Lessons

Lesson Info

Introduction

we're gonna talk about Adobe Premiere Pro Sisi, and I call this an in depth introduction. I want to provide an introduction to Adobe Premiere Pro, and along the way we're gonna demo prelude. We're gonna demo of media and Coder will introduce you to Adobe Audition will introduce you to the whole workflow, the ecosystem that Adobe products have provided. One of things I've learned is that everybody is interested in getting right in and starting to cut and edit and create effects. And this is just absolutely the wrong place to start because you end up with a whole lot of mishmash in and suddenly to understand why nothing works and you're struggling toe to solve problems in the whole thing collapses on its own. So I have an entirely different approach. I've discovered that if I don't teach effects at all, nobody particularly minds, because you know as well as I do, you go on the web and you look at all the effects that are out there and and you'll learn how to create this cool looking look...

. But you'll assume that however you've learned to edit is the best possible way to edit because nobody researches Codex. Nobody understands how media management works. No one understands workflow. Nobody understands how to actually edit, and that's where you spend the bulk of your time inside a program. People are not hiring you because you want to create effects. They're hiring you because you're able to tell stories with pictures. And if you don't know how to tell stories than all the effects, the world are not gonna make a bit of difference. So I want to build today a foundation of industry, standard terms of best practices and core concepts. I want to enable you so you can continue to learn Premiere Pro long after this course is over, we're going to give you the foundation. You need to be successful, but and here's a big caveat, and this is really important. I've been editing for more than 40 years. I've been teaching editing for almost 15 and they're still something new. I learned every day I learned something new about the technology, about the craft of editing and the business. It is impossible for one person to know everything there is to know about any program is complexes premier or any other video software. There's No way. In three days I have checked, Susan, I went through my schedule. I went through my schedule. I total up everything I wanted to talk about. It ran 17 days, 17 days, just to be able to cover the basics of what am I supposed to do in three days? So we're hitting the highlights. This is like the Super Bowl of editing. We're gonna talk about editing at the highest possible. We're gonna give you such tools to work with. It's just I mean, this is gonna be amazing, but it's not everything. And I hate to break this to you because I know how devastated you're going to be, But I do not personally know every keyboard shortcut in the application. And there are some menu items that I have never explored in my life. So if you find something that's really cool, send me an email because I like to learn to and you know, that way we can all learn from each other. The difference I've discovered between a hobbyist and a professional is not the level of the work. It's not in their love of editing. It's that a professional expects to be paid for their work, and the only way that you could be paid for your work is to actually complete the job. If you think about it as a pro, all you have to sell is your time. I'm going to do this job in a week. I'm gonna charge you a week's worth of time to get this job done. And if you get it done in four days, you've just been paid for five days for work. You didn't four and it's a profit and you're happy and you go home and the kids were fed. But if you bid a job for five days and takes you three weeks, you've just lost two weeks of revenue. Your kids are starving. You can't meet the rent because you're not efficient. You're not getting the work done or you're not understand the scope of the work. Everything I teach is focused around helping you pay the rent and helping you earn a living and helping you achieve what you need to do. It's there's a business to editing Anders aircraft editing, and the two of them go hand in hand, and I want to share that with you over the next three days. It is critically important that you focus on what needs to be done now. So what I want to do is focus on what you need to know to start. How do we finish efficiently finish a job and how to do great work along the way. So the first question we have to ask us, Why should you even consider Premiere Pro? First, it's seriously fast. If you've got reasonably modern hardware, whether it's Windows or Macintosh, it is screaming quick. And speed is everything when you're dealing with with editing, especially when you're into effects and a special when you're rendering and into some of the more complex Codex that we have to deal with today like h 0.2 64 a V C h D. It supports the latest technology, hardware and software on both Windows and backs that delivers professional results with a very deep feature set, and it easily integrates with other adobe software. But and this is where bar fights break out is Premiere Pro. The best editing software and answer is who cares? There isn't a video software on the planet today. Whether you're looking to premier pro or final cut pro or avid media composer or Sony Vegas. Every one of these programs, every single one of them, delivers professional results. If I have been in video now for 40 years and if you show me a piece of software which is edited, not effects, cause affects does give software way. But if you give me something that's edited in premiere or Final Cut or Vegas or avid, I cannot tell the difference. It is they are indistinguishable in terms of quality. So to get hung up on this issue of off, which is professional, which delivers, they all deliver professional quality. I mean, we've never, ever had this much great quality software available to us at the same time. It's never been this good before. This is phenomenal. You can't make a bad choice, period. You know, Jim, you strike me as a man that has made executive level decisions in your life. Have you ever, you know, remodeled your house? Hired a carpenter to help build something? Absolutely. I have. Yes. Now, when you talk to that carpenter, when you decide what you're gonna get, Carpenter Smith there, Carpenter Brown, do you ask them what hammer they have. I do not. Do you ask them if they have a DeWalt hammer and if they don't have a DeWalt hammer, you're not gonna hire them. You know, I I don't Are you convinced that the only carpenter that can build your kitchen has a Stanley Hammer? Hammers air? Pretty much, you know, that gets the job done. Well, maybe, and maybe not. But are you hiring the carpenter based upon the hammer they own? No, sir. Are you hiring the carpenter based upon a specific tool that they use? No. I expect they come with the right tools. So therefore, when we're getting hired for our jobs, it isn't really the tool that we use its the results we can achieve is it not? Is exactly right. So when you're deciding whether to get this kitchen built or not, you're not looking at whether his tool belt is new or old. You're looking at the photographs of the house he just did and said, That's what I want. Build me the same thing. Indeed. Why should video editing be any different than that? Why should we define ourselves in terms off the tools that we use all we're doing is limiting ourselves. There is broadcast television being done today today on Avid's Media Composer three, which was last updated 757 12 years ago, and final cut Pro five, which hasn't been upgraded since before all those in the room were born. Yet they're doing broadcast programmes. Why? Because it works because they can deliver the goods. If you know if you think about it, I'm looking here at Creativelive. The show starts exactly at nine o'clock, and if you could see all the people behind the scenes putting this together, you would be stunned at the size crew that's necessary to do live television in Hollywood. It is no different. The two driving factors in Hollywood are not who's using the latest technology. It's who is meeting the deadline and who is meeting the budget. You missed the deadline. You miss the budget, you've lost a job. They don't care if you're working with the current software, the oldest software. So that decision on which software is the best is not. Is it professional? They all are. It's not doesn't do the job. They all can. The question is really can I understand this software well enough to use it to get the job done that I want to do to meet the needs, that the budgets, the deadlines, the clients, the formats that I'm working with and if I can, then that's the right tool for me. And if I can't, you find a different tool. So my goal for this training is not to say that Premier is the best. Arguably, isn't it? Arguably, Isn't Michael for today is to help you understand what premier does, how you use it. And then you can make the decision for yourself as to whether that works with your own video editing needs. And it's a trap we defined ourselves in terms of If I'm a final cut editor, I've got Gosh, I was editing with Final Cut Pro one and up through Final Cut seven. I still edit on Final Captain. I had it in final cut 10 every day. I didn't premiere every day. I didn't final cut seven at least once a week. I'm not a particular tool editor because that way lies ruined. You define yourself in terms of the results you achieve. I tell stories with pictures that make people care. I tell stories with video that makes people buy products. I can help you improve your life. I can help you get a job. That's the tools that we provide. That's the power that we offer. So to get there, I'm going to start with some troubleshooting. Now, You think troubleshooting is boring stuff until it's two o'clock in the morning? The computer doesn't work in tech. Support is out toe lunch. We're gonna talk about troubleshooting. Then I want to talk about system set up. Now, this is the dull, boring stuff. We're gonna talk, Codex. We're gonna talk hard disks. We're gonna talk bandwidth and data rates, which is just so cool, cause if you don't understand that the system collapses under its own weight. Not that I get passionate about that. Everything. I'm gonna talk workflow. What should you be doing right now to be most efficient in your work? Then we'll take a look at Adobe Prelude in and talk about ingesting tape. Lis media will learn the premier interface and configure the system we're gonna capture in just an import clips. We're going to review clips and we're gonna do basic editing all by the end today, and no animals will be injured in the making of these demos because this is just cool stuff then Day Two. For those of you who are deciding whether you want to stay with us for the full three days, we're gonna do a review of editing to pick up what we may have missed the day before. Well, look at trimming clips that's adjusting where two clips touch organizing. The timeline will look at labels and markers, transitions, audio editing, which is one of my favorite things. I mean, I can spend weeks talking about audio, and I've asked Susan for more time and she said no. So we're gonna talk audio editing. We're talking audio mixing and effects. And then we'll talk about some useful editing utilities that are built into premier that you may not understand how they work. Then on Day three, this is where day three of all effects this is like the desert. For all the heavy lifting going to go through on the 1st 2 days, we're going to do an introduction to effects. Will look a text deflects effects. Well, it could blend modes and motion effects filter effects. Green screen keys, lament tree looks, color correction. Oh, color correction. You have got to join us for color. Correct color correction is like you will never watch television the same way again when you've seen color correction. Ah, this is We'll watch you learn how to read. Scopes will look a contrast. Control will look a chroma control. We're gonna look at how that create effects with color. It sits my favorite subject that we're gonna output to videotape and then we're gonna export master files. And then because all exporting is done through Adobe media encoder, we're gonna take a sideshow onto the video compression and take a look at how Adobe Media encoder works. You know, there is video compression is a wonderfully complex subject, and especially today, I mean, look at here. Creative lives delivered exclusively on the web. You can't go to a broadcast station. Watch this. Now, this is a total paradigm shift from what we're used to, which is you turn on the television. You watch your program now it's delivered over the internet. Well, the internet requires requires data compression. So how do you get your video toe look good when it's being delivered in immediate, which requires you remove quality from your picture. That's what data compressions all about. We're gonna talk about that not in his much detail, because there just isn't enough time. We're gonna spend almost 45 minutes explaining why you compress how you compress what Codex you use. How you make your stuff look good. Hi. Get your file sizes Small. What artifact ing is there's just some really, really, really cool stuff. Susan's the sound O que dios that sound like an agenda you're interested in. Okay. And, Jim, I know you've got a lot of experience with Premier, but is there something there that sounds like it catches your fancy? You know, seriously, the beginning in the end, really troubleshooting, Because I know you can. You can learn the software, but when you're a beginner, that's really hot. That's really good. Good infill. And then also the conversion at the end. I look at all the list off all the different ways to export. And I'm like, who Which one do I use? You know, with, um the scan lines, all that you are going to be such the maven video compression people are gonna call you at home asking you for advice by the time this is done and you know you're absolutely right. The first time I started the first time I started media encoder. It came upto a three panel display and I imported a file and the file wouldn't show up. I imported file again. File didn't show up. I was starting to panic because, as is all things with all demos, there were 75 people watching me do this and it wasn't working. And the screen I couldn't import a file, and I suddenly realized that there were three panels showing not for and the fourth panel is the import panel that showed where all the clips were. I couldn't get the program toe work because I didn't even know how to start the program. And so I spent a lot of time. We'll spend a lot of time today just learning how to get started and how toe how to make sure that yourself because, you know, once you're in the program, there's all kinds of help. But if you can't get the stupid thing, the work in the first place, the world's help, it's just not going anyway. So let's get started