Editing in Premiere


Keep it Simple: Video for Photographers


Lesson Info

Editing in Premiere

if anyone has learned I will say is this anyone has learned maybe on um final cut at one point like a while ago I was really surprised the first time I saw him working looking over his shoulder there are a lot of similarities so just just so you know but the other thing that I was surprised about is a lot of it is intuitive fish if you're a photographer because they're both made by adobe so like a lot of the interface and a lot of the functionality that you would see for different buttons and capabilities and photo shop actually exists so there are there are some things that overlap so I'm going to just switch and passed out okay so premier wa premieres a fund platform I'm gonna go ahead and close this after two seconds um my personal experience with premier is you know that just yet suit premiere my personal experience with premier has been trial and error I never I never went to school for video editing never went to school I'm basically self taught aside from the photography I drew ...

a lot of inspiration from lindsay when we first when I was first starting off my photography and that's evident my work and I kind of straight away but my videography he's all been watching others and seeing more or less what I liked from other people's videos and watching movies and saying I like that like this I like this effect or like that color grading and just drawing inspiration from different places for meteor was a scary platform when I first started I'm not from I wasn't familiar with this new platform it's very very different than photo shop but once you start diving into the basics in a minute you guys again keep it simple the basics of premier and just starting off everything from the fundamentals until cutting your first clips ultimately what are you trying to achieve to start off with so you can start progressing forward and building up to where you can do this all yourself in color getting an editing in audio editing when I first started I wanted to just shoot a video put music on it and call it a day I just want people to see my work and put it out there yesterday we shot a piece where well while we were teaching we filmed we did folly and falling teo I know a couple of people had questions last night on social media follies when you're recording ambient sound sound noises so like if a horses galloping making sure you hear all that exactly just like that that's folly that's considered all those ambient noises I like listening to those things they're funds or courts we recorded them on set that's hyping the phone no the phone ring is the only one that we didn't get because it found that it rain way wanted of getting that glass sitting on the table and hitting down on the table when I first started off I wasn't doing any of that like that to me is fun but it's not reasonable for you to do that right right off the way um last night I sat there for a couple hours of sitting at dinner and dave met me and dinner I'm sitting there just video editing what we cut yesterday I cut audio excuse me reviewed cut edited color grated ended audio and still had time to sleep okay so it's not unreasonable for you to cut a minute long video in a night once you know the tool somebody had him play our final result of what we wanted a shooting yesterday okay it is going to be cheesy and a good man in a good way in an awesome way so guys uh I didn't know this I remember like it was yesterday it was a cool october night type of guy you want to spend with the missus fitting since I spend most of my nights with mike shula justice phone rings it was russell two tone looking to bend my ear latest buzz turns out my buddy ramos got nailed execution style because found the body late last night don't behind the brave horse tavern like a life of stall don't worry about spoiled six year old you didn't have much to go off of this time so I start making calls you had a meeting with conrad lacy two nights ago rameau's must have had something he wanted he had a knack for getting ahold of things that were hard to come by a downer brandy closes file this is a case for admiral hostin associates there was no doubt about it this was personal and that there so that specific cut had audio had music had little folly sounds in the background it's not shot the same it's not color grated the same way that you guys saw it was very red when first shot was very warm I showed you guys that I generally shoot the portrait because more forgiving on his face I love the model from yesterday unfortunately he's not an actor first of all it's not it's very hard to help somebody act hasn't been actors you have to practice with them hey had some acne on this face so that's why I shot in the portrait celtic to be a bit more forgiving those considerations that have before even going into premiere and saying what do I need to do to get a great final result the first thing I do is I'm gonna go ahead and let's open up from here I switch for everything in my uh my search bar and it's up in a premiere and start a new project this is what scares her baby like boom boom boom what is this program I'm gonna seymour ha ha I'm going to start a new project your project in to be the fundamental piece repeating your audio visuals everything within a program itself right so in a certain new program you have all these different options here this could be the title of your project we're just going to call it justice okay because that's his his little line there exclamation point okay you have a video display format were generally gonna use the time good because I want to know more more less the time that we're keeping on separate on a simple five you do have options there keep it simple leave alone leaving on time code that's what it's meant stock I mean the program is meant for for you to run and it gives you all these different options to make it easier for you as possible the second you start manipulating things that's when you get confused so this is the way that the program comes display format audio samples capture format devi just don't touch anything just press ok ok the second you do that uh this is gonna be your workspace let's go ahead and maximize this okay you work space doesn't have anything on it there's there's nothing here there's no clips if I look at the project itself I should have clips on here I don't have anything and if you try to drag and drop and he's any type of footage in here so let's say if I tried dragging dropped this nothing's happened it's not dragging over that's because we haven't created a sequence on a sequence is kind of like the layer on a project with in this specific project but it's things to drag information on so I'm gonna go ahead and press file knew and I want to do new sequence in the second I do that I'm gonna have all these different options for how I shot my specific video so the question that you had before about what format I shot at and kind of mix it together choose a format that fits the criteria that you're trying to do if you shot iphone all day find the way that the format fits for iphone if it's for a dp or fit seven twenty feet go ahead and do that digital slr has certain presets if he shot twenty five frames a second you shot thirty frames a second or twenty four frames a second that's feasibly in there we shot at twenty four frames a second yesterday I'm just going to go ahead and click their information here it'll kind of show how the sequences are set your frame rate is actually twenty three point nine seven six that's right out of the camera it's not exactly twenty four frames a second it's just estimating on that's what coming right out your dslr if you had put twenty four frames a second it's actually going to be off because you're dslr does not shoot exactly twenty four frames a second okay teo premieres already compensating on that specific aspect for you have created a sequence my top right hand side is basically like my live view of everything that's happening in regards to editing so if I make any color gradations if I make any cuts transitions my life previews on that top right hand side right now there's no clips whatsoever if I look at my top left hand corner I have several different work spaces I have my source material I don't have any source right now so I want to find material to dragon drop in here I'm gonna go down to the bottom left hand work space and that's going to be where I'm going to want to import all my footage okay so I'm gonna go get him right click or double click if you have a back import and we're going to try to find the files that we have um I did go ahead and move them from vintage more select everything that we have including the audio go ahead impress import it's going to take a couple seconds just to import the whole footage and import entire project actually it's goingto do the other project which is fine it's good and press cancel I don't want the other projects saving into this so let's just choose a have the same handgun this morning so that's what was this thing at three that's what's going on are you sitting scratched discs or how's that did I miss um so no he didn't do that it's fun it's just I was importing the other projects so um these are my files if you noticed if I drag and drop any of the finals right on my timeline lindsey talked about different time so like everything if lindsey talked about different timelines within photoshopped right that she was able to keep their material within that that a specific timeline this is basically like dragging those individual layers unto a timeline and being able to see that on those those layers things he spoke about in in photo shop I'm gonna go ahead and press the plus button to zoom into my material in that way I can see my format a little larger this first file v one means video clip one thes air called track so this is my first track a one a two a three or my audio track so this is all the audio social with the clips that I put there so if I were to play this specific piece you're not going to hear much because it's uh or from our end you know what if you guys just switch audio so that the studio here is that as well very light so um I can see on the right hand side if you notice are my levels I should be able to hear audio so I know that there's audio associate with that specific mike or that specific shop and if I don't want to hear it so if I was going over leia music for whatever reason and I just wanted to listen to the shot types that it was I was taking there's an m here this means pete okay I like to mute my tracks before I see them because to me personally if I'm video editing I just want to see the visuals first where visual people I don't want to do with audio just yet I just want to see what this what my final product look like out of camera I'm only looking at this first shot is a reference file so when I'm editing I won't lay down music I won't lay down effects to start off with I won't do anything aside from looking at this analyzing it and feet and seeing what do I need to do to make this come across as a final project ready looking at it I know it's warm I know that it's shot in a vintage noir style I'm thinking that it needs to be dark I'm thinking that I need to add some dark music to it and I'm already making those considerations before I start editing okay so the first thing that I personally do is when I come in here I start color grading my one shot I'm not doing this overall generally speaking depending on who you speak to it they'll say cut it first colored read later means a visual person for me to make the music choices I need two color great first make my edits and then go ahead and lately everything down that way and then color great afterwards with this specific shot let's go ahead and look at this is about eight seconds long you have your your actual timeline right appear as I'm moving my timeline you'll notice right in the top left hand corner that says zero two zero seven that's two seconds point zero seven seconds as I'm dragging along the timeline I can cut any time just by let me zoom out minus just go ahead and dragging my my play head if I go ahead and notice that little red line here dragging my material if I needed to cut for whatever reason and it's too long just dragging right down to play head it'll clip same way that we did in photo shop can't stand in the same way as well just okay you're wondering that the audio with the clip can you extract it and manipulate the audio from the video clip absolutely so you have to say I hate having audio on my clips we talked yesterday about doing dual system sound so this you can't really here because it's not great audio where we don't have great speakers up here so I can right click and we're going to go to see the same unlike which means that the two are no longer associated with each other I can now move my video file along my whole track these will never move together which is a great thing if you're trying to just manipulate audio you don't deal with this and you just want to delete and you just want to keep your visuals that works as well by all means master questions my impression was that one of the reasons people say to wait in color grade is because color grading something requires more time to render so do you color grade one piece just to set the mood and the duty of the rest of it at the end or do you do it the whole time and just know that it's going to be rendering I'm only I'm rendering one clip that's all I'm doing I'm just trying to set the mood for the rest of the clip I'm not even going to use that specifically to start off with it's just for me is a visual person to see what the final product should look like making decisions off of music I may never even use the clip that I wanted of selecting it's just for me to visually getsem cues on more or less where you want to go if I go ahead and I'm gonna go and drag and drop that footage back again and I noticed wrong footage so go ahead and do something closer to his face so I know since a little darker it's supposed to be a little that's not the correct white balance to begin with I mean it's not matching his skin tone I do have different options for color grading his his face and I'm almost skipping two steps ahead for a reason we talked about I'm doing this aesthetically to make sure excuse me I'm doing this because I want aesthetically have a certain look in a certain field and have a final cut um depending on you speak to everyone doesn't everything completely different for me this is just easier is a visual person I will go kind of like when you go into the light room in photo shop and you do your preliminary select you like I kind of like that tone this way but you haven't edited yet and then you go back into editing later and say okay now all my photos now that they're edited a switch to that color rating same ordeals that's what I'm doing visually now and if I'm correct I believe what you can do is just like in light room you create a preset so even if they fixed one photo it wasn't your final select you wanted to see the field and then applies everything else you're basically it's basically capri set so so from from here I'll go ahead and um I'm bottom bottom left hand side I noticed they have info effects history of markers I'm gonna go ahead and click on markers and excuse me effects as I scrolled down on notice that I have some presents that I've already created I want to go ahead and with c c they have their own presets like three hundred styles like nick software almost I'm gonna go ahead and open that up you can drag and drop presets the same one that you did in photoshopped that really built into the program itself to drag and drop that on to the material like a lookup tables like lookup tables exactly so I can visually see differences based on what I'm I'm trying teo convey it the final final product it depends see that's up to you like that one what about something darker so it's again it's totally totally creativity at this point it's fine if you like that it's great however if I look at this specific clip say this is the look that you wanted to the final look that you wanted to keep anything that's built into premiere you can't really manipulate like any of the color lookup tables just the presets you can't mess with them that's it they're done there's no plane with them I'll show you more or less how it go to look if I could mess with them I'm gonna go can you add more than one to one click so if I wanted to I could go from there and just drag cinematic and they're just adding and adding and adding and in order to see the effects that you currently have on your on your specific clips you click it make sure it's highlighted go up to your left hand side you'll see source no clips I want to see effect controls this is now referencing my clip that I'm currently working on that's highlighted so you asked can I put two different ones I put bleach bypass first I put cinematic second I can easily go ahead and reset that I don't want thea I don't want to bleach bypass on there I could delete it if I want to it's actually because it's been um one of things that he does a lot is it the additional effect is allowed oven yet so that's one of the pre sets that you can add there so he'll stack on a whole bunch for me I created a bunch of percent that I already use right so I know that I've done various different projects and I like certain certain effects my my uh there's really no great vignette ing that comes out of premier standard what I did was create a couple process for you guys that are at home that are downloadable that you guys can access is well it's ten different presets that they're called sage you're fetch presets sage if ej again is my net let my name backwards so let's go up tio stage of fetch presets things that I've already done in the past so we can work with those and if you enrolled in the class you get those pre sets for free it's down and that's just in ruling that's not even purchasing so if you go ahead and go and roll you can get those ten free sets which you can bring right here into premier venues in iran the difference between you creating your own presets so you can change brightness contrast you can go into all aspects of editing before you know it before going to man presets I'm gonna go out and look back at the effects that I have available to me I'm gonna go up to video effects I have blurred and sharpened channel color correction this store generate image control king noise and gain I have all these different options that I have just at it video for right now color correction is the only thing that I care about because I want to see it more or less a final image of what I'm looking for the second ice which color correction I have all of these options what I choose there's so much that you have available to you when I when I first start I generally work with brightness in contrast first because I want to know more or less what's the final brightness and contrast that I need to work with so I will go ahead and click that dragon drop until my clip the second dragon dropped that onto my clip it's now on my uh my workspace appear you can see brightness and contrast and brightness has its own module in contrast has its own so if I drag down brightness it's dragging down or highlighting the specific brightness for that specific clip it's not messing with the contract contract whatever they're completely separate entities and elsie is doing is clicking on the number and dragging distracting so now I'm editing the contrast maybe I'd like to see some of the rough areas here on dragged back on the darkness just excuse me the brightness just a bit to make a little bit darker and that's really really warm right but like this contrast I like the fact that the brightness is down that specific way what I can do is go into three way color corrector and three way color correct is what she had mentioned before it's almost split tony you have different variations you can mess with your shadows mid tunes and highlights depending on what you're trying to manipulate you go ahead and drag and drop that onto my file again is pretty standard for video editing if you learned in room in final cut or really any of the major ones it's through a color cracker she mentioned she put she pulled the blues out of the shadows and did a split tony I can easily do the same right now the shadows are there's a little red in the shadows so I'm gonna go ahead and add a little blue just so you can kind of see the more blue I add if you look in the top left hand corner I'm manipulating all the shadows in that specific piece now let's say that's too blue I don't I don't want it to be too too blue just drag back just a bit and if that's still a little too saturated for whatever reason I don't like the saturation of that specific set I can easily just change the saturation of the shadows themselves so I could go back and drag down completely on my saturation overall for that specific what's it called mentone highlight or shadow I don't need to go for people at home that are looking at maybe a low resolution screens you can't exactly read it each one of those circles the first one says shadows mid tones and highlights so you're manipulating the color in each one of those I know that I've watched creative live plenty times where's the low resolution and I'm like what's on the screen so that it thank you for clarifying yeah quick question from revolt cool does the quality on the video file go down if one adds a few layers or effects on top of each other it depends on what what specific layers you put on if you put a bunch of contrast on there and you put uncharted mask and you put it a bunch of different tools you're starting to degrade all the quality of everything and everything mixing in between with video editing color grading there's a whole science to color grating but kind of simplicity ski you don't want to sit there and add two too much because that second round too too much you start having to do that specific color rating to every single one of the clips that you have for the timepiece that you have for the specifics that I really only want to mess with the brightness and contrast and the split stoning of it because I don't I don't want tohave the the warmth in that specific show I wanted to get a little bit of cool cool colors out of the reds there I would say think of it like photoshopped even more sensitive so if you're trying to fill up the mid tones in you know sixteen bit tiff get away with it video less so so you keep adding those effects it will degrade eventually depends on what you doing so I'm gonna go ahead and just random messing around the more a tweak the cooler it winds up getting it's not goingto if you notice his skin the cooler I uh excuse me the more I drag the mid tones the cooler it's starting to get ok the problem is here you're going to sit here all day color grading okay so that's why if you're just first starting off my presets they're really really easy so I spent time doing this and it took me hours to do this where if I just go back here it's good to minimize us and I'm going to leave these two I don't want to deal with that I just wantto plug and play well there's a bunch of presets online that you can either purchase or you can download for this specific section thes air the presets thatyou guys currently have a home I have uk grit which is like that old uk style if I just drag and drop that guess what it looks more like a uk style I can at that point my presets they could be edited you can change the brightness and contrast you can change the color bounds to fit what you see perfect I can change the contrast to be a little darker I can change the brightness too be a little darker as well it's really depending on what you see fit for that specific section I wouldn't normally make this specific set that way my final product came out of a mixture of to pre sets that I want one present I want creating what something new I used something called let's see what we use faint memory this's what we use for the the couple portrait that we went shooting if you guys remember I loved some of the totality of that so I'm literally just gonna drag and drop and we'll dissect what those colors are but this is where we started off their opacity control on this like say you put in that setting and is for that specific files so you don't have to just everything's that you really love it but it just two strong is their capacity because it's individual once you drag this it's almost like an action you'd have to do individually so if I look back at this clip this is what I've manipulated for a faint memory I've manipulated my hugh lightness saturation and have added a vignette ng so that's excuse me I've added an uncharted mask generally speaking I would throw vignette over this but it's a totally different story if I wanted to lighten this up of it it's as easy as going back to my color balance and making sure that I'm minimizing it a little bit so it's it's unless it's less intuitive than photoshopped that way because they're just layers that in that manner and that brings me to the point of presets in late room so I have a couple presets on my store and on my log I don't have people send me a message that says hey do you have a version of this preset without a blue split tone you can change everything with a preset what you have to know what's there to know howto changing what it does so I would say it's exact same way here go ahead learn what the capabilities are what they do and then you can use presets go back there and manipulate them it's the same exact thing so right now I have have to specific presets on there that we have online available teo haven't used anything else aside from the process that we have yes how did ryan would like to know how do you upload the presets into premier sure go ahead and show you guys how to do that now you can literally right click import presets and depending on where you have your preset saved right now I'm gonna go to downloads if you get a video and you know what newman films actually has some great presets so we're just gonna upload those now so if I look at newman presense and there pre set patterns I should be able to just open and I already have them installed so they should automatically be in their newman presets the ones the ones that I'm going to use now is an example those I think like thirty dollars for pre sets for color the ones that you guys have that it's downloadable that I created are absolutely free just for signing up for the class and just to reiterate what you do in the bottom left hand corner as you're going into your effect workspace and that's where you right click can't just right click anywhere I was just wondering what is is the reasoning behind adjusting your increase that's like if you go into a white room and there's a priest that there you really like is there reason to tweak or just or right so for example maybe there's a preset that you really like but in it they they really dragged the black point and to apply it to a photo that already had pretty strong black point to it and so now you just lose a ton of detail in the shadows like I love everything but that so you would go ahead you apply the preset but then you can go ahead and shift everything so it's the same thing here it just from different pieces of footage will accept or ah manipulate from a preset differently well let's say you were under different exposures for whatever reason right some of the shots are completely different when your head and open this cancel this is the actual file system that I worked on last night in orderto bring this project to come together right let's go ahead and expand that but god is there you know people are tired of seeing all of these presets and you know even if you really like it now teal and are and just kind of overused but I used to know if you look this is teal and are all the michael deeley says it all to an orange that's kind of like the overdone that in green like the matrix screen it's been done a zillion times blew that three hundred color it's been done a zillion times so by all means there's nothing wrong with it if if it's you aesthetically by all means do it but if if not it's totally fine I mean I like the blue until for the specific shot because we mixed light if you remember we mix the fluorescent with the toxin so what you're seeing here is some of the uh the fluorescent bouncing off the paper so let's look at it let's look at what I've done so far okay um eddie that I wanted of doing last night I have a whole minute footage these are all the different sets that I have this looks extremely extremely complicated right all these different files you're like what did he do the first thing I did was call a great uh one specific clip the next thing I did was start reviewing my footage okay well I'm gonna show you guys how to review footage quickly before we have to take our break I look at my thumbnails here I can easily just slide across my thumbnail with my uh with my marker and see almost a preview before I can look at a larger form if I feel like this is this is the format that or this is the file that I need to see I make sure that my source footage options here this is a preview for whatever files that you're seeing here I can literally just dragged up and see in full resolution what saves time for me is I'm looking at these and these air a decent size where I can see more or less that he mess up that something happened I don't I don't want to deal with this too much I have an option too preview preview things before I dropped down on that saves me a lot of time with video editing sometimes I just slide across ok I don't like that shot okay nothing happened that shot okay that the camera basically moves up and down there okay the camera ok the camera's stable there let's just use that shot let's drag us up I know that at the end of that specific clip the clip is a little more stables if I look at this reference footage and I dragged across the footage is more stable at the end and I just saw that from her preview in a small picture so I know more or less what I mean to drag and drop into the preview before they use it in my clips it just easier for me to use the preview set to review footage instead of having to spend time doing this just literally playing and I'm watching it for hours I will use the small tools that have available to me like these little tiny previews to make sure that I have a pre rendering of what I'm going to use

Class Description

Videography just got easy. Lindsay Adler and Jeff Rojas are going to show how to apply your existing rockstar photography skills to capturing video — without investing in fancy equipment or learning complicated technical jargon.

This Creative Live course will focus on simple, easy-to-implement videography techniques. You’ll learn how the photography gear you already own can be repurposed for video. You’ll also explore the lighting basics essential to capturing motion. You’ll build concrete strategies for integrating filming and editing video into your existing photography workflow. Lindsay and Jeff will share their unique techniques for using video as a way to tell stories and for integrating your one-of-a-kind style into your video work.

Whether you’re looking to add a lucrative new dimension to your photography business or ready to capture compelling home movies, this course will demystify videography and give you the tools you need to film and edit like a pro.