double click on it, I can now go ahead and change anything I want about this. I’m gonna go ahead and change it from a ghost image back to some sort of a solid.

And I save that and I’m trying to see this really small text here. Where does it say my fill layer? It didn’t say anything. It hid from me, but I found it. We’re gonna go ahead and maybe we’ll look at a bevel. Yeah, that has a good level of ugly, but you can change some colors and make it even uglier, but I wanna make this change and I’m gonna go ahead and close this and maybe, instead of Airport, I’ll go window.

It’s relatively irrelevant what I do, because I want you to understand the theme and you see this has been updated and this has stayed the same. So the key is to make a duplicate. I can also do the same thing while I’m editing. For instance, let’s say I’m doing a bunch of titles. I figured out the guys’ names and they all change as people are being interviewed, I can use the same option trick that we use within the titling tool by holding down the title and dragging it and this will make a new copy that I can now modify.

It’s a very quick way. So it’s like take my first lower third, drag it across, drag it across, drag it across, we’re good to go. Short on time? In this series, you’ll learn the tools that allow you to build a story with video.

By the end of this class, you will feel proficient in creating videos with this complex program. If you’ve been paying for Adobe ‘s Creative Cloud, this is your guide to understanding and using one of the best tools within your subscription. For more interaction with Abba during the Bootcamp, you can join his Facebook group:. I’ve never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together basic of course, but still pretty cool.

I have a long way to go and am very excited to learn more. This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I’ve learned in his course to create a video.

The first 9 lessons were already worth what I paid for the entire course. Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now!

I highly recommend! You won’t find this thorough of a course for this decent price! Just bought this yesterday and cannot stop watching!!!! For someone like me who has a zillion questions it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that’s easy to grasp and remember. So, so happy I got this.

Thank you Abba and CreativeLive! I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy. I will for sure have to come back and watch again when I need to remember to do stuff or need a refresher. He is funny and quirky and a great teacher. I so recommend this to anyone wanting to become a better video editor!! I am coming from being self taught and using iMovie and he makes it so simple and understandable.

Can’t wait to learn more :.

Join Abba Shapiro for Lesson Multi-Camera Editing: Creating A Sequence of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today. Join Abba Shapiro for Lesson Media Management & Archiving of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today%(38). Join Abba Shapiro for Lesson Titling & Graphics: Overview of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today. Join one of the best editing instructors, Abba Shapiro, to learn how to work effectively in Premiere Pro ®. In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your 92%(38).
Join Abba Shapiro for Lesson Media Management & Archiving of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today%(38). Join one of the best editing instructors, Abba Shapiro, to learn how to work effectively in Premiere Pro ®. In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your 92%(38). Join Abba Shapiro for Lesson 3: Understanding Editing: Video Examples of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today%(38). The Complete Adobe Premiere Pro CC Video Editing Master Class; Adobe Premiere Pro CC: Complete A Video Editing Project (Updated ) Adobe Premiere Pro CC: Complete A Video Editing Project (Updated ) Adobe Premiere Pro CC: Guide you to Enjoy Video Editing; Adobe Premiere Pro CC For Beginners: Learn Video Editing In Premiere Pro CC.

Lesson 11 of So the first thing we’re gonna do is we’re gonna launch Premiere. And I have it down in the dock, and hopefully you’ve already installed Premiere, we’re not gonna go into how to install it. You’ve got the Creative Cloud you’ve installed Premiere and now we’re just gonna launch it and we’re gonna import some media and we’re gonna start a rough cut.

So I’m gonna actually quit this and start it again so you can see this opening. So when you first launch Premiere you’re gonna get a startup screen. It’s something you can turn off, so if you suddenly do not see your startup screen you might have accidentally said don’t show this to me anymore. But this is the basic screen that we creativelive adobe premiere pro cc video editing the complete guide fco free download and if we look at that a little more closely, what it will show you, it will show you any recent projects you’ve been working on.

So I was actually, there was a, we tested the software, then I kinda did a rough cut of the interview, creativelive adobe premiere pro cc video editing the complete guide fco free download приведу ссылку it was open, so this will show you the most recent files that, if you If you wanna just start with a fresh new project which is what we’re gonna do, it’s there, creativelive adobe premiere pro cc video editing the complete guide fco free download you wanna open a project that maybe came from another computer or that is so long ago that it’s no longer in creativelive adobe premiere pro cc video editing the complete guide fco free download list, you can get it there, very, very useful.

If you’ve gotten to the cloud, you can actually sync a lot of your stuff to the cloud, I’ll talk about that in a little источник detail in a later course, but basically you can save elements to the cloud, and if you’re on another computer, you can access those elements, everything from your preferences, to even your media, now.

Okay, so that’s your startup screen that’s what you’re gonna creativelive adobe premiere pro cc video editing the complete guide fco free download with. We’re gonna go ahead and we’re gonna create a brand new project. And when you create a brand new project, you’re gonna get this dialogue box, and again, you don’t need to know a lot about all these little choices. Initially all you увидеть больше need to do is make sure you give it a good name, so we’re gonna call this Creative Live, Rough.

Some people, like, when they create a show, they sometimes like to put the date in it so if they, like every day they might save a version of it, so this would be like Creative Live Rough and I could put today’s date in, but for now, Creative Live Rough, and then you have to say where you по ссылке to save it, and this is what people forget to do sometimes, like okay, I’ve named it, I’m gonna hit OK.

So, it will remember the last place you saved something, but if it doesn’t, you wanna have some sort of an organizational structure, maybe you want it all to be in your movie folder so you can find it or your documents folder, maybe you make a dedicated folder for just projects.

So I’m gonna put this in my movies folder, I’m gonna simply make a new folder, now as I said, works on both Mac and PC, the steps may be a little bit different for the interface, the way it would look, once you’re inside the application, everything is the same, okay?

And where there are, I say never say never, everything’s the same, except for like, a dozen things which I’ll point out. But for the most part, the interface is the same, most of the keyboard shortcuts are the same. We’re gonna call this projects, then I’m gonna go create, we’re gonna choose that folder, and so now we know where we’re saving it, and then we http://replace.me/19039.txt all these crazy things that we need to look at, and the truth is, you really don’t have to перейти на страницу about that.

Depending on your machine, you will have three choices here, okay? This is based upon the language that the computer talk to the video card.

Guess what, you don’t need to know that language. What you need to know is if you see these, software means it’s just using CPU in the computer, the processor of the computer, but if you see one of these choices, it’s gonna leverage the power of these video cards, which are more powerful, to do a lot of the calculations, which по этому адресу when you start layering stuff on top of each other, it’ll just play back smoothly.

Okay, so generally you wanna choose one of these, and you’d be adobe audition cs6 free to go. If for some reason, you’re getting glitches, maybe you don’t have the latest software installed, you can always go back to software-only.

This is something you can change later, but don’t be freaked out by this, okay? That’s all that is is saying Mercury Playback Engine, which sounds pretty, pretty exciting, huh? Mercury Play, complex. You know what Mercury Playback Engine is?

Marketing, okay, the guys at Adobe said hey, we’re gonna leverage the power of your computer, how much RAM you have, how fast it is, and your video card to get the best performance possible for Premiere and that’s the Mercury Playback Engine.

It’s everything you already have. So no sweat on that, it’s not something you have to install, it’s not something you have to download, it’s just the name of that. So, that’s really, now all this stuff, timecode, and audio samples, leave this as at the default.

It really won’t matter to you. Even capture, this is for нажмите сюда old days when we had DV video, and you would жмите сюда that camera in nobody’s using that anymore.

If you happen to come across a DV camera from 20 years ago, and you can hook it into your computer still, I would just recommending doing a web search on that, but don’t worry about this, don’t overcomplicate things, okay. We’re gonna talk about some more of the Ingest stuff later, just as a point of note, Scratch Desk, that’s where everything is stored by default, it likes to store it all together in one folder, and that way if you need to migrate it or move it, affinity designer ux tutorial free all together, and that’s really nice.

In some situations, you may not want it all together, this is like if you’re a broadcast network and everybody’s sharing the same footage of the sports event, and everybody needs access to it, you might store it somewhere else.

For most people, working by yourself, this is a great environment. Okay, so really all we did was, we gave it a name, we told it where to put it, we did not change anything else, нажмите чтобы увидеть больше, it will default to usually the fastest playback anyway for your Mercury Playback Engine, and then we hit OK, and this will pop us into the interface.

Now I’m gonna zoom out, and we’ve seen this before, we страница this both on day one and day two, but I wanna step you through this, I wanna re-familiarize you with this interface. I’m gonna do a general one and then we’re gonna populate it with this footage and you can actually see it in more detail. So there’s four basic windows that you’re working with.

Okay, does this look a little bit complex to you? Have no приведу ссылку what’s going on? Well, guess what, you will have an idea what’s going on. In the lower left-hand corner is something called the project pane, okay? And this is where, and if you look closely, and it says import media to start. So this is where you’re going to bring in all the elements that we talked about earlier, okay?

All the footage, all the music, all the sound effects, all the photos, all the graphics, you organize them in this location, okay? And we’ll be ingesting this media. Now, here’s the trick, video files are huge. So, how many folks here work in Photoshop?

Even a little, pretty much, you know, if you’re at Creative Live, http://replace.me/26000.txt probably heard the word Photoshop, chuckles so when you’re working with photos, a lot of times, you bring in an image, it’s embedded in the project file. Okay, it’s part of, and you move that over, and you still have all the materials.

For some of the more advanced Photoshop people, there is an option to use it as a, an image as a reference so you don’t technically bring it in. Most of the time, we bring it in as an embedded piece of information. Video doesn’t work like that. Video is huge. And if you start working with all this video, you’d get this huge project file that you couldn’t even work with, so what it really does is that you have a project file, which is what we just created, okay, and you have this folder of all your media, which technically can be everywhere, all over your computer.

If you have this floor plan, the blueprint, and you have the нажмите чтобы увидеть больше, you can build this house anywhere. And that’s how you have to think about it, so this is the building materials, the video files are like your lumber, and then your audio files are like your roofing, and your, you know, your waterworks, guess that’s called plumbing, and together, you can create the show.

Creativelive adobe premiere pro cc video editing the complete guide fco free download is creativelive adobe premiere pro cc video editing the complete guide fco free download most valuable thing your blueprint, your project file.

Without that, you have no idea what you’re going to build. This is what you need to back up. This is not gonna get that big, you know, it’s maybe gonna get, it’ll be less than a gigabyte, it might even be less than megabytes, okay? So that’s what we’re doing, we’re working with stuff in here, but it’s just pointing to media, aliases, shortcuts, references, whatever you want to call them, but this is where you’re gonna start finding and looking at your stuff and organizing your stuff in the lower left-hand corner.

You have a source clip window, and that’s where you’re gonna actually make decisions and look at it in a big picture, okay, and we’re gonna bring this in really quickly so you can see it, you have a timeline, this is a graphical view of your show from beginning to end.

Left to right is beginning to end, top and bottom is all your layers, okay, so if you stack something like B-roll, that cutaway stuff, you’ll put it on top of somebody’s interview, and it’s like you’re looking down from a large building, it’s like oh, I creativelive adobe premiere pro cc video editing the complete guide fco free download the cutaway, I don’t see their face, because that’s covering, just like in Photoshop, it’s a layer.

You look down from the top, okay. And then this program is what the viewer sees. Okay, let’s bring some stuff in and actually look at this interface and start cutting in this sense. So, what’s your knee-jerk reaction of when you wanna import something, what are you gonna do? You’re going to probably go, not a trick question, I will not ask any trick questions. You’re gonna do something that rhymes creativelive adobe premiere pro cc video editing the complete guide fco free download wart.

You’re going to, import. Guess what, they’re tricking you. Import works, it’s ugly, and I wanna show you how this works. You know, this is very kludgy.

And as a matter of fact, some camera formats aren’t even recognized by import dialogue box. So yes, you can do it, but there’s two other ways that are probably better and easier, if you’ve already organized stuff.

Now, I’m gonna go ahead and shrink this down just a little bit. I can drag and drop, if I have something in a folder, I can go ahead and I can grab it, and let me just grab something that is not very critical. I’m gonna go ahead and grab the music. I could just drag it there, and it now has made a shortcut or an alias, and it’s kept it inside the folder so my organizational, or my hierarchical structure is creativelive adobe premiere pro cc video editing the complete guide fco free download.

So I could organize everything and just drag it all in. Sometimes that’s great. Other times you have so much stuff, you wanna actually be able to look and choose what you wanna bring in.

And that’s where the real trick comes into play, and that’s to use something called the Media Browser. So, if we look closely here, there’s something called the Media Browser, and this is like a search box. It’s similar to Bridge, if you’ve ever used Bridge, but it’s really designed for video, so if I go to Media Browser, I can again look for what I want, I have my local drives, I should be able to перейти на источник a shortcut to my home folder.

There we go, I just used that drop-down to go to my Home Directory. And what I’m gonna do here is I’m creativelive adobe premiere pro cc video editing the complete guide fco free download zoom out so you can see the whole screen and I’m gonna teach you one of my favorite shortcuts.

There’s a couple keyboard shortcuts that I will recommend that you remember, and this one is the Tilda key or the grave key, okay, in the upper left-hand corner of your computer, you guys see that squiggly line, or the French accent grave.

Lesson 44 of We’ve finished our show, we’re ready to export our show. But in this we’re gonna do a lot more than just exporting our final show, because there’s a lot your will discover underneath the export dropdown menu. It’s also considered sharing, so you might hear that. It’s like exporting and sharing, some people use those terms interchangeably, in the video environment. And what we’re gonna do is we’re gonna look at a quick overview of some of the export options, some of the things and ways you can export.

We’re gonna look at exporting a single frame. We actually touched on that on an earlier lesson, but it’s one of those valuable things, how you save a frame of video. A master copy. A master is just like sometimes you want to save and uncompressed version for your show for archival purposes versus a compressed one that you’re gonna deliver to the web. It’s kind of saying I’m saving the layered Photoshop file, because I may want to go back and make a change.

But I’m also g So this is what we’re technically doing by exporting different versions of our finished program. Also you can export single sequences and create your own project.

You can export clips. Maybe you wanted to make a modification to a clip or even change the codex of a clip. And we’ll talk about that as we see it. And then we’re gonna briefly step into an application called the Adobe Media Encoder. The Adobe Media Encoder is actually, the engine for that is what Premier uses when you export to do all the compression.

It’s also a self-contained program that you can use that you can do batch exporting and whatnot. As a matter of fact many of the Creative Cloud applications leverage the engine of the Media Encoder when you’re exporting, whether After Effects uses the Adobe Media Encoder. Audition because it’s audio can use it also. The Encoder does both video and sound and of course video and sound together. So the engine can be used by itself, but you can actually use this as a standalone application.

For instance maybe you want to make multiple versions of your show, and you don’t want to have to open up Premier, you just want to drop in that master file your created. Let’s take a look at the program and some of this will become more apparent. So let’s go ahead and we’re gonna work with that program that we just worked with in the previous lesson, the art show.

Again it’s a very simple program, and what we’re gonna focus on is exporting as opposed to editing. So where do we find our exports? Well if we go up under file, there’s a dedicated section called export. And you see there’s a large list of things that you can export. We’re not gonna go through everything.

A lot of them are very specific to say broadcast or unique environments. So mostly you’re going to be exporting to media. Exporting to media is what you’re going to do to create a copy of your show, whether it’s giant master copy at by or maybe you’re making a special web version for Facebook, or for Snapchat, you know 10 seconds, 15 seconds.

These presets are in there. So export media, there is a default keyboard shortcut for that. Command M, control M. And that will allow you to quickly get to it. Again that’s a keyboard shortcut I really don’t remember, because I know where it is, and I can right click on something to do it. So that’s one of the big ones. I do want to point a couple of the grayed out ones. We’ve talked about some of these. I’ll zoom in a little bit, even though they’re grayed out, so you can see it.

What these are so you’re just aware of them. Again you’re probably not gonna use a lot of them. Batch list is basically an export list of the clips you used, you probably won’t use that.

And with closed captioning, you can also either buy software, which is ridiculously expensive, or you can send out the audio to get a transcript that you can then import a special type of file. And so you’ll be able to do the captioning, what not.

But there is probably some facilities that are archiving things to tape. You will always probably be putting it out to file. Maybe DVD, that’s gonna be a question that people ask. If you need to make a DVD, which again, is now an obsolete technology. Adobe has a legacy one, but they’ve realized that people aren’t doing it, so they’re not even updating it. But there’s a couple out there. DVD authoring is all you need to search on the web. Okay so really when you’re getting down here, it’s the media, you see this whole list.

There we go. And let’s reset this back to the default look. So if I want to say that or that, I can either go here and grab this little camera and click on it. Shift E is how I would export it.

It creates a file that you can choose. But this is why I wanted to revisit this. We saw this earlier when we were actually working with speed changes, and you saw that you have a variety of formats. But what I didn’t go into was what size is this image?

Because we wanted it to be the perfect size for video, and it was, so there was no need to talk about it. When I export anything from Premiere, it will export that as the size of the image that you have.

So if it’s a piece of video that you recorded in by , it’s gonna be a two megapixel image. If you need it larger, I would take it into Photoshop and scale it up. If you do it from your sequence, if it’s by , your sequence, it will be that. If you sequence is p, that image will be p. If you are using something say a 4K image and you bring it into the source monitor and export it, it’ll be the size of the 4K image, which is almost by a little over So it’s whatever it’s original size is, if you haven’t brought it into the sequence.

If you have a photograph, you want to go back to the photograph. If it’s something where you’ve created a layer, now I have two clips on top of each other. And this would’ve been something I should’ve caught when I was doing my finishing, and I wanted to bring this up because I did miss it.

If I start typing here it goes back to the default, but if I go down here; and I’m gonna actually stretch this up a little bit; we have all of these presets.

Green Hobo probably being the worst color combination. He’s probably kinda right, because it tend to like a nice pretty thing, but you can start with that and say I like the feel of everything about that, other than the typeface and then I could go over here and I could switch it to Gill Sans or something.

I can not necessarily do the whole thing, but I can do just part of it. Apply this style color and it changes that or I can go ahead and let’s see if I can do this with the font size.

There we go and I got the drop shadow, I can change it. The other thing you can do is you can also save these, if you really like them. But you have this incredible control and you can put as many titles as you want and one of the things that was asked earlier on in the class was this thing called transparency or a alpha channel. And this is the first example of where we’re dealing with something that has an alpha channel.

And that’s because when you think about this, this is a big clip, but you only see the text. It’s the only opaque element and everything else is transparent.

So that’s really when you hear to term alpha channel, it just has transparency information so when you lay it on a layer above a clip you can see through it. So when you create something in Photoshop that has a transparent background and you bring it into Premiere, you can then look through and see maybe a bar that you created or a graphic that you created and you have you have that transparent layer.

And the term for that, it’s called the alpha channel. We’ll touch on this later, but I wanna kinda place this seed in your minds about video and alpha channels.

When you’re inside of Premiere, you can create all these elements. When you export it; and maybe you wanna create something you can use later on that has transparency, like the question we had earlier about I wanna add it to a website and it needs to be video with transparency. There are only some specific video formats that allow you to have that transparency information, that carry and alpha channel, such as Apple has ProRes 4×4, carries alpha or transparency information, the animation codec.

We’ll explore this, but it’s a question that came up earlier and we’re not gonna get to it until much later, but video can have transparency channels and the beauty is sometimes maybe you’ll create an animation graphic and it’s a video clip and you wanna just be able to bring it in, put it on and be able to see through part of it, so you need to save it in a format that can maintain that transparency information and the jargon is alpha channel.

Copy one. And if I bring that in, place it wherever I want, double click on it, I can now go ahead and change anything I want about this. I’m gonna go ahead and change it from a ghost image back to some sort of a solid.

For instance, let’s say I’m doing a bunch of titles. I figured out the guys’ names and they all change as people are being interviewed, I can use the same option trick that we use within the titling tool by holding down the title and dragging it and this will make a new copy that I can now modify. It’s a very quick way.

So it’s like take my first lower third, drag it across, drag it across, drag it across, we’re good to go. Short on time? In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos. Abba will show basic color correction techniques, as well as incorporating filters to enhance the look of your final video.

I opened the program once and panicked. After only 9 lessons I was able to throw a short video together basic of course, but still pretty cool. I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can’t even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more.

Thank you, Abba! So I’m going to go ahead and under File, there is something called the Project Manager and this is the best way to clean house and make sure you have everything you need. So what we’re going to do, really, for the rest of this lesson is we’re going to step through what all these options are so you’re in power to know what you can do and what you need to do. So as soon as I open up the project manager, I’ll see this interface and if you look closely, these are all of my sequences that I built in this project and in a sense, but not in a sense, but I have a couple of sequences that I don’t remember building, but what happened was, I created a nest.

I don’t have to back everything up from this project. On the flip side, maybe I do want to back up everything but I want to make sure it’s all in one place and organized, so I can choose at this point in time, what sequences and I’ll see every sequence that is in that project in this first location that I want to back up. So I’m going to go ahead and I am going to check everything. Now I’m going to move down and we have some other choices based upon what our objective is.

So the first checkbox. The default one says collect files and copy to a new location. And this is great. This says I’m going to archive this to an external hard drive or another location on my current drive. And when you do that, it will actually take all the files, move it to a single location so you don’t have to theoretically worry that you have lost something that later on when you open it up, it was in your music folder. And then you pick the location and what it will do is it will move everything.

It will actually copy it. I’m sorry, copies it. So again, non-destructive. You have some options with this over here. One of the checkbox says exclude unused clips. So if you brought a lot of footage in and you didn’t use it and you don’t think you want to save it, you can check that and it will reduce the amount of space you need to archive that project. You’re assuming that you’re not going to go back and say oh, I want a different take or I wanted another shot.

You can always go back to your camera original that you archived, of course, that SD card that you put in a very safe place when you made the copy of the folder because you never throw anything away. But if you want to save some space, and sometimes I will do that, especially if I brought in a lot of stuff.

A documentary, you might have a to one shooting ratio and you want to make maybe even just a version, you know, that it’s like, I can put here and I just know this is my final show. You can say exclude unused clips, okay? There are a couple of these that are unavailable for me to check and I’ll explain why as soon as I go through the existing ones. I generally do not check these, include audio conform files, include preview files. What those are your render files and the analysis files of when it looks and defines the way for them.

The nice thing is, when I open up a project, it will recreate those as needed, so why save or use that extra space? The only time I may say save this is because I want to move it to another drive.

I’m still working on the project and I don’t want to wait for it to actually recreate my render files if I need them or recreate the audio WAV form files.

So if I’m still working on a project, I may check those and have it save it, but if I’m just putting it on the shelf, it’s like I can regenerate that as needed while I use the space, okay?

You do have an option, when you archive, is if you change the name of a clip within the application, so if you clicked on any of these clips in you browser as you’re working on it. I could actually, if you notice, some of these have different names than probably they were recorded when I shot them.

The camera gave it a certain number. So if you rename a clip, you have the option when it media manages it to change the name of that clip to whatever you chose it to be while you were editing, which is kind of nice because now when you just look at the move clips, it actually has the right name and Premiere knows the new name to connect it to on this new project file it’s going to make.

So it is a nice feature to rename it. So again, depending on your workflow, that’s one of your options. Before we look at all these other elements, you need to choose where you want it to go. So you’re going to say browse. What’s the destination? Create a folder to put it in. It creates a folder anyway. I like the redundancy in case I forget something and it’s going to put all of this into a single location that you target, whether that’s another place internally on your computer or hard drives or maybe on an external hard drive where you’re going to archive it.

I generally archive, as a rule of thumb, to an external hard drive and I’ll explain why in a few minutes. That’s my check thing. So here we go. Disk space available. Do I have enough room? It does not know the size of the final project until I hit the button calculate and it will make its best guess that my original project was 33 gigabytes.

The new one will be 16 because I’m ignoring all my unused media, okay? But until you hit calculate, it won’t figure that out. And then if I’m happy with that, I can say okay. It starts copying, and moving, and organizing, and it will create a brand new project with new sequences and move a copy of all the media into a single folder and you’re good to go, okay?

And when I say that I like to put this on external hard drive, as a rule of thumb, computers aren’t perfect. We are, but computers aren’t perfect. So what I like to do is, once I’ve archived it, I take that drive and plug it into a different machine and open up the project and make sure everything is there and is reconnected because sometimes you may have something very deep into like, a nest, or maybe you have an After Effects or a Photoshop document that doesn’t have the information embedded, but it’s pointing to the media on another part of the drive and Premiere is not aware of that, so it’s nice to know if something’s offline and if you just put it in the original machine, Premiere sometimes knows where it looked before, so it sees it still and now, a month later, you plug it in and you’ve deleted everything off your internal drive and suddenly, that media is gone, ever to be found again.

So it’s a good check and balances if you have a second system. Of course, if you don’t have a second system, it’s a little harder, but I do like that as a workflow to always check the moment I archive the file. So let’s look at some of the other options that you can use and also how it thinks and how it works. I’ve never even tried video editing before this class.

He keeps it fun and shows that even he makes mistakes. I can’t even believe how much I have learned in less than a quarter of his class.

I have a long way to go and am very excited to learn more. So, that’s really, now all this stuff, timecode, and audio samples, leave this as at the default.

It really won’t matter to you. Even capture, this is for the old days when we had DV video, and you would plug that camera in nobody’s using that anymore. If you happen to come across a DV camera from 20 years ago, and you can hook it into your computer still, I would just recommending doing a web search on that, but don’t worry about this, don’t overcomplicate things, okay. We’re gonna talk about some more of the Ingest stuff later, just as a point of note, Scratch Desk, that’s where everything is stored by default, it likes to store it all together in one folder, and that way if you need to migrate it or move it, it’s all together, and that’s really nice.

For most people, working by yourself, this is a great environment. Okay, so really all we did was, we gave it a name, we told it where to put it, we did not change anything else, okay, it will default to usually the fastest playback anyway for your Mercury Playback Engine, and then we hit OK, and this will pop us into the interface. Now I’m gonna zoom out, and we’ve seen this before, we saw this both on day one and day two, but I wanna step you through this, I wanna re-familiarize you with this interface.

I’m gonna do a general one and then we’re gonna populate it with this footage and you can actually see it in more detail. So there’s four basic windows that you’re working with. Okay, does this look a little bit complex to you? Have no idea what’s going on? Well, guess what, you will have an idea what’s going on. In the lower left-hand corner is something called the project pane, okay?

And this is where, and if you look closely, and it says import media to start. So this is where you’re going to bring in all the elements that we talked about earlier, okay? All the footage, all the music, all the sound effects, all the photos, all the graphics, you organize them in this location, okay? And we’ll be ingesting this media. Now, here’s the trick, video files are huge. So, how many folks here work in Photoshop?

Even a little, pretty much, you know, if you’re at Creative Live, you’ve probably heard the word Photoshop, chuckles so when you’re working with photos, a lot of times, you bring in an image, it’s embedded in the project file. Okay, it’s part of, and you move that over, and you still have all the materials. For some of the more advanced Photoshop people, there is an option to use it as a, an image as a reference so you don’t technically bring it in.

Most of the time, we bring it in as an embedded piece of information. Video doesn’t work like that. Video is huge. And if you start working with all this video, you’d get this huge project file that you couldn’t even work with, so what it really does is that you have a project file, which is what we just created, okay, and you have this folder of all your media, which technically can be everywhere, all over your computer.

Don’t do that, keep organized, but this is where you have the gigabytes and gigabytes of stuff and then you have the project file, and think of it this way. You’re building a house. The project file is the floor plan for your house. If you have this floor plan, the blueprint, and you have the media, you can build this house anywhere. And that’s how you have to think about it, so this is the building materials, the video files are like your lumber, and then your audio files are like your roofing, and your, you know, your waterworks, guess that’s called plumbing, and together, you can create the show.

This is the most valuable thing your blueprint, your project file. Without that, you have no idea what you’re going to build.

This is what you need to back up. This is not gonna get that big, you know, it’s maybe gonna get, it’ll be less than a gigabyte, it might even be less than megabytes, okay? So that’s what we’re doing, we’re working with stuff in here, but it’s just pointing to media, aliases, shortcuts, references, whatever you want to call them, but this is where you’re gonna start finding and looking at your stuff and organizing your stuff in the lower left-hand corner.

Left to right is beginning to end, top and bottom is all your layers, okay, so if you stack something like B-roll, that cutaway stuff, you’ll put it on top of somebody’s interview, and it’s like you’re looking down from a large building, it’s like oh, I see the cutaway, I don’t see their face, because that’s covering, just like in Photoshop, it’s a layer. You look down from the top, okay. And then this program is what the viewer sees. Okay, let’s bring some stuff in and actually look at this interface and start cutting in this sense.

So, what’s your knee-jerk reaction of when you wanna import something, what are you gonna do? You’re going to probably go, not a trick question, I will not ask any trick questions. You’re gonna do something that rhymes with wart. You’re going to, import. Guess what, they’re tricking you.

Import works, it’s ugly, and I wanna show you how this works. You know, this is very kludgy. And as a matter of fact, some camera formats aren’t even recognized by import dialogue box.

So yes, you can do it, but there’s two other ways that are probably better and easier, if you’ve already organized stuff. Now, I’m gonna go ahead and shrink this down just a little bit. I can drag and drop, if I have something in a folder, I can go ahead and I can grab it, and let me just grab something that is not very critical.

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