[Music] [Valentina Vee] All right! Hello, everyone. If you can hear me, just raise your hand. That way I know it's working. Awesome. You can put your hands down. Great to see all your faces. I read on the document-- As speaker, they tell you how many people are supposed to come to your session, and it said it was going to be full, and it said it was going to have, like, 350 something people. And I'm like, not after T pain. It won't.
Not after the onslaught of beer and whatever last night. I'm like, people are not. It's 10:30am and half of you are here. The good half. So thanks for showing up. Thanks for showing up. My name is Valentina Vee, and I currently work as the director of motion pictures at Nebula, which is a streaming service. I say currently because it's new. I've been freelance almost my entire career, and I just got a job. So I'm still learning about, sitting in meetings where I don't have much to contribute and why am I there and being told to do things. So that also is why a lot of the examples that I'm showing you today are not going to be things that I have necessarily edited. They are things that I've shot for my company as a cinematographer or directed that then I took the footage and I put together a little demo just to show you and use that footage. Because I have editors now, y'all. I'm now like a boss boss, and I have an army of people, and I'm not gonna just, like, take their work and show it to you and pretend it's mine. So that's kind of the situation is, in the last year, I've been leveling up, and I've taken the footage, and put some demos together. Hope you've been enjoying my memes, but I will have to turn them off, and then I will have to pause my playlist, and then turn the volume back on. All right. So this is called Beyond the Basics: Level Up Your Video Editing Skills. And the first thing that I sort of want to show you is how I organize everything, because I think it's important to just show. So here I have my main drive, it's called MIAMI, and I have all of my projects. The way that I organize everything is the same every single time. So when you go to TheGetaway project, TheGetaway is a reality show that I shot, You can see Footage, Audio, Graphics, Music, etc. When you go to GirlsWorld, which is a music video, the same thing. When you go to, I don't know, this one, same thing. And the way that I do it is I just have a little demo folder here, and it has all of these subfolders within it. So every time I want to create a new project, I just-- And I also just got a Mac. I've been on PC forever, so if I don't know how to do things, don't yell at me, okay? I just. I don't know, MAX. All right? I don't know, MAX.
And then I just rename this. So if I wanted to rename it to today's date, I would go 20241016_DEMO2 or something like that. And then I have those holders there. So when I'm on set, I can just drop things whenever I need a folder to put a Premiere project into Bada Bing, it's right there. So it's easy that way. I can also just drag these folders directly into Premiere and everything's already organized and I don't have to go ahead and organize everything in bins. So I have here, several projects open. And I also have a production open. You can see right here, Production. It's called ADOBE MAX 2024. And basically, if you've never used productions before, the way that I look at it is you have a clip that's in a sequence, right? And then you have your sequence that's in your project, and then you can have multiple projects in a production. It's especially useful here because for different things that I'm about to show you, sometimes I want to show you the music video project. Sometimes I want to show you the documentary project, but I don't want to continue pulling them up every single time. So I just pulled out whatever relevant sequences that I need to use, and I put them all together into this one project that I called, you know, the name of this session, beginning and then working. So everything's here. This is from all different projects, but I just imported all the sequences there. So this is very helpful for me for demonstration purposes. But it can also be very helpful for you if you have, like, common assets or common things that you're using across multiple episodes of a show, or multiple, like say your documentary production house, and you have the same layout for something all the time. You can put it into a project, and continue using that over, and over, and over again. It's very easy to put a new project into a production. So if you already have an existing one, you can just right click Add Project To Production, then find that project, so like MAX, PREMIERE, and then find one, and then open it, and it adds it to the production. Or you can just create one from scratch. New Project and create one from scratch. If you want to know where productions are, they're here in File, New, and then you can do Production. Of course, I'm already in a production. The way that I organize my projects though are something like this. So this is a project for a series of short films that I'm doing with my friend Nat. And you can see here I have everything organized. Footage, Audio, Sequences, Photos, and Graphics. The reason I put the number in front of it is obviously for alphabetization purposes. So I can do like 06 EXPORTS if I want to bring anything in. And then the footage is organized by Shoot 1, Shoot 2, Shoot 3. And then you open these up and it is organized by which short we shot that day. So for example, this short that's red, that's all the footage from that one short. The short that's green, that's all footage from a different short. You can see here in icon view, there are all the shorts, and the way that I created that label. You know what? I don't want them all to load. That's going to take forever. Here we go. The way that I created that label is just I select the first one. First of all, let's organize them by name. I select the first one, Shift, select the last one, right click, Label, and then I can label it something like red. You notice that I have a custom label here. Label Red is different than all these other ones. Dark, Gray, Dark, Dark, Dark. That's because you can always change your label colors or create custom label colors here under Settings, Labels. So by default, it comes with these AGO colors, which I hate. I hate. There's a couple of other presets here. So you can like change it to Vibrant, for example, or you can create your own and then label them your own. So if you don't want to label them by color, say you want to label them by what that setup is or what that project is. You can just write that in here and then save it as a preset. So if I wanted to change this dark red to a bright red and rename it RED FLAGS, for example, I can save that. And let's say this is nat shorts. So my shorts with Nat and then press OK. And then here, now I go to Label, and I label that as the RED FLAGS short. So that's one way that I organize things for a series of shorts. Let me show you how I would organize for a documentary project. So this is a documentary project. You can see the organization is very, very similar. Here we have Footage, Audio, Graphics, sequences, Exports. Footage, I do it by days. So we went to Paris, we went to London. So I do what day is it? And then what was the-- What was the place? And sometimes I add the activity to help me. So like Carnaby Street, we shot in London on day 14. I have both A CAM and B CAM. And then this is A CAM and B CAM. You see, B CAM, I split up and labeled it separately as well, because I want to know the difference between, okay, what was footage that I shot as B roll? What was footage that was interviews, et cetera, et cetera. Here you can see I can organize it by frame rate. And at the end, I have a bunch of shots that are 59.94 frames per second. So everyone knows the reason I did that is for slow motion, right? So if I wanted to add that to my sequence. Let me pull it up one sec. So I go to beginning working, and let's just say I'm opening up this sequence CARNABY ST sequence. And I want to put the B roll in here. Well, if I double click on it and I set-- Let's see an in and out pointer. Find a better clip. Find a better clip, Valentina. She said something like this. I set my in point, I set my out point, and I drag it in, let's say...
He's talking about, we are here at Carnaby Street, right? Two things. First thing, it is zoomed in because my timeline is 1080, this is a 4K clip. And second thing, it's not going to play back in slow motion even though I recorded it in 60 frames per second. It's going to play back regular motion. So what do I do? Well, the first thing that I do is I resize it and you can right click, go to set to frame size, or you can just use a shortcut. I have Shift+Command+F as my shortcut. That's not the default shortcut. But if you go here, and you go to set to frame size, you can create a shortcut for it. That's also kind of helpful to do. But you can also, if you want, here in Preferences, Settings, you can choose-- This is from a different, more advanced tutorial, but I thought I would just do it anyway. I'll show you. You can actually set this to always doing that. So here under-- Let's see. Default Media Scaling, under Media, you can just Set to frame size by default. So whenever you drag it in, it's going to just be that default size. But to make it slow motion, a lot of people, they want to rate, stretch it. So they press R and then they rate, stretch it to try to make it slow motion.
Hold on a sec.
Or they go to-- Not that. They go to speed duration...
And they try to make it...
Longer.
And that would work, except next time you have to bring something, you have to do it again, and again, and again. So instead of doing that every single time, you can just interpolate this footage, 59.94 frames per second. So select all of it, right click, Modify, Interpret Footage, and then use this new frame rate. So instead of 59.94, type in 23.976. Bam. Now all that footage is 23.976. So now you can set your in and out points. I... O... Of course you can drag it in. That drags the audio in as well. You can see here. Sometimes you may not want that. So instead you can drag in just the video by going over here, you can drag in just the video or you can lock these tracks and then press period, and that will put it in comma. And hold on a sec. Activate that.
My goodness. Come on. There it is. And put it in as well. So there's a couple of different ways to do this, but let's move on to the next. So I have here this same project. It's before I've cut it up. It's before I've sort of changed anything in it. And I want to-- Hold on a sec. Yeah. I want to go through it really fast and find what I need to find. How do I do that? Well, I could literally listen to it. Let me just turn off the layer for B CAM. 10,000 pounds. It's 10,000 pounds. Don't look too closely.
If I was-- Okay, if this was a real 10,000 pounds and I was to give this to you. Thank you. What do you think you would choose to spend it on? I don't know that I would spend it. - I feel I might put it into savings. - Yeah, I agree. Sensible. This is very sensible.
Yeah, it's, you know, it's fine. But what if I could do it faster? What if I could cut this faster or find the things that I need a lot faster? Well, all you have to do is go to Window, Text, and it's already up. It's over here. And click Transcribe. And when you click Transcribe, it'll transcribe everything for you. So that not only do you know what's being said, but you can also search for it. So, for example...
Let me make sure this is off. For example, he's constantly talking about this whole documentary is about the baby boomer generation. And there's this new law in the UK that if they give you $10,000, it'll somehow help people over 30. And a lot of people were concerned about inflation.
So I type in inflation and I get seven results. So maybe I want to have several people talking about inflation and I only want to get their sound bites. So I just found all of the sound bites that relate to inflation. So I'm just going to copy those words.
This whole section.
Command+C, go to the very end, Command+V. And it has pasted it to the end. Just that part about inflation. So let me move it off a little bit...
And then let's go again. Let's try to find something else...
That was about inflation.
We have this part. Let me copy that.
And then I'm going to just paste it to the end. Awesome. Keep going.
Okay, that's it about inflation. Let's find another section. So he constantly is taking out this $10,000, and asking what people would do, 10,000 pounds. So I type in 10,000 and I get 42 results. So I can now make a little section that's just talking about that because I know everyone's going to be talking about the 10,000 pounds.
Copy that over.
There we go.
This is good.
Copy and paste, and you get it. So now I have these two sections over here. This section is talking about inflation, this section is talking about the 10,000 pounds and what would you do with it. Now, I can always group these, right? So right click and group, and now I can move them as a unit. So and I can group these.
So when I'm putting my entire sequence together, where I'm putting my segment together for this documentary, I now know this is the inflation section. This is the section where they're talking about the 10,000 pounds. Or I could nest it. So right click Nest and name a nest 10,000 pounds.
When I nest it, it actually condenses it all into this nest that I can then open up, double click, and it is its own sequence called 10,000 pounds. But maybe I don't want it condensed. Maybe I still want those original clips on that original sequence. So instead of nesting...
I'm going to undo, I'm just going to right click...
And then go to Make Subsequence. And now it has made a subsequence over here...
That is just that section. So depending on how you want to manipulate clips, how you want to work with clips, these are a bunch of ways, right? All right, let's go to the next one. But before we go to the next one, I sort of want to show you how I got there. So we'll open up that project. So this is a project called A Girl's World and it is a music video, and you can see it's organized the exact same way. So we have footage, except the footage here is organized by setup. Meaning like one setup was in-- There was like a press conference type scene. Another setup was in a garage. And you can see it here, I'll pull up the different setups. So this was like a press conference scene right here.
And then we have this scene, but it's the same press conference, but it's the dance break and it's on a wide fisheye lens. Then we have the scene where they're all dancing at the end. Then we have the scene where the guys are running and they're really tired. Then we have a little bit of a dance break here. And it would take me forever to be able to synchronize everything...
Because I didn't have time code. I recorded this on an A7S3. There was no time code. And why would there be? We just had playback. We just played back the song on set. So we have that song like burned in to the video clips. And I happen to have the song in this project, right? So I will just...
go ahead and go here to MUSIC. So here's the song, I'll select the song and I'll select all of the footage together minus the bin, right click, and go to Create Multi-Camera Source Sequence. Now you're probably like, this wasn't a two camera shoot. This wasn't a three camera shoot. It was a single camera shoot. Why are you creating a multi-camera source sequence? Because this is the way that Premiere uses to sync footage. It doesn't matter that it's not multicam. So what I'm going to say is your synchronized point. I'm going to say audio track channel 1. And I'm going to just say it's 03 GIRLS WORLD SYNC FINISHED.
And then I'm going to make sure to Move source clips to Processed Clips bin because that is very important. Some of these clips are in slow motion. Some of these clips are B roll. Some of these clips, we did not play the song in the background. And this is telling Premiere. Hey, Premiere! All of the clips that can be synced, I want you to put them in a separate folder. That way I, Valentina, know which clips weren't synced so that I have them separate. If I don't select this, all the clips will still live in this main footage folder and I won't know which have been synced, which haven't been synced. And Enumerate Cameras, that's not that important. But I'm just going to use that and then press OK. And then there's 105 different clips that it's processing.
And I can wait for that or I can just show you exactly what it looks like when it's done processing. So when it's done processing, it'll look something like this.
So it has basically synced all of the different takes, and the different timelines, and it's given me 56 different video tracks. And I love it. Great, love working with 56 video tracks. But let's make it just like a little bit easier for me. Just a little bit easier and condense this. So what I can do is, okay, I can drag this down. I can drag this down. God. Okay, hold down Shift. Yeah, so that it doesn't move. I can drag this down, hold down Shift so it doesn't move. Press S to turn on snapping. Okay, bring all of this down, hold down Shift. Okay, then let's see. I can condense, I can take this section. I can condense it, or even better, I can right click, go to Label, Select Label Group and then bring that down. But that is just-- It's too much work, folks. And I don't want to do any of that work. So I'm going to undo all that. Instead, I go to Sequence, Simplify Sequence. And here, under Simplify Sequence, I'm just going to call it close vertical gaps on video tracks. And yeah, and then get rid of any empty tracks. Remove from video tracks, empty tracks. And great, Simplify. Bam. It did it all for me. So now I'm like, okay, I want to go through and I want to introduce cuts in here, and I want to sort of make sure that I am, that I'm cutting everything properly. So I'm going to solo just the music. I'm going to lock just the music track. I don't really care about the audio tracks, but I'll just leave them be because in case there was some sort of, you know, mishap with the syncing, I at least have the audio track to refer to at some point. And then I'm going to go find the chorus. And I'm just going to start inserting cuts up and down the entire row, which is now 41 tracks, so that then later I can choose which clip I want to play with. But before I do that, I'm just going to disable everything. So select everything, Command+A, Shift+E to disable everything, so that my computer doesn't die from having to play 41 tracks at once.
Okay, let me go to the beginning here.
Also, there's some colorful language in this. And my apologies. If you are five years old, you can leave.
So let me try again.
So I'm gonna do Shift+Command+K every time I want to insert a cut and that'll just slice through everything.
Hold on. Where was I? I was there. All right, keep going.
Okay, let's just say that I did that, and I have this section that I now want to work on and I wanna find what are the best pieces for each section. So I'm just going to enable each one by one. And see this one? They're just standing around. No, I don't want that. Let's go down here. What about this one? Yeah, very nice.
That's like. That's great. Okay, next one. Moving on. I'm going to turn the snapping off.
All right, how about this? That's great. Awesome. Let's go to a different one.
Nope, don't like that. She is too low in the frame. Let's go to this one.
Nope, she's not paying attention to the camera. Let's go to this one.
That, okay, moving on. How about maybe one of the not so fisheye ones? That's pretty fisheye. Well, maybe-- Nope, she's not looking at the camera.
You get it right? So I do that very, very quickly and it turns into something like this, all checkerboarded and looking good.
Okay, great. Now I still have the problem of having a bunch of tracks, right? So how do I condense this? You got it. Simplify Sequence. So go to Sequence, and then go to Simplify Sequence. And this time what I want to do is get rid of all the disabled clips, and disabled and muted tracks. So everything that I've disabled, I'm going to get rid of and I'm going to click Simplify.
That whole section just got simplified for me.
Crazy, right? I don't know. Maybe you've heard of this before, but I think it's pretty cool that that is something that you can do. And then now I'm like, well, okay. I think it's cool, but maybe she's looking a little too far away from the camera here. So I want to make sure that I start with her actively looking at the camera. So what I'm going to do, I'm going to start here, and then I'm going to do this, and then I'm going to do this. Is that what I'm going to do? No, I'm not going to do that. I'm just going to select this cut point, press N, and just move it over.
And I could have done the same thing before I simplified it, by the way. If I was over here and trying to change where the edges of the cut are, I could have done it here. Actually, I could have selected multiple points by holding down Command+Shift and then moving them like that before I simplified it.
This is, by the way, I should say the name of the tool, the Rolling Edit Tool, and you press N to use it. Thank you very much. And you can do this across everything, right? So this one and this one. So I hold down Command+Shift to select both of them, and then I use N to change where that cut is. So it's very, I don't know if you get into a flow state. I get into a flow state when I'm in here, and I'm checkerboarding, and I'm just like. It feels great. But to get to this point, it's a lot of that bullshit work, to be able to sync, and to be able to place, and to-- So simplify just helps you cut out the bullshit so that you can just have fun shifting the edits, and cutting, and slipping, and all that.
All right, moving on to the next. We got a lot of stuff to do. So this one I-- Okay, lots of stuff. So staying in the world of audio, something that I want to show is this is that same Carnaby Street. We're back on Carnaby Street. We're back on street interviews with Tom. Why did I do that? I don't know. I'm just gonna do that. Okay. We're back on Carnaby Street with Tom, and I'm about to send this to my client. But before I send it to my client, I know my client's going to remark about how the audio in between the cuts, there's like little pops. Because I've cut all these interviews down, you can hear.
She probably invest it or just save it. - I'd either put. - Did you hear that? The "I'd", like it started in halfway through. So what you can do, obviously is you can go to, and a lot of people do it this way, you go to Effects and then you go to Audio Transitions. You find Crossfade, Constant Power. You zoom in, then you go ahead and put it there, and then you make it smaller, and then you might even copy it and paste it, you know? That's just too much work. Don't like that. So instead of doing all that work, what I'm going to do is, first, I know Constant Power is my default transition because it has this blue box around it. So I know that's the one that's going in. So I can just use the default transition shortcut, Shift+D, to put it in. But there's a problem. Number one, I don't want to do it again, and again, and again to every single one of these. And number two, I also, it's too long. I only want it to be two frames. So I'm going to undo that, and I'm going to go over here to Preferences, and it's in preferences Audio. And it should-- Or not. Where is it? It should be in Preferences. I lied. Preferences, Timeline, and here we have the Audio Transition Default Duration. Right now it's one second. I'm going to change it to frames, two frames, because that's what I want it to be, and I'm going to press OK. And now instead of doing it just to this one because might as well just do it to all, right? Because I know my client is picky and they're going to talk to me about it. So I'm just going to press Command and then draw a little box around everything so it selects all transitions. And then, actually, I don't want any transitions on the video side because video also has a default transition. It'll put it in and then Shift+D. And now...
Every single one of these has that little two frame transition to just help me very smoothly comb over all of those little pops. All right. So I'm about to send this off to the client for notes, but I know that the client will also be watching it on their phone and in a busy subway car and they'll need captions. They just want to know what's going on, what's being set. So remember how earlier we transcribed everything already? Because this section, they're talking about what would you do with 10,000 pounds? So it was that little section that I pulled. I put it here into this segment. Rain. If I was to give you this 10,000 pounds now. - Yeah. - What would you spend on.
Well, I'll get you a coffee first because to say thank you.
So I want to create captions before I send it off to client and I also want the client's feedback on what those captions are because they'll probably have a lot to say about it. So I'm just going to press this Create captions button within the text window. And again, if you lost that text window, it's here under Window, Text, or you can go over here and you could go to the Text-Based Editing workflow. Personally, I never use these little workflow things. I'm always just in the editing, and I'm just pulling up windows as needed. So I'm going to go here to Create captions. By the way, before I even create captions, I can send a transcript, so I can export a transcript for my client, but I can create captions that are going to be burned into the video.
And right now, style is none because I haven't created a style and I want it to be a subtitle. Minimum length in characters, minimum duration in seconds. I want it to be single line and I'm going to click Create captions. And so you can see here now there's a subtitle section above my entire timeline, and it has created the world's ugliest captions. Truly heinous and illegible. So what we're going to do is fix that. So we're going to go to any of them at all. Click on it. Then go to Essential Graphics and Edit, And under here, I can go ahead and edit what I want those captions to look like. So let's make them look, for example, Lato, that's a little bit more legible. Let's make them bigger because I know my client is blind. And let's give them a little bit of a background, I don't like that gray. And then give a little padding to the background. Very nice little rounded corner action. And there we go. Great, for that one subtitle. All the other ones still suck. So the way that we're gonna just push that look to the rest of the subtitles is right here. It's Redefine style. So we're going to click this button and it's going to ask redefine all the captions on the track. Yes, please. Thank you. Great. What if I want to use this again, and again, and again for the duration of my entire project, for everything I'm making? Over here in the plus, I can create a style. So it's going to save it as a file, and I'm going to call it documentary captions. I'm going to Save to Project and Save to Local Styles. So you can see right here it is now in my project...
And it should be in my dropdown menu right here in Track Style. So next time I just choose it from the dropdown menu instead of having to remember everything that I did. If that makes sense. All right, I'm ready to send this to the client. I go to Window and it should be Review with Frame.io. There it is and I'm just going to click Upload, Active Sequence, 05 CARNABY ST. They don't need to know everything that's internal for me. So I'm going to just delete all that. 05 CARNABY ST and the whole thing. Great, great, great. Keep the rendered file. I tell the program where I want to keep the rendered file. Good thing I made that folder earlier called Exports, and it was already there. So I press OK and then Upload, and that goes ahead and uploads it to Frame.io where I've already sent my client the link to this project. So then they already will get an automatic email notification that it's been uploaded. This is my big hack, right? This is like the set it and forget it because how many times have you been like waiting for the thing to export so that you can get the file and then put it on Dropbox or Frame.io, and you can't go have lunch with your friend. Like this is just have lunch with my friend. And then I pull up Frame.io on my phone just to make sure it's like been uploaded. You know, just to check that it's been uploaded. But it opens up Media Encoder. It does like the full export and the full upload right from Premiere Pro. Super, super useful. Let me just make sure that I am...
Going through all of my notes and making sure that-- Okay. Yes, we did that. Okay, great.
So you can see, wow, it's very quickly uploading. That is great.
All right, I'm going to move on to ENHANCE SPEECH. So let's say you have-- You know, you messed up, right? Let's say you messed up. You had a external recorder on set that day, but you weren't monitoring it, and it never recorded. So all you have is the scratch audio from the camera, and the scratch audio sounds like ass, and it sounds like this.
It doesn't sound like anything, this sounds like this. The UK top rate doesn't dip below 89% until 1979.
There's a lot of reverb. The camera is far from our person. How do we fix that? They've made it so stupid easy, it's actually ridiculous. You go into Essential Sound and you can tag it as dialogue because we know it is dialogue, or you can enable this auto tagging which will tag anything. So let's say you have a sequence that has music, and dialogue, and sound effects, and it's like hours long. You don't want to take the time to select every single clip and tag it. You can just use Auto Tag. But I know this is dialogue, so I'm going to say dialogue. And then it's just this one button called Enhance. Folks, when I tell you I've spent so many years learning how to do this in audition manually, and now it's just a button.
You're joking. And it takes, you know, a couple of seconds.
But this is a five minute clip, so I probably should have cut the clip before doing this. But this gives me a good chance to look at my notes and see what's coming up next.
All right.
We'll leave it for now...
Because we got the feedback from our client. Yay!
Actually, did we get feedback from our client? Let's see. We did. We did. We did. Okay? So there it is.
Okay, we got feedback from our client and our client has told us just like, where is the feedback? Where did I write it? Because I know I did. I know I wrote it. See? Seven comments.
There it is. So we got feedback from our client, and now we need to implement said feedback, right? So what we're going to do is...
Make sure that our Playheads are linked. So this is the sequence where we were working. We'll bring it all the way to the front and make sure the Playheads here are linked. So we click this link Playheads button...
So that whenever we move here, it will follow. It should follow anyway.
Then we're going to go out here to the comments. We're going to go to Import Comments and it has imported them as markers that then we can either click and read, cut out "uhhh", or we can hover over and read, so our client told us to cut out this "uhhh".
I would probably. Okay, great. We'll cut it out. No problem. So let's just put our playhead here, press Q...
And notice what happened. All of the markers on the timeline rippled along with us and they kept where they were. Why? Because here, under Markers, I have Ripple Sequence Markers selected, and it is not selected by default. So if I have the default settings that Premiere does, and then I try to cut out that word "uhhh" by pressing Q, which is, you know, from our playhead to the previous cut point, the markers have not rippled, and therefore I lose my place in where I had all of my feedback. So make sure that you have Ripple Sequence Markers turned on. All right, let's go back to ENHANCE SPEECH because guess what? We're done enhancing and it's time to listen to it.
Effect controls.
Enhanced Speech is here. Okay. And let me actually duplicate it, and then turn off Enhance Speech on the bottom, so that we can hear the difference here. And I duplicated it, by the way, by holding down Option and dragging.
Okay, let's play the original first. The UK top rate doesn't dip below 89% until 1979. And then let's play our version. The UK top rate doesn't dip below 89% until 1979. You're joking! You're joking! What? What? What? What? Crazy. All right. Now, you might also have something like this where, let's say-- The DJI mics do this a lot. Let's say you had two people talking.
You had two people talking in an interview like this. And for each camera, you recorded a left channel and a right channel. One person's on the left channel, one person's on the right channel. I wonder if it'll do it through these headphones. Let's see. Let's see. I don't know. I actually haven't tried.
It doesn't, but you can tell here on, like, the decibel scale on the right that it's different. You can also tell here. So the left side has a way different waveform than the right side. So an easy way to make sure to have everything available for you so that you can really have control of what you're looking at is...
Let's duplicate just the audio twice. So we're going to just select the audio by itself, because right now it's linked. So if I drag it down. If I drag it down. Well, actually, yeah, I could just drag it down. There we go. Nope, it just moves. So I'm just going to select the Audio by holding down Option and then Command+Option dragging, and then take those two audios, Option drag them down.
Actually just go Option down, then select just the audio by Option clicking and then Option drag to duplicate it. So now I have, or I should have-- Let's see...
Option, Option Drag, I should have four audios. One, two, three and four. So for the first one here, I'm going to right click and go to Audio Channels, and make sure that both of them are on the left side. For this one, I'm going to right click, go to Audio Channels and make sure both are on the right side. And there we go. Now I have stereo tracks. One is one person, the other is another person. Another way to do this is here in Effects, you can go to fill left with right...
And then fill right with left. But you can see it doesn't actually change the waveforms, but it does fill the left side with the right side, et cetera, et cetera. But yeah, just for the sake of this, I'm going to go to Audio Channels, and then change the audio channels there.
Okay, next, moving on, moving on. So we're going to talk a little bit about graphics, but first I want to show you this. So this is my piece of footage. It's one piece of footage, it's over here, but everything is glued together. So all of these shots are glued together. They're all in one clip, and what I want to do is I want to use sections of this for my graphic. So I'm going to just make a new sequence out of just this one clip by dragging it into the new page button. So now I have a sequence with just this one clip in it that consists of many different clips. I'm going to right click, go to Scene Edit Detection. And I can just put a cut point exactly where each cut point is, sure. But I can also create a bin of subclips at each cut point, which will basically create a bin that has all of my needed clips in it that then I can pull into whatever I need. So I'm not going to do that here because that takes too long. So I already have done it. So let me just pull that up real quick.
Let's see.
Let me try to find it. There we go.
So this is that bin...
And it has...
Every single clip from that giant clip as its own clip. Isn't that crazy? Isn't that cool? All right, so now I'm cooking with fire. Now I have something to play with.
So let's say I'm making a graphic to go on top of this clip right here.
And not only do I want to make a graphic, but I also want to take a graphic and be able to replace assets within that graphic. So if I go here to Essential Graphics and to browse, I can go ahead and go to the Adobe Stock tab under Browse Essential Graphics, and let me find a free one because I'm not going to pay money for this one. And I'm going to type in replace, and it's going to start showing me all of the media replacement graphics that's on Adobe Stock for free. Meaning that it's stuff that has like drop zones, and you can drop your footage into and it can manipulate your footage as part of the graphic. I'll show you what I mean. I'm just going to find the one that I want, which is this one, Vertical Contact Sheet Title, and drag it over. So you can see what it looks like both here in this little preview...
By hovering over it.
So that's what it looks like.
So I'm going to be able to take three videos and put them into the graphic itself. So when I dragged it over here, those three videos are right now placeholders. So I'm going to click on it, and here under Edit, I have all of the controls. So text control for main text, I'm going to type in HILLTOP because that's the name of the restaurant. This is a commercial for a restaurant, right? And then I'm going to-- Let's see, there's Contact Sheet Controls, there's opacity for triangles, there's all sorts of-- Okay, here's the media replacement section. So this means this is where I'm going to drop the media that I want to put in. So the Center Media, which is this one, it's here.
I can go ahead and drop in. So my bin of clips...
I'm going to just pop the bin in here so it's easier. My bin of clips, I want to take this one of the girl laughing...
And I want to put that in the middle. So I'm just going to go ahead and drag it in. There she is. Now she's inside the graphic. Now, of course, I want the section where she's laughing, not the section where she's chewing. And she only starts laughing near the end. So I can go here, open it up. Now I have all of these controls available, and I can set the beginning time, so I can move this over to reset when in that clip I want it to start...
So that she laughs.
There it is. So she's laughing in the middle of it. And then I also want to resize it a bit and move it over.
There we go. So when it's done, it should look something like this, which I should have rendered, to be honest, but I did not. Sequence, Render In to Out. Let's see how long that'll take.
Very little time. Great. So then what I did was essentially I found another clip for the media on the right side of the graphic. I found another clip on the media on the left side of the graphic. Now, how does this even happen? How are these even here? Well, this template was created in After Effects and then brought into Premiere via a process that is in After Effects. How many of you use After Effects, by the way? Okay, great. Good to know. So let's do another one.
Let's try this one, which is very similar where it was a media replace graphic. And you can see I have my footage on the bottom layer on V1, and then I have a media replace graphic on V2, and what have I done to this graphic? Well, the original graphic is called Ripped Paper Title, which, if I go to my templates, I should be able to find it right here. So if I just drag it in, I'll show you the default of what it looks like. So it has a drop zone on the left and a drop zone on the right. You can change what the text says, and you can change the font and color of the text. So I've gone ahead and changed those things. I have put in...
New...
Where is it? Main Title Controls, Large Text Controls, Paper Controls, Media Replacement. So I have replaced the media on the left with this clip. I have replaced the media on the right with this clip. And it looks like this. Except the thing is, I want to also have the bottom layer show through in the middle. Because right now in the middle it's just a bunch of letters on black, right. It sort of transitions in like so. But I want the bottom layer to show through. So you would think, of course. Well, in this template they gave me the option for an opacity slider for that middle part, right? No, they didn't. The Background Controls is only Background Color. So I can go ahead and I mean, I could change it to green if I wanted to. And then maybe I can use something like, let's say like Ultra Key, and I could drop that in. So adding another effect to it. And then the Ultra Key, I can select this green. And that could kind of work. But what if, you know, this is a graphic that I'm sending to somebody else. What am I going to have to put a little caveat that says, by the way, you also have to use Ultra Key, and make sure that the background color is green, and then select that background color so that it's semi transparent. But I also can't control the level of transparency here, so it's kind of a bad workaround. So instead what I can do is manipulate the graphic itself, and then save it as my own custom motion graphics template. So where is that graphic? Well, here it is. I just dragged it in fresh from my-- Fresh from here. Fresh from Essential Graphics Browser. Actually, Ripped Paper Title. This is the one, right? This is the one that's directly from the Adobe Stock Store. And you can see here Background Controls is just Background Color. I want to add a background opacity slider control. So I'm going to right click and Reveal in Finder. So I can actually find where that Ae.aegraphic, which is the file format for motion graphics templates, lives. And it lives somewhere, I don't know, somewhere weird. So I'm just going to do a copy and then I'm going to put it somewhere where I know I can find it later. So under the MAX folder, under GRAPHICS, and I'm going to paste it here. Except I'm not going to paste it there because I already have one there from the previous class. So I'm going to make a new folder and I'm going to call it GRAPHICS 2, and I'm going to paste it here.
Okay, so now I know where it is. So now I go to After Effects and I can open this graphic up in After Effects as a project, add a slider control, and then export that as a motion graphics template. And if you're like, girl, I never opened up After Effects in my life. What are you showing me? That's okay. This is actually a pretty simple process and it only takes a couple seconds, which is why I wanted to show it to you in here.
Now I'm also thinking, I should have had After Effects open. But you know what? There's a lot I'm covering.
Here we go. This is After Effects, obviously, and I'm going to go to Open project, and I'm going to find it.
GRAPHICS 2, actually, there it is. So it's allowing me to open it. Open. It's like, you make a new project. Great. I'm going to go into AE folder. I'm going to make this project, I'm going to call it BACKGROUND OPACITY RIPPED TEMPLATE. And I'm going to click Extract. So it has opened up The After Effects project that the person who created this template for Adobe Stock used. Now I can mess with their work and mess around with it. So here in the main, this is the MOGRT, but when I double click on it, this is actually the guts of it, right? And you can see at the bottom, we have the paper texture and we have the background solid. So if I turn on transparency, Background solid, and paper texture, those two layers are what make the background. So I have to change the opacity on both of them. So I'm just going to create a new null. Null Object for nothing. It's just a placeholder. I'm going to rename it Opacity Background, and then I'm going to go into Effects, and I'm going to add a slider control to this because that's how it's going to control from 0 to 100, lock that here into Effect Controls, and then for paper texture and background solid, I'm going to press T to pull up the opacity, going to pick whip to this slider real quick for both of them. And then you can see the slider set to 0, which is now the opacity 0. If I set it to 50, the opacity is 50. If I set it to 100, you get it. And that slider control is now here under Opacity Background layer. Now I can open up in Essential Graphics that property, drag the slider control in, rename it so Background Opacity.
Opacity. Make sure that the edit range goes from 10 to 100. Right? Set it at default 100. And there we go. Now I can change this name to Ripped Paper Video Overlay with Opacity...
And Export and Save. So I did this a lot actually for a project that was a music video. I'm going to save it under graphics and I'm going to say Ripped Paper Opacity demo. I did this a lot for a project where I used it was a Korean music video and I used motion graphics templates for almost the entire thing.
Except most of these motion graphics templates didn't give me the opportunity to change the text font. So I needed to go into the motion graphics templates, make it so that the text font is a Korean text font or something that gives me the option to have Korean save it as a motion graphics template so I can bring it back into Premiere and have that option to have Korean in it. And I had to do that like 30 times. So now when I go to browse it should be here. Actually. No, I saved it on my computer. So I add it from the computer.
Mogrt Background Opacity open. Yes, there it is. Now I can use that. Bring that on top. There it is. So I can now control the background and the lady shows up.
Pretty cool. Pretty cool. All right, we have just a few minutes here and I don't want to keep you too long. I have so much more to show you. So I'm going to just like speedrun it. Is that cool? Is that cool? We're speedrunning. Okay, here we go. First thing, I want to show you a cool plugin. We're just going into plugins. I know Premiere doesn't want to show me plug doesn't want me to show plugins and I don't care. I'm going to show plugins. So the first plugin that you probably heard of is Film Convert Nitrate. Film Convert Nitrate is a plugin that you can add filmic grain or color correction. But in this case, I want to show you halation. So I'm going to go into effects, I'm going to type in nitrate over here...
and I'm going to go into Enable halation. So what does this mean? This means that I can make the bright parts of the image look like they're glowing. So in terms of cinematography, this is like putting a promis filter in front of your lens or you might know Scatter, which is another plugin. Well, this is like Scatter except cheaper. And also there's a bunch of other stuff in it as well. So here I can just view the halation alone, increase the intensity, increase the strength, soften it up a little bit and take it away.
So now my glowy lights have become more glowy before, after, before, after. You can also change the color of the halation. Next we got these clips right here. So this is a behind the scenes clip of a Steadicam operator, for behind the scenes, setting up the shot. And it's shot on a canon, but I don't know which cannon, and I don't know what's the best LUT for this. Nobody gave me any information because this is a behind the scenes guy. So how would I know? Well, I know it's canon, so I'm just going to go here instead of into Edit for Lumetri Color, I'm going to go into Settings...
And I'm going to-- Why is it not working? Right there.
Okay, I don't know why that's not working. So skip that. We're just going to go into-- We're just going to put a LUT on it and we're going to put a LUT on it. But there's some default LUTs here that may not work exactly for what we're trying to do. There's a couple that I put in here myself. Now, wouldn't you like to put your LUTs, your custom LUTs into this drop down menu instead of having to constantly go here to [Custom], and then finding them here? Where are my LUTs? I don't know. The easiest way to do that is just to put them into Premiere itself. You go to Applications, you go to Adobe Premiere, find it, right click, Show Package Contents, go into Contents, go into Lumetri, go into LUTs. Here they are in the Technical, and then you can find where your LUTs are and then drag them in. And then next time you open Premiere, they will literally be there in the drop down menu, which is really cool. The other thing that I wanted to show you with this is it has a flicker on it. So do do, do, do, do do! Let me copy the Lumetri Color on this one that doesn't have the flicker on it. Watch this. Hopefully you can tell that there's just flicker in the background and it looks really bad. So Digital Anarchy has a plugin called Flicker Free. Watch this. I just drag and drop it. I don't mess with any of the controls and bam. If I wanted, right? No, it's just them clapping, not you. It's okay. It's okay. If I wanted to adjust it, I could. I can like adjust the time radius. I can adjust the sensitivity to something that will eventually be even better and look like this.
All right, moving on to the next, we have this. So everyone hates RollingShutter. RollingShutter is when you move the camera really fast side to side, and you get your vertical lines to be skewy. And wouldn't you like to fix that? Yeah, sure I would. And I have to rent a global shutter camera and shell out all this money. No, you don't. RollingShutter Repair is a default video effect here. All you do is prop it on and it's fixed. Right? Okay. Next one. I know I'm over, but I really want to show you, okay? So this one is a clip that I put in a 1080 timeline, but it is a 720 clip, so I had to scale it up to 150%, and now it looks blurry. So Samurai Sharpen is a plugin that I use.
I pop it on and automatically, it cleaned it up, it sharpened it up. I can sharpen it even more. But you can see there's like some blemishes on the face, and I want to get rid of those but not blur everything. So Beauty Box is another awesome plugin that I use.
Just drop that on top, and then set what the darker color of the skin is so inside the divot, and then what the lighter skin color of the skin is, so on the tip of the nose, and then just so that you can feel the real difference here, I'm going to like crank it up and then you can show just the mask. So just where the sharpening or the smoothing is, take down the Hue Range...
Value Range, and "Ta da!" Huge difference, right? Now say I wanted to then constantly use this combination of Samurai Sharpen and Beauty Box because they handed me six months of files that all look like this. So I can just select both of them.
Press Command, right click Save Preset and I can save this preset, sharpen and Beauty...
And it's here now in my presets. So the next clip that I get, let's say I get this one, I can just double click, I can just bring sharp beauty onto it and bada boom, I made my own custom one. And then last, last one, last one. So here I have a music video that is again all glued together. And what I want to do is I noticed that now I want to color correct it, but there is some noise in the background. Like this one. You can't really tell that there's noise, but if I add a Lumetri color effect you can, right? You can tell there's a lot of noise in this. So I'm going to use my last plugin that I'm going to show you and then you can go and then you'll be free of me forever. It's called Neat Video. So I'm going to just drag Neat Video onto it and go prepare build. It's going to analyze the frames.
I'm just going to click Auto Profile. It shows this section and it says the quality is 65% and the noise level is pretty low. I can check the Y, CR and CB values, but the bigger the section, the better it's going to do with noise reduction. So I'm going to choose a section that I think is better and then click Build Profile. See if it's higher than 65. When I do it, it's 80. That's even better. And if I want this correction to be even better, I go to adjust and preview and I change the radius. So that means the number of frames that it is sampling. So I'm going to change it from two frames to three frames. So it's going to sample the noise within this section of seven frames. I'm going to click apply.
And there. Look at that difference before and after. And of course, I'm going to turn off the lumetri color so that you can actually see what it looks like, and it's a lot clearer. And that's my time, ladies and gentlemen. Thank you so much. I wish I could sit here forever and tell you more, but if you haven't gone to my advanced class, I'm teaching an even more advanced class later on today, which continues on this, but dives even deeper, if you can believe it. So if you haven't gone, please come. Thank you so much. Bye!
[Music]
