Adobe® Premiere Pro® CC Video Editing: The Complete Guide

 

Adobe® Premiere Pro® CC Video Editing: The Complete Guide

 

Lesson Info

Filters & Effects: Using Multiple Filters

Let's say we build something with multiple filters, we have this one with our blur. Okay, not the best clip in the world, I liked it on the first one, but I'm gonna go ahead and I'm gonna add another video effect. Now I don't see all of them because what do I have? I have the word dissolve. So I need to go ahead and close that. Go back down to video effects. And as I said, there are some really nice ones and we're gonna actually spend some dedicated times in one of the later classes on some of the really special ones. There's something called the warp stabilizer for shaky footage, we're gonna spend time specifically doing green screen, where you have to remove the background. There's a beautiful effect for that, an effect filter, the Ultra Key. And color correction, where there's a whole slew of them and we're gonna dedicate an entire lesson to that. But in the meantime, we're gonna look at some of the other filters that are available and I love the fact that anybody can go in and find...

those obsolete filters when you need them. Know that's where they put stuff that, and this is something why do they have obsolete filters? Because if you had Premiere Six and you opened it up in Premiere CC, they want to be, they want to make sure that you can still use those old filters. Okay, so they just moved them to a new location. But I can now stylize my image. I can add grain if I want. So if I want to maybe add some dust and scratches to age it a little bit, I can go ahead and I can throw that. And I'm throwing it on top of this clip, okay? So now I have some dust and scratches, which I can start working with. Just throw some off. There's my threshold. I want to point out something that's happening here. Because we're starting to get a little more complex with what we're doing to our clips in our timeline. You may have noticed that there's been some changes in these color bars here, or the bars above. Originally there might have been none. Sometimes you see yellow, sometimes you'll see red. Sometimes you will ultimately see blue. What do they all mean? Well, you see yellow and red a lot, and I've been stalking the engineers to change these colors, but I know they won't. Because what do we think when we see red? Stop, problem, what do we think when we see yellow? Go faster. No. (laughter) the thing is with Adobe, red doesn't mean stop. And yellow doesn't really mean caution. Yellow actually says you have an effect on there, I'll be able to play it back in real time. There's no worries, I just want you to know it. Okay? Red still will play back, but it may or may not drop a frame, it may be a little too CPU intensive, it may be a little too graphic intensive. And you may see some stuttering, it may drop some frames. Okay, ultimately when you export, it renders, this is a new word for us, it renders everything and you don't have any of those problems. So I kind of wanted to get into that because as you start layering more and more filters, it may get more static. Now here's the crazy thing. Every time I try to make it drop frames, I add like seven filters and these systems are so well designed and the software is so well designed, is I can't drop frames. There are some unique ones. So most of the time, you can just play and go. You don't have to wait for rendering, there are times that you do, and what rendering is says, okay, I can't play this back in real time fast enough without, you know, being like staccato, without skipping frames and being, you know, annoying and jarring. So you say render, and what that says is we're gonna do the math beforehand, and when we get to this great little part where there's this complex change, we're gonna look over here and see what the solution is. So if I went up to you and I said what's two times four, hopefully most of you would say eight. That's easy, if I said what's 417.3 times pi, you'd be like, I like pie. But I'm not hungry. But if I said I'm going to ask you that question in 15 minutes, you could get the answer, and when I come back and ask you that question, you'll be like boom, I'm right there. That's really what rendering is. It calculates it in advance. Puts it over into this little section, and when you get to that, it just reads the answer. Now, if you change one of the numbers, the answer changes, so you have to re render, okay? So that's really what render files are, but the beautiful thing about Premiere now and the way they've really designed it is you really don't have to do it that often, and if you drop a frame or two, sometimes you won't even notice. So even though this is red, it looks pretty smooth. If I wanted to make sure it was perfectly smooth, I could select it or I could select a range marking in and out. And I would go up under sequence, and I'd say render in to out. It then does all these calculations which it does pretty darn quick for 846 frames of video. Oh, you like that? As soon as I said, it does it pretty quick it slowed down. I'm trying to even remember what filter I put on this, what filter did I put, I put the caution, I put in dust scratch, so that's actually something it's generating on the fly. So of course I'd pick something that was challenging. So we could wait patiently, I could look at my render details, or we could make use of this lovely time to ask if there's any questions and maybe I'll have the patience, we'll see if I do. Any questions on filters up to this point? Yes? Is there a place we can see all the filters? Like in Photoshop we have them as layers then we can make them invisible so to see how it looks? Great question. So the question was, and I'll repeat it for the rest of the room, is you know, in Photoshop, you can see all your filters as a stack, and you can turn them on and off to see what the effect is. And you can do that here, as a matter of fact I am gonna stop the render, one because I'm impatient and two because I can't show you anything if I keep rendering this. Let's see if it'll let me cancel. So it's interesting, we got a little green where it actually did some of the work. And then, it's trying to catch up with the scratches there. But in reference to your question, so when you put filters on, especially when you stack them, each of them will go into this location here. And it will be applied in a top down manner. So in Photoshop, you're used to putting it here and then you put the filters, depending on how you're doing it, sometimes it's above like an adjustment layer. Here, this is put on first, this is put on second, and then you have what would be below it third. And if you want to toggle them on or off, that's where this FX button, so if I say you know what, I want to say this without the Gaussian blur, I want to see what the other ones look like, I could go ahead and toggle that on and off, let me go to where it's actually blurry. Yeah, there we go. This actually is toggling it on and off. Which is really nice that you have that control, and like in Photoshop, you can also, as you saw, copy and paste from one image to another one. And I can start stacking it, but filter order does matter. Let's suppose I put on a filter that, I'm gonna go ahead and do a new clip. I'm tired of these fish, let me find something else. Of course I picked all fish clips. Oh you know what, I'm gonna do it to a piece of a still image, there we go, that's lovely. We'll see if I get into trouble, oh, I want something with more color. Okay, so I'm gonna go ahead and I may put something on where I'm gonna generate a distortion, maybe I'll do a lens distortion. So I am exceeding what I probably would do, and we're actually seeing outside the edge of the photograph. And then I'm gonna go ahead and I'm gonna put the dissolve on, and let's hope this works. So, I want a Gaussian dissolve. Gaussian blur. What's a Gaussian dissolve? I've just invented something. There we go, my blur. Increase my blur amount. So here, what's happening is it's putting on the curvature first and then the blur, but what I really want is I want it to be blurred first and if I want to reposition them I can click on the name, move it above lens distortion, so my Gaussian blur happens, and then my lens distortion happens, so you see that it's actually putting on the blur first, and then the distortion. There's situations where some of the third party plugins they're layering effects over it, so you know maybe you're pulling out color and then all of a sudden you're putting on a color filter and it doesn't work, so if things don't necessarily work how you want them, try reordering them. And these actually you know if you start getting a lot, again these have disclosure triangles. Where I can see this as a smaller stack. Okay? Now I want to create an intentionally, hopefully good looking effect. Now that I've done these bad ones. But I have my blur. I have it on a photograph, and then I want to, let me go ahead and turn that off. And then maybe I want to do a, animated black and white, and I can do that with channels. Okay, here's another little secret, so it's a channel. It's a convolution I think. Calculations. Who would ever think of using something called calculations? So I throw in calculations, and for those of you who have actually, is that what I want, calculations? Let me just make sure that that's what I want. Yeah, I believe that's what I want. Really, black and white is not desaturation, as we know. It's how you look at our red green and blue RGB at different levels. Because that's why you have different ways film develops black and white. So this is where you can actually control different channels and it's a great way to actually make very dramatic black and white. So I'm gonna go with the gray. Red, and the target's gonna be none. And then I can go ahead and mix these layers. Actually I want green, I don't way gray, I want there we go, red and green, so now you see by mixing my red and green layers, I'm getting a very different black and white than I would if I just did desaturate, actually is kind of punchy, I kind of like that. So you can go ahead, and that's kind of a very cool effect, so I'm adding that, and then in addition to that I want to add maybe I do want that Gaussian blur with the animation. So I'm gonna go ahead, I'm gonna start off clear. Bring that blue down to zero. Boom. Go ahead and hit for my key frame. Go right here, bring the blurriness up, so now I'm basically animating it so I can do a transition, and then I can hit play. And I have black and white and I have these two elements, and I like these as a group, and this is where I'm gonna go ahead and I'm gonna, I want to copy and paste this. So what I can do is I can go down and if I select this and I hit copy command C, I could do just a command V, what do you think is gonna happen when I do command V? It pasted a clip on it, okay? What I really want to do is I want to paste the attributes that I copied, okay? So it's again a paste thing, a V thing, but it's command option V, and I get this great dialog box. And what this allows me to do, again it allows me to be very granular, is I can paste any effect I want, I could say you know you something, I just want to paste the black and white that I created using calculations, or maybe I do want to paste both the Gaussian blur and that. So being able to paste attributes, I can literally paste any of these modifications that I did in the effects panel all at once, including audio. If they're grayed out, there's nothing there. In other words, I haven't done anything. And that's really nice, especially if you want to like, copy and paste opacity or drop shadows to match, it's all good stuff. I'm gonna go ahead and hit cancel, because I like this effect, but I think it'd be really cool to apply that black and white to all of these clips at the same time. As a matter of fact, I'm gonna go ahead and turn it off here so it's not confusing us. And I'm gonna create what's called an adjustment layer. What that is it's gonna put a new piece of media, an adjustment layer, on top, which then affects everything below it, it adjusts everything below it. It has kind of the net effect of when I nested the clip without having to actually nest it, now there's times obviously when nesting is necessary, but if I don't have to dig deep to find a fix, I'd rather do that. So to create your adjustment layer, you would go down into your, move over to the side. There we go, into our project, under the new option. New item, and these are all things that you can generate. New sequence we saw that from the top, you can also get this from the top down menu if you need just some black video, we call it a slug, you just need like a placeholder, that's a great thing to create. Just a plain color background, very useful. So these are some elements you can create, but the adjustment layer is really one of those magic tools. And when you create an adjustment layer, you'll get a pop up and it basically says the adjustment layer is gonna be this size, and it's trying to match the size of your sequence, if your sequence is not selected when you do that, it doesn't know, and it'll say (confused noise). Literally, it does that. So 1920x1080, I created 29 per 97 square pixels, that's what our default sequence was, I hit okay. I now have an adjustment layer. You only need one adjustment layer, and you can use it over and over again. As long as you don't change your frame size. Which you're not gonna do, so I take that, it works like a clip. I put it on the layer above. Now, when I apply a filter to this, and I'm gonna hit command option paste, because it remembered, I'm gonna just put the calculation on there, not the blur. And hit okay. It now has applied that effect to all of these clips. And that's pretty cool because I can stack things, I can now animate my blur, so I can blur from all the elements. What's really nice about this is let's say I don't, I want to see it with and without the effect, I have a couple of options here. If I click on it to load it into the viewer, under my effects control, I have that ability to turn it on and off. You just have to be patient. Let me put it over something a little more colorful. So I can do it that way. I can also, if it's on, and I don't want to go to all those levels, if I right click on it, there's an option to enable or disable the visibility of the clip. So let's say I just want to turn off the adjustment layer or maybe I have two clips on top of each other, because I have two different takes or two different options. If I wanted to, I could just turn off and now it's not enabled, it's grayed out. And the effects are still there, but I can see it with and without, which is really a nice feature. So you can get to that either way, but adjustment layers are really powerful. I'm gonna go ahead and turn it back on a second. Because now I can also animate things over time to happen below it, so literally whatever's below it I can add a variety of filters and I don't have to worry about going in and putting them on each one, that's not the problem. The problem is you put it on each one and then somebody says you know, can you tweak that a little bit? And now you have to go back to each one and change your calculation parameters, and life is not good. So that's a beautiful thing with the adjustment layer. Easy to put on, easy to remove. Another thing that you can do with filters is if you find you really love something that you've created, okay, maybe I really do love this blur thing, let me go ahead and turn that all on again. So being able to work with filters and stack them and turn them on and off and, it's incredibly powerful. There's a lot of great filters for effects to stylize. We'll look specifically at color, and some of the stabilizing and chroma key, those will be under filters. For audio, you also have a lot of power. Let me go ahead and quickly bring in a clip that we have audio on. So we're gonna have this here, and let's just go down to bring in a piece of music here. Fascinating pieces of music, so we're gonna ahead and we have a piece of music, we're gonna go ahead and bring this into our timeline. (techno music) already a bit loud. So I'm gonna go ahead, hit G to bring it down, that's my gain, bring that down to minus six. And now, we can go ahead and we can put audio filters on this just like we did video filters or audio effects. So if we go over here to our effects tab, make sure we clear that by hitting the X key. And now we go up under audio effects, there's a lot of very confusing audio effects, I'm gonna just tell you some of the ones that you may want to use. But literally, if we look at this, you know it's, you know, bypass filters and balance filters and sampling delay and pitch, and I can tell you right now that most of these you're probably going I don't understand what any of this is. Well there's a couple ones that you might use. There's the de clicker and de crackle and de esser, so if you, if the person is talking and there's lots of pops and clicks because that's what happens sometimes with digital audio, you can go ahead and put that on and it actually removes those popping sounds. So you would just go ahead and put the de clicker, de crackler is again, old, maybe old records or old audio files, de esser, that's the sibilance, when somebody's speaking into a mic and those S's tend to be snakelike, okay? As well as de popper. There's also de humming, and de humming isn't what you do when your partner's always humming in the shower. It actually removes that low frequency sound, so we put these audio filters on and you can see here that I have these elements. Now once again, like we saw with the video filters, you can turn them off here, or you can actually click on bypass. And bypass allows you to again, step away from it, but this is something interesting. Bypass, if you notice, has a small stop watch, so you can actually key frame stuff on and off. As long as you see a stop watch, so you can actually have filters go in and out if you want at certain points. But if you have custom setups, I click on any of these, I have all these very confusing controls where I can dial things in, but sometimes the drop downs just try it, listen to it, assess the music type, go ahead, we're gonna go ahead apply that, and then we would hear, we can hear it in real time on and off, what these effects do. De hummer, again, is a great thing. It brings out that low frequency, 60 hertz sometimes you get, now what's interesting about this, and this is again an audio thing is like well this is weird. Well, there's something called when you have audio, there's multiples, so at 60, 120, 180, 240, those are the frequencies, you will have echos of that hum and it actually will bring down the echos of that area. So there's a lot of these things that look at first very confusing. My advice is if you think you have a problem, apply the filter, don't play a lot with the filter, and see if it makes it better. There are a couple that I do really like. And those would be going down here, I'm gonna search for them. Compression. Okay, so what a compressor does, okay, is you can actually do it if you have a great dynamic range between loud and soft, here we go, multi band compressor, let's see if we can get to the defaults here. Presets, okay. So, a lot of times you'll have audio that has like, really a lot of bass or whatnot, and what the compressor does, it actually takes the waveform, and it compresses frequencies so it sounds better. So maybe you had something where everything sounds very muddy, so I can put a compressor on, I could say it enhanced the highs, and it automatically will bring up the higher frequencies, so it actually might cut through a little bit better. Maybe you have like, you know, some people's voices just sound muddy, and you want it to be better. Maybe you have hiss, which is at a certain frequency. So these are a bunch of things that are great in that they're presets, you're good to go.

Class Description

This is the class I've been waiting for! Learning the software is one thing, but to watch an experienced editor at work is priceless. It also helps that Abba is an incredible teacher. He's able to hold my attention and explain things in a way that I actually retain the information." - April, Creative Live Student  

Join one of the best editing instructors, Abba Shapiro, to learn how to work effectively in Premiere Pro®. 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.

Lesson Plan

  • Understanding Editing 
  • Tour the Interface 
  • Building a Rough Cut 
  • Refining Your Edit 
  • Working with Audio 
  • Transitions 
  • Filters & Effects 
  • Motion and Animation 
  • Titling and Graphics 
  • Speed Changes 
  • Color Correction 
  • Finishing: Prepping for Output 
  • Sharing and Exporting 
  • Ingesting Media  
  • Media Management & Archiving 
  • Multi-Camera Editing 
  • Creating Timelapses 
  • Advanced Editing Techniques 
  • Thinking Like an Editor 
  • Green Screen, Warp Stabilizer and other Special Tools 

By the end of this class, you will feel proficient in creating video 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. You’ll be able to bring your images to life, organize your media and begin to build stories to share with your family, friends and clients. If you’ve been thinking about expanding your business to include video, this class will give you the tools to successfully start creating quality products that will impress!  

For more interaction with Abba during the bootcamp, you can join his Facebook group: 

Abba Shapiro CreativeLive Facebook Group 

"Great class -- wasn't ready to take the leap into Premiere Pro until I had a framework. Not only did Abba give me that framework, but he gave me the tools to manage and balance the story, the editing process, and the start to-finish workflow to create a finished product. And it was fun!" - Creative Live Student 


Software Used: Adobe Premiere CC 2017

Lessons

1Understanding Editing: Bootcamp Overview
2Understanding Editing: Overview
3Understanding Editing: Video Examples
4Tour The Interface: Digital Video Workflow
5Tour The Interface: Project Panel
6Tour The Interface: Choosing Your Shot
7Tour The Interface: Music And Voice Over
8Tour The Interface: Video Tracks
9Tour The Interface: Edit Markers
10Building a Rough Cut: Cut Planning
11Building a Rough Cut: Selecting Media
12Building a Rough Cut: The Edit
13Building a Rough Cut: Edit Points
14Refining Your Edit: Preparation
15Refining Your Edit: Making Cuts
16Refining Your Edit: Using Markers
17Refining Your Edit: J and L Cuts
18Refining Your Edit: Replace Edit
19Working with Audio: Overview
20Working with Audio: Levels
21Working with Audio: Music
22Working with Audio: Mixing And Syncing
23Transitions: Overview
24Transitions: Effect Controls
25Filters & Effects: Overview
26Filters & Effects: Using Multiple Filters
27Motion & Animation: Motion And Animation Overview
28Motion & Animation: Movement With Still Images
29Motion & Animation: Picture In Picture
30Motion & Animation: Motion Effects
31Titling & Graphics: Overview
32Titling & Graphics: Advanced Tools
33Titling & Graphics: Roll And Crawl Effects
34Titling & Graphics: Working With Photoshop
35Speed Changes: Overview
36Speed Changes: Stills And Variable Speeds
37Color Correction: Overview
38Color Correction: Lumetri Scopes
39Color Correction: Contrast
40Color Correction: Advanced Tools
41Color Correction: Adjusting To A Master Clip
42Finishing: Prepping for Output
43Finishing: QC Edit Points
44Sharing & Exporting: Overview
45Sharing & Exporting: Size And Quality
46Ingesting Media:
47Ingesting Media: Transferring And Importing
48Media Management & Archiving
49Multi-Camera Editing: Overview
50Multi-Camera Editing: Creating A Sequence
51Multi-Camera Editing: Switching Multiple Cameras
52Multi-Camera Editing: Finalizing
53Creating Timelapses: Shooting Strategies
54Creating Timelapses: Editing Images
55Creating Timelapses: Importing Strategies
56Creating Timelapses: Animation
57Advanced Editing Techniques: Take Command Of Your Timeline
58Advanced Editing Techniques: Transitions
59Advanced Editing Techniques: Keyboard Shortcuts
60Advanced Editing Techniques: Preference Hacks
61Thinking Like an Editor: Editing Choices
62Thinking Like an Editor: Telling the Story
63Special Tools: Warp Stabilizer
64Special Tools: Morph Cut
65Special Tools: Green Screen