[music] [Rich Harrington] Welcome. My name is Rich Harrington, and this session is called Level Up, Work Faster with Premiere Pro. I've been using Premiere for a very long time. In my spare time, I try to produce resources and teaching materials to help people. I formally was the co-author of the Premiere Pro Classroom in a Book. I've written-- I think that mic's really loud. I've written an editor's guide to Adobe Premiere Pro and produced a few hundred tutorials through the years. So hopefully, you've either put it on your bookshelf, slept with it under your pillow, to try to learn from osmosis, or occasionally I show up in your search history. All right, but we're not dating, okay? So what we're going to cover here is how to get more from Premiere Pro, and some of the extra stuff that are in here, including some of the AI-powered tools. This includes we're going to be trying to make things as easy as possible in this class, meaning our goal here is to show you things that help you cheat or get more done. I am all for knowing how to do things manually, I'm all for knowing how to do things the hard way because when AI fails, it fails. But if it can work for you 95% of the time, try it first because if it works, it works. That's really weird audio. Should I not-- Is there a speaker right above me, or what's the deal? Or either you guys heard me really loud, but it's like pinging super bad. Okay, so the AI tools are designed to make your life easier. And there is no shame in using them. No one ever got in trouble for clicking the Auto button. If you are in front of a client, you could just, like, you know, make a noise or point out the window really quick, but it's all good. For those of you who aren't familiar, I have clearly been a professional editor because we have a scarred personality, which is a deep-seated sense of sarcasm. So it's really hard to turn off. But I'm actually nice. I just, you know, you spend most of your professional life with people talking to the back of your head, never making eye contact, or even considering you to be beyond an extension of the machine. You, kind of, develop that. Okay, so we're going to learn about color matching, making a transcript, so the basics of how you can embed that which is great for both SEO and morally, it's the right thing to do to make your video more accessible. We'll talk about, Scene Edit Detection, which is great for when you get stuck, like cutting a webinar down. We'll talk about doing some Text-Based Editing, how to create a rough cut with Automate to Sequence, where you could tap out the beat of music. Talk about some of the things inside the Essential Sound panel. I'll show you remix and we'll talk about customizing a keyboard. Now I got lots of sessions this week. I invite you to check some of them out tomorrow. I'm going to be doing a really fun class that I would encourage you to look at, which is about the Camera to Cloud technology and how to connect different cameras, so that you can be getting footage and doing collaborative. So we've got crews around LA today and tomorrow, and we're going to do a live edit session, that's interactive with footage streaming into the classroom, while we're doing it live. So if you haven't seen that technology of Camera to Cloud, I'd encourage you to check that out.

So I'll put the title up later. All right, we're going to jump right in. My name's Rich Harrington. And through the years, if I figured something out, I wrote it down. The short version that explains the way my brain works. My dad was a NASA engineer and my mom's a school teacher. So that explains a lot about me. I understand technology. But I also understand how to help people and teach, and I regularly find myself having to translate. I do have a production company, then podcasting and blogging since the internet was born. And when I get a chance, I like to speak. I also record stuff and try to help people. So that's a few of the training things I've put out through the years. Okay. And when I get the chance, I like to make software better. So these are some products that I've either written code for, consulted, help designed, the last two I currently manage. So I design those products and what they do.

Okay, let's jump in. And in my spare time, I like to visit TV stations 'cause they're fun. Okay. All right, let's go.

Oh, I did want to mention this. This is a cool event at the end of December. It's free to watch, and so we'll have five days of training. The website will go live next week. But just consider to save the date. It's totally free to watch and it'll be cold for most of you, so this is, sort of, the thing where you'll have, like, 48 hours to watch each class when it goes live. Cool. All right. So I want to know a little bit about you. This is really simple. This is a judgment-free zone. But I always find, especially at MAX, we get really diverse attendance. And this is for your benefit and my benefit. So how many of you have been using Premiere for, like, zero to two years? You're just getting into it. Okay, that's great. Welcome. How about three to five years? A little bit longer. Okay, good. You've developed calluses. You've customized your keyboard by now, right? Okay, 6 to 10 years. Okay. And you rode it before it was called Pro. Okay, welcome. Floppy disc, CD-ROMs. Awesome. Okay. So great. So I'm going to start off by showing you a couple cool things with Color Match and a cheat using Photoshop for Per-channel color contrast, which is basically like the world's best Auto button. Okay. So the slides are posted so you can download them already. They're on the MAX website somewhere. So don't, like, take pictures of every single slide. You can download them. It's totally fine. If you're the type of person who just likes to take pictures of every single slide, you do you. I'm just trying to save you some thumb presses, okay? So this one's simple. We're going to go to Comparison View, and some of you are like, "What's Comparison View?" It's a button that's not turned on by default that you have to manually add, that's really useful, that's hidden in a menu.

Does it sound like an Adobe video app yet? And then you basically put the cursor over something and say, "This is what I want." And then it's like an Auto button except it says, "Oh, I'll do the auto of what you tell me to use." It's really cool. So here's how that works. So let me just open up here...

And we're going to talk about a little bit of Color Correction here. So this is matching. So let's say I took the time to get this footage corrected, right? Like, it no longer has a pink white point, the blacks are right. It's still got a warm filmic feeling. On the left side is the uncorrected shot. On the right side is the corrected shot. I don't know how well the monitors are calibrated, but you've all can agree that the two look different, right? Like, on purpose, not accidental. Okay, so over here on the right, you have the ability to customize what buttons you see. It's just terribly hidden, right? Like, you're like, "Where is that? How do I access these things?" So they, kind of, hide those buttons. Like, look, I had to make the window bigger just to, kind of, get to that plus button, which is really weird. So you want to get in here and you can customize these and access the button and bring up Comparison View. So normally, there's a little plus button here, it brings up a window and you'll add this button here. For some reason, when we're going through the black magic switcher, it's like, "No. I'm not going to show you the plus button." A couple of you will see it here as we drag. We'll see that little plus button appearing and disappearing. Normally, it's visible. So you would click that, but if it was like this, you would have to have a second mouse and, like, you have to jump over to get it.

When you click it, what it does is it splits screen. And now you've got a little mini timeline here and you're basically drag through, or you could jump edit to edit to edit to edit. So you just park it over the shot that you want.

Go to your next shot. And down here in the section that was like from the year 1997 that most of you skip because you're like three-way color correctors. Yeah, that's so, like, 20 years ago. There's actually a really useful button called Apply Match. And you click it, and it will match your skin tones and you can target it. So you can actually say, "Hey, do face detection even." And look at as it starts to apply how we're getting closer with our matches. Pretty cool, right? So you can actually go through, and it will get your shadows, midtones, and highlights to have the right color balance to move you closer into the shot. Now it is still totally fine to also use this Auto button on top of it, which is going to try to balance out the shadows, midtones, and highlights. So the top Auto is more or less exposure. And the bottom Auto is more or less color balance to get rid of color cast. Two Autos, right? Okay, so for how many of you was this a feature you hadn't seen before? Just so I can benchmark. Okay, so some of you are really smart, I promise you'll get more. If you don't learn something, come up to me afterwards, and we'll keep talking until you feel like you've learned something. This is a really useful feature, though, because again, it's just going to fill that in, and then you can combine it with the new Auto. By the way, did you notice that the auto slider now has an Intensity slider? So it's how much do you want to push that AI? And then, of course, you know, we can get in there and start to bump stuff up like, "Hey, I want to lift the shadows a little bit." Right? Now remember, as you brighten the shot, you're going to lose saturation. So you might need to fill a little bit more of that in to, kind of, bring that to life. But that Auto slider here can be useful for Intensity. It's going to allow you to, sort of, dial that in and gives you a ballpark of what that looks like, and it will move the sliders for you accordingly. Now while we're here, I would be remiss if I didn't briefly talk about curves. Curves are awesome. They're a little scary, but this is super straightforward. It's saying, "Adjust this property based on this property." So if I come down and say, "Hey, I want to do the ability-- I want to adjust my Luma." I can just look at that and say, "Okay. Let's go after the brightness here." So let's do Hue versus Luma. I'll click on the skin tones, and you see it adds dots. Now what I typically do is Shift+Click and add two more. And then while holding down the Shift key, so it constrains it, I can target that color for a little lift. So what I did there was just gently raise the skin tone a little bit and bring it to life. And while you're at it, you can also do a Hue versus Saturation. Click on it. Target that same zone, right? Click. Boom. Click. Click. And then you can do a little lift. And up will increase the saturation in those skin tones there. See how simple that was? So it's just allowing you to pick a zone for adjustment based on what you click on. That's all it means. So based on the color, let me adjust the luminosity, which is the brightness. Based on the color, let me adjust the intensity of the color, which is saturation. Everyone good? So that's pretty straightforward. Let's you get the job done. Okay. Now here's my favorite cheat in the world, okay? Premiere has grown within Adobe and is finally treated like a world-class product 'cause it is, right? Those of you who said that you were working with Premiere long time ago, you, kind of, remember when it was like, "Photoshop! Where's Premiere?" Oh, they got a card table out back. Like, they didn't get a lot of resources. Thank God, video finally caught on and people figured that it's an effective tool and the internet and all of those other things that makes video viable. But Photoshop still has a really kick ass budget. So what we can do here, again, if we click the little plus button is you could bring up the camera icon called Export Frame. Or if you can't find it, it's under the File menu. But you just click a button here and you export a still frame. And I'm just going to be lazy and bring it right back into my project. Boom, right? Enter a directory path. Of course, the desktop where all files go.

I'm glad you got that joke, okay? And it brought it right back into my project. Well, why did I do that? Well, because I could just say Command or Control E for edit original. Or I can choose that I want to open that in Photoshop, right? So that's going to force it to open in an application, right, Open in. So you can just edit in Adobe Photoshop and it will launch and open. Now here's what's cool.

This very first step is tricky. This is the hardest part. When you open up a frame into Photoshop, you need to flatten it because in order for lookup tables to work, you need to have a flat image to start. So you can choose New, Background from Layer, or Layer Flatten, either works fine. This is the one step everyone forgets in this technique, and that is that the background has to be flat. Now it says locked background.

Under Adjustments, bypass all of this nonsense here, these presets. They're fine. They're just not great. And go to Curves. Okay. Earlier, I just showed you curves.

Anybody who knows how to use curves basically will tell you that curves are, like, level 10 of amazing. They do all sorts of great stuff for you. And then if you ask the same person to explain to you how they work, they're like, "Well, there's this like, diagonal line that represents the darks and the lights." And they're like, "Uh-huh?" And it represents the darks and the lights. And you could move it. Well, how do you move it? You'd grab it. So here's the thing. There's an Auto button. But in Adobe language, what's the secret modifier key that you can hold down when clicking other buttons to do amazing things that the engineers hide. Anyone know? Shout it out if you do.

Well, then all of you are learning something new. It's called the Option or Alt key. And when you click it, magical secret dialogue boxes appear of other methods. It doesn't work on everything, right? Like, option Save. Great. You save 10 hours. Now, it would be wonderful, but this brings up the Auto Color setting that's totally hidden. And what you want is Per-Channel Color Contrast, Snap Neutral Midtones. And it will automatically figure out the proper white balance for the shot and, kind of, nail it in.

And then if there's anything else you want to do, you can add another curve, and I'll just put another curve adjustment on here. And where do I click? I take this stupid looking tool here, which is called the Targeted Adjustment tool because everyone knows that this means Targeted Adjustment. And what you do is you just click on the image, and it adds the control point. Oh, hey, make the flower a little darker. Oh, let's click on the highlights here and lift those a little bit, right there, a little brighter on that highlight. See? And oh, the shadows here, let's just do a little lift, right? Oh, wait. Let's go to the Adjustments here and add a HSL Adjustment. Oh, look. Now the finger went from here to here. Again, who knows why? But this is also a Targeted Adjustment tool. So I can click on the gold and say, "Oh, make that a little brighter and a little more saturated, just the golds." Oh, let me click on the pink same adjustment layer and, see how it makes this little Targeted Adjustment. I'll go ahead and roll that a little bit more into purples or a little bit redder and a little bit brighter or darker. Do you see how you can totally target things? Oh, how about the green? And it targeted the green. A little more saturated and a little brighter.

Do you all see what we did there? Like, we just totally fix the shot.

And we didn't have to know anything other than-- I'm clicking where I wanted to change. Does that seem okay? All right? You just click on what you want to change. All right. Now File, Export...

Color Lookup Tables.

A cube file is great, 16 is plenty. I suggest keeping the name here. And then when you click OK, what I would normally do is navigate to the folder where the project was stored. And I would make a folder in my project folder called LUTS. This way, if I ever needed it, I could find it. But it has the exact same name as the shot, so it's really easy to match.

So now watch how simple this is. Hey, I got my shot. Cool. We're in Lumetri Color. And if I want to, I can just click and load it.

Browse. Let's just go to that LUTS folder.

Bam. Done.

That's how easy it was. Now that's absolute. If you want to use that on a bunch of shots that are similar but not identical, then you can come down here to the Creative section, same thing, Browse, load it. And you have your Intensity slider. So you can make it a little bit more or a little bit less from shot to shot. That way, you can make one LUT for the entire scene and just tweak it a little bit with Intensity so it dials into the right way.

Okay.

Does that make sense? Everyone got the gist, export a frame, flatten it, and then open it up in Photoshop where you can use your Adjustment Layers, okay? So you export that still, open it up and flatten it, toss on Curves, Option, click on Auto, choose the magic recipe, Per Color Contrast, Snap Neutral Midtones. That's basically like if you said to somebody, "Oh, I want proper white balance." That's like the scientific definition of proper white balance. And then export a LUT, and you're done. And it's amazing for tough shots. It is so simple to fix the worst shot possible. Now I'm going to let you in on a secret. Never do this in front of the client ever.

One, they'll be like, "Oh, I know Photoshop? Let me show you something." Or another one, like, talk to you about Photoshop, and you're like, "No, I just on a deadline. I want to see my kids." Second, they're going to go, "Wow! We can hire even worse crews, and this guy/girl can fix it." Now just go, "Wow. This thing's tough. Just I'll work on it later tonight. I'll have it fixed for tomorrow. I'm going to stay late." Okay, and then you fix it. Now about 99 times out of 100, this will work for you. Yeah, I don't want to, like, guarantee it, but this is my recipe when stuff sucks. It's like use the magic power of Photoshop, okay? All right. That's that. All right. Good.

You are very kind.

Let's switch in the other direction to everybody's personal nemesis, which is audio. Okay. So if you find audio hard, you are amongst the majority. If you come from the world of audio and you have musical talent, I admire you.

Premiere has swallowed its pride a long time ago and has put in gazillions of things to make audio easier, okay? So the first thing we're going to do is we're going to use audio to make a transcript. Now transcripts can be done a couple of ways. Normally, when you import something, it can transcribe on import. Now I'm going to let you in on the secret of one of the things I like in the Mac menus. You just start typing the name and it'll find the setting. I wish Windows had that. There's the magic thing I was looking at. Oh, it's Settings, Transcription. So you can open that. And in here, you decide what happens. "Hey, automatically transcribe clips as you import." Well, that could be really useful if you're bringing in a lot of dialogue. If you got a lot of garbage, you might turn that off, but that can do auto transcribe. Otherwise, what you can do is you can load up clips. You know, have your audio up there. And then you can actually transcribe it and just go through. And if you look at the Text panel here, this is where all of the audio is at. So like, it'll auto transcribe it, and then it stays embedded with the file.

So here's my sequence, and there's the transcript, right? Now it guessed here. In this case, it looks a little weird because I actually have the MPEG4, and I've got some other audio source, but you can click Transcribe if you needed to. And then you'll see these little progress bars that you're like, "Why is it doing all of this? What does that mean?" I don't know. It's unlabeled. Somebody just had fun making animated bars to distract you from the fact that it takes a few seconds. But now you have this, right? So now I could jump through. Oh, this is a documentary about chimpanzees and bonobos. Okay, chimp. You know, there's that part of the sound bite, let me go to the next one. Boom, boom, boom. See, it, like, navigates you right through the interview so you could find key things.

Now if the person talks like this real mush mouth, it's not going to be great. If the person talks more like me, it's pretty amazing, but it has multiple languages, you can control this when you transcribe. It does have settings, and you can go in and actually go through and clean it up, right? And so you can really, kind of, clean things up, so it's a little bit easier.

Now this just makes it great so you can go through. But I'll also point out that you can highlight phrases, right, like that. And then you have the ability to set an In and Out point like such.

And so now I highlighted literally the interview sentence. So if that was the only clip I needed, I just marked out on that particular clip, the interview. So let's just match frame here and load it. F. There's my transcript. And maybe I was asked to cut in these first two sentences. Mark In and Out, right? Look, it's marked In and Out.

I'm telling you that's way faster than, like, you having to listen to everything to find everything, especially when you're trying to drill in and find something super specific in a long interview. Yes, we can all eventually listen to audio at 3 and 4x speed and, kind of, pick out the words 'cause we're good at it, but this is way easier to search for a keyword and then just mark it out. And now you found dialogue. Additionally, if you've got this here in the sequence, maybe you realize that you want to get rid of some stuff. So I can just say, "Hey, I don't want this sentence." Delete. Look, it just did a ripple delete and took it out. That's Text-Based Editing. So you can go through-- So we wanted to study this. I don't want that little part here. Let's just get rid of that sentence. Boom. And then let's see here. It's exactly figure out is done.

Boom. Let's listen. Can I ask a question to you when you're at it? I'll try. Go ahead. I've been seeing a lot of this over the last couple of days. So if you're doing this from the source monitor and you say if you save those into a bin, maybe into subclips, are they editable after that? - Are you just-- - Yeah. - Subclips are always editable. - Okay, cool. Okay? So all right. Let's make sure we're getting sound out here, hopefully.

So what I like to say is we have a bonobo and a chimpanzee in all of us because people know about chimpanzees. They know about the aggression. We want to learn about this so that we can learn more about our own human roots, where we came from, and why it is that some of our tendencies-- - Humans-- - Oh, look. It's a pause. It's a very pregnant 1.3-second pause, right? So, you know, you could actually, like, highlight the pause or try to. It gets a little tricky there, but you can find those and, you know, you can actually delete them, okay? So it's pretty cool how we can go through and, you know, clean things up. Bam, get rid of the pause. And I just took out that gap. So it actually is finding places and tells you how long they're sitting there waiting to talk, right? So does this make sense? Does this seem useful to everyone? This is one of those features that's really, kind of, buried, but it's quite good. All right.

So with those auto generated transcripts, they're pretty straightforward. Again, all you got to do is choose the Text Window and then there's a Generate one there if you need it. You can choose the language, if it's different languages, you can identify, if there's multiple speakers talking that's all fine, you can pull those in. You can do the audio analysis. It's all, really, pretty straightforward, and we'll get the job done, okay? All right. Let's keep going.

Boom. Good.

When you want to, you also have the ability. And I'm just going to do this one really quick. I got to in-depth class online on this here that you guys can watch. You can create captions this way. So I have a 30-minute class that goes in-depth on this. That's in the virtual session part. Technically, it's tomorrow. I think you can watch it anytime after it goes live tomorrow. These classes will also be available later.

You can go in and turn this into an actual transcript. So when you've got your sentence or your sequence here. It's your car. You take it to people you trust. If you want to avoid a total rebuild-- So what happens there, let me just duplicate this sequence really quick. It is same thing, you can do a transcribe on the sequence. It does the animated bars that mean nothing. And then you have this here. And then if you click the button for Create Captions, it'll give you a choice. Short version here, all of these are broadcast or web and subtitle is useful if you just want to burn them in. You can go in and apply styles. You can go in and adjust how it breaks. But when you click Create, it basically creates the captions for you. In this case, I did visible ones for the web, where I was going to burn them in like on Facebook so that they were always visible. You can click on all of them so they are all selected at once. Backslash key will fit your sequence to the timeline view. Then you can switch on over to a hidden panel not always hidden, just hidden in this view, but the Essential Graphics panel. And you can adjust. So I would suggest that you pick something that's a little bit thicker and probably Sans Serif is going to be a little bit better for you, right? Don't be afraid to bump that up a little bit and look at how the text auto-wraps even, right? But there we go.

All right, there you go. And now you've got video ready.

Now you can select the individual one here and take a look at the position and just shift it up or down on your y-axis. So you can click here to transform where it's positioned and then shift it up or down as needed and adjust the size as needed. So like, that way, I wasn't covering up the phone number. Make sense? So it's pretty cool tool. There's a lot more to it, but I just wanted to point out, like, I run into people all the time, it's like, "Oh, I don't trans. I don't do captioning. It takes so long. It's so expensive." It's so freaking easy. And why should you caption? Number one, morality. Tons of people have difficulty hearing. And it is not correct to exclude people from content. Second, many people speak different languages. And so seeing something that's not their native language in an open format makes it easier. Third, we consume video all over the place in noisy loud environments where it's difficult to consume. Reading it as an extra layer of comprehension or the only layer, plus seeing and hearing basically doubles the retention rate. And if you embed this into the actual file and the stuff that you upload to, like, YouTube or Facebook with the captioning file, the SRT, you basically quadruple the SEO Analysis of your video, and the entire thing is searchable by Google and can queue it all up. So for the love of God, start captioning. Please, okay? It is for everyone's best interest, and it will help you out and make things discover. Just take the time when the caption is done to search it like in a text editor and get the names right for the people, the stuff that auto-captioning can't get. Spell the product names. Do a search and replace on a few key things. Go watch that 30-minute class. It'll fill the rest of the holes in on how to do this, but that looks pretty easy, right? See, we should have called this class all of the easy things Premiere Pro is willing to help you with if you're just willing to ask it nicely, okay? All right. So we're good on text. Okay. Great. Scene Edit Detection. Scene Edit Detection is-- When you have something that's pre-edited. Webinars are a good example of this. You have a webinar clip with different speakers, or you have an existing video that you digitized. Now I just dated myself. That somebody turned into a digital file and you brought it into your system and there was existing edits in it. Maybe that's all the client had.

What you can do is you can tell the application that you want it to go through and detect each edit. Now this isn't perfect, but it is useful. You can have it add a cut. You can have it make subclips for you. Like, maybe you have a back and forth interview, or you can have it just add markers to make it easier to navigate. So this is what that looks like. Okay.

Let me just go here.

So this is an example of a Zoom meeting and we just did a press event earlier this week.

I just took a 6-minute clip because it'll give you a good representation but there is no limit to how long the clip can be.

When you click on this, you have an option here buried called Scene Edit Detection.

Now you decide what you wanted to do. Do you want it to make subclips? Do you want it to just add markers? Do you want it to clip and split it in the timeline? All of those are up to you.

When you click Analyze, it will analyze the clip and try to pick up on visual changes.

There has to be a cut. Sometimes if there's enough of a change in a slide presentation, it will find when the slides change. If it's like a typical boring corporate presentation where it's the same background and just text after text after text, even the AI has a hard time paying attention just like the audience, okay? So it's not perfect, but it's a good timesaver. Okay, so boom. Done. It made subclips, right? There is that first subclip, okay? So it, kind of, split that first scene of our little before and after. Now that dissolves it, you know, put it there, but that's nice. That's like a little intro then here we go. You know, we got him talking, right? And then here's our next one. Then we cut to the two-shot. It picked it all up. Pretty cool, right? And remember, with a subclip, you asked earlier about subclips. You can always modify the subclip. So, you know, you can go in and if you have a subclip edited, you can modify what it looks like. You can go in and deal with the different aspects of, sort of, the points on it, but that helps. Additionally, it added edits here in the timeline 'cause I told it to. So pressing the down arrow, I can jump between different parts. So if there was a part of this press event that I didn't want to include, I can cut it out pretty easily and just, you know, take out little pieces. Now it's not just for Zoom meetings. This is just a very common everyday thing that you get stuck having to edit these days. Like, "Hey, can you cut down the conference call? Or could you cut down this? We want to post that." It just makes it easier to chunk something up into smaller pieces, but it works great on lots of other things. If you have a montage sequence, or other things, it's a great way to take a piece of existing footage and cut it up into a bunch of smaller clips, so you can reuse the B-roll or things like that, okay? And do a transition-- It doesn't particularly well. If they're fast enough, it'll, like, kind of, go in the middle. But if it's really slow, it doesn't pick up on it. So it's better than you having to do it. It's not perfect. Does that make sense? Like, it gets you in the ballpark. The question was how's it due on transitions? It's like everything in Premiere. Premiere is not known for its transitions, okay? So you have to, kind of, get in there and fiddle a little bit, but it's still useful. I want to bring it up 'cause I think it's worth using. Okay. Automate. This is one of my favorite ways of editing. And it is incredibly useful. It's called Storyboard Editing. And you can do it a couple of different ways. So one way of Storyboard Editing is just the idea that, like, you would open up a bin and, you know, you can switch to Icon View. By the way, mouseover, press the tilde key or accent grave. It's next to number 1. You can see things, it's like, "Oh, I want to go from the title slide to that, to that, then we're going to cut here, then we're going to cut to this," right? Like, see how you can, like, arrange the edit. And then you can click on all of those. And there's a little button down here that you never clicked called Automate To Sequence, and it would just dump them into the sequence. So this is really useful if you marked out a bin of clips and, kind of, roughly arranged them. This is how I teach, like, every high-schooler and kid to edit because they could totally just get nice big thumbnails here. Remember, you can mouseover things and it's like, "Oh, hey, I want that to start right there." I for in. And I want that to end right there, O for out. Let me go to the next clip. Hey, let's skip that title slide. I for in and we'll go to the end O for out. So a lot of people don't realize that they can actually mark ins and outs here or you could use your JKL and everything else in this view. It's like having dozens of little source monitors and just being able to arrange your story right in front of you. Now that's not the Automate To Sequence command, but if you don't know about thumbnail-based editing here, it is really useful. Especially, when you just want to, like, make a rough cut. And that's one use of this Automate To Sequence button. My favorite use, though, is as long as you can tap your foot or your finger to the beat of the music, you can do a rough cut really quickly, okay? If you can't, find someone who can.

But we'll just drop this into a sequence and I'll nudge this over a little bit. You're going to use the key like the M key for add marker, okay? So I'll just go to the first beat in the sequence and press M for marker. And nothing is selected. So it adds it as a sequence marker. So here we go. I mean, it gets not too loud.

[Music] Okay. I tapped out the beats. Now if you had never listened to the music track before, you wouldn't be able to do that on the first try, probably, you'd be off. So listen to the song once. If you struggle, listen to it twice. If you've tried five times, find a friend.

Just tap out the beats. Then this is the thing that's weird about it. Lock that audio track 'cause this button is really dumb. This Automate To Sequence button goes back to, like, Premiere Version 2.0, not Pro, Premiere Version 2.0. And I swear to God they haven't touched the code since. So it will blow away your audio track if you don't lock it.

So now you can go to your bird, open it up. Switch to that Icon View. Remember, if you're mousing over something, press the accent grave or tilde keys, next to the number 1. If you're of different country, it might be mapped, but that's called maximize frame. And now you can rearrange things in the order you want them to go, okay? So I'm just using pictures of birds that I shot because they don't require release forms, but you can use any footage you want. I only say that because seriously, every time I have somebody come up and say, "Does this only work with stills?" No. It works with video. Does it only work with stills of birds? No, it works with anything, right? Anything. It will work with anything. If the clip is too short, it'll leave a gap. Okay, so you arrange them how you want. Then you either can click on them in the order you want or just, you know, select all.

Now when you click the Automate To Sequence button, you get a choice. "Hey, go ahead and put them in the Sort Order." That's the order I arrange them in versus Selection Order, which would be the order you clicked on them. So if you have a bunch of sound bites, you can hold on the Command or the Control key and go click, click, click, click, click, if you just want to choose them manually. Where do they go? Put them at the Unnumbered Markers. Great. Do an Overwrite Edit. Awesome. Okay? I rarely want to do an Insert Edit. Duration, just use the In and Out clips, that's fine. And you could decide to Ignore Audio or Ignore Video if you want. When you click OK, boom, it cuts it in automatically to the beats.

Here we go. [Music] I think you get the point that it's way faster and easier to edit to beats the music than it is to, like, mark all those In and Out points. Okay, so-- It's not called cheating if you're the one doing it, okay? It's called working smarter. So that is the Automate To Sequence command, and it's super useful, okay? So we'd already talked about the Text-Based Editing that was what we did in the Text tool. We just marked about the things we didn't want. We hit Delete. It closed the gaps.

That was pretty simple. The Automate To Sequence command, all you have to do is either mark your In and Out points or arrange them in the bin the way you want. Throw down a track of music, tap out the beat. Maybe, it's B-roll, right? Maybe, you got some B-roll shots and you've got, like, this long instructional video where they're like, step one, step two.

Just boom. Tap out markers like at each major block of the audio, right? You can even have the transcript opened up here and just search for the word step. Boom. Boom. Boom. Mark up. Boom, boom, right? Two fingers, two keyboard shortcuts. Nail it out. Select your B-roll, Automate To Sequence. And if the clip is too short, it doesn't matter. Like, it at least still start throwing your B-roll into the right place in the timeline, okay? Here's the thing I want you guys to embrace. Editing is not chop and done. It is multiple passes. So the first goal is to get to the rough cut as quickly as humanly possible. Throw everything into the timeline, get the audio cut, throw in a few shots. Why? It looks like garbage, but it tells you two things.

So your 3-minute promo video is 19 minutes and 16 seconds long. What are we cutting? Oh, we can't cut anything. Okay, so what are we going to change? Does the budget go up by six times? Well, why would the budget need to go up by six times? Well, I'm being nice because 3 times 6 is only 18 minutes of footage, but we need to charge you more. Oh, or-- Oh, yeah, that 30 seconds spot is timing out to 63 seconds. What are we cutting? So you want to throw the stuff down as quickly as possible to have a reality check for yourself and others. Did we budget enough time for this? Is it the right run time? And you want to throw down your B-roll as quickly as possible to go, I'm like, "Hey, what are we missing? Where are we going to find it?" So these tools are just designed to get you to the rough cut stage. Then you can clean it up afterwards and start to add transitions and trim, and slip, and slide and do all those cool things. But I see so many people try to build the perfect edit by, like, precision, upfront and it's like, "Wow, the first 60 seconds of your video was great, and then you ran out of time, right?" "Oh, yeah." Okay, I grew up in the world of broadcast we're, like, "No black holes. You're not fired." Number two. "Hey, the audio mix was good." Great. The nice piece, right? Oh, that was amazing. You build it in stages and get to better, but you got to get a rough cut first, a radio edit. Otherwise, you're just screwing yourself and you're going to have more problems later. All right. So this command is great. It's just called Automate To Sequence, and I would suggest you add it to your toolbox, okay? Okay, now we said earlier that most people hate audio. If you love audio, that's great. You could still use this too. Premiere Pro has an essential sound panel that's designed to fix problems. We're not going to cover all of the things it does, but it's pretty amazing. One of them is it makes it easy to get a rough mix of your audio tracks. So what happens here is we get our sequence roughed out. First up, your sequence should be paint by number, meaning keep all the similar tracks in the same place. All of my narration is on track one. All of my sound bites is on track two. All of my natural sound is on track three. All of my sound effects are on track four. I don't care what it is. Just do it the same way every time. If you could do that and paint by number or keep everything in its own swimlane. It is so easy to mix audio, okay? If you're mixing audio like the final cut seven-way with the Pen tool for the love of God, stop, okay? It is awful. You are wasting your time so badly. Let me show you how you can still get a precision mix without having to just sit there the painful way. All right. Project, Audio Mix. First step.

Premiere is pretty amazing at getting consistent audio level. So you could just lasso everything and hit the G key for gain. And say Normalize. And there's two types of Normalize. One Normalize is Max Peaks, which means the loudest part of each clip.

And All Peaks, means all the parts where the waveforms are spiking. So let's say I'm making a video for the web. I could say, "Hey, Normalize All Peaks here to negative six decibels because this is a vocal track." Boom. It just mixed my audio for me. I didn't have to go into the Audio tool and listen to each clip and pull it up or down, okay? There's lots of things computers suck at basic math isn't one of them, okay? It's good at this, like, just let it do it. You know, I thought that maybe a solo career, might be see-- See I'm hitting negative six. By the way, don't-- I want you all when you get home or in front of Premiere next to do this. First off, don't use the stupid Color Gradient and don't use Dynamic Peaks. Normally, your audio meter looks pretty. And the audience is feeling something, and I have the ability to go in one direction or another. But it's useless. - How I feel and how they feel-- - Right? Because you can't tell where green ends and yellow begins and when red starts, if you just right-click on this and say no Color Gradient and, oh, I want to see, Static Peaks now-- It shows-- I played 300 shows last year. You can clearly tell when you're hitting yellow or hitting red. And you absolutely know with no question of a doubt that your audio never got louder than that target there 'cause it doesn't go down until you start to play again.

Turn off Dynamic Peaks and turn off the Color Gradient. They make the audio meters useless, they make them pretty, but they make them useless. So you just right-click on them and turn those two options off, and it'll be way better, okay? If you really need it to be pretty, then you do you. All right. Match volume, right? I got four different clips of music.

Hitting red. In the yellow.

Right? All sorts of really percussive, but sounds lower. Select all, Command-G, Normalize All Peaks or maybe I don't want to Normalize All Peaks here because it's music, and it's going to have ups and downs, and I want those ups and downs, so I'll just Normalize Max Peaks and since it's music, I'll say, "Hey, negative 20 decibels." Boom.

Right? All my audio now is at a consistent volume.

Or if you don't want those swells, Normalize the All Peaks. I'll do negative 10 now. There we go. [Music] See? Nice and consistent. So G key is your friend. Now let's do an Audio Mix. So here we go.

I've got a real simple track here. By the way, mouseover, make it bigger. You've got useful presets here that lets you adjust things. And I could say, "Hey, go ahead and expand all tracks. Make it a little easier to see." And if you want, you can actually, you know, click on those and rename them. So I could say, "Hey, this is narration.

And this is music." Right? Make it paint by number. By the way, if you have to do a lot of something, open up a sequence that is like the official way something is supposed to be cut and then watch this, Sequence Settings, jump on over here. You got all this stuff, right? So we can actually save this as a template. So you can go in and, you know, have everything, kind of, laid out. Oh, where'd they hide it? You can actually load the tracks in there, and it will save them as a template. Maybe it's under Project Settings. I'll try to find it. Project Settings.

Yeah, there it is. So you can go in and set up a sequence template. I'll find it later. You could set up a sequence template, though, so that it will keep those names for your tracks. And so that works really nicely. So like when you're in the New Sequence dialogue box here. Here it is. See Tracks.

Look at this. Load from sequence. Boom. And now, like, it totally matches. Oh, hey, that wasn't the right sequence. Load from sequence. I want to use my 03_04 sequence here, right? And so you could pick a sequence that you've set up correctly and then make a template from it so you can use it again and again. So when you make a new sequence, all the tracks are totally named exactly how they're supposed to be. And then distribute that amongst your other editors. So, like, if you're all cutting promos for the same TV station, everything has the channel assignments, right? And you don't have to sit there every single time and manually set up your sequences, okay? It was really totally hidden, right? Like, I couldn't even find it. I had to, like, tap dance there for a moment, but I've kept my cool. You all saw it. I'm human too. It's just under New Sequence, and then you can load a template. So now we're going to go over to the Essential Sound panel, which is a wonderful gift from the Premiere team to you. And you can start tagging sound. So I'll just hit the backslash key and I say, "Hey, all of this audio here was narration." Okay, that's dialogue. Great. And then you can look at that, and there's useful presets. So I'm just going to solo that for a moment and listen to it. Bald Eagle is the only eagle unique to North America. Great. Let me lasso that.

That's all dialogue. Awesome. Preset.

See, I got nice Balanced High Tone Voice, Balanced Low Tone Voice. That's what happens when they decide that they can no longer refer to it as a male and female voice. So it is a lower tone, lower base frequencies, or a higher tone. Pick the one that matches. In this case, our narrator has a higher tone, but there's presets there for other things.

In the late 20th century, the bald eagle was on the brink of extinction.

Decades of conservation efforts led to a-- And with that all selected, I'm just going to hit G for Gain and say, "Hey, go ahead and target that to negative six decibels." Matic recovery. - In 2007-- - Right. Or G for Gain. If this was broadcast, target negative 12 decibels, right? So you can go through and set those targets. Additionally, you've got options here called Auto-Match, which is wonderful. And it will match all the clips to each other even better than that gain trick I showed you.

Then under Repair, you could reduce background noise.

If you have electrical hum in the mic, you can DeHum it. If there is sibilance, you can DeEss it. If there's reverb because the speakers were being picked up by the mic, you could reduce reverb. The bird was delisted from the United States list of endangered species.

This majestic bird is still-- See how easy that was to get a good nice clean audio mix, okay? Then we're going to take a look at the music track here.

I select it and say, "Hey, you know, you go in and you just have to tell it what it is." Now I had already labeled it as music, but if you hadn't, you would just go in and click the button on the front and assign that this was music, which is fine. And then there are presets here. Oh, Balance Background Music. Duck against everything, which would take a look at everything else. Or you could say, "Hey, I want to do ducking." Not cracking, ducking, pulling things up and down like this.

Turn it on. Duck against just the dialogue track. Okay, that's cool.

Let's go ahead and pull this over a little bit. Make a little more space so you can see it.

Backslash key. And I wanted to pull the audio down by 18 decibels with a slower fade...

And then I just click Generate Keyframes. Bam. And it's going to analyze that track and try to add musical fades and swells. And look, it did.

The bald eagle is the only eagle unique to North America and could be found throughout most of North America.

And now use your Pen tool stuff all you want, okay? You can drag those out or up or down, but stop doing all that work yourself. Let it help you. Are we good? Does that help? All right. It's just easy. I didn't make it, guys.

I want you to stop by the little central area where all the teams are. And, like, find somebody on the Premiere Pro team and, like, tell them thank you for something you learned today. Like, that tool's useful, and thanks for making that 'cause they don't get to hear that enough. I work with software engineers all the time and they never get to hear that people appreciate their stuff. So whatever you like, go find somebody and tell them. And that's the auto-mixing, which pulls it down. It's just such a great timesaver. And then there's one more called Remix. And this one's a little bit unusual. But it's designed to deal with something where the music doesn't fit your duration. And I like to do this by hand 'cause when I was a kid, I grew up on the south side of Chicago. I like, you know, owned two turntables. I was never any good but I was still, you know, like, I like to think I know how to mix music and beats. I still try to do it at home. Doesn't help when your friends with Chip Eberhart also known as Chip E. And you're like, "Yeah, that's Chip." Okay, so you can go in and you can clean this up.

There's a wonderful tool though called Remix that tries to help you. Now here, this is ridiculous, like, we have the entire length song and I'm trying to get a 3-minute song down to, like, 10 seconds, but it'll still work. So you can go in and tag that as Music. And that's fine. And, you know, you're looking at it-- Oh, that's fine. But what you ultimately want to do is invoke the Remix command. So we can choose Remix here. Okay, so it's under the Clip menu. Make sure it's highlighted...

And choose Remix and Enable it. There it is. See, Duration.

Totally hidden, okay? You get two methods. One method is Stretch. Stretch just changes the speed and tries to adjust the pitch. Remix goes through and listens to the different beats and tries to, like, cobble a new music track together based on the original track by pulling out little parts of the song and assembling it for you.

So I'm going to say Remix and I look at this here and I say, "Okay, wow. We're going to target 3:18 duration." All right. We'll go down target duration, 3:18:00, right? Three seconds, you know-- Oh, nope. Let's do that again. 3:18, right? I'm just looking at that and now it's matching. Okay, so it's going to go in and it automatically adjusted things there, right? You could adjust to have more segments or fewer but this is basically, like sampling parts of the song, right? So here we go.

So it took a three and half minute-song and made it a three-second song.

Now that was ridiculous as an example, but, like, when you have a 2-minute and 30-second song and you need a 2:45-second song, this thing is amazing or, like, it's like, your stock music is 3:10 and you needed to be, like, 2:45, this thing is great. And it will go through and find where the music repeats itself, where there's the beat again, and that will just snip that out and tighten it all up and blend it together. And again, never do this in front of the client.

It's our secret. Just say, "Yeah, man. It'd be so much easier if the room was quiet. Go get a latte. And I'd like a triple." And they leave and then you do your thing. Okay. Okay. Good. So that's Remix. It's really useful. We're almost out of time. I'm going to show you one more thing. So easy enough, we talked about auto-ducking, generate keyframes, totally useful. Remix is in the duration thing. So you just select it, and then you can go in. There is a separate tool. If you want to drag it, it's under Ripple Edit, or you could do it in the Essential Sound panel. I find it way more accurate to do it in the Essential Sound panel.

Okay, customizing the keyboard. This next dialogue is very intimidating, but it doesn't have to be. So keyboard shortcuts.

Purple means it's always this key. Green means it may have a different value depending upon the panel you're in.

So first up, there are presets for other apps if you come to Premiere from older versions, or Final Cut, or Avid. But you can go into each panel and say things like, "Oh, yeah, in the Effects Panel." And then I could start to see, like, what happens when I use a keyboard shortcut in the Effects Panel. Oh, there's plenty to assign or, you know, I use Multi-Camera a lot. Oh, in the Media Browser panel, I want to customize shortcuts. See, like, you can go in the Audio Mixer. So you can assign specific shortcuts, but there's a great little search engine down here. So for example, I'll type in the word angle, right? And it'll start to find things or camera. And there's Multi-Camera, right? Cut to Camera 1, Cut to Camera 2. Oh, I use this thing all the time. And I'll just start dragging that right onto the numerical keypad so that I can do a Multi-Camera Edit by just typing in the Camera angle 1, 2, 3, 4, right? Every command is here. So if there's something you're looking for, you can find it. And you can see, like, maybe you don't want the Return key to be Render Effects In to Out. Like, that one screws me up all the time. I could just get rid of that keyboard shortcut there and, you know, clear it out. And so you can actually just click on the X to remove it. Or maybe you have something you need to do all the time, right? Like, "Oh, yeah." I want to go ahead and, let me just type in the word gap. Close Gap. Oh, I want that to be mapped to Alt+Delete, right? So you can go in and start to assign or Shift+Delete, right? So you just click and it will start to map things to the keyboard shortcut. Shift+Delete, Close Gap. Right? And if the keyboard shortcut was already used, it will warn you. So this gives you a list of every single keyboard shortcut that exist, and the ability to customize it. Now some of you are going, "If only there was such a magical list of every keyboard shortcut." Yes, there is. It's just hidden, right? This is like the theme of Premiere. Let's hide the good stuff. Copied to clipboard.

Switch to a text editor of some sort that you want to use, okay? And you could just open that up and paste it in and there's all your keyboard shortcuts. And if they've been assigned, they're going to be in there. And so there's your keyboard shortcut list. Okay, it's easy. All right. So we covered a lot. Tomorrow, couple of things 'cause we're at the end. Tomorrow, I've got a class, in the morning called Getting Better Color. It's super early. It's at 8:15 in the morning. It will be fun. There will be music. Come to that. And then in the afternoon, I've got one called Cloud-First Workflows, which sounds boring except it's about working with Camera to cloud and how, like, you can connect cameras and have stuff pulling in. I love Frame.io and so we use it all the time. I'm using an app here called Mylio, which is a tool that I work on, and you can download it for free. There's paid versions, but there's also a free version, and it lets you connect and grab things from any Frame.io project that you're collaborating with others. And with just a click, you can pull down any Frame.io project right to a local folder on a local hard drive and have everything backed up for offline access, so that you don't have to have the live connection. And it makes it really easy to browse. You can grab folder by folder. Additionally, there's a Publish tool to put a new version back up to Frame.io and then its super simple. And so I use this because when I have is I put Mylio on every computer that I use. And this way I have everything searchable and syncable. So I can go in and do a search and I could just start typing in, "Hey, I'm looking for files that have animals in it." And I'll just start to type a word and it will actually filter. So watch how simple this is. It uses AI and what you can do is just do simple switches. So you type in a word and it'll be, like, "Oh, yeah. I'm looking for animal. And it will filter through the whole library and narrow it down." Oh, I'm looking for not just animals, but footage type here and only video of that. And again, it will search your entire catalog and find everything and use AI to narrow it down. So it's really useful and it creates an AI index of things. So I manage this product. I really like it, and so I'm letting you get it for free for three months. So to wrap things up, you get a survey. Please score it. This is my tenth Adobe MAX. I love coming to Adobe MAX. They invite me because people fill out surveys, okay? So please fill out the survey if you like a class. It helps. Trust me. Also, they give away prizes.

If you want to get in touch, I'm not too hard to find, I blog at Photofocus, which is a great blog about photography. I work on Mylio and Radiant Image these are two different software products that I help design. And you can look me up on LinkedIn, so nice and simple, so easy to connect. I'll put the slide back up at the very end. And as we mentioned, if you're on the show floor, just stop over. The Frame.io Importer is totally free, but they'll give you 3 months of Mylio Photos+, which will keep all your devices in sync, and it automates 3-2-1 backup. Totally works with Adobe, video, and still apps. And I mentioned you should join the Premiere Pro Virtual Summit. I hope you guys come out and, there'll be a free online learning. So in the peak of winter, when it's cold as heck, unless you live some place nicer than me, then I hate you. You can all get together and learn for a week, all about Premiere Pro, okay? All right, thank you guys for coming out. I hope you had fun.

[music]