Short on time? In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos.

Abba will show basic color correction techniques, as well as incorporating filters to enhance the look of your final video. By the end of this class, you will feel proficient in creating videos with this complex program.

If you’ve been paying for Adobe ‘s Creative Cloud, this is your guide to understanding and using one of the best tools within your subscription. For more interaction with Abba during the Bootcamp, you can join his Facebook group:.

I’ve never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together basic of course, but still pretty cool. I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long.

He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can’t even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I’ve learned in his course to create a video.

The first 9 lessons were already worth what I paid for the entire course. Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now! I highly recommend! You won’t find this thorough of a course for this decent price! Just bought this yesterday and cannot stop watching!!!! For someone like me who has a zillion questions it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that’s easy to grasp and remember.

So, so happy I got this. Thank you Abba and CreativeLive! I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy. I will for sure have to come back and watch again when I need to remember to do stuff or need a refresher. He is funny and quirky and a great teacher.

I so recommend this to anyone wanting to become a better video editor!! I am coming from being self taught and using iMovie and he makes it so simple and understandable. Can’t wait to learn more :. Skip to main content. Class Description Short on time? Reviews a Creativelive Student.

Patricia Downey.

Lesson 3 of I wanna talk about some of the nuances of video in relation to photography. That will be our initial touchdown. And so I kind of made this little animation here, and I’ll bring it full screen, but I want to talk about it first. How many people here shoot still video? You don’t have to hold the mic. Okay still video, that’s not good. You wanna shoot motion video. Now how many people shoot photography, shoot stills? Everybody, it’s not gonna polarize any.

Anybody, you have an iPhone? Okay exactly. What’s the resolution of your cameras? Just you can jump it out. Okay thank you.

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

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

This blows people away. It is the highest of currently broadcast hi-def television is pixels wide by pixels high. There’s some jargon that we are already learning. Think about this that 20 megapixel image that’s creativelive adobe premiere pro cc video editing the complete guide fco free download average ссылка на продолжение the 18 megapixel image is by pixels.

Way, way bigger than television and that’s considered hi-def. So here’s a little example of this image if it were video, if it actually was placed into a hi-def photograph. And I’m gonna bring this full screen. So should be playing, yeah it is playing.

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

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

We’re gonna look at that. Understanding that is pretty amazing. Здесь also presents some issues that we’re gonna talk about, if you have that mindset of photography and you are starting to work with video. You’ll notice that microsoft office 2013 zip this image, I put some white bars on the side. I didn’t really put white bars on the side. Still images that we’re working with tend to be more square than rectangular.

The aspect ratio is a little different. And generally there’s two flavors or two formats of sizes that you’ll find. Now I patiently wait for this to play to where I want it to be, hoping that the small little dialog box, I may fast forward here a little bit. It’s exciting, it’s exciting. There we go. That’s one of the aspect ratios that some cameras shoot. And if I pop this into a regular high definition television screen, I’m gonna, if I wanna see every part of my original image, I’m gonna have white bars so I have to think about that, that I’m dealing with a different aspect ratio when I’m shooting video.

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

So for example that’s 3 x 2. The other format or aspect ratio that we tend to use is 4 x 3. And in that case, as you can see we even have more white space. So our photography is a different aspect ratio.

And this as I said is important because not only are you deciding how you’re gonna deal with your photographs if you’re gonna put them into a shot. But you also have to kind of change your mindset that you’re working with a different frame, that it’s like more theatrical and how you’re composing your читать больше is different.

How you’re moving, how you can move people through it is different. So this is what you would end up doing if I creativelive adobe premiere pro cc video editing the complete guide fco free download this image and I needed to put it into video. That’s 16 x 9. Very subtle things but a different vibe. I think I zoomed out and hopefully I’m gonna play that back a creativelive adobe premiere pro cc video editing the complete guide fco free download bit. So this is one of the things we do. Oh I don’t have the fix there.

Okay so here’s your choices. This is the shot that I took in Japan. I thought it was great. This little coffee shop at the base of Mount Fuji you would think you were in Seattle, but no you are And this is, “Okay, come here, have coffee.

Http://replace.me/22656.txt took this picture. If I want to put it in, I can either crop it, I can blow it up so it touches the sides, but then I lose the top and bottom.

Or I pillar box it so I can see everything. Same thing here. This is just such an example. I would crop it and then I would probably have to zoom in but we have the resolution. So we were talking about how large a photographic image is. And this is one of the challenges that a lot of photographers face is they jump in, they kind of get a feel for this. And it’s like you’re making your computer do so much extra work because creativelive adobe premiere pro cc video editing the complete guide fco free download bringing in such a huge image, it’s better to downsample that image to something that’s more reasonable than that 40 megapixel which is beautiful, if you want that landscape details, I’m jealous.

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

Am I gonna do a little push? Maybe Creativelive adobe premiere pro cc video editing the complete guide fco free download only have to make the image this big.

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And the thing with this filter is it’s basically on or off. Okay, it’s black and white or it’s not black and white as opposed to something you can do degree of desaturation. So let me go over here and type in desaturate. No desaturation filters so we can’t work with that. And this is the challenge I have. I probably have filters in my Premiere library and they’re great.

So sometimes I’ll look for something, it won’t be there because it’s not native to the application. But there are others ways that we can work with that. So let’s go ahead. You can apply an effect. I want to apply something that I can do some modification to. And for instance, a blur filter.

Maybe you wanted to do a blur to this. And I’m going to go ahead and pick the next clip. Gonna go up here, type in blur. A lot of different blurs. The Gaussian blur is kind of your go-to blur, it’s one of the fastest ones for the computer to calculate.

It’s what we’re used to. If you came from Photoshop or Lightroom, you’re probably familiar with a Gaussian blur or a gowsheen blur. If you have vision like me, everything might be a blur. So that’s why I want to use this filter. I put it on and isn’t that wonderfully blurred? It’s blurred to me, I can’t see that. When it goes on by default, it’s blur level is zero. Zero amount of blurriness. So if I wanted to make this blurry, I would simply go up here and I could just use the slider, and automatically bring it to the amount of blur that I want.

Why would I want to take my beautiful sharp photography and make it blurry, you ask. Well, maybe I’m running a title over it and I just kind of want this movement in the background, and then I want to bring it into focus. There’s a lot of reasons that I may want to have a little bit of blur to something.

Especially if I’m compositing or if I’m layering. So it has some nice things. Now I want to point out something that I really think was brilliant with the guys who designed this. When you make something really blurry And you might have done this in a video editing program, you might have done this in a photo editing program such as Photoshop. Sometimes you get this blurry edge of black and that’s because what the software wants to do is blur the black outside of your image in with your image which isn’t necessarily what you want.

And they did a nice job here, they made a little button that says, “Repeat the edge pixels. So you can see it’s very easy to manipulate this. But I want something more, I want to create something more dynamic.

So I’m going to go ahead and I actually want to take this scene, and maybe have it go from black and white to color and from blurry to in focus. And I have to do a couple of tricks here because I’m working with a very limited filter. You saw that black and white filter was either on or off, right?

So let’s do that challenge first. I’m going to zoom in. I want to go to color. What if I cut this clip in half and took the filter off in the second half, and then did a dissolve? Think that might work? No, you don’t think that’ll work? I hope it works.

This’ll be great if it doesn’t work, I’ll just be To do that, I’m could do the razor blade which I taught you about, the cut C, or the keyboard shortcut command K, the German cut. So I cut this in half. I’m going to go over here and the filter’s still on both sides. And I can if I want to just deactivate it, hit the FX button.

The filter is there but it’s turned off. You can kind of see it on the edge there. Color should come back in. If I wanted deleted completely, I could just select it and hit delete. So now I’m in a situation where we’re going from black and white, color on the move, and I change my default transition. I’m not going to get caught in this. And I also made it six frames long so I’m not going to get caught on that.

Let me fix those preferences from the previous lesson. Okay, preference, general, make this 30 frames. Go down here under dissolve. We don’t want to dip to white, cross dissolve. Right click as we learn, select that as my default, transition. Cross my fingers, shift D, spread it out a little bit longer. Luckily, it worked. So this is a case where I kind of faked it.

It’s a great way. We’ll go with Gill Sans, which I just saw. Here we go. Arial is fine. It immediately updates as I make those changes. I could just work with this as it is. I could go ahead, using my text tool, if I switch back to my selection tool, I can position it wherever I want. I can scale the box and it scales and as you can see I can affect it’s aspect ratio. Hold down the shift key constrains the aspect ratio.

It’s an old Photoshop trick. I don’t wanna call it a trick. It’s just the way it works. But I can take this to a much greater level.

I can go ahead and, if I wanted to, switch back to the text tool, keyboard shortcut T and say I’m gonna just select the word Airport and I can go in and I have a lot of control, everything from changing the color of the text to the position and I wanna point out that I can do some of that here. You’re gonna get into a habit of I’m either gonna go to the top or I’m gonna go to the side and there’s nothing wrong, it’s either way.

I tend to go to the side, so I’m kind of like breaking my own rule here, but I can scale it up here, as I said. Kerning is the space between letters, depending on the typeface. If I had two lines, this would be called leading. And that actually goes back to; I like throwing these little things out; back when people would physically lay type.

The amount of lead they’d put between each of the lines was how much space it was there, so that’s why it’s called leading. You could be really popular at a really boring cocktail party, with that piece of information. And then you have your whether you wanna justify it left and right. But when I go over here, this is where I can really control things, nuances on transforming the size of the letters. I can access my fonts here and I can see a dropdown list. You can also type in and find what you need.

Depending on the typeface, some will be italicized options, some will be bold and you can change all this, but it’s when you get down here it gets interesting.

First of all I can pick the color I want. I can go ahead and select this and go into the color picker and I can change it to this wonderful yellow. Let’s see if I have things selected right.

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

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

Don’t get too crazy, but I just wanna show you that you do have that luxury. Also, square fonts, I tend to also avoid serif fonts. There’s sans serif and serif, is a term you’ll hear and basically a serif font is a font with all the little curly Qs. I’m being a T right now. I’m being a T without being the serif.

This is my other job. It’s just easier to read. You can use them, they look pretty. If you’re gonna use one with all the curls it should be larger, but if you make it small, it becomes a little more difficult to read and the whole point of your titling or any text you put on is legibility. Keep that in mind. Another thing to keep in mind is how your viewer’s gonna see this, when you’re creating text. You might be sitting a foot from your computer screen and can read that text great.

Well, is the person watching this gonna be watching it on television from across the room and going, “I can’t read that”?

Are they gonna be watching it on their phone so now what’s this size for you is this size for them. So take into account your delivery medium and how it’s gonna be viewed, when thinking about text. You want it not to be frustrating for your viewer. I have this selected. And some of the things that I would do is I like to add an outer stroke to my text. If I click on add and I have timelapse selected, so we should be able to see it.

I can add an outer stroke and I can control with the edges. The reason I like to add a stroke to text; and I usually keep it black; is that no matter what it’s over, it’s easier to read. So if it’s over something that’s light; we have these lights back here; I can still see it, it won’t blend in. And if it’s a situation where I choose a darker color, maybe black text, I may wanna make it stand out with a glow or with a different type of a white edge.

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

It just makes things stand out a little bit. I’m gonna go back up here to that fill. We looked at a gradient, we looked at a solid. If I go ghost. What I’m basically doing is It’s kinda hard to see, because I picked a horrible Well, you can kinda see it.

I have now created translucent or that could be transparent text. So you can just see the edges and stylistically this may be something you wanna do. My goal is to empower you. It creates a file that you can choose.

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

Because we wanted it to be the perfect size for video, and it was, so there was no need to talk about it. When I export anything from Premiere, it will export that as the size of the image that you have. So if it’s a piece of video that you recorded in by , it’s gonna be a two megapixel image.

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

So the left side. If you’re grabbing that camera from the right side, it’s gonna be whatever the size of the sequence is, and you can save it in whatever format.

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

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

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

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

Okay it has to know what you want to export. So if for reason that’s grayed out, or you don’t see the right thing, make sure you have the right thing selected.

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

Is this a little confusing, scary? Yeah, okay it is, it is scary. It’s scary for me and I’ve seen it a lot. The reason it’s scary is because there is so many options and so many things it can do, they gave you these options, that you can be overwhelmed by choices. The nice thing is that there’s a lot of great presets that you don’t have to think about all these numbers.

When we first started going to digital video and people were putting things on the web, and you saw you could download stuff from iTunes and whatnot, people had entire jobs, and there still are people out there, they were compressionists, and this art form, this voodoo art form of how I can take something that’s huge and make it digestible that I can download, and you know there’s a real science to this.

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

I’m not even gonna Dropbox that likely to anybody. So I want to make it smaller. So let’s take a look at some of these settings and how they will affect you.

Sometimes you just want to click on match sequence settings. And by the way it generally tries to remember the last set of settings that you use. So if you’re continually using stuff it will do that. And so this will try to match everything to whatever your sequence presets are, okay? And it’s just trying to make a clone. But if you want to change any of that, you can go down and you have a lot of control. I’m gonna uncheck it, and what you would first choose is the format. So here you’re making kind of a decision about, okay what’s my need, and what do I want to do with it?

And even this list is overwhelming. But the nice thing is is that for the most part, you may use only two, maybe three of these choices to start with. It is very likely that you’ll probably use H. That’s pretty much the defacto standard at this point in time for the web.

On Facebook, whether you’re downloading it or playing it. It’s usually compressed with this codec, we’ve talked about codec briefly called H. And what this is it’s really smart math to throw away the information that you don’t need to make the file smaller, okay?

And they’re getting better and better with the codec. Some of these are older codecs, some are broadcast codecs. But not everything can play it back. So that’s why I’d go back here, and for specific things, if you’re putting out to Blue-ray, you’re making a Blue-ray DVD, learn about that when you need it.

The other one that some people choose is QuickTime. Because we all are aware of QuickTime, and I had mentioned this earlier, but it merits repeating, because this is all very confusing.

When you hear about compression, there are a couple parts to it. There’s codec, which is the math to compress it. That’s things like H. The algorithm, it’s a big word for basically what we’re gonna through away and what we’re gonna keep. That’s the codec. And then there’s something called wrappers, which is what you put this compressed stuff in.

And you’ll see things such as QuickTime is a wrapper. If you see M4V or MP4, that’s a wrapper. It’s basically what’s the container that this file is in. You have me absolutely obsessed with creating right now! I highly recommend! You won’t find this thorough of a course for this decent price! Just bought this yesterday and cannot stop watching!!!!

For someone like me who has a zillion questions it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that’s easy to grasp and remember.

So, so happy I got this. Thank you Abba and CreativeLive! I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy.

Lesson 31 of In this one we’re gonna look at titles and graphics. It’s a natural evolution, in that you wanna create these titles. You hear terms like lower third. That’s the title that IDs somebody at the bottom of the screen. There’s titles that fly in. There’s graphics that you’re gonna build within the framework of Premiere and we’re also gonna look at graphics that you may have built in, say Photoshop and working with Photoshop documents.

What we’re gonna look at in this lesson is we’re gonna create a title from scratch, using the internal titling tool, which is very powerful. Of course Adobe is text, when you think about it and they have a very powerful tool within the application. We’ll look at how you can modify that to create rolling credits and crawling credits, if you need something to crawl across the bottom. Creating a basic title in Photoshop. We’ll actually start in Premiere and go out to Photoshop to create a title and bring it back.

It’s actually a very fluid workflow, a very natur And then we’ll look at working with existing graphics, whether they’re flattened or a single layer or, in some cases, you’re dealing with a graphic that is multiple layers; background layer, maybe a text later, maybe some graphics and you have a lot of control on how you bring that into the application and how you work with it in the application.

So that’s pretty much what we’re gonna be looking at over the next hour or so. And why don’t we just hop in and get going and then if you have any questions, of course raise your hand, grab a mic and I’ll be happy to answer.

Let’s go ahead. I have a project that I’ve already put in, a nice little background. As you will see, I am a huge fan of time lapse and all the different flavors of time lapse. I was in a hotel room overlooking an airport, so what do I do? I set up my camera and I do a time lapse and this was really fun and we talk more about time lapse, but when you’re shooting at night you can leave your shutter open longer and you get this really nice fluid blurring of traffic at night.

Big fan. So anyways, I though it would be a fun background to put our titles on. If you wanna make a title, there’s actually a full dropdown section in the menu bar to create new titles.

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

The title tool is a little bit the same way. When you say make a new title, you should be in your sequence and ideally you wanna be parked over the clip that you want to highlight, that you want to create the title on the lower third and you wanna do that, because it’ll actually let you see that as you create the title. It will give you this dialog box that basically says this title is gonna be the size of your sequence, in this case x It will default exactly what matches the sequence.

We had talked, earlier on, in some of the previous lessons 30 frames versus In this case, I did this at 24 frames a second, Of course the most important thing is labeling your title instead of calling it Title 1, Title 2.

So we’re gonna call this Timelapse overlay. And when I do that I want you to see what happens in my project pane. It actually will create this title already and put it into my show. Doesn’t put it on the sequence, but I get this new interface, this new dialog box, which will be a default size, like that, but stretch it out. Give yourself all the real estate you need. As a matter of fact, one thing I like is just to grow the window. So I’ll just hit the green button.

Now I have a lot of real estate to work with. Much like Premiere, you can adjust the sizes of your panes to get as much real estate as you want. So let me explain a couple things, for those of you who haven’t worked in video.

What would we have these two boxes in our frame? This is something called title safe and action safe and it really goes back to the days of tube television, CRT televisions, because when you broadcast something and the image was projected on the front of the screen, I should say, on the glass, some of that image would be behind the bezel of the television.

So whenever they created titles, or lower thirds, they wanted to make sure that it wouldn’t be offscreen and also if it gets too close to the edges on those old CRTs it would get distorted, because they were curved.

So you had an area that said okay let’s stay inside this area and your text is going to look good, your bugs, if you do like a lower third bug, will look good. And then just to make sure you see everything you need to see, don’t put any critical action outside this outer frame. That’s why you have action safe and title safe. It is not as critical now, with the new flat screens, however I have seen on some flat screens that people put things right to the edge and then when they played it back for their people part of the text was offscreen, because it automatically assumed a little bit of an overscan.

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

So that’s what this is there for, take into account when creating a title. It should be like second nature. Outer one action; inner one text, bugs, critical things.

The first thing I wanna do is I’m gonna go to the text tool and I can simply type what I wanna say. So I click on this and we’ll call this Airport Timelapse. So I type in what I need.

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

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

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

It doesn’t really break my heart, but I’ll have people come to a class and they’ll say, “My boss says I have to cut this video on Wednesday”, and they’re taking the class Monday and Tuesday. And I’m like, “You are going to hate life. You don’t have a deadline. If you mess up, nobody cares. And that’s what you should do when practicing a lot of the skills we’re learning. And it’s of great use when playing with the text tool, because some of you may have a lot of experience with typography and you may know everything about leading and kerning and all that stuff and negative white space.

Again, geeky background, stuff I have. And others, you’re just like I wanna write the word and I want it to look good. So you have as much power as you want or you can control it and just do the basic stuff that you need. With that in play, let’s go ahead and change the typeface. The nice thing about this, when you’re dealing with typefaces, with Adobe, is that you can actually usually see what the font looks like when you switch to it.

Any font that’s in your operating system will be available to you. As a matter of fact, with the cloud you have access to the Adobe Typekit where you can download additional fonts if they’re not already in your computer. It’s one of the beauties of this cloud, this family of applications and technologies, is you have much better access to this stuff, instead of having to hunt for the typeface if somebody gives you something that wasn’t in your system.

I’m gonna just pick something arbitrary here. I shouldn’t pick something arbitrary. I should pick something that actually is nice. We’ll go with Gill Sans, which I just saw. Here we go. Arial is fine. It immediately updates as I make those changes. I could just work with this as it is.

 
 

 

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

 

Со всех сторон его окружали мужчины в пиджаках и галстуках и женщины в черных платьях и кружевных накидках на опущенных головах. Они, не замечая Халохота, шли своей дорогой, напоминая черный шуршащий ручеек. С пистолетом в руке он рвался вперед, к тупику. Но Беккера там не оказалось, и он тихо застонал от злости.

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

They kind of fall into the same category. We’re going to look at applying filters and modifying like we did with transitions, changing them over time because that’s a big thing.

Like maybe you want something to go from in focus to blurry or you want it to fly somewhere, or you want to modify it, color in or go to black and white. Stacking filters because sometimes you may want to get an effect by putting two filters on top of each other to give something a certain look or a certain feel. Audio filters. There’s a whole slew of audio filters that come in Premiere.

We’ll look at those briefly. My opinion with audio filters, unless you really know what you’re doing, you tend to make audio worse. Not that everything else isn’t good. It’s just I am like the average person, my audio usually sounds worse once I start playing with these audio filters. And by the way, never say audio filter to a sound engineer because a filter is something very specific.

It’s an effect. A filter cuts out a certain bandwidth and they will wag their ponytail at you. Copying and pasting effects. You build something you like. How do you move it to another clip?

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

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

And what that does is it keeps pretty much the same Windows but it reorganizes them to where they’re a little more useful. So for instance, we have our effects controls here where we can modify the filters. We don’t usually have a big space for our project window because usually, everything’s in the timeline already. So that said, “We can push that aside. So this is a nice view to work with.

I’m going to step back to our traditional view just because you’re used to looking in certain locations. But I wanted you to be aware that there are different work spaces for working with your audio, your effects.

There is one specifically for color correction that we will be going to when we do look deeper into color. Color is one of the filters or effects that you will see but we’re not going to go so deep into it here, we’re just going to do some general over arching 10, foot view of filters. So I’m going to go back to editing.

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

Why are you taking this lesson? You don’t know. I’ll let you speak. Like they’re giving a mood. A mood. Yeah, perfect. You want to give a fill to it, a look. Maybe you want to make it feel like cooler, temperature wise, make it a little bluer and it has this different feel or it make it like a desert like, warmer.

Probably we have to match them to the pictures too. Match them to the pictures. Maybe you have two or three different images and you want to color balance them so everything looks like it was shot with the same camera or the same time of day. So you would use color correction filters to do that. Or the Lumetri filter to be able.

So you’re using it to give a look was one thing, stylize. You’re also looking at to fix a problem. Our challenge where our images don’t necessarily all visually match. So you’re fixing things, or you’re creating a look or a feel, or stylizing something. Those are what these filters can do. It allows you to modify a clip. So much like before where we found our video transitions under the effects tab, it’s also where we’re going to find all of our filters, are our video effects.

And again, these are broken down into categories so they’re easy to find what you’re looking for. A lot more of these are native to Premiere that are really nice as opposed to transitions which are more limited. Again, third party stuff, great stuff out there. If you go to the Adobe website and you look at third party under Premiere, you can get a link for third party plug ins.

That’s what they’re called, plug ins. And it will lead you to some great stuff. There’s a lot of free stuff out there. A lot of these developers give away stuff to bring you to their site and it’s really good stuff in both transitions and filters, and I think you should look into that, they’re very easy to install.

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

So if I go into this search box and I type in black and white, let’s see if it’s under So let’s see what we see. And what’s interesting is I had a feeling it wasn’t going to be under black and white. But you see these things? Hero three black? That’s a specific GoPro. Black magic cinema cameras. They have filters that will compensate for things such as the distortion that you will get when you’re shooting with a GoPro and it automatically fixes that.

Now it’s very CPU intensive but it does quickly fix distortion of that wide angle view. The thing is it’s not going to be under black and white, it’s going to actually be under desaturate. Well, there it is, it is under black and white. So I want to apply this. I can simply grab it and drag it or if I already have it selected, if I double click on it, it applies the filter to whatever clip is selected.

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

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

Lesson 50 of Now I’m going to select prejiere the four cameras first. Cause I wanna explain the difference because you may not always be recording this wild audio. Though I do recommend, if creativelibe have any option to do that, it never hurts to have options. Cameras don’t get plugged in and whatnot. Editnig even other ones that plug right into the lightning port. Great stuff, it’s very cool. So I will go with that, but we’re gonna go ahead and fvo gonna merge these clips, and I wanna show you one thing we did before, so I’m страница open up the clip and Mike and I are talking at the very editig, and make sure they have good audio, okay.

And I’ll bring those full frame by hitting the tilda key. This creatjvelive how exciting it is before an interview. There we go, this ffo what I want. So what I do here is, I do, this is a human clapboard. Okay, it So it’s a good backup, we actually ended up fck needing it, but I do it as a rule of thumb. Another thing to keep in mind, in the old days, five years ago, if you wanted to sync up cameras, the rule of thumb was once you start rolling, don’t turn the camera off, because then you only have to align all your cameras once and you’re good to go.

If you turn them off, then you need to align them as they turn on and off and on and off. With being able to sync by wave form, that’s less of an issue. These apps are pretty clever. But if you can keep them rolling, you add some extra footage, it’s less brain power for the computer, less likely that you’re gonna have one camera that it can’t videl find the other ones.

Rarely is that an issue, but I wanted to bring that up as a creativelive adobe premiere pro cc video editing the complete guide fco free download. The other I want to bring up, because some folks might have come from other editing programs or might have complrte in the industry for a while, there is something called страница. Timecode, when we traditionally have recorded things on broadcast cameras, it would put meta data time stamp, not on the actual image but underneath in the digital part of time of day.

You sync it to time of day, and it’s again, it’s 23 hours, 10 minutes, five seconds, four frames, and you could sync up your cameras based upon that time of day. The camera gets synced to editijg atomic clock, and then you can sync up the cameras that way.

Now, what’s interesting is I’ve shot with iPads and iPhones, and when you do that, and I believe I’m remembering this correctly after what, 15 lessons, is that it does have the date and time stamp when you recorded that. So you can actually sync by date and time, if you can’t see the audio or hear downoad audio, you would hear the premierr. Something you recorded from a great distance, a wide shot, if there was no mic. So there’s a lot of things that you can sync up to but primarily, the clap, or we’re gonna use audio wave forms.

I think it does make a click sound, but you can have premire digital clapboard. Okay, so with that Exiting gonna go ahead download windows 10 1903 free download shrink this down again, and we’re gonna go ahead prsmiere if you notice in all of these, there is, if I look at arobe audio, I do do that clap at the beginning, but I’m not even gonna worry about marking it, because we’re not gonna use that, we’re gonna make it easy.

I’m gonna select the four cameras, and I do recommend, if you’ve numbered them, to organize them, you should number your master camera as one, you can rearrange all this stuff afterwards but why make extra work. Premiere tends to create the order creativelive adobe premiere pro cc video editing the complete guide fco free download the cameras by the order that you select these. Down,oad, it’s kind of, if I clicked from the prrmiere up, camera four then shift click to the top, it would think I went four, three, two, one, and then when Creativelive adobe premiere pro cc video editing the complete guide fco free download make the multi cam основываясь на этих данных four will appear in the upper premkere corner.

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

So let me select this the proper way. One, through four. I’m going to now right click on these clips, I’ve ;remiere all four, and there’s an option that says create a multicam source sequence.

Нажмите для деталей what it’s going to do, it’s going to merge these together and create one clip that basically has all four of these clips inside.

Okay, not creating new media, just creating a new way we look at the media. The other thing to keep in mind when you’re starting to do multicam, and this references some of the questions we had earlier on in the ссылка на продолжение, is that when you’re doing multicam, off a hard drive, it is reading four streams of video at the same time.

So creativelive adobe premiere pro cc video editing the complete guide fco free download is an instant where if you have a slower drive, or if you have really big bandwidth files, you might get a little bit of stuttering.

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

And you’ll find that you have smoother playback. Most of the time, I never even see these issues unless I really have lots, like nine angles premiers something. But I do want to point that out because we do have a lot of different environments. So I’m gonna say create multicam sequence, I’m gonna get this great little dialog box that will look kind of confusing to you at first, but don’t worry, because you’re gonna be, you’re продолжить чтение own this in 10 minutes.

The first thing is how do you wanna name fdo new clip? You can creativelife it at the default. If you leave it at the default, it’ll name it after the clips name, one of the clips name, the primary creativelive adobe premiere pro cc video editing the complete guide fco free download name, and then it’ll throw multi cam.

You can change that however you want. You can name it after vvideo audio file, maybe you’ve renamed the audio file, the name of the interview. This is the least of the things you need to worry about. I’ll leave that at the default. This is where really I wanna talk about stuff. So, I indicated that it can sync through multiple options. You can mark inpoints, wherever that clap was. So if for some reason it isn’t syncing up and you have created a sync point, creativelive adobe premiere pro cc video editing the complete guide fco free download that sync point could be the clap, if you didn’t do it, maybe you’re at a concert, it could be a camera flash, or a wedding.

You’re getting close, you see that this is where a picture was taken, from three angles, and you get that flash, that’s a cs3 utorrent free adobe dreamweaver instant that you can just put an inpoint so it’s visual and link it up to that inpoint. On the flip side, if you forget to do any ;ro of a clapboard, you could actually mark an outpoint and it’ll just use that as a reference.

Maybe at the end of the interview, go I forgot to do a clap. Make that an outpoint. All it needs is a common point, that’s why either one of premirre and you can download kindle for windows adjust it, and then I’ll just go through these and I’ll take that question.

Timecode, if there is timecode, it’s an option. If it doesn’t see timecode, it won’t even let you do it. So don’t worry, unless aobe doing broadcast, actually let me creativelive adobe premiere pro cc video editing the complete guide fco free download to this.

If you’re using timecode, one of the cool things it can do is because it’s using this time of day actually it’s free run, it’ll actually creativelive adobe premiere pro cc video editing the complete guide fco free download only make the clip but it’ll put it in the time line because if the camera is turned off for 20 minutes, it just leaves a big blank space.

And Windows update for 10 explain that but I wanna take this question first.

So if for some reason you were in a position where you had to use inpoints or outpoints, would you have to go onto creativeljve single camera and every single piece of audio and figure out for yourself what that inpoint and outpoint is and mark that before you go into this? So just to clarify the question and my response, if you don’t have good audio, do you have to do it to every single one.

Absolutely, because that’s what you’re connecting it by, which is why it goes back to if you let all the cameras roll you only have to do it once on each one of the pieces of media. So, even with this, with four cameras, I find one common point, whether it’s a noise, whether it’s a flash, whether it’s oremiere an action, I’ve had situations where I’m just kinda watching, and as soon as I see somebody’s hand reach the apex of raising it, I say that’s my inpoint.

All you’re gonna do is find one common action or point and mark your in and the same thing with audio, now sometimes you have to listen. Because you don’t have a visual representation there, but you can do it. Creativelive adobe premiere pro cc video editing the complete guide fco free download yes, you sometimes have to do it if you’re gonna use the inpoint.

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

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

This is if the original video was out of sync with the audio on the recording. Usually that’s if you’re in a studio when there’s a slight delay, or if you’re recording maybe from the backup of a concert hall and you’re dealing with the echo and the delay with editin sync.

Again, keep it simple. This is where you start making decisions that will affect you completee remember, it’s all non destructive, so if you mess up, you can just hit undo, or you can delete the new clip that you made and try it again.

And this is something that нажмите чтобы узнать больше probably end up doing and wanna do to see how it works with different settings.

So preemiere is saying how am Dodnload going to wanna handle the audio between all of my cameras? So if I have a primary camera, and when I record I try to put the best audio on my primary camera.

Depending on the complexity of the shoot, you can sometimes have people, the audio guys can run the same audio to all your cameras, in vieo case it’s not an creativelive adobe premiere pro cc video editing the complete guide fco free download.

So, I’m saying, you know what, my best audio is on camera one. I’m gonna probably end up creatievlive my video but I’ll probably wanna keep the audio on one consistent so that I don’t have to worry about level changes comllete quality changes.

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

Join Abba Shapiro for Lesson 3: Understanding Editing: Video Examples of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today%(38). Join Abba Shapiro for Lesson Multi-Camera Editing: Creating A Sequence of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today. Join Abba Shapiro for Lesson Building a Rough Cut: Selecting Media of Adobe Premiere Pro CC Video Editing: The Complete Guide on CreativeLive. Available with seamless streaming across your devices. Get started on your creative journey with the best in creative education taught by world-class instructors. Watch a free lesson today%(38).

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

So I’m gonna actually quit this and start it again so you can see this opening. So when you first launch Premiere you’re gonna get a startup screen.

It’s something you can turn off, so if you suddenly do not see your startup screen you might have accidentally said don’t show this to me anymore. But this is the basic screen that we see and if we look at that a little more closely, what it will show you, it will show you any recent projects you’ve been working on.

So I was actually, there was a, we tested the software, then I kinda did a rough cut of the interview, says when it was open, so this will show you the most recent files that, if you If you wanna just start with a fresh new project which is what we’re gonna do, it’s there, if you wanna open a project that maybe came from another computer or that is so long ago that it’s no longer in the list, you can get it there, very, very useful. If you’ve gotten to the cloud, you can actually sync a lot of your stuff to the cloud, I’ll talk about that in a little more detail in a later course, but basically you can save elements to the cloud, and if you’re on another computer, you can access those elements, everything from your preferences, to even your media, now.

Okay, so that’s your startup screen that’s what you’re gonna work with. We’re gonna go ahead and we’re gonna create a brand new project. And when you create a brand new project, you’re gonna get this dialogue box, and again, you don’t need to know a lot about all these little choices. Initially all you really need to do is make sure you give it a good name, so we’re gonna call this Creative Live, Rough. Some people, like, when they create a show, they sometimes like to put the date in it so if they, like every day they might save a version of it, so this would be like Creative Live Rough and I could put today’s date in, but for now, Creative Live Rough, and then you have to say where you want to save it, and this is what people forget to do sometimes, like okay, I’ve named it, I’m gonna hit OK.

So, it will remember the last place you saved something, but if it doesn’t, you wanna have some sort of an organizational structure, maybe you want it all to be in your movie folder so you can find it or your documents folder, maybe you make a dedicated folder for just projects. So I’m gonna put this in my movies folder, I’m gonna simply make a new folder, now as I said, works on both Mac and PC, the steps may be a little bit different for the interface, the way it would look, once you’re inside the application, everything is the same, okay?

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

Depending on your machine, you will have three choices here, okay? This is based upon the language that the computer talk to the video card. Guess what, you don’t need to know that language. What you need to know is if you see these, software means it’s just using CPU in the computer, the processor of the computer, but if you see one of these choices, it’s gonna leverage the power of these video cards, which are more powerful, to do a lot of the calculations, which means when you start layering stuff on top of each other, it’ll just play back smoothly.

Okay, so generally you wanna choose one of these, and you’d be good to go. If for some reason, you’re getting glitches, maybe you don’t have the latest software installed, you can always go back to software-only. This is something you can change later, but don’t be freaked out by this, okay? That’s all that is is saying Mercury Playback Engine, which sounds pretty, pretty exciting, huh? Mercury Play, complex. You know what Mercury Playback Engine is?

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

It’s everything you already have. So no sweat on that, it’s not something you have to install, it’s not something you have to download, it’s just the name of that.

So, that’s really, now all this stuff, timecode, and audio samples, leave this as at the default. It really won’t matter to you. Even capture, this is for the old days when we had DV video, and you would plug that camera in nobody’s using that anymore. If you happen to come across a DV camera from 20 years ago, and you can hook it into your computer still, I would just recommending doing a web search on that, but don’t worry about this, don’t overcomplicate things, okay.

We’re gonna talk about some more of the Ingest stuff later, just as a point of note, Scratch Desk, that’s where everything is stored by default, it likes to store it all together in one folder, and that way if you need to migrate it or move it, it’s all together, and that’s really nice.

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

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

Now I’m gonna zoom out, and we’ve seen this before, we saw this both on day one and day two, but I wanna step you through this, I wanna re-familiarize you with this interface.

I’m gonna do a general one and then we’re gonna populate it with this footage and you can actually see it in more detail. So there’s four basic windows that you’re working with.

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

And we’ll be ingesting this media. Now, here’s the trick, video files are huge. So, how many folks here work in Photoshop?

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

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

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

This is the most valuable thing your blueprint, your project file. Without that, you have no idea what you’re going to build. This is what you need to back up. This is not gonna get that big, you know, it’s maybe gonna get, it’ll be less than a gigabyte, it might even be less than megabytes, okay?

So that’s what we’re doing, we’re working with stuff in here, but it’s just pointing to media, aliases, shortcuts, references, whatever you want to call them, but this is where you’re gonna start finding and looking at your stuff and organizing your stuff in the lower left-hand corner. You have a source clip window, and that’s where you’re gonna actually make decisions and look at it in a big picture, okay, and we’re gonna bring this in really quickly so you can see it, you have a timeline, this is a graphical view of your show from beginning to end.

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

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

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

Now, I’m gonna go ahead and shrink this down just a little bit. I can drag and drop, if I have something in a folder, I can go ahead and I can grab it, and let me just grab something that is not very critical.

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

And that’s where the real trick comes into play, and that’s to use something called the Media Browser. So, if we look closely here, there’s something called the Media Browser, and this is like a search box.

It’s similar to Bridge, if you’ve ever used Bridge, but it’s really designed for video, so if I go to Media Browser, I can again look for what I want, I have my local drives, I should be able to have a shortcut to my home folder. There we go, I just used that drop-down to go to my Home Directory. And what I’m gonna do here is I’m gonna zoom out so you can see the whole screen and I’m gonna teach you one of my favorite shortcuts. There’s a couple keyboard shortcuts that I will recommend that you remember, and this one is the Tilda key or the grave key, okay, in the upper left-hand corner of your computer, you guys see that squiggly line, or the French accent grave.

This is really where you’re going to go to , and then once you’re in there, then you see all of these options and you can pick it, and that’s where you see all of your YouTube options. Generally what I would do is I would take the highest size and send that to YouTube, and they will create the smaller versions on their server automatically. If your original sequence is not 4K, don’t send them a 4K file, okay? So you don’t want to use it to up-res, but you don’t have to create a , a , and a You send them the highest quality, they create all the version.

And Vimeo is the same way, as well as Facebook and whatnot. So yes I showed you the other stuff but I’ll tell you, for everybody watching, for you in the room, you will probably choose H.

So as long as you give them the highest quality, which this is pretty good, they will down convert it to what’s appropriate for their service. And if you go to any of these services, they’ll actually have a page of what are the specifications, the maximum specifications for what we’ll accept. And they may go, you know, we’ll do high bitrate, and you know the default here is 10 and 12, but they may go ahead and say, you know something, we can take a maximum bitrate of 20, okay? And you may go ahead and change that to 20, and can even do another And you’ll get a much bigger file, it’ll be slower to upload.

But when they recompress it it’s gonna look better, okay? And those are changing all the time. In other words they’re getting– They’re allowing larger files and greater bandwidth that you’re using files because they can then convert them.

So I made it actually sound a lot more complex than it should have been, but I know people will see all these choices and go, well what do I do with them? The reality is, until you get knowledgeable, there’s no need to touch them, it’s beautiful he way it is.

Can we tell which containers support the transparency for the alpha channel? So what containers support transparency? Let’s say I built a graphic that I want transparency.

The highly-compressed ones do not. So as a general rule, H. Usually I would put it inside of a QuickTime codec. So I would go to QuickTime, let me zoom in on that so we can see it. So that’s the wrapper, and then picking the codec is the tricky thing. So the codec I would actually use would be an animation codec, or ProRes four by four, which isn’t here at this point. I would have to build that, okay? And you only have to build it once.

And now I would go down here and I would chose the right codec. Animation will hold it and ProRes four by four or four four four will hold it. What this stands for, you’ll see these numbers, again, you really don’t need to know a lot behind it. This is basically how it samples the luminance value and the color values, okay? And this is regular television. Four four four means you’re doing a lot of sampling, and the last four is the transparency information or that alpha channel.

So both of these do, there are some other variations. Those tend to be the most popular ones for an alpha channel. The four Apple ProRes is smaller than animation. Animation is beautifully clean, but it’s very large. But that’s ’cause you’re maintaining something being very crisp. So let’s jump back here, go into H. So I commented that you could change the bitrate. If you go ahead and you change that bitrate, I’m gonna just slide this up to As soon as I change anything here, make that 18, you will notice at the top of my screen that my settings have now switched to custom.

You’ve modified it. And the nice thing about that being custom is I can then go ahead and I can save that as a preset. And when I save that as a preset, it is not available in my dropdown window. So if I save this under H. You can also export these and email them to somebody or put them on a drive that you can then import presets, okay? And that’s really kind of nice. But yes, and the beautiful thing is, if you make, and I generally do make a couple customs for some specific clients or just I like them that way.

I can just get to it really quickly. So that’s worth doing. Short on time? In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos. Abba will show basic color correction techniques, as well as incorporating filters to enhance the look of your final video.

By the end of this class, you will feel proficient in creating videos with this complex program. If you’ve been paying for Adobe ‘s Creative Cloud, this is your guide to understanding and using one of the best tools within your subscription.

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

I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can’t even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. This class is worth every penny and more!

I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I’ve learned in his course to create a video. Computers are a lot more efficient. I use my laptop, I read, I write, and write my preview or render files all to the same drive at the same time and if it slows down a little, I really don’t notice.

So yes, you will see that stuff, but don’t let it confuse you. You can generally read and write to the same drive. If you have big files and you’re exporting, sometimes I’ll export it to an external drive, so I’m reading off of one and writing to another.

Often I don’t do that unless it’s something really huge like a one hour documentary with hundreds and hundreds of edits and clips. So knowing where things are is important. The problem is and this is where coming to using the project manager is a lot of times when you’re cutting a show, you’ll bring something and you’ll go oh, I’ll download this piece of royalty stock footage from the web.

I drag it to my desktop, I do it, and then I put it into Premiere and I’ve successfully now put something into my program that is not properly stored. This is going to happen all the time whether it’s a graphic style, maybe you built something in After Effects and you saved it over here and you drag it over here. We’re not all perfect, though we hope we are, but ideally you should move it into the right folder first and then ingest it into Premiere. In the real wold, you’re running and gunning, so you’re going to be moving stuff and that’s where the challenge comes in, is what happens to media that isn’t necessarily in the right location so I can’t just grab that project folder and copy it over.

The other challenge that you’re facing is well, what if I didn’t use all this footage? Why do I need to archive it and save it because it really doesn’t necessarily belong with this one show?

So I want to be able to consolidate everything as small as possible in a single location so if I need to go back and work with it, I can find it and that’s really where we’re moving to with this section of the class. So that’s kind of understanding the important of knowing where things are, but now we have to figure out the important of cleaning house. One is so you can find everything when you need it and two, you want to be able to delete it from the hard drive or your internal drive so you have the available space to work on your next project.

So with that said, let’s go ahead and hop into Premiere. I’m going to be working with one of the files that we had open, actually right in the earlier lesson. So this is the opening show. It’s mumbles we go in. So I have this and I want to go ahead and I want to archive this.

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

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

We talked about nests earlier. Okay, we put a bunch of things inside a container. Well, that nest is considered a sequence, so that’s why it shows up.

I made basically this nest of some of my animation so it would be easier to work with, so I see that and what’s nice here is I can choose what I want to back up, so there might be different reasons I’m backing things up. I might be backing up just that one sequence because I want to just save that or hand it off to somebody and they don’t need all the other clutter. I don’t have to back everything up from this project.

On the flip side, maybe I do want to back up everything but I want to make sure it’s all in one place and organized, so I can choose at this point in time, what sequences and I’ll see every sequence that is in that project in this first location that I want to back up. So I’m going to go ahead and I am going to check everything. Now I’m going to move down and we have some other choices based upon what our objective is.

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

And then you pick the location and what it will do is it will move everything. It will actually copy it. I’m sorry, copies it. So again, non-destructive. You have some options with this over here. One of the checkbox says exclude unused clips. So if you brought a lot of footage in and you didn’t use it and you don’t think you want to save it, you can check that and it will reduce the amount of space you need to archive that project.

You’re assuming that you’re not going to go back and say oh, I want a different take or I wanted another shot. You can always go back to your camera original that you archived, of course, that SD card that you put in a very safe place when you made the copy of the folder because you never throw anything away. I’ve never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together basic of course, but still pretty cool.

I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny.

He keeps it fun and shows that even he makes mistakes. To do that, I’m could do the razor blade which I taught you about, the cut C, or the keyboard shortcut command K, the German cut. So I cut this in half. I’m going to go over here and the filter’s still on both sides. And I can if I want to just deactivate it, hit the FX button.

The filter is there but it’s turned off. You can kind of see it on the edge there. Color should come back in. If I wanted deleted completely, I could just select it and hit delete. So now I’m in a situation where we’re going from black and white, color on the move, and I change my default transition.

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

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

And suddenly it’s like, “Wait a second? It’s going to hurt me on my next thing though because I want to do this blurry thing, right? Again, it’s going to create a problem.

I like creating problems for myself. Well, I don’t know if I like it but I’m very good at it. I’m going to show you how to create the blur move and then you’ll see where it breaks. So we’re going to go to this next clip here which is a fairly long clip. Nice underwater stuff. We made it blurry before. As a matter of fact, our Gaussian blur is still there set to zero.

We learned in the audio lesson about key framing. We’re going to key frame here also. We want the blur to change over time. And I know I can key frame something because I see these little stop watches that I saw with the audio that says “Yes, you can key frame something.

So I want this to start off fuzzy and then I want it to go to clear. I’ll probably pick where I want the clear to be. I’m working backwards so you don’t have to but it’s easier to work backwards.

And I’m going to simply hit that stopwatch and you’ll see as soon as I do that, it has created a little diamond here which is a key frame and has locked in this parameter at this moment in time, okay? Keep that in mind, it’s a time parameter key frame. So I’m going to go now back in time and I can do that either in my effects panel or in the sequence. You see that both the play heads move at the same time.

And now, because I have one key frame, if I modify that parameter, it will automatically create a new key frame in that location.

So I’m going to go over here and just make it a little bit blurry. You see a new key frame has been created. And I think that’s a good level of blurriness. So as I play it from this point to this point, it should come into focus.

And I say, “Well, that’s great. So I can either grab these individually and move them. So now I’m moving this key frame. Or if I needed to, I could actually grab a group of them and move them as a chunk. So I want it to actually start getting in focus a lot quicker. And I can go back and I can play it, and see okay it’s coming into focus and it’s sharp. So I’m going to put a title over there or something. There are programs, we won’t get deep into them, one comes with Creative Cloud, it’s called Prelude which does allow you to refine what you bring in, and also in the latest release of Premiere, there is an option that when you Ingest, it does copy, and even sometimes, if you want, converts it to a different file format that may be easier for your computer to use.

That, calms down that question, oh there’s a follow-up, yes? So I think I saw a little check-box I think maybe in the Media Browser that said Ingest, so that means that if you check that, then the media would be copied?

It’ll give you a dialogue box that we’ll look at in the Ingest part that gives you choices of copying the media. Copying it where you want it copied, if you want it converted, it allows you to not worry about the fact that you can just edit right off the card.

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

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

But that will work. Short on time? In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos.

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

I’ve never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together basic of course, but still pretty cool. I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes.

I can’t even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I’ve learned in his course to create a video. The first 9 lessons were already worth what I paid for the entire course.

Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now! I highly recommend! You won’t find this thorough of a course for this decent price!

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

So, so happy I got this. Thank you Abba and CreativeLive! I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy. I will for sure have to come back and watch again when I need to remember to do stuff or need a refresher. He is funny and quirky and a great teacher.

I so recommend this to anyone wanting to become a better video editor!! I am coming from being self taught and using iMovie and he makes it so simple and understandable. Can’t wait to learn more :. Skip to main content.

So let’s go ahead. You can apply an effect. I want to apply something that I can do some modification to. And for instance, a blur filter. Maybe you wanted to do a blur to this. And I’m going to go ahead and pick the next clip. Gonna go up here, type in blur. A lot of different blurs. The Gaussian blur is kind of your go-to blur, it’s one of the fastest ones for the computer to calculate.

It’s what we’re used to. If you came from Photoshop or Lightroom, you’re probably familiar with a Gaussian blur or a gowsheen blur. If you have vision like me, everything might be a blur. So that’s why I want to use this filter. I put it on and isn’t that wonderfully blurred? It’s blurred to me, I can’t see that. When it goes on by default, it’s blur level is zero. Zero amount of blurriness. So if I wanted to make this blurry, I would simply go up here and I could just use the slider, and automatically bring it to the amount of blur that I want.

Why would I want to take my beautiful sharp photography and make it blurry, you ask. Well, maybe I’m running a title over it and I just kind of want this movement in the background, and then I want to bring it into focus. There’s a lot of reasons that I may want to have a little bit of blur to something. Especially if I’m compositing or if I’m layering. So it has some nice things. Now I want to point out something that I really think was brilliant with the guys who designed this.

When you make something really blurry And you might have done this in a video editing program, you might have done this in a photo editing program such as Photoshop. Sometimes you get this blurry edge of black and that’s because what the software wants to do is blur the black outside of your image in with your image which isn’t necessarily what you want. And they did a nice job here, they made a little button that says, “Repeat the edge pixels. So you can see it’s very easy to manipulate this.

But I want something more, I want to create something more dynamic. So I’m going to go ahead and I actually want to take this scene, and maybe have it go from black and white to color and from blurry to in focus.

And I have to do a couple of tricks here because I’m working with a very limited filter. You saw that black and white filter was either on or off, right? So let’s do that challenge first. I’m going to zoom in. I want to go to color. What if I cut this clip in half and took the filter off in the second half, and then did a dissolve? Think that might work? No, you don’t think that’ll work?

I hope it works. This’ll be great if it doesn’t work, I’ll just be To do that, I’m could do the razor blade which I taught you about, the cut C, or the keyboard shortcut command K, the German cut. So I cut this in half. I’m going to go over here and the filter’s still on both sides.

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

So now I’m in a situation where we’re going from black and white, color on the move, and I change my default transition.

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

Cross my fingers, shift D, spread it out a little bit longer. Luckily, it worked. So this is a case where I kind of faked it. It’s a great way. And I love doing this, being able to go from black and white to color.

And sometimes I’ll do it really, really like a long dissolve so they don’t even notice. And suddenly it’s like, “Wait a second? It’s going to hurt me on my next thing though because I want to do this blurry thing, right? Again, it’s going to create a problem. I like creating problems for myself.

Well, I don’t know if I like it but I’m very good at it. I’m going to show you how to create the blur move and then you’ll see where it breaks. So we’re going to go to this next clip here which is a fairly long clip. Nice underwater stuff. We made it blurry before. As a matter of fact, our Gaussian blur is still there set to zero.

We learned in the audio lesson about key framing. We’re going to key frame here also. We want the blur to change over time. And I know I can key frame something because I see these little stop watches that I saw with the audio that says “Yes, you can key frame something. So I want this to start off fuzzy and then I want it to go to clear. I’ll probably pick where I want the clear to be. I’m working backwards so you don’t have to but it’s easier to work backwards.

And I’m going to simply hit that stopwatch and you’ll see as soon as I do that, it has created a little diamond here which is a key frame and has locked in this parameter at this moment in time, okay? Keep that in mind, it’s a time parameter key frame. So I’m going to go now back in time and I can do that either in my effects panel or in the sequence.

You see that both the play heads move at the same time. And now, because I have one key frame, if I modify that parameter, it will automatically create a new key frame in that location. So I’m going to go over here and just make it a little bit blurry. You see a new key frame has been created. And I think that’s a good level of blurriness. So as I play it from this point to this point, it should come into focus. And I say, “Well, that’s great. So I can either grab these individually and move them.

So now I’m moving this key frame. Or if I needed to, I could actually grab a group of them and move them as a chunk. So I want it to actually start getting in focus a lot quicker. And I can go back and I can play it, and see okay it’s coming into focus and it’s sharp. So I’m going to put a title over there or something. Now this is my problem. I was really clever about the black and white thing but if I want the black and white and focus to happen at the same time, it’s going to be really hard.

I could come into focus first, right? And then I could come into black and white but I want them both to happen and my head’s about to blow up trying to figure out a solution. A third party plug in would let me have done maybe the black and white another way.

And there’s actually some built in ones where you can do it but I’m creating a challenge here. I want to be able to put something else on top of this effect. And I have a couple of choices. I could do something called nesting which we’ve talked about in an earlier lesson where you can literally put this into a container and then I could put the filter on that container.

So if I want to nest this Because right now if I put that dissolve on, it would stop at this edit point. I would select, then right click it and there’s an option to say nest.

And it’s going to ask me what I want to call the nest. And I’m going to call this my open time lapse. It looks like a clip now, okay? And it works like a single clip. But I still have that effect happening, it should go to color. Here we go. And now if I want, I could go ahead and I can do that fade, that dissolve. And I’m really lazy and I’ve already built it here so guess what?

I can go over to that Gaussian blur, copy, command C, control C, go over here, command V, and I just pasted that effect from the first one onto the second one. So you can copy and paste an effect. And I just achieved the trick that I want and hopefully taught you a couple of tricks.

I’m going to repeat that again because I’m moving pretty fast, right? I can tell because everybody’s eyes got much bigger than their heads. So what I did, the nesting was actually pretty cool. You can do a single clip, multiple clip, and you’re not committed. Once you build a nest, guess what? You can step inside of a nest by simply double clicking on it. It actually creates a new sequence that puts the old sequence inside of the new sequence and is actually a new element.

So I can go in and I can change anything I want with that. And you’ll notice when I double clicked it, it actually opened a new sequence in my timeline area.

And then there’s my original one. So I can go in if I want to make a change. Maybe I wanted the timing of the cross dissolve to change. Do a roll edit there, happens a little bit sooner. It’s going to roll up and now it’s going to update. And then what I did is on my nest, I put any filter I wanted. And I was lazy, I wanted to use what was there, so I copy and pasted and I want to show you how I did that again because there is a couple of different rules you need to follow.

If I just want to copy a single filter with all the parameters, I would open that filter up in the effects control tab, hit copy and then paste it on to another clip and it will paste with all those parameters.

Short on time? In this series, you’ll learn the tools that allow you to build a story with video. Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos. Batch list is basically an export list of the clips you used, you probably won’t use that.

Again a lot of these are for broadcast. Titles we did talk about when we looked at titling. So if you have a title that you have selected, you can export that as something that you can then save to a thumb drive, email somebody or even put on your Creative Cloud folder, so you can access it and import that into another show. Premier actually allows you to do closed captioning, where you can manually type things in. And with closed captioning, you can also either buy software, which is ridiculously expensive, or you can send out the audio to get a transcript that you can then import a special type of file.

And so you’ll be able to do the captioning, what not. Again, a powerful program that we’re using. Everything from our photography sizzle reals all the way through broadcast television, which is required to have captioning, to theatrical films. All of it is embedded in here. Tape, I find that amusing. I don’t think I’ve put anything out to tape in years. But there is probably some facilities that are archiving things to tape.

You will always probably be putting it out to file. Maybe DVD, that’s gonna be a question that people ask. If you need to make a DVD, which again, is now an obsolete technology.

Adobe has a legacy one, but they’ve realized that people aren’t doing it, so they’re not even updating it. But there’s a couple out there. DVD authoring is all you need to search on the web.

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

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

So if I have something inside my source window, and we don’t want it to be an audio clip, so let’s go back here. I’ll just match frame that, it’ll be easier. We learned about match framing if you hit the F key. Being able to see this stuff is great.

There we go. And let’s reset this back to the default look. So if I want to say that or that, I can either go here and grab this little camera and click on it. Shift E is how I would export it. It creates a file that you can choose. But this is why I wanted to revisit this. We saw this earlier when we were actually working with speed changes, and you saw that you have a variety of formats. But what I didn’t go into was what size is this image?

Because we wanted it to be the perfect size for video, and it was, so there was no need to talk about it. When I export anything from Premiere, it will export that as the size of the image that you have. So if it’s a piece of video that you recorded in by , it’s gonna be a two megapixel image.

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

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

If you have a photograph, you want to go back to the photograph. If it’s something where you’ve created a layer, now I have two clips on top of each other. And this would’ve been something I should’ve caught when I was doing my finishing, and I wanted to bring this up because I did miss it. It’s like oh I put this cut away, but I see the seam behind it by accident. Okay so I need to scale these up. But if I built something that had some text on it or some sort of compositing.

So let’s say I did use this image and I’m gonna go ahead and squeeze it as a picture in picture, ’cause we want to see what’s happening there. If I grab that freeze frame, it will be this entire image right here. So this is great if you’re create like a title sequence, and you want to show somebody and example of what it’s gonna look like with some stills, you can go ahead and export that with shift D or using the little camera button. Very useful, but remember, it’s not really print quality, because it’s only two megapixels.

But it’s great to send somebody if they wanna do approval, and if you need it bigger, take it into Photoshop, they have great upscaling tools. So that’s exporting a picture. Now let’s talk about, again, I used this expression already once. Where the rubber meets the road. What you really want to do which is exporting your show and how confusing that can be at first blush.

So to export a sequence you have to have one of two things selected. You either have to have the sequence selected, or you have to be in the project file, and select the sequence icon there.

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

Is this a little confusing, scary? Yeah, okay it is, it is scary. It’s scary for me and I’ve seen it a lot. The reason it’s scary is because there is so many options and so many things it can do, they gave you these options, that you can be overwhelmed by choices. The nice thing is that there’s a lot of great presets that you don’t have to think about all these numbers.

When we first started going to digital video and people were putting things on the web, and you saw you could download stuff from iTunes and whatnot, people had entire jobs, and there still are people out there, they were compressionists, and this art form, this voodoo art form of how I can take something that’s huge and make it digestible that I can download, and you know there’s a real science to this. And the average person would like send it out, or you would go with these presets.

Now we can do pretty much most of what we need to on our own, but the whole point is you wanna put out your program and sometimes as I said archival, you want to keep it completely uncompressed.

But that could be in the tens of gigabytes. Some of these files I’ve had have been 60, 70, 80 gigabytes, even larger, depending on the length of the show. That’s something that I can keep on a drive, but it’s not anything I’m gonna send anybody.

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

So if you’re continually using stuff it will do that. And so this will try to match everything to whatever your sequence presets are, okay? And it’s just trying to make a clone.

But if you want to change any of that, you can go down and you have a lot of control. I’m gonna uncheck it, and what you would first choose is the format. So here you’re making kind of a decision about, okay what’s my need, and what do I want to do with it? And even this list is overwhelming. But the nice thing is is that for the most part, you may use only two, maybe three of these choices to start with. It is very likely that you’ll probably use H.

That’s pretty much the defacto standard at this point in time for the web. On Facebook, whether you’re downloading it or playing it.

It’s usually compressed with this codec, we’ve talked about codec briefly called H. And what this is it’s really smart math to throw away the information that you don’t need to make the file smaller, okay? And they’re getting better and better with the codec. Some of these are older codecs, some are broadcast codecs. But not everything can play it back. So that’s why I’d go back here, and for specific things, if you’re putting out to Blue-ray, you’re making a Blue-ray DVD, learn about that when you need it.

The other one that some people choose is QuickTime. Because we all are aware of QuickTime, and I had mentioned this earlier, but it merits repeating, because this is all very confusing. When you hear about compression, there are a couple parts to it. There’s codec, which is the math to compress it. That’s things like H. The algorithm, it’s a big word for basically what we’re gonna through away and what we’re gonna keep.

That’s the codec. And then there’s something called wrappers, which is what you put this compressed stuff in. And you’ll see things such as QuickTime is a wrapper. If you see M4V or MP4, that’s a wrapper. It’s basically what’s the container that this file is in. Some containers have very specific rules for what’s inside, some can hold almost anything, okay?

Generally the presets are fine, they’ll figure it out, you don’t have to worry about that. But that’s just a little thing so you can get your head wrapped around it. You know Windows used to have one, and they discontinued it, and I already forgot what it’s called. Whatever there. But you know. MOV would be an example of a container, okay? So this is the codec, once you pick the codec, then you’ll have some choices in the next section.

So we’re gonna look at two of these now. We’re gonna look at H. And then as soon as I do H. But compress it to H. We had a question I think, I was talking about bitrate and bandwidth.

So when you’re streaming something off the web, whether it’s Netflix or something off of YouTube, you know depending on how fast your internet connection is, how sharp it’s going to be. Whether it’s going to buffer and whether it’s going to be pixelated or not. Those are all things that we’ve all experienced from the viewers point of view. So a high bitrate is it’s trying to send more information down the pipe. It’s a bigger file and it may be more challenging to say view that on an iPhone on cellular than it is to view on your high speed internet at home, okay?

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

So those are some things, and you might, when you’re putting out your show, export it both ways and see if you can see a difference. Depending on the complexity of your show, you may not need it. And something to keep in mind is, it’s really hard to compress complex imagery and lots of motion.

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

So these are some of kind of an overview of the challenges you have when deciding compression. These are the two that I jump to the most, the defaults.

They’re easy, they work great. If you go down the list, you will see way too many variations of like, oh the Kindle, the Fire, the Android phone. Guess what? A lot of these are the exact same configurations, but they put them all in because some people are very literal and they go, I need to send one out that my friend can watch on their Nook, okay?

And you can pick it. And this may end up being exactly the same one as the Android one, but that way they don’t have to go and try to figure it out. So don’t be overwhelmed. Most of the time you’re going to use the first two. But they try, and they update this with each version.

If something’s getting more popular, you know, the Vimeo stuff, and they can tweak it. So if you know you’re going to Vimeo, make a Vimeo version. It follows the specs so when you upload it. So these are very accessible, but don’t worry about these ones that you don’t understand. Why do I have to know them all, okay? That’s basically the rule of thumb. If I switch to QuickTime, just to show you as an example, and sometimes I master to QuickTime, that’s a different wrapper.

I don’t have as many options. And you can go ahead and you can say, oh yeah, put it in a, see it says rewrap? QuickTime is the container. And so I say, ah, rewrap, good. It’s giving me a lovely error, won’t let me do a rewrap. So I can go ahead and I can do custom ones. We’ll leave it at DV for now, ’cause that’s gonna change.

So you can go through and make all of these modifications to your video settings. And I just want to clarify what some of them are, if you need to make a change.

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