Adobe Premiere Pro CC Starter Kit

Lesson 3 of 10

Creating a New Project and Importing Media

 

Adobe Premiere Pro CC Starter Kit

Lesson 3 of 10

Creating a New Project and Importing Media

 

Lesson Info

Creating a New Project and Importing Media

We're going to create first a new project then we're going to import media will review clips which is also called marking clips then we'll edit are clips into a story and it will organize clips in the timeline now jack you haven't said anything today so I need to ask you a really important question ok you're sitting down okay? Our entire training today rests on your answer but there's no pressure I was going to ask jim but he's too busy recovering from being able to impress people at bars in the evening so we'll ask you instead I might pass the mike if I watch a clip ok and I need to set where that clip starts it's called it in and I need to set where that clicked ends it's called the out does it make a difference if I watched that clip and then set thean or watch the clip and then set the out in the technical process of setting the inn or is the process of setting where clip starts the same whether I watched a clip or not now this is not a trick question it's an obvious question but t...

hink about it for a second what would you guess? I've tried it both ways and you know you're going to tell me I got it wrong or right itself sure what the right answer that's technically the process of marking where clip starts is the same isn't it right so whether I watched a clip or not doesn't make and it shouldn't make any difference which takes longer tow watch the clip and set in in or just said the end it's quicker to set the now but here's the reason why this is so important we don't have an unlimited amount of time today if I were to actually take the time necessary to tell a complete story would probably take three or four days tow watch all the media figure out what the best shot is fear out exactly where one in other words it's going to take a long time I'm not here to teach you the craft of editing that's a whole separate speech my job today is to show you how the software works so we're going to create some stuff that she's going to make your teeth ache because we're going to put transitions and we're gonna put cuts in where we're not even listen to what he's saying but I want to show you the process of setting the enemy out and by doing that it's going to save us a ton of time okay? So if you're comfortable and if lance is comfortable of learning how the software works but not learning the craft of editing than we can accomplish a lot today but if we need to do both we're not going to get either one of them done because you don't have enough time so I'm not going to focus on being perfect I'm going to focus on the techniques that makes sense absolutely okay oh oh jim you get to pick there are probably eight keyboard shortcuts there's a bunch there's hundreds inside premiere but there's probably ate that make a huge difference in how premier works would you like me to show you how those keyboard shortcuts work on a computer and then give you a summary slide that says what they are or would you like to see what they are first you can keep them to mind and then I'll show you how they work later I think I'd like to see how they work first okay, so in that case grab your camera and do a screen shot these are probably the most important keyboard shortcuts that we're gonna have for editing the letter I sets the in this is where a clip starts shift I jumps the play had remember that's that orange thing gus in the timeline jumps the play head to the end it's ah keyboard shortcut that takes you right to the start of where your clip begins option I deletes the end the letter o sets the out shift oh jumps to play head to the out and optional deletes the up option ex deletes both the in and the out an option k plays your selection of the clip from the inn to the out so to summarize I sets thean oh sets the out option xt elites both ian and the out on option k plays from the end of the out we're going to use these over and over and over again. The process of editing isn't hard it's repetitive and it requires thought it's been said that video editing is the only task that really requires both the left and the right brain it's both creative and logical at the same time creative because we're telling a story but there's so much technology involved that we've got to focus on the technique as well. So jim, you ready to go? Lance and jack you all set all right, here we go when we start premiere for the very first time, this is the screen that appears this allows us to either access a recent item on the left hand side or create a new project on the top right corner or get access to a lot of online training which adobe provides in the lower right corner. We can also do sinking settings to the adobe creative cloud and there just isn't enough time to explain what that is, so we're going to just run premiere in a standalone environment we're going to create a new project click on create new project double click it it opens up the new project screen and let's just take a look at this this is where we get to name our project, so we're going to call this my first project unless it isn't your first project, in which case you could call it your second project or the ajax there's no requirement on what you call the project. You can call it whatever you want, notice where it says location it's going to the second drive, which is my thunderbolt drive and it's going in that folder that I pointed out before, which is the premier projects folder. And if you want to change it, you click the browse button and I'm able to change the location, the default location of where I want my project stored. The reason this is important is premier will remember the location you set so every new project that you create it will automatically be stored in the same location. So once you've got this set once you never have to set it again, can you move it at any time you want? And you can store projects on any hard drive inside any folder named anything that is attached to your macintosh? It makes no difference. Remember that I said there's a number of technical settings. There's actually two tabs here, the general tab into scratched discs town if we look at the general tab. We could determine what the video and audio display formats are just leave these sets of the default the default sir good choices and it's not worth even considering bothering changing scratched discs are the technical lo que are the technical files that premiere creates and you get to specify where they're stored. This is actually a big deal because other editing software I'm thinking final cut specifically forces you to store the technical files in specific places here and premier you khun store them anywhere video that you capture, which generally means videotape can be stored in one location audio can be stored in another location preview files, which are called render files could be stored in the third location and audio render files could be stored in the fourth location. We can also determine where the auto say vault is stored by default. The auto say vault is stored inside your home directory inside the documents folder inside the adobe folder inside the premier folder inside the version of premier ccs version seven and they'll be on auto save fault, which is listed there. Looking at the path again I'm holding the command key down and clicking on the name of the folder it's inside your home directory documents adobe premiere and the version of premier most the time you don't care but if you need to change it, you can change it by setting the project auto save in the old days hard disks were very small and they were very slow in the old days meaning five ten years ago we would store video files on one hard disk audio files on another hard disk project files on a third hard disk render files on a fourth hard disk and we would have lots and lots of hard disks attached to our computer because nothing was particularly big and absolutely nothing was fast that legacy has stayed with premier giving us the ultimate inflexibility in terms of where stuff is stored by default I've set all of these to be stored inside I'm going to click the browse button to be stored inside the thunderbolt drive that's my second drive inside the folder that I created called premier scratched just remember this is the folder I pointed out the beginning of the training it's the premier scratched discs that I created I then point inside that folder by highlighting it click choose and that's the location for all of my scratched discs so my scratch disk my work files are stored to the second drive my media files are stored to the second drive and that means that my boot drive is solely dedicated to running the operating system running foreground and background applications and that's it this gives me a very efficient system where stuff does not conflict I'm going to click the ok button and after a nanosecond or two premier fires up this is the exact same premier interface that we looked at before except now there's nothing loaded and it's not as interesting which is why I first showed the interface with video loaded and all the windows so that you'd be able to have something to look at you want a secret tip sometimes and it isn't your fault premier gets confused and it doesn't operate properly in most cases it's caused by corrupted preference files remember those preferences we talked about in the first session where we were looking at how to configure it and customize it for our our particular use while those preference files actually do a lot more than simply customized it for our purposes they tell premier how to think and how to work with various video formats and sometimes those preference files get corrupted the way that you were raced the preference files and reset them back to a factory default is before you even start premiere you hold down the option key now remember windows users the option key means thie all turkey the same way when I say command on a mac it means control on windows you hold down the option key and you start premiere by launching it from the dock while you hold the option key down as premier starts up it automatically erases all your old preference files and replaces them with known good factory defaults so if premiere ever starts toe acts quigley relaunching the application while pressing the option key down until that welcome screen appears well, then automatically trash your preference files everything gets reset don't do that very often maybe two or three times a year definitely not once a week, but it is a huge huge benefit when the application decides it has a mind of its own there's several ways that we can review media one is if I hide premier command age and go to my thunderbolt drive and go down to this is a really cool tip I like this one I use this one constantly when I don't want to fire up an application, I'll just go to my source media folder and we'll just open up something. Oh, some clips from us pond five and we'll do some landscape clips if you just highlight a clip impress the space bar this is like a quick view you don't even have to start an application only enough to start quick time you just simply press the space bar shows the clip press the space bar puts it away and if you press the space bar, you compress the down arrow key and quickly look at a clip to see what's there what isn't there without even opening it inside an application space part of open space, part of clothes the big benefit to this is that it's fast speed is a good thing well, we have an equally fascinating inside premier it's this tab right here called the media browser. The media browser allows us to look inside our hard disk without even importing a clip. It gives us a chance to review the clips that were working with now here's. Another really cool tip whatever panel whatever panel your cursor is in noticed that big arrow I want to just move it inside media bras and noticed that media browser is not selected. It's selected. If it's got a gold box around it by clicking on that panel, just have to put your cursor inside a tab and press the tilde key that's t I e l d a the till dickie automatically and larges whatever panel your mouse is in and blows it up to full screen pressed until dickie again and it's back down to small now shift tilda would automatically expand whatever the selected panel is holding the shift key down the till dickey is below the escape key and above the tab key tilda allows you to take whatever and then there's a command tilden control tilden command control shift till till double forget all that stuff. Just put your cursor inside the panel you wanna end large and press the till to keep blows it up full screen notice that I'm now inside the media browser I can see on the left hand side a list of all the hard drives that are attached to my computer. My media is always stored on my second drive on when I click on it all the different folders that are on my second drive for available to me, I'm going to scroll down and find source media double click on it and this is all the source media that I worked with throughout my training to be able to view the contents of source media file, for instance, the pond five clips all double click on pond five, double click on animals and very quickly it creates a siri's of thumbnails of my media. If I look down in the low left corner there's two buttons thistle it gives me a list of my media, which gives me the easiest way of quickly seeing what I have to work with. The second button over gives me pictures of the media. If I grabbed the slider, I can increase or decrease the size of those thumbnails until they're pretty darn big. It gets even better than that, though if I grab my cursor and hovering over a picture it's called hover scrub, not only does it highlight in a yellow tool tipped the name of the clip, it also allows me to quickly dragged back and forth to see what that clip consists of I haven't clicked on the clip, I'm just simply dragging the mouse across the clip to see the contents. This is a very fast way of reviewing a bunch of media in a hurry without having to first open it up and loaded to the timeline. Aiken just simply hover scrub what's. Even nicer, though, is if I click on the clip notice there's now a gold many time line across the bottom. I congratulate this small play head and dragged the same way I could if I was hover scrubbing, but the big advantage is if I hit the space bar, I'm now playing that clip in real time. We're stopping it to be able to review the contents of the clip, this ability to quickly hover, scrub on an unsolicited clip or play using the j k, l keys or the space bar to play a clip gives me a really good ability to say yes, I really want that clip loaded into my project. We can now load that clip into our project in a number of different ways. One issue khun right mouse, click on it and say import, what import does is he will automatically import that clip from the hard disk and have it show up inside our project panel and there's our bighorn sheep and now inside the project. Panel, which allows me to see all the clips that I can now edit media browser, is for reviewing contents of the hard disk. The project panel is to be able to review clips that I have access for editing. And again, if I click on the clip, I can get the many timeline aiken scrubbed them any timeline, and in just a minute, I'll show you how we can set exactly which part of the clip we want to use. If there's a clip that we don't want, we can simply highlight the clip hit the delete key. It is not deleted from my hard disk, but it is deleted from that project. Let's, go back to media browser. I want to work with an interview that I did a few years ago with dr vince cerf. This is dr. Vince cerf is an amazing gentleman, he's, a member of the board of directors of google. At least he was when, when I did this interview, the interview was done in two thousand for van nuys high school in california, dr surface, attending the high school to talk about math and science to the students there, and urged him to stay in school. He's, a member ofthe scientist on kpl, member of the board of directors of google. He also runs one of the major internet committees that handles naming conventions. But he's best known for inventing the tcp ip protocol, which is how all community computers are able to communicate over the internet, which he and his research partners did in the late nineteen sixties nineteen seventies. He really can be accused of being the father of the internet, and I'm enormously grateful first, for the opportunity to have done the interview with dr served, but even more important, he's allowed me to use his interview footage both the good takes no bad as part of training. Now, the reason this is so important is one thing I've learned is you go to a stock footage house and you can get all kinds of pictures, but licensing audio is almost impossible. Cnn, the license audio charges a small fortune and dr surface very graciously shared his audio and video with me for training the fact that I am not unmindful of and very grateful for. So thanks to dr surfin alcatel lucent for making yourself this interview footage possible the's air all the different quotes. There's two ways that you can capture an interview. One is you can capture the entire interview in its totality, and then you can figure out how to break it up later. I try not to do that that's not my preferred way if I have a choice back when we were shooting tape, it was easy back when we're shooting tape lesson depends upon the format that you use, but I preferred to take interview questions and break up each individual question to be its own clip because it's easier for me to be able to say this is the file name off this clip he answers what's the future of the internet, or what are the importance of teachers who are what happens if a teacher's feeling overwhelmed? I can now know what the answers content is just by looking at the file name, so where possible? And it isn't always possible I name the file with what his answer talks about. I can then quickly look at even a whole flock of clips and say, oh yeah, well, this is the one where I want to talk about the importance of teachers or we're creating the interstellar internet. I can look at the answer, and I always start the clip name with the person's last name, because if I've got twenty, thirty, forty people, I will forget who they are in the worst thing you can possibly do is tio put the wrong name title over a person on camera talking, so I try always to identify the clip. With the person's name spelled correctly so I can make sure that when it comes time to add titles which is far downstream and long after the shoot I know who the person is that I'm interviewing well let's take a look at a particular clip and he is talking about teaching technology there's a lot of discussion in schools about whether we need to go back to the basics of reading, writing and arithmetic and whether we need to actually teach technology and in fact whether the arts or even necessary at all well I want to use this particular clip as part of what we're illustrating for the editing process I want a double click it or I can write mouse click on it and say let's open that up into the into the viewer let's just import that and go back to the project panel again pressed the tilde key and everything goes back to square one I now have a single clip here in the hover scrubs still works tow loaded up into the preview window which is called the source monitor doubleclick a clip and we now load the clip into the preview monitor I've turned the sound off on my computer will turn it on in just a minute but notices I'm scrubbing back and forth not only do I see a high speed version of dr surf but I'm also seeing an example of what the audio levels are down here as I pull a back and forth it's measuring how loud sound is, we'll talk more about this in the next section, but the tall of the green bar is the louder the sound. Oh, if we take a listen to the clip, it runs a minute in seven seconds. I want to just play a little bit of it, but just give you a sense of let's hear what this sounds like a press the space bar so we have this interesting conundrum is teaching technology in school going to conflict somehow with the core curriculum, reading, writing, and I I think the answer is no, I think that we have to have a core curriculum, you cannot be a technologist, you cannot understand and use technology if you're not literate and numerous times on, so we have to have the core, but if we don't teach people, how do you even think about technology, then they will be left without the tools they need to live in the twenty first century. Ok, good notice that I played a portion of the clip, but I didn't play all the clip that's because I don't need to have my question, I don't need to have him start to formulate his answer, I just need the portion of his answer that makes the most sense where I think we have to teach technology in other words, I don't need to use the whole clip I want to use a portion of it this is called reviewing the clip or marking the clip again let's go back here and this time I'm going to type the letter I to indicate where I want the clip to start let's listen again curriculum reading writing is doing I think the answer is no I think that we have to have a core curriculum I want to pick it up with I think the answer is no in I think we have to have the core curriculum so how do I do that? You know, okay, I'm going to use the arrow keys and find the spot I'm looking at his face justice his eyes start to open before he starts to talk I want to get a good clean audio right there. I want to type the letter I I could also click this icon right here. Two things happened at once first at the position of the play had this bracket symbol appears you can see it right there that indicates where my clip starts now continue to play it have a core curriculum, you cannot be a technologist you cannot understand and use technology if you're not literate and numerous times on, so we have to have the core but if we don't teach people how to even think about technology then they will be left without the tools they need to live in the twenty first century stop at this point I could set the out either by clicking this icon and notice now there isn't a bracket that indicates where the selection the marked portion of the clip ends this is called the end or the start of my selection this is called the out or the end of my selection I can change it by click hold and dragging this icon and notice it is I drag it I can change its location if I decided I've said it in the wrong spot or I could just put the play head where I want the out to occur type the letter o to set the out remember the out means the end of my selected range within a clip we just find it again technology then they will be left without the tools they need to live and I gotta drag it longer adobe is trying to be helpful if you need to live in the twenty first century right there types the letter o so what we've just done is we've selected a portion of a clip I to set where we wanted to start bowl where we set it to end ok still with me this is the onley time that I'm going toe listen to a clip because the process of setting the ennis type the letter I the process of setting the outdoors type the letter o so I don't need to do this again. I don't want to waste the time again, but I want to show how we can be very precise. Listen to it. Use the left and right arrow key drag the play head back and forth dragged the in symbol dragged the out symbol because we want to get it as perfect as we can. We never get it exactly perfect. We'll get it exactly perfect as we trim, which is coming up in the next section. But now we've got a marked clip. Chased her with me. We have to edit this into what's called a sequence. The project is the master container. A sequence our individual collections of clips, stories. We have one clip that we've imported. We would normally import more than that. But now we need to create a sequence to do that. We go up to the file menu, go down to new and these are all the different goodies that we could create. This is another way of creating a new project. But I want to create a new sequence keyboard shortcut his command. And this is the next big set of technical hurdles that we have to overcome. Remember, I was talking at the beginning. Jim, if you recall, we had the conversation on codex. A kodak is the mathematics that translate analog light and analog sound in tow. Binary digits the computer can store. These are some of the codex that premiere supports. This is why knowing what the kodak is is so important. And the camera manufacturer, your camera operator will tell you what kodak they shot. I just have to look at the menu. But knowing the kodak is really, really important. So here we could pick from any of these. I happened to have compressed this as a dv clip. Standard means it's four by three wide screen means it's more horizontal sixteen by nine. And the numbers indicate the sound audio on most cameras today, it's recorded it forty eight kilohertz. We'll talk about that more after lunch. So I'm going to create a new project that has standard forty eight k. This is without a doubt. The most confusing part of setting up premier is hadiya. Figure out what a stupid setting needs to be off the stupid sequence. Because all you want to do is edit a stupid video into the stupid program and get the stupid thing done, and this just gets in your wife. Fortunately, premier has a way of fixing that. If you were to edit a clip into a sequence and it doesn't match the settings, it gives you a chance to change them. We'll see that more in just a minute, but in this particular case, we're going to set this to be we've picked the co deck. I know that it was devi because I shot the material I know it's four by three because it looks more squarish rectangular ish, and we're going to give this a name, premier sorts all sequences alphabetically, so I always start with a space this bubbles all of my sequence is up to the top of my list, so they are always listed ahead of an eclipse, and I start with followed by dash, followed by the name of this doctor surf interview. Then I click on settings, and this is this is the stuff that makes you cry in your sleep, you say, what does any of this stuff mean? And in the past we cared a lot and now we don't need to care at all because premier will handle it for us, I'll show you we can also worry about setting individual audio tracks and how many video tracks my recommendation is leave the track setting alone don't even go there. Leave the settings alone don't even go there until you get much more comfortable dealing with video codex just accept the defaults and set the sequence preset give it a name and then click ok it now creates a different icon notice down here this icon says they're sound associated with the clip that's what that little wave form is and this little stack fingers means that it's a sequence it's ah sequence that we can store clips him and it automatically loads the sequence and gives us a tab because we can have multiple sequences opened at the same time teddy to clip down to the sequence is we have three different ways we can do it we have an easy way we have a dumbbell a we have a fast way here's the easy way hush you have you grabbed the clip and you drag the clip over to the program window and you just drop it proof that now shows up let's kill the audio the clip now shows up in the timeline that's open the audio again now notice so we have to have three audio was there but it really gets distracting we're going to turn the audio off for a bit you can still see that it's there by looking at the v u meters and they bounced back and forth but I don't need to hear what dr surface saying illustrate what we're talking about unless lance your feelings are hurt by not hearing the audio because I know how important it is to be able to hear what you're working it then in real life I spent a lot of time making sure the audio is perfect but not today so we now have a clip well, this is the whole process you import the clip, you review the clip you set the end you set the out, he added a town to the timeline then repeat and when you reach the end of your story you're done it's really quite simple mostly so let's go through that again let's go to the media browser and let's go to hit the till the key and this time I'm gonna pull in some nasa footage and I've got some shots of space I've got the spinning earth we've got space shuttle we've got exploding stars a martian footage mohr exploding stars the distant galaxies far, far away select a mall command a right mouse click and import I want to bring in all those clips all at the same time or another way to do that is to simply highlight a clip, hold the command key down and command, click or hold the shift key down and shift click to set a range command click is an asymmetric range or drag a rectangle around to select them all or type command a to select them all click anywhere that's not selected to de select I like the rectangle. I used that a lot. Okay, they're imported. Tilda, go to the project tab let's make our thumbnails smaller goto list view we can see a list of all of our clips on we can see a thumbnail view. This is surprisingly like the media browser question or stretch. Surprisingly, like the media browser, I can see a list of files I conceive thumbnails. I can use the scroll wheel on amounts to scroll up and down inside the thumbnails. I can change the size of the thumbnails. Now I'm running with a really, really, really, really small screen. This is a twelve eighty by seven twenty size screen, and the reason is I want to make the text is big, unreadable, it's possible? In real life, I'd be on a much bigger screen, but it's more important for me to have you be able to read the screens, then for me to show that I could work with large screens notice also, I'm working with a single screen, most of the editing that I do a single screen. A lot of editors were dual screen because it gives them or real estate again, I work with a single screen simply because it makes the teaching simpler. You can have multiple monitors attached, a video monitor and two computer monitors attached to your system premier supports that same way that you can have multiple monitors attached for graphics design. Whatever you can get to work on your macintosh or windows system, premier will support so let's add it another shot down to the timeline let's, take this martian footage double click it to load it up into the source monitor. By now we know how to do this. I'm going to find the start of the pan of the martian surface, typed the letter I to set it in or click this icon find just before the martian rover shows up where that dissolve starts type the letter owed setting out noticed the duration of the shot is eight seconds and twenty four frames. We've been not paying attention to duration, we've been not paying attention to time code even though it's there what we do have to pay attention to is the location of the play head I want to just move the play had to some arbitrary position we've seen that we could edit the clip by dragging it over to the program monitor easy, fast works great always, said it's in the position of the plane. Another way that we could do that is to click on one of these two icons here in search or overwrite you should always use overwrite, I'll explain what it does in just a minute. Click over right and the clip is uh outfoxed myself click over right and the clip is automatically edited at the position of the play head right there I could then grabbed this clip and drag it so the two of them touched and so I start with dr surf and I cut to mars again we imported a clip doubleclick the clipped a loaded up into the source monitor said and in the letter I said him out the letter o and rather than drag it across we got the same results by clicking this icon right here try one more clip let's create a burning sun will find the spot where the yellow green sun appears type the letter I find where the yellow sun disappears all right around in their type the letter o I could drag the clip over to the program monitor been there done that I could click this icon to create an override at it works fine but it's faster to simply type of period and when you type a period that clip shows up at the position of the play head in the timeline now there's another way that we could edit that down and that is double click the clip said annan said, and out I could grab the clip and drag it my children dragging takes too long if all you want to do is you want to add one clip to the timeline grab it and drag it down. It works perfectly fine, but look at this. I'm going to drag it to the timeline. I want to put it at the end of this clip thousand one thousand two thousand three a thousand for five seconds to drag to the timeline or if I used the keyboard shortcut a tenth of a second to type the period key. If all you have is not enough time to get this done, why are you wasting time dragging clips to the timeline when by typing a single keyboard shortcut period, you can edit a clip to the timeline in a fraction of the time? The reason this is so important is we don't have enough time to get the job done in the first place don't waste time being stupid by dragging clips to the timeline lamps. So does the period or all of those functions drag the audio as well? I noticed there was an odd if we go back to dr serve if we go back to dr surf here notice I've gotten in and outset, I'll put the play head off to hear a type of period notice that the audio on the video come together. This is called a linked clip the audio and the video are linked together. In about oh, a minute and a half, you're going to learn how to add it audio on lee or video only to the timeline, but for right now yes, whatever is in the viewer will come down to the timeline. Thank you. See the jim is looking at me with this expression on his face, saying, larry, I cannot tell you underwhelmed I am you've got exactly one keyboard shortcut, one keyboard shortcut a period that's all you've got to edit jim moose breath no, no, no, no, no there's actually a couple of different options. If, for instance, let's, just go back to this mars klippel type of period will go down to this burning sun will type of period will go to this star, and we'll type of period notice that now I have one, two, three, four clips in the timeline. I cannot think of a single story that these four clips tell, but we're not interested in the story that we're telling we're just interested in how this software works, whether I watched a clip or not setting the ennis the letter I whether I watched a clip or not sending the out it's the letter o and editing it down to the timeline is a period clips always at it at the position of the play head unless you drag them and when I'm building my story I never drag when I'm doing effects I always drag we'll see more of that in a minute ok? So let's load up one more clip let's load o r red sun so we'll find this will type the letter I to set it in what type? The letter o two setting out and watch what happens though I hold the option key down and typed the letter k it plays from the in to the out this gives me a chance to make sure that I've got my point set correctly and it loops over and over if I were to type the letter I it's gonna watch what happens this nasa clip right here, sir, if I type of period the nasa clip gets replaced recorded over by that burning sun clip it used to be mars now it's the burning sun and overwrite at it always replaces whatever happens to be at that clips position in the timeline. But this icon here called an insert at it, which is the comma breaks the timeline pushing everything to the right and in search the blazing sun clip after dr surf and before mars. So we have two basic edits and override at it which replaces what it lands on which you normally at it at the end of the timeline by grabbing and dragging creation over right at it and insert at it, which is done when you want to put something in the middle of an already existing sequence is either a comma keyboard shortcut or this icon or click and drag this clip, hold the command key down, and when you drag it over the command key will then insert at it that new clip between the old clips now there's actually more and it's in this we've got back time, edits and three point at its, which gets into some fancy editing, but for the kind of work that we're doing, which is simple story assembly and override at it in an insert at it are perfectly ok and wonderful to use and do get in the habit do get in the habit of using the keyboard shortcuts because it's going to save you time I give an example. A few years ago, I was hired by the tennis channel, which is based out of santa monica, to come in and edit a few tennis programs for them. No, I will confess the tennis is not my favorite sport much better than golf. Watching paint dry is better than golf, but it's still tennis. On the other hand, the checks didn't bounce and that's an important point, so they said, larry here's the important thing we've only got two eight hour days to cut this half hour show you have to get it done at the end of two eight hour days, I said, okay, not a problem, they said. Now we've got we've got a line cut coming off the switcher. We've got a nice, isolated camera on the host. We've got an isolated camera on the guest and your child, and we've got b roll of people playing tennis. Your job is to cut this into a program I said, ok, not a problem, they said, but you've only got two eight hour days to get it done because it has to go to the network. It has to air the next day, I said, okay, not a problem, they said. Well, I said yes, yes, two, eight hour days, I got it. I will not miss the deadline. I've edited programs for pbs. I did not miss the deadline, I'm not missing the deadline for the tennis channel, no offense intended, so I got down. I got to the studio on, but the tweet and had a really good producer. She walked me and showed me where the files were located and and to make a long story short, I was done in an hour and a half. The reason was their editors were all dragging clips to the timeline took him sixteen hours I used to keyboard shortcut took me an hour and a half don't worry. It was a flat fee in an hour and a half iron. Two days worth of work. I was feeling guilty. You color corrected every shot I added, every piece of b roll that could be added a couple speed changes is because it was available is still three o'clock in the afternoon I had polished that puppy as much as it could be polished. There was nothing more to do. I walked out, I was done. I got a phone call from my boss that night he said, larry, you left a three? I said, yeah, the show was done signed off the pretty so thought it was wonderful said it took you less than a day. I said, the I know how the software works. Oh, he said, well, why don't you come back tomorrow and teach our editors the same trick which is used? The keyboard shortcuts that one job got me five other jobs at the tennis channel and ongoing consulting contract and a chance to help their editors get up to speed and get more worked on more efficiently don't drag used the shortcuts. Your job is to get the job done not to dawdle over the process there's plenty of other things we can dawdle over but editing clips is not it eye to set the n o to set the out period to do an override at it common to do an insert at it and get on with the show jim do we have any questions I want to talk about more about editing but let's just take a quick question break that sounds great so let's see richard w jr says it will play in the source window but it won't transfer to the sequence the video will show up but when I go to grab the audio with the audio button it shows a circle with a cross in it do you know what with the prospect of where the cross line means that there's either no audio clips associate id or we have a miss configured sequence or it's an audio format that premiere does not support what you want to be careful of here is we haven't talked about audio so many first some of that question till that later this afternoon but one of things that might be useful is if you're having problems with the system recognizing a clip remember I said that sometimes you get the settings that are incorrect actor configured bronc grab a clip and just dragged the clip from the project window and drop it directly onto the timeline don't go to the source window don't use the keyboard shortcuts just drag a clip from the project into the timeline if there's a miss configuration between the clips that you're editing and the sequence it will pop up a window saying, do you want to change the sequence settings to match the clip? You say yes at that point it should be able to play both your audio and your video because the sequence settings all those technical things on that screen that I said it was depressing toe look at all those technical settings have been altered by premier to match what the clip is and I suspect if he does that grabs the clip, drags it over it will then automatically configure the sequence of the audio does play perfect. Thank you. And then a question from not spielberg wants to know I opened up a new project and I'm having difficulty getting the clip to show up in the source window ok, remember that when you're in the media browser, the media browser shows you the clips that are on your hard disk, but the media browser does not give you clips that are accessible for editing they have to move from the media browser to project window if you write mouse, click on the clip that you want to bring in and set import or double click the clip it will load up into the project window to get it from the project, project panel or project pain to get it from project pain into the source window you double click the clip or grab the clip and drag it up. Either way you can drag it up or double click it and he will then load up into the source window once it's in the source window you condone market, you can see it in more detail, but and I know jack was wondering about this because he has a quizzical look upon his face if I go down here noticed that when I click will do it in this notice that I now have this little, many timeline down here I can set my play head and say setting in here typed the letter I said out here type the letter o I could set the enemy out in the project panel itself and bring it over, which is really useful for effects work when I want to get close to the clip, but I don't know exactly what it is when I'm editing my talking head my interview I always had it out by looking at it, making sure I listened to it in the source window but sometimes it's just easier to grab some say let me just get this close and get it over here and drag it which gets back to what I was saying before on a jackal let's have the question oh, I want to be fast and accurate. I always use keyboard shortcuts when I want to be fast and in accurate I drag so when I'm building my sound my talking heads my basic story. I always used the keyboard shortcuts when I'm doing effects work I'm not exactly sure how I wanted to look, I just need to get them onto the palate. The timeline to be able to manipulate. Then I just drag it because it's fast and inaccurate. Ok, jack, this is stepping back a little bit, but to use bins at all for the types of media that you bring in, I use bins constantly. What have been is is if we go back to this thumbnail view. Ah, been, which is this button? Right here is a folder. A folder which is called have been I could create a media folder. I could create a projects folder. I could create a still images folder of titles, folder, whatever I want just a cz. You have folders inside your operating system to store stuff. You have folders inside premier to store stuff. I can then grab the media and drag it inside the bin. And then when I twirl the been up, it just makes my whole project niedere it's simply an organizational structure. And you create a new bin by clicking the bin button by the way. Another way to create new stuff is to click this new item button right here it gives you a list of all the different things that you can create. I didn't want to feel that you weren't getting the full fifty cent tour here, but we could create this down here and this allows us to delete an item which I have never in my adult life used. I just press the delete key and it's gone oh, by the way, jim, cast your mind to your office computer well, you've got your full sized keyboard. How many delete keys are on your full sized keyboard, too? Yes, one is a big delete key, and one is a small delete key, which of the two delete keys? Don't show up on a laptop the smallville you are so smart? Yes, it's amazing! Give the man a kewpie doll, so when you are practicing using premier and if you're on a full size keyboard, the to delete keys are programmed differently. So get in the habit of always using the big delete key because we can have the big delete key emulate the use of the small delete key, but if you get in the habit of using the small the leak, he and suddenly you're on a laptop or a small keyboard you don't have access to that function and you're sitting there saying how come I can't do what I want to do so always used the big delete key it makes a difference I know you were wondering that because you were looking for that small delete key is you were staring at the keyboard so just to let you know all right? So any other questions? Yes, I don't know if you could address this, but julie asks I've said the in and outs but when it goes into the sequence it seems to bring the entire clip not just the portion I marked did I miss a step and maybe she did, she said just read the question again I've set the ends and outs, but when it goes into the sequence it seems to bring in the entire clip not just the portion I marked did I miss a step? You haven't missed a step provided that the ins and the outs actually show up here in the many timeline because it may be that you are either setting the in and out incorrectly or you are remember the energy out it's always said at the position of the play head so if the play head is over say at the end of the clip and you type the letter o the out will be wherever the plane headed to the ennis wherever the play head is so first, you have to make sure that you actually are setting ins and outs that covers a portion of the clip, then when you drag, you want to make sure that you are dragging with just that selected portion there and used the keyboard shortcuts or drag it over my suspicion is I don't know cause I can't see her screen. My suspicion is that the enemy out is not set where she thinks they're set and consequently she's setting them for the the entire clip she is not setting them for the portion that clip that she expects. Ok, so let's just quickly put together a couple of clips I'm going to go to dr serve here due to do and we're going to just type, period now the general rule of thumb is when you edit a clip to the timeline, don't touch the play head I now have three talking head clips, we're going to pretend these air different clips, ok? They aren't, but we're going to pretend they are the rule is many times I want to see one thing but hear something different, so here I've got dr surf wait a second time out here we go here, I've got dr surf talking, but I want to cover him with some inner inner space interstellar footage so let's load the star footage here let's just use this that'll work types a letter I and we'll go right to about there I could jack play the clip, but the enemy out is still the same, so I'm just saving time because I know what these shots are and because, frankly, I don't care what the content is because this is a story that's not going to last past lunch. I want to now edit this clip down to the timeline if I type of period watch what happens with dr surfs clip it gets replaced with the nasa clip and there is that yellow line yellow line that estella was asking about which I'm not going to talk about now, because life is too short, we'll talk about it later instead, I want to find a way to put this clip on a higher track and that's where the track header becomes involved. This little thing, gus here that I'm dragging up and downs called a patch panel this represents the clip that's in the source window. This represents the selected track in the timeline I want to take the clip that's in the source window I'm going to simply click and hold and drag this up and I want to connect it so that the clip that's in the source window gets added to v to notice how these two guys matching are both lit up at the position of the play head I'm gonna put it right here now when I typed the keyboard shortcut of a period watch what happens at the position of the play head in to one click there it is the nasa clip is edited at the position of the play head based upon where I patch the clip okay well let's just do this even more simply let's put our play head here and let's load dr surf dr surf has both audio and video we've already seen that and notice here in the track header I've got video, audio and audio because there's two tracks of audio track one which is my voice and track too which is dr surfs voice if I only want to edit the video and not the audio I want to click the a one and a two notice that they've gone dark type of period and just dr serves video edits I've disconnected the audio from that or if I want to have just one audio track from dr surfin not both type of period and on lee the a two and v one patch work by the way notice that we don't have to have these tracts active at the moment we just have to have them just a patch panel on the left needs to be active or if I want to add the audio but not the video I make the video dark there's the audio clip or any combination I want to have all three of them be active there's all three the patch panel on the left allows me to determine what, if anything off the clip that's in the source monitor will edit down to the timeline. What we've seen is that the process of editing is incredibly repetitive we load the clips into the media browser to determine what the clip is that we want to use we double click the clip toe loaded from the media browser into the project pain we double click the clip from the project panel toe loaded up into the source monitor we set the end, we set the out, we edit it down to the timeline and we do that over and over and over as we're putting our story together we can edit clips from the source monitor to any track by adjusting the patch panel just by clicking on the left hand side indicate where the video goes or where the audio goes or clicking it again to make it dark to add it just the video just the audio are just a portion of the audio, but this process is very repetitive, so once you learned at one time doing it over and over and over it's just a question now with storytelling you don't want the software to get in your way of telling the story you want to tune out the software I o I o period I owe period eye opener that's easy to do easy toe to repeat so that your brain stays and creative mode the computer can't help you tell the story has no idea what shots to build all it can do us once you figure out what the shots are to edit them down to the time line and I want to talk about organizing clips so that I'm gonna change projects I'm going to go up to file I'm going to close this project as you can only have one project open at a time and I will say we'll save that's wouldn't come back to it and now we're going to open up an editing project that I created a little bit earlier uh I fox myself there's no clips there all right well now you know how to close and open a clip you go file close project and then you click on the project that you want and it's back open again it's nice to rehearse jim but one should always reset the files back to where you wanted them one one rehearsal so let's just take a look at dr sir if we're going to edit him in I now have three talking head clips backslash key and they now fit inside the window let's load a couple of nasa clips and we'll patch these up to here and there's a nasa clip on let's add another one that's two color now let's do a mars rover we haven't done the rover let's do that letter I for an end off into the sunset type of period we've got the nasa rover let's do a planet shot here we'll do milky way I and o period ok, what we've just done is we've created b roll which are pictures that illustrate what dr surface talking about now in real life jack we would listen to everything we would be really careful about the content except trick satur, etcetera and here I would be much more careful about do the pictures actually actually relate to what he's talking about but again I don't care it's the process of how the technology works this is also a really cool way to learn how to edit is don't try to make it perfect just say what button do I push? How do we get it to work? I've created mohr trash that only on lee I've seen, but it helps me to understand how the software works do perfection when people are watching you you guys aren't watching which having conversation back and forth I digress anyway, how do we select a clip? You click on a clip and it's highlighted how do you delete a clip you press the big delete button how to get a clip back command zito undue how do you select a group of clips drag a rectangle around whatever clips you want notice that I've clicked in a dead area hold the mouse button down and just simply drag out a rectangle to select all the clips, click and drag a rectangle to select all the clips if you want to select the audio without selecting the video for the option key down windows people know that's the altar key hold the option key down and you can select just the audio or hold the option key down you can select just the video you can select a single clip, hold the command key down and select discontinuous up sorry hold the shift key down and you can select this continuous clips command a to select everything click anywhere that's not selected to de select everything. The reason that selection is so important is there's a key interface rule for effects which has select something and do something to it we select another point apply a transition we select a clipper group of clips and apply and effect so being able to select stuff is important to move a clip, grab it and drag it to change the clips track grab it and drag it down or select the clip pulled the option key down option up and down arrow moves a clip up and down without moving it side to side command left or right arrow moves a clip left command right arrow moves a clip right I'm holding the shift key down because the shift key moves it in ten frame increments command left and right arrow moves it in one frame increments if you have a gap highlight the gap hit the delete key the gap has gone highlight the gap hit the delete key the gap is gone highlight a clip hit the delete key the clip is gone but the gap remains highlight the clip and hold the ah shift key down shift delete my fault option to leave option to leave deletes the clip and deletes the gap there's also a very cool tool called the track selection tool and the tracks election tool allows me to do this I'm going to create clips on three tracks I just put that when they're with that when they're with that one there it's this tool right here when you click on this tool wherever you click every clip to the right of where you clip where the right of where you click is selected then shift back to the move tool the letter v and I can now drag all those selected clips to say open something up the tracks election tool which is this second one down keyboard shortcut us the letter a allows you to select all clips to the right of where you click and you can then move them as a group or if you hold the shift key down with the tracks election tool I can select just clips on one track it selects both the audio on the video because the audio on the video are linked oh, another cool thing uh it's still eats and gaps here just second highlight this. Hit the delete key let's put this down option down arrow let's grab this and drag it over and we'll delete this gap option delete and were caught back up again. We can copy and paste the clip if I want this clip right here highlighted go to the edit menu the copy menu is command she put the play head where you want it to go type command the and it pastes but noticed that it didn't paste to the same track you broke it seven thousand dollars piece of software jim and from a distance you broke it it's this active button right here this left hand side indicates the patch panel where a clip in the source monitor is going to appear in the timeline this active panel here determines where clips will copy and paste if I select this clip copy it command see and change this setting to be v three when I paste it the clip is now pasted to that active track. If I change it to say a lower track it will now paste to a lower track notice down here so when you are copying and pasting you always need to pay attention to which tracks are active but there's another interesting setting we can also set ins and outs in the timeline I to set in in owed setting out and notice that I've now selected clips on two different tracks portions of three different video clips in two different audio clips I can go up to the edit menu and go down too hang on a second. There it is, I could go to the sequence menu and lift keyboard shortcut is a semicolon, but I can never remember that go to the sequence menu and say lift look what happens in the timeline in to one wolf it lifts those clips out of there it cuts them out, leaving a gap put the play head where you want them to go and go at it paste and it pastes that selected range it's not just the entire clip anymore it's a range of a clip I'm going to undo that or I go to sequence and say extract before it x it lifted the clips out and left a gap now it's going to lift the clips out and closed the gap so that now when I paste it at it paste that moved selections over here, this is a fast way to move not just whole clips but multiple clips across multiple tracks based upon where you set the inn I and out oh but instead of setting the enemy out in the source monitor we're setting the enemy out in the timeline two other small things and then jim we'll have time for a couple questions notice there's this thin horizontal bar right down here we can change the height of that bar by going all the way over to the right hand side of the timeline and dragging up or down this bar separates video above with audio below if you need to have more room for pictures just grab that bar drag it down if you need to have more room for audio dragged the bar up and you can change the location the bar at any time this is a display function has nothing to do with with the number of tracks that you have has nothing to do with with anything it's just simply how you display the timeline notice I haven't ended and out in a timeline option ex option x makes that all disappear also because my screen size is really really small it's really hard to see what these clips consist of be within one second if I press the tilt a key to blow it up full screen now I've got my timeline in a much bigger environment and the wrench becomes important when I click the wrench aiken say expand all tracks and now I can see wave forms which we'll talk about after lunch which is the visual representation of the volume of the sound on track one and track to I go back to the wrench, I'll say show video thumbnails I can now see pictures inside the thumbnails I can grab all horse on a line inside the track header, make individual tracks taller or short, shorter or I can use the scroll wheel on the mouse to make tracks taller or shorter, or I could go back to the wrench icon and say, minimize all tracks and everything is back to small again. Lance question. So on the, uh the extract and the lift that you just showed us, can we do that in different sequence of storm in sequence three and I'm going to extract that and I want to, but the play head in sequence one and I wantto paste it there with that work? Yes, michelle, you that's setting in, I will set it out. Oh, we're not going to go up to the sequence menu, we're going to lift it out of there and leave a gap pressed the till, dickie, just because I need to get that back down again and because you are such a demanding student, I'm going to go down to this little icon here, we're going to create a new sequence and we're going to call it sequence to okay command v it's pasted in there it is so not only did we copy it between sequences, I had to create a sequence to post into this is a nice way of this is really cool, but I don't know where to use it. I'm going to create a new sequence, park it here until I figure out what I want to do with it. Then you can command a to select it all, cut it back, go back to your particular interview, decide where you want to paste it, boom it's pasted back in, and you've now added it again. The big benefit toe lifton extractors that you're not dealing with whole clips anymore. You're dealing with portions of clips, and you're dealing with clips across multiple tracks. There's so much that we can do with editing anything gives us a lot of control. What I've tried to do here is to cover two key areas one the standard process of how to import clips using the media browser hot, load them into the source monitor so you can view them, decide if you like him or not. If you like him, decide what part of the clip you want to use the enemy out I and edit it down to the timeline using an override at it a period or a insert added a common move the clips around, he got him in the right order, delete the clips that you don't want select the clips that you do copy and paste clips. This is standard as we start to figure out how stuff works and lift and extract is great for taking a scene, moving it from later to earlier in your movie, but there's still more. This is the heart of editing, but it's, not the heart of storytelling the hardest storytelling is trimming first off, I'd like to know about your opinion and your workflow regarding sequences sequences are really just a way of breaking up your film into smaller segment so you can deal with them one at a time correct, it could be a doesn't have to be sequenced can run ours and so it's entirely possible. If you have let's say that I have a person talking like me and I'm talking for six hours as I am today, we're not isolating each of the cameras in the studio. We're not feeding it to a separate feed, and they're definitely creative live is definitely not going to go back and reconstruct my entire training on a moment by moment basis it's gonna lie large chunks of my presentation into the final edited version for posting to the web here, the idea is I've got a six hour presentation that's in, say, one sequence if I'm doing an action adventure action is known for incredibly fast cutting if I put a really fast cut hour and a half movie I've got so many clips in that sequence it that I can't see I can't navigate so they're breaking that sequence in tow individual acts or seems where each scene is its own sequence simply makes it easier for me to see what the heck is going on so I don't get lost in the minutia of all the clips it really depends upon your style for editing you can put an entire program in a single sequence you can put scenes in the sequence whatever you want there's no practical limit to the number of sequences now there is a limit because sequences take memory and let's not be stupid but in general creators many sequences is you want to be able to tell your story great as many or as few many yours feel terrific a zine would like to know is the importing copying the files or just linking the location of the video a great question and I forgot to answer that yes the file is always linked wherever it is on your hard disk all that's being copied into premier is the path name the path is the name of the hard disk the name of all the folders that lead down to that particular fault file and the file name it's a simple text strength maybe a long text a ring but it's text the media itself is not moved from wherever it's stored on the hard disk this is why it's so important to get your media organized before you bring it into premiere because if you start to move files after it's in premier you're going to break that link and urine after reeling files totally doable just painful new sequence but next to the garbage can there are times that I receive a a video that's twenty four frames that sixty frames is thirty frames and so what I'll do is I'll drag the actual video clip into that sequence and it creates the correct kodak for me sixty frames a second twenty four frames so it will do that but say I've got a mix and match of twenty for sixty thirty when I create my first sequence off I'll create one it might be like I said sixty frames at seven seven twenty the next one might be twenty four at ten eighty when I start to import those into the sequence does it correct that for me? So if I've got a sixty frame a second video and a twenty four frames a second video and I dragged him into the sequence how does that work as faras matching the movie filed can on ly have one image size so it could be ten eighty seven twenty standard off but it can only be one size it could only have one frame, right. You could only have be progressive or interlaced. It can only have a single co deck. So if the file that you drag in does not match for image size or frame rate or co deck or scanning, the file that you drag in will be rendered, which means calculated it will be rendered to match the sequence settings. The only exception is the very first clip you drag into an empty sequence. At that point, the sequence will pop up a message saying, do you want to follow my settings, or do you want me to change my settings to match the clip? But once you have one clip in the project, it all locks to that standard, and so if you bring in a twenty four frame clip, its frame rate will be changed to be sixty frames. It won't speed up. It will just invent additional frame so that it plays back at sixty frames a second one frame size one frame rate, one scanning one co deck per movie period. Janine di would like to know. How do you set to in and out points in the same clip in case you want to use to parts of it. You don't you can only set one in and out, but what you can do is you can set a marker, so I'm gonna put my play head where I think this clip needs to start and we typed the letter and to set a marker, I want to put the, uh then I'm going to put a second marker where I want to clip second clip to start to notice. I now have one marker. I have another marker we could jump to. Ah, marker let's. See, do I remember that? The answer is, I will remember it after lunch. Go to previous market, right mouse, click go to the previous marker, right mouse click go to the next marker there's a keyboard shortcut, which my mind is not remembering at the moment so you can move between this and if you double click on a marker, you can actually dial in a duration. This clip happens to run four seconds, so when I click ok, notice that now I've got a marker, which I can now grab the end of the marker and say, this may be shot number one, and I'll just say this one runs three seconds and I could grab the end of this marker and this could be shot number two you can have a practically unlimited number of markers in a clip, and each marker can have a duration, which could indicate what you want. This is a good way to log clips. If you've got multiple potential. Opportunity is what prelude does when you're logging clips inside. Prelude as it creates duration. Markers with durations indicate where possible shots are, and you delete a marker. Double click on it and click the delete button. The markers gone. I use markers all the time. Think of markers as yellow sticky note for marking whatever you want to mark it's, like yellow sticky notes are all over my desk for all the different things that I'm supposed to be remembering and never do.

Class Description

Have you always wanted to turn raw video files into polished, captivating reels?

Discover the ease and power of adding video editing to your skill-set. This course will arm you with the editing skills, tools, and knowledge to use Adobe Premiere Pro CC to create dynamic video projects that will land and keep clients. Master trainer Larry Jordan will show you how to get started working like a pro — all in just one class.

You will learn how to:

  •  Set up a project
  • Import and edit video clips
  • Trim and adjust audio levels
  • Efficiently organize all of your media files

This course will show you the power, speed, and simplicity of editing video in Premiere Pro CC, so you can start turning files into films today.


Software Used: Adobe Premiere Pro CC 2014

Reviews

user-b48fe5
 

We are so happy that we bought this class. This is the prefect introduction for beginners. We admire not only Larry's knowledge but his talent & willingness to share it. He does it very well! We personally love his humor, (you may call it sarcastic). He makes it easy to learn & remember this way; much easier than a dry, word to word presentation. We owned Premier Pro for a long time, but remained intimidated by its spaceship-like appearance & got quickly overwhelmed. Not anymore! Thank you, Larry, you are fantastic!

Frank Crews
 

Larry is a terrific teacher - for me this course had a great balance of tech and artistic teachings - While he can be a little cheesy at times he gets away with this well because of his clear ability to teach and to teach clearly. When looking for the next level to take on I hope he is an option!

Jfraz
 

I actually do really love this class. For those of us who like and need to take our times in understanding how Adobe Premiere works, Larry is a great teacher. He keeps it entertaining and helps you cut time through talking about keyboard shortcuts.