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

Lesson 8/65 - Tour The Interface: Video Tracks


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


Lesson Info

Tour The Interface: Video Tracks

I'm gonna jump back into our main panel. I have all of these raw clips. I'm going to go ahead and hit Option. Double click. It again puts it into its own tab. I like that. Moving it all the way over to the left. Now I have actually three tabs of my media that I can easily access. I like to look at this as icons, 'cause I can then see my images. Down here, I have a little slider, if I wanna make it bigger or smaller to see more things. To edit this in, I could load all my clips. Usually I would. I mean, normally, I wouldn't cut this in an hour. I'll go through, and I could load these very quickly and get an idea of what works. This is nice, this is people interacting. What's the moment? What's the moment that I find is special here? She's showing her stuff and she's smiling. That's pretty cool. That should be my out point. Then, maybe I'll scroll back here. She's showing, that's my in point. I can see the duration's about two seconds and 18 frames. I can go ahead and grab that. I just w...

ant the video. I don't want all of the sound, the background sound. There's lots of way to control bringing things in or not bringing things in. The easiest thing is, instead of grabbing the picture, I grab this little video icon. It only brings in the video part of the clip. Put that in right there. I bring it next to it, and there's something called snapping, and it snaps right next to that clip. Let's go ahead. We're quickly watch that. (pleasant instrumental music) These days, everybody talks about-- I can go through and put all these clips. I'm gonna do some things very quickly. I wanted to show you some of the controls. We're probably not gonna finish this. Instead of bringing the clip all the way up into my source monitor, I can, right here, scrub through it, and mark my in and out points directly in my project area inside this bin, and drag it there. I realized, I made the duration of this to be something ridiculous, six frames. Six frames is one fifth of a second. That's a little bit too short. I can go ahead and select that and wherever the play head is, I just mark a new out point. Now it's 10 frames, obviously I'm very zoomed in. It's gonna be once second. I wanna show you that. It's one second, I've marked it here. Drag it over. If I want it longer, all I have to do drag it out, and now I have. These days, everybody talks about print your work, print you work, as photographers. Okay, that's pretty good. I'm not locked into that. I think that's long enough. I don't want it to leave the, the frame, the image. I'm gonna grab one more picture. Actually, I'm gonna grab a couple of pictures. I'm gonna do something here. I'm gonna go ahead, click on this. This is where you can make yourself look like you really know what you're doing. One, don't use the shots that are bad, that you never like settled the camera, and two, the beautiful thing is, you don't have to show them the parts of the image that you didn't quite have focus at. It goes back to, if it's a still image, just crop out the mistakes, and you're good. I like this, I like the depth of field. We see Ken again. I'm gonna mark an in point and an out point. Throw that in. I'm gonna go down and look at this. I want you to see that. (pleasant instrumental music music) These days, everybody talks about-- It's nice. But you know what, I think it would be really cool if we started with Ken handing that up. We're not limited by the fact that we've already placed it into a certain order. Lot's of ways to move things around. I could drag this, put it over-- I'm gonna intentionally put this on the next track. I don't normally do this, but what I wanna show you is when I do that, you'll notice that anything on the upper track blocks anything on the lower track. It gives me some flexibility. You'll also notice that I have a moment where I see the scene below it. There's some danger to that, but it's also another way of thinking that, "Oh, what shot do I wanna use?" I don't wanna make the decision. Maybe I'll stack two shots on top of each other. I'll come back later and then I can look at each of them individually. As a matter of fact, there's a great little feature that if I have this shot, and I'm gonna do one thing here, so I don't get that little flash frame. I'm gonna stretch it out a little bit. Now it covers it completely. If I don't wanna see that, I can right click on it and uncheck Enable, and now it still is in my timeline, yet it's invisible. I can go back and do that. That's kind of a nice thing I can do. You know something? I just wanna flip flop these. There's lots of way to do that. I'm gonna bring that down. I've changed my story. What is my first image? (pleasant instrumental music) These days everybody talks about print your work, print your work, as photographers, and nobody does, and so we-- We're establishing a story here of, you know, what's happening, what she's talking about. I see print your work, that was very serendipitous, that I put that clip. You can listen and make notes. This is how you start developing what you're doing and you're throwing it onto a timeline.

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


a Creativelive Student

I've never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together (basic of course, but still pretty cool). I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can't even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I've learned in his course to create a video. The first 9 lessons were already worth what I paid for the entire course. Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now! I highly recommend! You won't find this thorough of a course for this decent price!

a Creativelive Student

Just bought this yesterday and cannot stop watching!!!! What a FANTASTIC teacher-- just love the way he explains everything. For someone like me (who has a zillion questions) it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that's easy to grasp and remember. So, so happy I got this. Thank you Abba and CreativeLive!

a Creativelive Student

I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy. I will for sure have to come back and watch again when I need to remember to do stuff or need a refresher. He is funny and quirky and a great teacher. I so recommend this to anyone wanting to become a better video editor!! I am coming from being self taught and using iMovie and he makes it so simple and understandable. Can't wait to learn more :)