[Music] [Richard Harrington] Good morning. I'm glad you guys could be here. We're going to be taking a look at stuff that's referred to as Beyond the Basics. Now what this means is three things. One, it's not meant to be the hardest stuff in Premiere, but it's meant to be the intermediate stuff, stuff that's truly useful. Two, half of this some of you will already know. It's the other half you don't know that will hopefully vastly improve your life. So if you get to the end of this class and you truly learned nothing, come see me afterwards, and I'll find something that you need to know, okay? But our goal here is to give you truly useful information. Third, I don't work for Adobe. So if you have feature requests, bug reports, or anything else, go to the show floor, find the Premiere Pro team, and tell them because telling me will just get you a sympathetic nod, okay? And it won't actually change anything. So if you're going to go to Adobe and you want additional ammunition, I'll give you some bug requests, like, it'd be nice to have a media manager that has been updated in the last 10 years. But besides that, yes, one person understood that one. So besides that, there we go. All right, let's jump right in. So some of these things are advanced. Most of them are intermediate. However, people's definition of intermediate and advanced varies greatly. So depending upon your level of training, where you learned, how you learned, what you did, like I said, this is a grab bag class. We're going to go through about six different areas.

My name's Rich Harrington. I'm an Adobe Certified Trainer. Actually, I am the trainer that certifies other trainers. So technically, I know my stuff. I like this program deeply. I've worked on it from a long, long, long time, and I'm a former co-author of the Classroom in a Book, as well as an editor's guide to Adobe Premiere Pro, okay? So we're going to cover different areas of the application. Those areas include how to do transitions, how to do chroma keying, how to remove background noise from an audio clip, it was a relatively new feature. It's wonderful, but there are a couple of workflow things that are still a little bit weird. Hence, it's still, kind of, in beta. We're going to talk a little bit about multi-camera editing. How to use Dynamic Link and Render and Replace. Render and Replace is a killer feature that very few people know about.

And just some cool things in the timeline to help you move through the timeline quicker, okay? So that's, kind of, what we're doing. My name's Rich Harrington. My job is to, kind of, work with photo, video, and AI overlapped. And I've been doing this for a long time.

I've written about 40 books and more than 200 full length courses that are available online. At some point, I might have popped up in one of your classes. My live persona is much more sarcastic and is not edited out by other people so that means that I actually grew up as an editor with people talking to the back of my head or tapping me on the shoulder when they wanted me to make a cut. You understand that that's a traumatic experience when you're treated as an extension of the computer and not a person. So I have a deep sense of sarcasm, but it's not mean, so if that offends you, I apologize. There's Red Bull outside. We'll move forward, okay? That's what I do. So this is me. Thanks. We'll move forward. This is some of the books I've read, and written, and read. So there you go. All right. So through the years, I work on a lot of different software applications. Currently, I'm working on an application called Mylio Photos, which is a project that is privacy-centered asset manager. You can get a free copy on the show floor, and it uses AI. And it fully works with Frame.io and video assets as well. And Radiant Photo, which is AI-powered image editor, but I've either product-managed or contributed to these other products you see on the page at some point in my life. And from time to time, I go to TV stations. If you own a TV station, let's talk, but you get to buy the steak dinner. Okay. And there's how you reach me. Let's jump right in. Okay. Oh, last thing, and we'll get to it. If you want to learn more about Premiere Pro, we've got an online event, December 3-7, and we'll be having an After Effects event in February. You can just go to ppaesummits.com It's totally free. I'll put this up at the end, so I'm just mentioning it to you. It's going to be a week of a Premiere training and a week of After Effects training, totally free to watch with a lot of the great people who are here at MAX and a bunch of other fun instructors. So I encourage you to check that out. Whenever we can, we love to give back to the community, and that's why we're doing this. Okay, transitions.

No one would accuse Premiere Pro of having the world's most extensive collection of transitions. However, you should still know how to use the ones that are there and what you can do with them. So first up, when you click on a transition, there are a lot of things actually available. So yes, you can double-click and get the duration. But if you click on it and you go up here to Effect Controls, a lot of people miss this. It might be the scarring traumatic experience of looking an interface that hasn't been updated since 1994, but it actually does have some power within it. And A is the left side, B is the incoming side. And so if you apply something like a slide, I can change that, right? So it goes from different directions. So or sometimes you can do things, like, see the actual sources here. So it's a little bit easier. Apply a bit of a border to the object as it slides in or out if you want a border, right? Make those core adjustments within. And importantly, apply a little bit of anti-flicker if you're getting a little bit of vibration or shake on some of those, right? So as you are choosing a transition here, you'll see the ability to do things including anti-aliasing, which also will help if the transition is creating flicker or noise. So that's just the idea that most transitions do actually have the ability here to be tweaked. And so depending upon the transition you apply, you will find really basic things up there to much more advanced things up there. And so as you look at that, you'll see that you have options. Now Premiere has not touched its transitions in a long time, except for these immersive video ones, which I'm going to show you a little bit later. Nobody ever touches them 'cause they're labeled for VR. They totally work for non-VR, and they're, like, one of the few transitions that Premiere has actually touched anytime recently. Okay, we'll cover those more in just one second. By the way, great shortcut Shift+1 will always take you back to your main project panel. So, like, you might have seen there, like, I was buried in here. And I was like, "Wait, where's the panel? Let me scroll left, right, where the hell did it go? Shift+1." That takes you back. While we're talking about keyboard shortcuts, the next logical place to go from the info panel is Shift+2, which is the source monitor. Shift+3, you put the footage into your timeline. Shift+4, you take a look at it in the program monitor. Shift+5, you edit its effects. Shift+6, you probably skip this audio and just go to the Essential Sound panel, but it's there in case you want it. Shift+7, you can go and browse effects. Shift+8, you need to eat some more media, so you go to your media browser. Shift+9, you skip this too. And then Shift+0 is, I don't know, not used yet, but eventually they'll find some tool to map it to. But those Shift keys are, kind of, logical, so you can get exactly to where you need. While we're at it, if you're ever struggling to find things and you put the mouseover something, pressing the accent grave key, in which people incorrectly call the tilde key, which is the squiggle. If you're from a foreign country, this is called maximize frame under keyboard shortcuts. We'll maximize the frame so you can stop dragging your panels all around or undocking them, put it again. You can do this to see this. And if you're over this window and you press the Command, sorry, the Ctrl+Tilde key, you will get to a full screen experience that hides all the UI. In engineering terms, we call this chromeless. In practical terms, it's called, this is how you should play it back when you're showing the client, or the exec, or anyone else because if they're looking at anything except the picture, they're going to offer you completely useless feedback or be wondering what all those colored dots are in the timeline, or the markers, or how could they add more comments to the timeline too. Just show them the video and nothing else. And while you're here, you can still use your up and down arrows to cut between transitions. You can still add a marker with the M key if they make a comment and then go back and fill within. But if your goal is to get people to accomplish something, don't show them things that are not a part of what you're asking them to accomplish, okay? Treat them like, I don't know, preschoolers and only show them what they need to see and nothing else, and you'll make some accomplishments and get done. All right. Everyone good so far? Okay. All right. So additionally, here, you know, when you got your transitions, lot of people don't realize that you could just drag these, right, within. So if you need to change where it starts, you can actually offset that, which is useful. You can click on the end, and you can stretch it, shorten it, etcetera. So you can finesse those transitions. Additionally, here, if you don't have enough handle on a transition, meaning overlap on the clips, you have a couple of options. So one of those, for example, and by the way, this is a search engine, dip, right, I could just start typing Dip to White. Great. There we go. You notice in this case that the transition didn't let me put more on there. Like, it's like, "Hey, I don't have enough media." Well, here's the thing. You can ignore that and force the issue. So if you need a longer Dip to White transition, for example, you know, I can come in here, make that a little bit longer. And then up here in the transition editor, located in the Effects panel, you have this.

And it's showing you, "Oh, you ran out of media." But guess what? With some transitions, you can force the issue. And what it did in that case is it just put in a freeze frame of the underlying clip, except that didn't actually matter because in this case, we were doing a Dip to White, and so it's totally fine that that was there. So as we approach that, it was still an okay transition to use. Some transitions you would see that. Like, if we just put a Dissolve in there, it's going to go ahead and basically...

Put a little freeze frame, but did that freeze frame act too problematically? Not really, right? So sometimes you can get away with that. So the thing I just want you to realize is that these zebra stripes here mean you're using a freeze frame. And that's much easier than having to add a frame hold segment, adjust it, trim it, slip it over, it's built right into the tool. It just basically you have to go in there and force it, okay? Speaking of forcing things, this is not related to a transition, but I always want people to realize this. So, like, let's say you recovered your highlights and it's still not enough. This **** goes to 150. It just stops at 100 on the slider because this is not recommended. You decide what's right for you. Okay, so notice I was able to just keep going there on that highlight recovery and bring back more of the sky. Now on this, we don't need more than that on shadows, but I could lift up the shadows and then pop the black the other way a little bit for rich blacks. And, you know, same thing on some of these others. We don't need that much vibrance, and it's not going to let me go, it's like, "No, I'm really sure that's enough vibrance." But you got that. And remember, if you ever need to, you can click right up here on the Lumetri effect, and, you know, you got it all listed, right? Oh, there it is. Cool, right? So, you know, you could be in Lumetri, and you could just apply another Lumetri effect on top of that. Or you could just duplicate that effect. Same thing, copy paste, or add a second one. So if you're running out of an adjustment, you can stack these if you need to. All right, let's keep going forward. Shift+1.

Morph Cut.

Okay, the Morph Cut is an unusual tool for crappy production.

Okay. It's pretty much what it's for, like, it's like, "Wow, those white flash frames are so annoying." Let's make something that's even maybe more annoying because nobody knows how to shoot B-roll or have a budget. But that's not your problem. Your problem as the editor is to fix it and to deal with what you have. So, you know, in this case, we had an interview with no B-roll. I marked out some areas and, you know, we deleted those and closed the gap, you know, and so we had to slam these sound bites together. Great. You know, I'm just, I had these areas pre-marked so that it would be easier rather than you watching me cut. All right, under the Morph tool, which is an effect or a transition. Again, this is a search engine. So use that to your advantage. You have a Morph Cut. When you apply it, it's immediately red because it is analyzing the sequence, okay? Now all this effect has is analyzed and the ability for a duration. I generally find that a shorter duration is going to be better than a longer duration and you might have to trim it from time to time.

So there, even with a little camera bounce, you know, it, kind of, converted. And as you do this, don't be afraid to shift it, right? So, like, it's got to finish analyzing there. Can't apply to a single clip. Oh, that's weird. So it won't just let you slam it all the way overseas, so you got to back it up just a little bit.

My take is, is if that wasn't going to work, why did you let me slide it over in the first place? But yeah...

What do I know about making software? Okay, so now it's applied. It's done analyzing.

That felt a little better. So I would suggest, you know, start just a touch shorter. And then since you can click on this and, kind of, tweak it, you know, just make little incremental improvements and then watch back. But you got to let it finish analyzing. This is a pretty intense effect, okay? So as you tweak it, it's going to think. But it is good for hiding little things like that. And that is less jarring than a flash frame, but you have to find it and you have to be willing to accept that you can't morph from someone looking this way, did someone looking this way, without it feeling like that scene in Raiders of the Lost Ark when the face is melted. Okay, it doesn't work. So be reasonable with this and use it to cover things like jump cuts, or it's also great if you need to do something instead of just a slow dissolve, like, if you have a time-lapse shot, it can work pretty well for that, or a lock-off shot and you want to quickly show the passage of time. It can do some good things. Everyone good with the Morph Cut? Okay, great. Let's keep going.

Yeah. Here's another one. Flash frames. So if you toss in a layer color here. This one's pretty simple. What I like to do is just throw on the layer itself. And if we take a look here with the Opacity Overlays, Clip Keyframe Overlays, Opacity. You could see that I just did a little bam bam right over that. But if you just do it with the color itself, it's super boring.

But this here, by the way, if you're not trying to make these, you just click here and you choose color matte. So that's all it is, is you just pick a color. Now what I can do is go into the blend mode and try things like Hard Light or add, right? You could play with different blend modes here. Screen can get really bright. And what it, kind of, does is more of a burnout type transition there. Like, see how, like, it blew the highlights? And so you could play with these different blending modes, Linear Dodge.

And when you combine that, you get more of that like film flash type transition. Now I did that really slow. Let's just pull that in a little bit tighter there. So it feels more like a flash.

And if you want, you can add a little bit of a spike in there.

So it's a little bit irregular.

See? So those are fun. You can create nice flash transitions there. And you can also do this with rendered elements. So you can make these with After Effects. There's tons of places you can get them. And again, just select the element and change its blending mode. A mode like Screen is going to drop out the dark areas.

And now you can have more transitions that you just put above the edit. So a lot of people don't understand like when they go to some of the stock footage sites, what are those like pre-rendered things for over black? They don't even need an alpha channel. In fact, they work better without an alpha channel because the footage can, kind of, mix like that, which is cool, okay? So those are easy enough. And there is a whole another category of transitions that you probably never touched called Clip Based Transitions, right? They're up here under the Video Effects, Transitions, right? You know, like, what were those for? This is where you can apply them to the clip itself, the entire clip. And then what you get to do is load something into that. So you can grab a transition or a gradient. So you can make these in Photoshop. You can make these any way you want.

So let me just make a new video size file here.

Grab your Gradient tool, G for Gradient, for example, or come on over here, and you can click and just make a new gradient, right? And so here I would have a beautiful soft edge transition from black to white. But I don't want just a plain boring one. So I'm just going to fill that really quick and render out some clouds, right? Let me load black and white. Let's render out those clouds again.

Filter, Clouds. And then I'm just going to, sort of, mix that together just a little bit like that. And so you can use blurry photos, pictures of texture, metal, whatever you want, and make your own transitions. But you want to make sure that ultimately, you have a black point and a white point. So that's why I applied to the levels adjustment and snuggled the black point up to the rise and the white point up to the rise. If you don't have a clean black point and a clean white point, the gradient transition pops, the gradient white pops, okay? So now you can save that and use it. Put it in a good place. I'm not going to do so. I'm just going to... By the way, anybody else pissed off by this default Save to cloud is always on, no matter what you do.

Okay, somebody else tell them that with your feature request. All right, so TIFF, Cloud.

There we go. Great. So now you can bring that in and, just, you know, navigate. I'm pretty sure I put that in my download's folder by mistake, but that's okay. Yep. And you cut that above the object you want to use.

Now what you can do is say, use the gradient on video layer three. Now a couple of you are like, "Wait, how does that work?" Right-click, you could actually un-enable that, okay? So that's going to allow you to, kind of, make that transition. And so then you can do things like adjust that. Hey, start 100% wiped off with some nice softness.

Let's go with, like, 25% softness to start.

Keyframe, keyframe. Jump in a little bit, go to zero.

So now look at that, like a really, sort of, organic burn on. You could take a photo of a flame. You could put a video layer up there if it's black and white. So you could do really cool things and, of course, play with this softness here until you, sort of, get the results that you want. But this is one of those effects. And it's like, "Oh, that's really cool, just invert it. I wanted to go the other way from left to right." See, even now we have, sort of, like, a nice grow on. It's great for titles. It's great for overlays. It's the Gradient Wipe Transition, but you apply it to the clip itself, okay? So there are, the ability to also do a regular, although it's in the obsolete category, that's a bad sign. When you're placed into the obsolete category, that's your notification to stop using something. So someone's like, "What is the absolute category?" It means they want to kill it, okay? So I wouldn't use that one down here, but that one did let you put it between two clips. But Adobe has marked this one for deletion unless, like, I don't know, there's a mass market kickstarter campaign to bring it back. So but you do have that. And you do also have the VR Gradient Wipe, which is pretty cool too, which you can use between two clips. All right, I want to put transitions aside 'cause they're okay. And I want to move on to a new area, but that's kind of some cool things. Let's talk about keying in Premiere Pro. So keying in Premiere is pretty straightforward.

I'm going to let you guys pick which shot we keep. One, two, three, four, five, six, seven. Any preference? Six? You went with the hardest one this morning. Thanks.

All right. No problem. We'll do our best. So with keying in Premiere.

There is a decent keyer in Premiere. Should I mention there's an Academy Award keyer in After Effects? Seriously? No. But if you're keying in Premiere, it's because you're trying to just get the job done and you want to show results immediately. The Ultra Keyer is still quite solid, okay? However, what I'm going to do before I key that is I'm going to type in the word channel here, right? And see, I'm going to go down to Channel Blur, which is also marked Obsolete. We clearly have to talk to somebody and put just a little bit of a blur there in the green channel, and that just puts a little bit of smoothness to remove that. Now I'm going to turn that off temporarily, but notice there... You see all those wrinkles in the green screen? Gone. All right? Not bad, right? Just, kind of, cleaned it up. Now let's going to be not so aggressive. I'm going to go with two. But seriously, before after.

Is that good for everybody? Like, just blur the green channel. You're like, but the whole image will be blurry. No, it won't. The whole image is fine. Everything's cool. It's still sharp. Two out of three channels aren't bad, and one's only a two pixel blur, okay? Most compression artifacts cause more than that. Do you guys see how much that cleaned up the green screen like that? I can even go down, like, whoa, but maybe if one is enough, one is enough, so just keep lowering it until it gets rid of the noise.

And if you use blue, then blur the blue channel, okay? Easy enough. All right, Ultra Keyer.

So Ultra was some technology Adobe bought from a company called Serious Magic. It's pretty awesome keyer. It also brought some really great people like Karl Soule to the team. And what you can do here is select the key color. So go pretty close to your subject and click.

Then switch on over and view the alpha channel before you key this, okay? This is what's transparent and what's opaque. Transparency and opacity are polar opposites. Black is transparent, white is opaque, meaning it shows there, okay? So as I look at this here, that's really not that bad. That blur did a great job of cleaning it up. But what we can do here under Matte Generation is take a look at the Highlight controls...

And the Shadow controls a little bit. And you see that little area there, like, in her cuff, right? What I'm doing is refining that so that it didn't disappear so that, like, the reflection of the green on the inside of the fabric of her cuff that was a little bit reflective wasn't becoming partially transparent.

So again, you want to go down to as low of a value as possible so that you're not pushing that too far. This is the area right here I'm talking about. I'm going to lower it so you see it. Everyone see the holes in the matte. And then just bump this up. By the way, with most sliders, if you hold on the Command key on the Mac, or the Control key on Windows, you see how it goes from jumping with full jumps to decimal jumps. So instead of jumping one whole number at a time, it starts jumping in tenths, which made this much easier to refine that until it was cleaned up, okay? There we go.

Tolerance, Pedestal generally don't need it, but Matte Cleanup can be useful. Choking pulls the matte in or out, okay? What I tend to do is pull that in negative one or negative two. You know, so like basically that's a positive number, like, this is contracting. So I'll just go in two right now, two pixels, and apply like a one pixel soften.

Not bad. And at that point, I feel pretty good about the alpha channel.

Now I'm going to look at the color channel.

And I'm looking at the Spill Suppression.

So what this is doing here is by default, it's desaturating a little bit. It's trying to remove there were green from spilling onto her.

But you may not want to be as aggressive with it. So, you know, you can try backing that off.

Spill Suppression is also useful, and that is how aggressive it is at looking for green reflections. So for the person in the room who picked up that that white cuff there and the shiny coffee cup were a problem. Thank you again for picking the hardest shot before I've had a Red Bull.

But it's working, which is good 'cause I wouldn't have put it in if it didn't. And under Color Correction here, we'll talk about that next. So now we can switch to the composite.

And that's really not that bad, right? With that little green spill and everything else, we're really getting there.

Now we have a little shadow there. I can see it hitting where they're at intersection as she drinks. So that's where you can play with this a little bit.

And start to play with your Shadow slider.

Clean that up.

And you might have to play just a little bit with the highlight and transparency to erode that a bit.

All right. Additionally, at the bottom, you have Color Correction, which allows you to adjust the Saturation and roll the Hue if needed so it better matches the background. But here's my trick. I just take the background, put it on top and blur the hell out of it.

So it is representative of the image itself, okay? So we just get the color palette of the scene.

Then what I do is just change the Blend Mode to something like Soft Light and lower the Opacity down.

And you have instant color matching to your scene.

So by blurring a background copy or a freeze frame of the background, if it's a little bit too busy. You can overlay that on top in a mode like Soft Light or Color mode and gently pass the color onto the scene below it and just lower the opacity to taste. And I'll just toggle that on and off so you can see it. Look at how it just relit the scene to match the lighting of the environment. It's a super simple basic trick, okay? Everyone doing okay this morning? All right, we're going to go pass keying then, unless there's another keying question, it'll take up to one key in question.

Good. Where do I key? I key in Premiere first until I get approval on the rough cut and then I go to After Effects and use the real keyer there. But you can pass this whole scene on to After Effects with just a right-click Dynamic Link or copy and paste right into After Effects. We'll talk about that a little bit. Actually, I'll jump ahead to After Effects since you asked so nicely. So here, 'cause this is actually something we had later, the Render and Replace.

What you want to do is always make a companion After Effects project. So if I've got this project called S6614, which is just the number of this class. It's nothing important. I would, you know, launch After Effects and make sure that I have a similar project running, okay? And this way you've got a place to receive things when you send it, and you have an After Effects project and a Premiere project that, kind of, go hand in hand. So Save. That's great. Yes, I have plugins you don't like.

Next. Next. Go away. New project.

And so let's just save that.

Save as S6614.

And I'll put it next to the same material that I started off with so that my Premiere project and my After Effects project are side by side. So now, when I was in Premiere and I achieved lock, I could just take that right-click and say, Replace With After Effects Composition.

Now it's since I'm in the Premiere Beta, going to launch the After Effects Beta. I'm using the Premiere Beta 'cause I want to show you later the cool noise reduction feature, but you get the idea. All right. So now it brings it in. That's fine.

Same thing, be sure you save that project.

We'll just call that A. And everything came across.

There's all the material, right? It tried to bring it across. Now without going too far here, let's just pull that in. I'm going to check my Project Settings really quick. You're like, "Why is it so weird?" It's because it's using Project Settings for a different color space than I actually want to be using. So I'm just going to make sure that I'm using Adobe color managed and that I am in Rec. 709 and our color's fine. All right, so here we go. Keyer, come over to After Effects, type in key, and I'm going to grab this magic little utility up here, which can't read which is basically three effects in one and drop it on. The first one is a Channel Blur. Oh, look, a one pixel Channel Blur. Yep. We're in agreement. That's a useful technique. Keylight, grab, click close to the subject. Now you're like, "That looks really weird." It's because on purpose here, they're not using the final result. See how that final result has that weird edge? They're purposely leaving that green in because then this amazing Key Cleaner and Advance Spill Suppressor kick in, and there you have it. Now you could refine it, and I'm not going to go in, but as a one-click solution, that was pretty good. And same thing, we can View the Source Alpha and clean that up, or take a look at the Screen Matte there, which I can see. And it's like, "Oh, yeah. I just need to clip that black a little bit. And clip that white just a little bit." And then I can despot some of the white and black areas and clean that up. And you can go in and add tracing and other things to clean that. And there you have it, and that's great. And look, the blending mode of Soft Light carried right over from Premiere to there. Save, switch back. Now here was something I was going to teach you later, but we're going to get it out of the way.

Dynamic Link is awesome. It lets you like drop an After Effects project in your Premiere project. But what happens when you get like five live After Effects projects in a timeline.

Yeah, a lot of intense fans kick on. Your machine groans. It starts speaking in droid, like, why do you hate me? So here's the thing. Render it. You know, like, but then you don't have the live project. Yes. You do. Watch. All you have to do is right-click on that thing. First off, start by checking your sequence settings. And if you're in a time crunch, make sure your Sequence Settings match your delivery format for the Preview format. So now what you could totally do is just choose Render and Replace.

So it's like, "Okay, what do you want me to do?" Oh, hey, take that clip from the sequence. No problem. Go ahead and output that. You could pick. Go ahead and choose a file format that you want. Hey, I'm doing LT. That's great. Put it right next to the original media or you could even browse and pick an output folder for it, and it's basically making a temporary After Effects render for you. And I'll say include handles so I can trim it. Wow, you mean, I can actually, like, add a Dissolve afterwards? Yep. And go.

And it's going to basically process that and turn it into a rendered piece of video that plays in real-time. There's no hit on the system. And you're like, "Yeah, but what happens after the client looks at it? And I need to make a change. Do I have to save a version of the project, or undo, or redo all my work?" No, you just right-click and you say that you want to go ahead and restore the unrendered project, and you're right back into the live After Effects project and even click Edit Original and go to After Effects and work.

And then go back and then render it here. So this is like the best thing in the world. It basically triggers the render in After Effects, renders it to the exact file format that you need for your sequence without the intimidating render dialogue box that After Effects has. And whenever you ever you need it, you could just say, Restore Unrendered, and you get the live project back ready to work. This is the missing component that they don't teach you usually when you learn about Dynamic Link and it makes Dynamic Link work. Don't leave a **** ton of live After Effects projects in a Premiere Pro sequence. It is not meant to be. Drop them in, replace them with a rendered piece when you need to change your mind, flip it back. Now that was later in the presentation, but you put it in the right spot there.

All right, let's keep going. We got about 25 minutes left. So when you download the slide decks later, there's some notes in there to help you out. We talked about that. With Keying, the Ultra effect works really well. This is my daughter. She's saying hi.

And what you generally want to do is remember, transparency, highlight, and shadow are quite useful. They're going to get the job done. And tolerance is going to deal with issues from foreground to background. So that tends to work well. You only need pedestal if there's a lot of grain so... And then the Matte Cleanup tools are quite essential so all of that is in the deck. I showed you those. It's pretty straightforward. Okay, let's go to audio for a second. And we're going to talk about cleaning up some noise in audio and how it works well. And we'll also talk about improving speech and matching levels, okay? Let's go forward.

All right, Improving Speech.

First up, when you're working with audio, I strongly suggest just going in and switching to the audio workspace. That's going to make things a little bit easier for you. And if things are, kind of, janky, you can always reset that workspace to the default layout. That should help, all right, kind of, get you in the right ballpark, okay? Then what we're looking at here is, how we can get things done? I'm going to tell you with absolute sincerity that I have not touched the audio clip mixer in three years, okay? This is old school, and you almost never need it anymore, okay? I know we loved it in Final Cut 7, and that was great. And it's time to grow up and let computers do their thing. Now if you really like this, feel free. I do use it sometimes. I do use the sequence version of that. And what I'll sometimes do with the other one there is the Audio Track Mixer here. I'll go in and use that to apply filters and stuff at the track level and that could be quite useful, like a noise reduction filter, or like, hey, to the entire narration track, I want to be able to go in there. And so, you know, you can twirl this down and actually add effects to the entire track. Like, "Oh, hey, on all the narrator clips, I want to apply one global effect to EQ the narration." That's way more useful than cutting the narrator in and applying 74 instances of the audio clip EQ effect, and then realizing that the client wants a change. And then you do remove attributes and then copy and paste attributes, but you miss to, and you hear it for the first time in a giant room at the conference, like, "Oh, I missed the audio on that." Don't do that. Apply a track-based effect and just keep everything on the same track. That's the same thing, like all of your narration. That's what those are for. So notice, I didn't say that the Audio Track Mixer wasn't useful. I said the Audio Clip Mixer was 10 centuries old, and you shouldn't use it. Okay, so over here, what we can do is lasso everything like the interview. Mark it as dialogue and it's cool. Now notice, they try to give you this auto-tag feature. It's okay too. It'll, kind of, analyze and try to help, but that's fine. It actually works pretty well. But there, it label that as dialogue. If you got it wrong, you can clear. There's useful Presets like Low Tone or High Tone, okay? These used to be called male and female. It doesn't matter anymore because I know plenty of men with high voices, and I know plenty of women with low voices, pick the tone that matches. If it's noisy, you got Cleanup Noisy Dialogue Presets. These are all quite useful with the exception of the ones that say, like, in a large room, or from the telephone, or the radio. Those are just weird. But I'll just apply this here, and it applies a great little EQ like a subtle boost, and it's basically pushing the area where that vocal range would be.

First years of me playing out were always with band, I never played solo. And then as I got older, you know, I thought maybe a solo career might be a better fit for me. And so the last few years have been headed in that direction. Now besides the ability to do those things, Clarity is pretty awesome. It adds just a little bit of extra detail. I would suggest you click Analyze, and that will clean it up. Then on top of that, under Loudness, choose Auto-Match. And that will get everything to the correct target volume and matching. First years of me playing out were always with band, I never played solo. And then as I got older, you know, I thought... All of the volumes are consistent and I didn't have to mix any of them.

It knew when you chose to set this as a dialogue track and you told it to match, not only did it match them, it set them to the appropriate broadcast level of volume. And if you're going to the web at the very end, when you output under the Audio Track Mixer, instead of remixing all of your audio, just bump up the master volume here with one single slider before you go to the web and export a louder track. This is your global volume slider. You don't have to remix everything. You could just globally lift the entire levels before you export.

Does that make sense to everyone? Like, broadcast levels are lower than web levels. Just get them higher with one slider. By the way, there's a terrible disservice being done to you in the audio tools here, okay? I'm going to mute my volume for a second so the audio operators don't wonder why it went away. On the right here, this is stupid. You can't tell if you're hitting yellow or red, and these indicators are bouncing up and down. Right-click, turn off the Color Gradient, right-click, tell it you want Static Peaks. Now you will definitively know... Oh, I just hit red. See that? I could tell that I hit red 'cause it's red, not orangey. And I could see that I'm getting up into that negative three zone, which is problematic and I'm going to get yelled at by the engineer. So now I could just jump on over here and make sure that I didn't, you know, bounce that anywhere that I didn't need to, or I can globally lower it a little bit, right? And you can look at those options.

And my point being is that every time you do this, it's going to basically reset those peaks. So you can come over. You know, there's your Static Peaks, that's great. Reset Indicators, it goes down.

And now you could totally see your max peak. Does this make sense to everyone? This is really, really useful because you don't have to sit there like this the whole time. Did I hit red? Did I hit red? Did I hit red? You just, like, let the sequence play and then look at it afterwards. It's like, "Oh, yeah, it's a little high." You know, I need to pull that down. And you could totally see where you're hitting. So just make that change, just right-click on the tool. It's really useful. All right. Well, let's go back to the panel here. We talked about that thing. We improved some speech. Background noise. So there's a couple of ways of doing this.

The lighting industry is a fascinating industry to work in because let's face it, you're, sort of, creating a look, you're creating an image within the image. Okay. Mark that as Dialogue.

Under here, we have a couple of options, right? We can do Vocal Enhancer. That's useful. But we do have this Repair section, okay? And, you know, we have this ability here to Reduce Noise, okay? That's going to help.

And let's listen. Well, the lighting industry is a fascinating industry to work in because let's face it, you're, sort of, creating a look, you're creating an image within the image. That's okay. There's a newer tool that you might want to work. 'Cause see, this Reduce Noise, if you overdo it, it's called basically sounding like you're underwater. The lighting industry is a fascinating industry to work in because let's face it, you're, sort of, creating a look, you're creating... Right. It sounds a little underwater. Up here, we have this new Enhance Speech. It's very processor-intensive, and it's really annoying that if you start editing, and cutting, and trimming, and moving clips around, you have to rerender it every single time right now. I think they're going to fix that. Do this at the very end when you've locked a clip down. Don't turn it on in the middle. Just use it at the end when you've got, like, time lock, lock because if you start slipping clips around or you, like, extract, it wants to reanalyze the clip and like, on a webinar, that could take, like, five minutes for an hour long clip. But here, let's listen to it. Well, the lighting industry is a fascinating industry to work in... Much better. Because let's face it, you're, sort of, creating a look, you're creating an image within the image. So I think it's pretty wonderful. Well... That's a pretty amazing adjustment, guys, right? So let's just turn that off for a second.

The lighting industry is a fascinating industry to work in because let's face it, you're... All that traffic noise, that wasn't, like, simple air conditioning hum. That's, like, we purposely recorded this next to a major intersection just so you could see how bad it was, right? This is a demo clip. Like, I'm like, "What's the worst audio I have?" Okay, let's go make it worse. But you see how great that is? Like, this thing really does work. It's Enhance Speech, and then you can apply Loudness. If you still need to, you can reduce the noise, but in general, I stay away from it. I might use the DS to get rid of any sibilance if there's there.

The lighting industry is a fascinating industry to work in because let's face it, you're, sort of, creating a look, you're creating an image within the image. Okay? So take advantage of that. I think at MAX here, it might have moved from the beta to the real release. I can't remember if it graduated. If not, it's in the Premiere Pro public beta right now, so you can't access that. And I'm excited to where that's going, okay? And, yeah, we talked about matching. Just select clips. If they're music, same thing. You can go ahead and adjust the Loudness and Auto-Match. Let's just take a look at how diverse these are here, right? These are all over the place. There's those waveforms.

Auto-Match. And boom, perfectly mixed. So stop using the clip mixer and start modifying the files. The possible notable exception is, is if you are exporting things that need to go to other people and you're not giving them your source clips that you've modified, but instead, you're giving them all of, like, the original files, and they're going to need information like clip game changes and things like that, then if you're doing things like OMF, yes, you might still use the old school way. But if you're the one doing the audio mix, this stuff is golden, and it's really worth it. And some of those other tools can read this information. Just do an experiment before the audio person yells at you.

All right. Real quickly, Multi-camera. Multi-camera productions are incredibly useful these days. I don't care what your budget is. It's always cheaper to have more than one camera than it is to shoot more. So we've been doing multi-camera for years. Sometimes our multi-camera involves just real basic things like phones and action cameras. I've got a simple travel kit with four small Fujifilm cameras in it that popping a little switcher like this that I can do a multi-camera interview with or a webinar with, and it fits into just a carry-on bag. You know, this isn't hard these days. But editing these things can be a little bit tricky if you don't know how it works. So there's many ways to pull things together. So first up, what you can do when you've got everything all in a sequence is you can rely upon the basic cuts, okay? So here, I'm going to turn the volume down.

I've got the Multi-camera edit already built.

And I'm just going to open up the Multi-camera view...

And make this a little bit bigger.

So this is a simple four-camera angle view. I also like to go under my keyboard shortcuts, and I'll assign the angle keys here. I'll just type in the word angle, right, or camera.

And so you can then map those keys, as you need to, to switch.

Here we go.

[Music] Yes. So look, simple cuts, right? You know, basic. This is a musical group called The Nadas simple enough cutting between. You can do this most easily if you have time code sync, right? So, you know, if you shot this quote real style, it's not that hard to step in... Let me just open this up.

And, you know, you can have all your source clips here, lasso on them, and say, "Oh, I want to create a Multi-Camera Source Sequence." And then tell it, use the Timecode, and hit OK.

And then you just basically drop that in a sequence.

Turn on this monitor. You can access that by clicking the plus key and grabbing the multi-camera view. And there you go. And so now we have our typical talk show type interview. [Gretchen] Hi, I'm Gretchen, and this is Paige and we're from MommyCast.com Today, we're speaking to Erica Perl. Erica... Now there, I love the fact that the other tail had pointed to which camera they're supposed to be looking at. So there we go. Hi, I'm Gretchen, and this is Paige, and we're from MommyCast.com Today, we're speaking to Erica Perl. Erica is a children's book author and reading expert, and she's going to tell us about some holiday book choices. Erica, welcome to MommyCast. [Erica Perl] It's great to be here. Thank you. So what do you have for holidays? Okay, I have a couple of nontraditional and interesting holiday books for you guys today because I think we've all seen the same old book. Same simple edit, right? This is just a web show we've worked on.

In the past, Paige and Gretchen were some of the original mommy bloggers, just two great women that had this awesome show.

And, you know, real simple budget, but a multi-camera interview type show, right? Easy. Timecode made it simple. We just jammed it together. But if you don't have them jammed together, that's okay, right? You can still sync these using the audio of everything, right? I could just still select all of these audio clips here and say, "Oh, make a new source sequence. And use the Audio on each track and click OK." And it will analyze that and create a Multi-Camera Source out of all of the audio. And then here we go.

In this case, I then, cut in the clean audio track. But when we recorded this, we did a very standard thing. So with a music video, it's pretty rare that they play the song live. They actually play it, and they're playing, but they usually play to a prerecorded version so that all of the different camera angles stay there. When you do that, cut in multiple, like, a countdown so that you can get everybody in sync.

[Music] That was easy, like, Premiere just did it. It just took the audio from the different angles. The cameras only had camera mic. Do you see how simple that is? And if for some reason you really can't line it up, instead of using the audio because maybe the cameras were at the back of the room not getting any usable sound, you could just put a marker on each clip. Like, hey, like, when they first touch the mic, or when they said, good morning. You can go right after... And just put a marker on that word, and then same thing. Create a multi-clip and tell it to use the marker in each clip. But did that seem hard, guys? Like, this is so easy. Even if you just put a lock-off camera in, like, we almost always are doing a two-person crew these days, and the harsh reality is it's three cameras with, you know, one person doing sound and they're babysitting basically a lock-off camera, and then, you know, maybe we set a different angle and then one person is doing chase. And we can make that work. You find what works for you. If you've got more budget, go for it. But the reality is that we're having to learn to do less with more. Having an extra camera angle can really stretch the production value, and it doesn't mean that you need that much, like with a lock-off, okay? So did the multi-camera make sense to everyone? Cool. All right, we got one more thing left before we run out. We already talked about, kind of, working with Dynamic Link. Remember, if you also put MOGRTs and things like that in, same thing. If that MOGRT is really sucking up the resources, you can Render and Replace those. So, you know, here, I've got, like, an AE project. I got a MOGRT and another MOGRT, you could just right-click on it and tell it that you want to, you know, go ahead and swap those. So here, there's that AE project. Click, and I'm just going to tell it to Render and Replace.

Boom. You know, and it processes it and swaps it out for the media file. And then you can do the same thing, you know, just go ahead and select Render and Replace because remember, MOGRTs are just a special type of After Effects project. So again, you can get that great real-time performance. And so you just click on those. And depending upon, you know, what you've chosen, like, this one's pretty intense. It's going to fly through there and start to swap those out with the final files. I'm going to Cancel that, and that's because I don't actually have this MOGRT loaded on this system, but good enough. Even with just doing that one, it's going to behave a lot better.

And then you should just keep going through and selecting the different items as needed and do the Render and Replace and that will cut down on the system load. Again, these are MOGRTs for my home system. They're not traveling very well, but you get the idea. All right, so that was our goal of pretty much what we wanted to cover. I'm going to wrap things up with just a couple of speed tips in the timeline. And we got about four minutes left, so I'm just going to show you a couple of quick things. First up, color correct your clips, but on an adjustment layer, which you can access from just clicking and saying that you need a new item. And under the new item category, let's go back to the Essentials Workspace. You can add an Adjustment Layer and that Adjustment Layer can hold effects. So there you go. So on that Adjustment Layer, that's where I would apply scene to scene color type corrections. So that's where I might go in and apply the film stock and adjust the intensity and just, you know, refine that a little bit. Hey, a little bit more lift in the shadow. Not quite so bright. There we go. Let's put a little bit of the vignette in there. Awesome. And we'll just sharpen that video in the negative direction, just a touch, to give it a aged look. Then when the client says, "Oh, that's not the film stock I like." You could just jump in and switch and go through. And with one-click, modify everything about the scene, right? And dial that in. Oh, hey, don't take those highlights down so much. Let's lift the shadows there, but let's get really rich blacks. There we go. Cool. And down here under Secondary, could you pop the skies? Oh, sure, let's do that with the curves though instead 'cause they're much better. Hey, Hue vs Saturation. Click on the sky. Awesome. There it is. And let's just select a slightly broader range of blues.

And pop the blues. I'm just holding down the Shift key there to constrain them so they don't color shift. Oh, while we're at it, let's do some Hue vs Luma. Click on the blue sky.

Boom. Boom. And drag down the blues a little bit, not so much there, but just a touch. There we go. See? And you did that on the entire scene all at once rather than having to go clip by clip.

Color correct clip by clip, use an adjustment layer across the scene to grade. Much faster, much easier to deal with feedback. You can watch the full class about color stuff we did. Other stuff before we run out of time. We talked about workspaces. Those are really useful. Pretty straightforward.

If you've got a sequence all set up and you've named all of your tracks, like narration goes here, interview, music, sound effects. Go under the New, Sequence dialogue box. Go to Tracks, and you can load these from the open sequence. Pick which one you want, right? Just find it in your list, okay? Now, of course, it's not an alphabetical order, and it's, kind of, a little crazy here, but you could step through.

And so I'm looking for Naming Tracks and Sequences, 02. If anybody sees it, feel free to call it out.

There it is. Yep. Naming Tracks and Save a Template. Boom. Hit OK. Everything from track type, to mix, to submixes, it's all there. And now you could save that as a preset and have a template sequence for your next project. So if you have a certain way that you're always setting up your sequences, load it in, and save it as a template so you can start and have all your tracks set up correctly and named and everything else. It's great for consistency.

Lastly, for just a couple little fun things in the timeline. Remember, if you need to move things around in the timeline, if you drag, that's basic. Hold down the Command key, it becomes an Insert Edit, Control on Windows. Hold down Command and Option or Control and Option, and it becomes basically extract and close the gap with one movement. So if you're just playing around with changing the orders of things, you could totally do that and look at how it just starts to close the gaps for you. So those modifier keys of Shift, Option, Command, and Control are really useful, as you arrange things. If you're working in the timeline and you've got like a three-shot sequence that's perfect, act like a graphic designer and just choose Clip, Group. Now when you drag one, you drag all of them and they stay together and you don't break it. So and that also works going up this way. So if you build a complex visual effect or a background and a key, group them so they don't become separated as you start to move things. So you can literally lock those together as a single object in a group.

And to end things off probably, the most useful thing when editing is something called Tops and Tails. So as you're working and you realize that there's stuff you no longer need in a sequence. Be fast. Let's just check the audio up.

By the way, if you hold down the Pause key, K, you could tap the J key to step back a frame, or hold it down for slow motion.

Q trims away everything to the left of the playhead and closes the gap. [fast-paced audio] W takes off everything to the right. So Q and W are quite useful for Tops and Tails, and it really makes it easy to quickly trim up sound bites, remove unneeded things, all of that. All right. Cool. So make sure you guys check out some of the resources we shared. If you guys want to keep in touch, I'm not too hard to find. So I blog fairly regularly. I have a website called Photofocus that's entering its 25th year of sharing information. I work on Radiant Imaging Labs, Radiant Photo, and Mylio software. So you could check those out. And I have a lot of training up on LinkedIn Learning. So feel free to check that out. Be sure to, if you're on the show floor, stop by, pick up your free copy of Mylio Photos. It's a really cool AI search engine. And be sure to check out the Premiere Pro and After Effects events coming up this fall and winter. Thank you guys so much for coming up. I'll hang up for some questions.

[Music]