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



Lesson Info

Motion & Animation: Picture In Picture

Let's go ahead and actually start doing some animation. We know how to kinda do a picture-in-picture now because we kinda faked it there. It would work with video the same way. It's our glass of wine. I want this to go ahead and be 100%. So if I wanted this to be a picture-in-picture imagine I double-click on it, grab the corner, scale it down, position it where I want it to be. And now I have a picture-in-picture. Not animated yet, but static. And this could be with both video or it could be with still images. So can you see how you can do this with a video? Do you want me to bring in a piece of video to see how it works? (audience members answer simultaneously) I like that. I ask eight people an either/or question and I got four and four, which teaches me a lesson, don't ask these questions, yeah, don't ask. Let me see if I have a piece of video in here. I do not. We'll go back to some of the stuff we have of Mike's. We'll go to the interview. And so let's say I would do it with, g...

onna do it with Miobi, because I have a nice, empty space here. I'm not sure I would do a picture-in-picture here because it would be blocking somebody's head. Same thing, I could squeeze it in here. I'll do this. So I'm gonna go ahead; I'm gonna import this. Load that in. So here's he's talking. I don't wanna bring in all of that. There we go. Mark an in point, mark an out point. Throw it to the timeline on the bottom layer. So here we are. So we have him talking. He's talking about one of his pictures. I'm going to take the liberty of using one of my pictures instead of one of his pictures, just because it's already in here. So I'm gonna go ahead and I'm gonna grab another image. Let's look at something that may be kinda pretty. I like boats. So I'm gonna grab this, and I can drag it and drop it exactly where I want it to be. You learned that in an earlier lesson. I could mark it in out points. If I need it to be longer or shorter, I can trim it. So I have two layers. I see my boats and I see him, but I don't see him because this is huge. Not only is this huge covering him, it's huge anyway because we're only seeing one boat. And if we look at that original image, and remember, anytime you load something into the source monitor, no matter what size, it shows you everything. So I want to do two things. I need to scale it down, so I might just do a quick set to frame size so it at least fits in the frame and it's pretty close to the right aspect ratio. But now I'm gonna actually make it even smaller. So I can use the slider 'cause it was easier for me than grabbing edges or I could go ahead and select this and grab the edges and position it. So he's talking about his photographs. I can bring that in here. And as he's talking, I can keep bringing more and more images in. That could also be a video cutaway. That could be the footage of the dive. So it allows me that luxury. I'm gonna go ahead and bring that in. We'll jump over to the media browser, bring that full screen. We'll look at his B-role footage video. Oh, this is real pretty. This is a time-lapse that he did. So I'm gonna go ahead, open it on the source monitor, take that, bring that in. I'm gonna replace this, override edit, now it's gone. So this is the right size. So if I hit, set to frame size, nothing will happen. So I'm gonna go ahead, select it. Go down here, talk about my scale. I could position it here, okay, or I could go ahead and position it here. And then I'm gonna play it. (Video plays briefly) We learned transitions, didn't we? So to make this softer I'd probably just go ahead and put on a dissolve, so it dissolves in nicely. Let me go ahead and zoom in and make that slow dissolve. And you have a lot of control. We'll be flying this around. But we talked about filters, well, there's a filter that actually is very useful if I can go ahead and look at this under my effects tab. Remember, we find everything, transitions and filters, under effects. I'm gonna find drop shadow, so it's under there, drop shadow. Put my drop shadow on there, select it. And now with that, apply, I can go ahead and give it a little bit of depth. I wanna go ahead and, there's my direction, opacity, shadow, color. I want distance, there we go. So you can kinda see there's a little bit of a drop shadow there. You can control the softness. But it artificially creates a sense of three dimensions in a two-dimensional space. And so that's really, really nice. And I'm going to expand on this I'm going to go ahead an bring in the diving footage, 'cause it's also 1920 by 1080. It's the same size. This works really well if things are the same size. We'll go and we'll open up the media browser. We'll load in this dive footage. Open the source monitor. Let's pick a nice little clip. There's some real beautiful stuff here. I really do like this shot. Mark an in point, mark an out point. I'm gonna drag this in. I'm lazy; this is the lazy way to edit. I should've actually zoomed out before. So there is our time-lapse. There's this shot. That's all perfect. (video plays briefly) And this is full screen, but I want another picture-in-picture, right. So we learned this briefly the other day. I'm gonna zoom in. I'm gonna simply select it and go copy. Okay, I'm gonna go over here and I'm gonna hold down command option, which is paste attributes on a Mac. On a PC I believe it is "alt" command, but I'll check on that. We'll do it in an overlay. And I'm gonna hit the "V" key. I get my paste attributes option. And I wanna paste motion. I don't care about everything else right now. But I can leave that on. But if I paste the motion, you'll see that without worrying about anything it automatically is the same size as the previous one. And the other thing you'll notice, when I did paste, it should have been in command, option B, is if there was a drop shadow, I could choose to bring that in too. So any effects as well as positioning, I can go ahead and I can paste that on both clips, there we go. And I don't have to keep reinventing the wheel. I think I double-pasted. Yeah, I open that up, you'll take a look. I have too many drop shadows, there we go. That happens a lot, okay. Makes sense, it's easy. It's nice, you build it once, you reuse it. I could actually have brought in 30 images on the B-roll, second track, and then selected them all and applied that. Okay, there are some prebuilt ones. And while we're stepping into this, 'cause I think this is a good place, this is something that people would use often, I can say this has a preset, assuming my technology is working for me (chuckle.) So I can go over here, and I'm in the motion tab. There we go, and I simply should be able to right click and say save this as a preset. And it's going to remember everything that I designed. Now it's really good if you're gonna save a preset to actually pick the clip that you wanna save the preset on. I had picked his clip. And there we see it; there's my drop shadow. And I'm gonna go ahead and under "motion" I'll right click, save preset. Give it a name; I'll just call it pip, and hit okay. And this has been created now inside my effects tab under presets, picture-in-picture, okay. There are a whole bunch that are there by default. So now whenever I wanna position something in that exact location, all I have to do, and I'm gonna cheat here and grab another part of this. Okay, we'll go ahead and we'll get the stingray in out, throw it over here, make it a little smaller. So I don't have to go and copy anything. I can go over here under my preset, drop it on. There it is, exactly how I want it. So you can start doing this with any filter and with things such as motion. Now we did it with a still image, but we're about to learn how you can fly an image around and position it, you can actually save not only the position but how it changes over time, and again save yourself a lot of challenges. Question? Just kinda to amplify that, we could do picture-in-picture literally, a static picture, and then inset pictures scrolling through or we could do video with a static picture in the background and a video? Absolutely, Premier sees them both exactly the same. And this is a nice thing because there may be a situation where you have your images and they're all different frame sizes, square and tall and what not. And you wanna see the whole image, but you don't want the background to be black. So underneath it could be just like a generated video, if you've got some stock footage, some nice moving stuff. There's several tricks, and as a matter of fact, I wanted to get to actually flying it, but one of the things that you'll see in news is they'll get phone video that's vertical. And what they do is they lay it on top of itself. And underneath they just expand and blow it up and blur it a little bit and that way they can use vertical video for a horizontal world. And you have the skillsets already because you learned how to blur, you learned how to scale. And that's a great technique. And the nice thing is you can actually save that bottom layer expansion and blur as a preset. You just do it once, select it, save as a preset, and say iPhone blow-up. So now you put it on one track, you copy it to the other one, and you put the filter on the bottom. And if we have time in the tips and tricks I'll execute that, but if you just play this back a few times, you can walk through it and probably get that. Maybe we'll do a special tip for you.

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


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