Video Editing is about so much more than just putting your clips together. A great edit comprises many different elements and can dramatically change the impact of your video.
In this course, we’ll cover: key video editing tips and techniques for beginners, how to work with sequences and timelines, how to form an organized efficient, and time-saving workflow, the main stages of video editing, different types of cuts and editing, Adobe Premiere Pro basics.
So make yourself a cuppa and settle in.
In this video, I’m going to highlight the importance of editing and how it can dramatically change the impact of your video. I’m also going to give you some examples and techniques that you can implement into your workflow.
An edit is much more than just chopping the start and ends of your video and putting the clips together, it’s actually comprised of many elements, such as your footage, sound effects, music, the types of cut, shot selection, color grades, and loads more. These elements, and how you use them, can dramatically affect the pacing and the style of the content. And it can actually determine how the viewer relates to it.
Now you’re going to use different styles and techniques, depending on the type of video. For example, a YouTube tutorial video will typically be edited much differently to a corporate interview. You could take all the same footage and give them to different editors, and they would build the story in completely different ways based on how they perceive it or how they want to interpret it themselves.
So an edit is where the video or the story can really come alive. Sometimes I’ve started out thinking a video will take the form of one thing, but actually, a different edit served the story better in the end. Other times you’ll know beforehand exactly how you’re going to edit it before you even start filming. So it’s good to be able to work in both ways. That’s why it’s so important to know just a few editing techniques or styles in order to have control over how you build your videos and make your own unique style. And I’m going to be showing you some later on in the video.
So here’s a typical example of a sequence in Premiere Pro. Now, a sequence is where you build your video and what the edit consists of. Now, in most editing software, sequence windows appear very similar, with a horizontal timeline across the bottom, and video and audio tracks can be stacked on top of each other. I’m using Adobe Premiere Pro and you can see the audio at the bottom, which consists of dialogue and music. And above that line, there are video clips, B-roll, graphics, and text.
Now editors work in different ways, but for certain types of videos, having a format, a structure, or a system to how you assemble your sequence can really help cut down that editing time and help you see more clearly what’s happening. I like to have a tidy workflow because this can come in handy when you’re passing it over to another editor to check your work or continue working on because then they’ll be able to see exactly which element is which in the sequence.
When I’m making my YouTube videos, my first pass will be cutting all the main A-roll or the talking head footage together to get rid of any mistakes or pauses. This will sit on one layer on its own. And the reason I trim this down is to keep the viewer engaged. If I left all the pauses in, people get really bored and click away. This type of cut is called a hard cut. It’s kind of become its own style, which is acceptable in the YouTube world. But if I was doing an interview, this type of cut can be a little bit distracting so we can hide them using another camera angle.
You can cut between the two camera angles to hide the jump cut. Then, once the story is built, I then add the B-roll on the layer above. Now, adding B-roll helps visually support what I’m talking about further to give the viewer a deeper understanding and to hold their interest. You’ve probably noticed that I’ve been using B-roll throughout these videos to emphasize what I’m talking about. And also, let’s face it, you don’t want to be looking at my face for a whole ten minutes straight do you? And then I’ll add any graphics or title cards on the layer above.
The last thing I do is add the music or any sound effects onto the audio channels. Now, this is a lot quicker than building the edit bit by bit and enables you to get the feel of the video and the story down first before adding any unnecessary elements that might not work once the story is built.
So having a sequence or a scene from beginning to end, all filmed in one shot can be effective, but there are other ways to make it a little different and a bit more engaging and exciting. I already briefly explained hard cuts, but I’ve put together a few examples of my favorite types of cuts that bring a different energy to your videos. For these examples, I’ve used footage from Artgrid’s stock footage library, and it’s amazing because sometimes you can’t always get the footage or the location that you need.
So having access to Artgrid’s professional library of stock footage can really come in handy for many types of projects. For example, I live in the heart of England. Where am I going to get a shot of a waterfall? So there’s so much footage on there, and they’re constantly adding to it as well. And it’s all professionally filmed and you can edit it in whichever way you like and it’s all license free.
Cutting on action is where it looks as though the action is still taking place all in one take, but the camera angles or framing changes. The cuts need to be precisely timed in order for it to look smooth. But, you can highlight or focus on the important expressions, actions, or subject in the frame. Montages are great ways of visually showing something happening over time rather than explaining it, and it can be a really good way of reengaging your audience or even adding a little break in between scenes.
Now, these are usually used when showing something that happens over a period of time, which allows you to quickly cover a lot of information or detail. For example, I could show you me building a desk by showing you some of the main elements without making you sit through the whole process of me making the desk or just talking about it. And then obviously, if you put music over this, you can portray loads of different types of moods. This is where you repeatedly switch between two or more scenarios to either show what’s happening somewhere else at the same moment in time or to create a connection in various ways between the different clips. Now, this is really effective because you can show more than one emotion from different perspectives at the same time.
Music is an essential part of your sequence. I’d also like to add that it’s not only important to choose the right type of music, but also when NOT to use music. It can help support your story, but silence in between dialogue or footage can be equally powerful. What I’m saying is, don’t just use it for the sake of using it because it won’t always work.
Now, I love using Artlist because their library has so many different genres of music in various different moods and sound effects. So whatever you’re looking for, you’re going to be able to find it. So here’s an example of a sequence with just sound effects. Now here’s the same sequence, but with one type of music. And again, the same sequence, but with a contrasting style of music. You can see how contrasting these sequences are just by swapping the music out and without changing anything else. Applying all that you’ve learned today will give your content more variety and because of that, people might even be more engaged and potentially watch for longer.
Don’t forget to check out the other videos in this series for more tips on content creation. I hope this video has helped. Thanks so much for watching.
Hi, guys. Jordan with Motion Array, and if you’re new to Premiere Pro, we’re going to be showing you how to get up and running in only 15 minutes. So let’s get right into it. So in a nutshell, this video is designed to take somebody who’s never used Premiere Pro before and show you the process of how to create a video from start to finish. So if you’re completely new to Premiere Pro or you just need a refresher, this is the video for you. Let’s dive in and learn how to use Premiere Pro.
So let’s start this out by opening up Premiere Pro. Once the splash screen passes, you should have something that looks like this. If you’ve been working in Premiere Pro before, you should have a list of some of the more recent projects that you’ve been working on. But starting out, let’s just create a new project by clicking the new project button. Here’s where you going to do some of the setup that’s really going to help the long term of your project. Try to name it something that will help you remember what the project is only by reading the title. So new project is a bad idea.
Once you’ve done that, choose a location on your computer where you’re able to easily find it again, like a clearly labeled folder on your desktop. Once you’ve done that, you can leave all of these options as default for the moment. And now we’re ready to hit OK and jump into creating our video. Now you should see something that looks like this. This is your Premiere Pro workspace. Yours should look similar to mine, but in case it doesn’t. You should see a bunch of different tabs up here at the top. I’m under the Editing Workspace tab, so if you click that, you should see roughly what I see. Once you’ve got all that squared away, you can check out here that there’s a bunch of different panels and sections that you can work with to create your video. Down here is your project panel. Here, you can organize and see all the footage that you’ve imported in order to use in your project. You can see that it’s prompting us to import media, to begin with. So let’s do that.
You can either double-click anywhere in this grey area or go to file, import. But here’s what I like to do. I have everything organized already on my computer into different folders. If I just highlight all of these different folders and drag and drop them over here, then they’ll actually maintain their order and stay in their organized bins. Pretty cool, right? So now that you’ve got all your media into your project window here, how do you actually start to work with it?
Well, the first step is to preview it. By default, your media should look like this just as a list, but we can change that to thumbnail view here by clicking this icon right here. Great. Now we can double-click on a folder and hover our mouse over each of the individual pieces of media to get a view of what it is. But this really isn’t the most helpful for actually getting a full view and watching it back in real time. So let’s double-click on one of our pieces of footage instead. This is where we can view clips in detail before actually starting to edit them. Here you can play your clips and watch them back or scrub through them to find a specific point. And once you look through your media, you’re probably going to want to actually place it onto your timeline in order to start using it. To do this, you’ll need to create a new timeline sequence.
What I prefer to do is just take the piece of media that you’re sure you want to use and just literally drag and drop it from your source monitor onto your timeline. And there you go. Your sequence has been automatically created by Premiere reading the parameters of your footage. So right now what we have is the entire piece of footage on our timeline, but chances are that we only want to actually use a small section of this. So another way that we can bring in this footage is by first setting in and out points. To do this, go back up to your source monitor and scrub through your footage until you find the point where you want your footage to actually start. Now hit the I key and an in-marker is set where your play head is currently at. Next, go forward to the point where you actually want it to stop and then hit the O key. This will set an out-point. And now, when we drag and drop in our footage onto our timeline, only the parts in this region will be included and we can see how much shorter the second piece is than our first now that we’ve brought it in after setting in and out points.
You’ll also notice that if you drag from this icon here, you’ll only bring in the video with no audio. And if you drag from this icon here, you’ll only bring in the audio with no video. This is also a great time to point out that there’s a division here where the video clips are placed above this line and the audio is placed below. And clips that have both video and audio together will be linked across this line. Once you put multiple pieces of video back to back, you can start to see your edit taking form. This will usually be one of the most time-consuming parts of your editing, going through your footage to see what you want to include and placing it in order on your timeline.
This is probably a really great time to remind you to save your work. To do that, either go up to file, save or simply hit control or command S. It’s always a great idea to save your work as often as you can. Great. So now let’s take a look at how to work within the timeline. In order to actually see what your video looks like so far, drag this play head here all the way back to the start and either hit the spacebar or hit the play button up here. You’ll notice that as your footage plays through, the visuals are displayed up here in what’s called your program monitor. Pressing spacebar again will make your footage stop playing. You’ll also notice that wherever there’s an empty space with no video footage, your video will appear black. And when there’s a video on top of another video, the topmost video will be the one that’s actually displayed.
So we can see from this that our timeline moves in time from left to right, and it’s almost like you’re viewing it from the top down. OK, now let’s take a look at how to actually work with your footage in a little bit more detail. Once you have a set of videos in place that you’re able to work with, there’s a variety of tools that you can use to actually edit them with more precision and you’ll find them here. There is multiple to work with, but I’ll show you the most common three first, to get you started and we’ll leave the rest for another day.
The first is the selection tool, and that should be the default option that you’re already working with. With this, you can simply click and drag new clips to a new position and move them around within your timeline. You can also move them up and down track layers. With this tool, you also have some other basic functionality. You can have your cursor over the beginning or the end of a piece of footage, and you’ll see the cursor changes to this icon. Now you can click and drag either left or right to expand or contract your clip length. This is an easy way to quickly lengthen or shorten the clip.
So let’s say, for example, that we play our footage and we want to cut this clip right here. All we have to do is grab the end of the clip here and drag it back to that point. And what’s nice about watching and stopping your footage at the point where you want to cut your clip is that now your play head acts as a sort of marker to help you know exactly where to drag it to. If you ever find that you have a different tool up and you’re wanting to get back to the selection tool, you can either hit this icon again to get it back or simply hit the V key to automatically activate your selection cursor.
Next up, we have the razor tool. This gives you a razor blade icon for your mouse and allows you to split clips with it. This means that you can hover your mouse over a single clip and then click and divide it into two separate sections. You can highlight them individually or move them around, delete them, whatever you want. And if we take that same example that we did previously and play our clip and then decide that we want to cut our clip here. You can also use the razor tool to cut the clip here and then delete the excess by selecting it and hitting the backspace key.
Great. Now we can either move these clips closer together manually, or we can click on the empty space between our clips and delete the empty space to bring these clips back together. Nice. And lastly, we’re going to look here at the slip tool. Either click it here or use the shortcut key Y to automatically select it. This is one of my favorite tools. Basically, what it does is keeps your footage exactly where it is in sequence, but when you click and drag on a piece of footage, it stays put, but it moves forwards and backwards in time. So if you realize that you actually want to use a portion of that clip from earlier on, but you don’t want to move it around in sequence, the slip tool makes your job a lot easier. To learn all of these different timeline tools, you can simply select each of these and play around with them to see what they do.
Next up, we’re going to be working with audio. Audio is one of the most important aspects of video production to control well. But let me just show you some of the basic things that you can do while starting out. First, let’s just grab a music track here and place it down on our timeline. Now, if we play our video, we can hear the music playing. But let’s say that we wanted to change the volume. All you have to do is drag this part of the audio track down until we see a white line. This line is your audio volume control by raising or lowering it, you can change the volume of your music. Right now, small movements will make a big change, but if you hold control or command while moving it, it’ll make very fine changes even with large mouse movements.
Now, let’s say that you want to have your video start loud and then decrease in volume as the video ends. To do this, simply hold control or command. And then you should be able to notice that your regular cursor changes to have a plus icon beside it. This means that you’re ready to add keyframes. By clicking with control or command, you’ll be able to place down a dot on the track. By placing a second dot somewhere else, you can now move these two independently, and your audio will now have the ability to change volume over time. Now, let’s take our second keyframe and move it so that it’s all the way down at the end of our video.
Now, once you’ve got your video more or less in sequence, you can make it stand out even more by adding what are called effects. These are basically a range of additional manipulation tools that give you even more control over your video. Some of these are pretty basic. Let’s go through the process.
Start by searching for the effect that you want to use by going to your effects panel and then searching through these bins here, or by using the search bar here and typing in the effect that you want to find. Once you find it here, you can simply drag and drop it onto the piece of footage that you’re wanting to use. You might not notice anything different yet, but to actually edit your clip with the effect that you just added, simply go to your effect controls panel. From here, you can find a variety of attributes for the clip itself, like opacity, position, or scale that you can all change independently, but you can also see here this particular effect that you just added. And we can see that it only has a couple of parameters. This Gaussian blur, for example, will allow you to increase the blurriness with this slider here. And this box here, when we check it will extend that blurriness to the edges of the frame. This is just one effect. There’s countless that you can explore and choose from.
But now that you know the basics of how to add and edit effects, you can explore the rest and see what they do. If you’re not sure what a particular effect does, then Google is always a great tool. But for now, you might think that it’s strange to intentionally blur out an image, but this is actually a really great way of helping text stand out, which is what we’re going to be adding next.
There’s a couple of different ways that you can actually add text, but one way is to select the type tool and then go up to your program monitor here, which displays the final output of your video and click to create a new text cursor to be able to type from. You can now simply type and see the resulting text appear on screen. Great. Now you should also notice that here in the timeline, there’s a new box that appears on top of any other footage present. This is a graphic box, and it contains all of the information about the piece of text that you’re working with. So we can see here that if we take our play head and move it so that it no longer is over top of our graphic text box, the text will disappear from our view. It’s only present for as long as our box is physically present. Kind of like it’s actually a piece of footage.
Now in order to actually edit our text and make it look a little bit nicer, we’re going to highlight our text box here and go to a new panel. You might notice that in each of these different sections, there might be multiple tabs by clicking each of these tabs, you can activate a new panel to be brought to the front, and the current one is highlighted. The panel that we want to bring up is called the Essential Graphics Panel. And if you can’t find it, that’s OK. You can go up to window, essential graphics. For future reference, if you ever can’t find a window, you can quickly activate it from here. Click it and it’ll pop up into your workspace.
Now, within the essential graphics panel, you can go to the edit section here, and you can see a lot of tools that look familiar to something like a word processor. You can change the font, size, the color, and you can even do things like align the text to the center of your video frame. Using these tools, you can make some awesome and professional-looking text. Once you’ve more or less put together your edit, you’re probably going to want to color your footage to look even more unique.
In order to work with color, you simply have to highlight your footage and then go to your lumetri color panel. Again, if you can’t find it, just go up to window, lumetri color. or you can change your entire workspace to the preset color workspace here at the top. Just by clicking color. Now you have your lumetri color panel up and it’s able to be used to color your footage. This is a large tool with many features. So for right now, we’re just going to stick to the basic section.
Here in your basic section, you can do some pretty useful things like change the color temperature or tint of your footage. Or you can click this eyedropper tool here and then click on something white within your footage to automatically white balance your footage. This is more or less to have it look true to life. You can also change the exposure of your footage as a whole or in specific sections like just the darkest parts of your footage, for example. You can also change the overall saturation of your footage here.
Once you’ve completed your video project and you want to actually show it to the world, you have to condense it down into one single video file. And this is called exporting. Exporting is done by simply doing the following. Take your play head and bring it all the way back to the beginning of your video and hit the I key to set an endpoint on your timeline. Then do the same for the end. Go to the end of your video and hit O to set an outpoint for your timeline. Then either go up to file, export, media, or hit control or command M. This will bring up the export settings Window. From here, you can choose specifically where and how your video is exported. To start, click on the blue output name here to both change the name that your file will have once it’s exported, and also where on your computer the final video will be placed.
From here, there are potentially a lot of detailed settings to go through, but to keep this video short, we’re just going to go over the basics. For now, I’m assuming that you’re exporting just a general-purpose file. Maybe to go to YouTube. Go to format and choose H.264. Under preset I would suggest choosing a match source either medium or high bitrate, depending on how big the resulting file size is and how important squeezing every pixel quality is to you. Then just double-check that your output settings are actually the resolution that you want it to be. By choosing match source, you’re telling Premiere Pro to recognize the sequence settings you created at the very beginning and to keep them for the export. So if you set it up right, you should be good to go. Great. Now all you have to do is hit export and wait. Awesome.
And guys, that’s just been a quick crash course on how to use Premiere Pro. By all means, this is not enough to make you a seasoned pro, but I hope that it’s a starting point to help you get a handle for the program and to start to feel more confident editing your next video project. That’s it for me. Thanks so much for watching. And I can’t wait to see you in the next video.
In this video, we’re going to be going over the entire editing process from start to finish and showing you each stage along the way. Hopefully helping you to stay a little bit more organized through the process. So let’s jump into it.
If you’re making a video, whether it’s a narrative film, music video or commercial production, business explainer, video, weddings, or live event coverage, it doesn’t matter. You’re going to have loads of video files, audio files, music files, and it’s all going to end up in a jumbled mess like this unless you keep on top of it. And the very first step is even before you open up your video editing software, we’ll call this the preparation stage. This is where you organize on your computer, a project folder that’s going to house all of the media you use throughout your project. And from here, we’re actually gonna create another series of folders inside, your software’s project folder, the raw footage, your audio files, your music, your graphics, compositing project files, still images, or anything else that might be specific to your video production. Once you have these in place, you’re going to make sure that whenever you add media on your computer, you’re adding them into one of these folders.
So why is this important? Well, if you ever run into the situation of needing to find the original piece of media, then it’s pretty easy to figure out where it is. For needing to find the original music file you’re using in your project, just go to your project folder and you know it’s somewhere in here. Easy. The second reason is in the event that you need to hand off to a different editor, it becomes a lot easier to migrate that project to somebody else when you don’t have to go digging through your entire computer to find each individual unique media file. It’s all right here. And thirdly, it makes it really easy to import into your editing software, like for me, Premiere Pro. Normally the process of importing your footage would require you to either drag and drop each individual media file, or go to file, import, and select everything that you want to have included in your project. Then you’d have to go to create folders inside your software and place your media into each one, but they’re all jumbled around then this is a mess.
But by organizing it the way that we did in advance, we can now just highlight all of these folders and drag and drop them into our editing software and everything keeps its organization and structure. And I didn’t mention this, but I have media files inside of all of these folders, and when you drag them inside, all the media stays in the correct folder. And now you don’t have to do any additional organization. You can just get right down to editing. This may depend on your editing software, but if for example, yours can’t do that, then you can still create each of those different folders inside of your software and then just drag and drop each of those different sections in organized chunks. All that work is still really helpful.
Next up, we have the assembly. Now that we’ve imported our media into our editing software, we’re actually going to assemble it all together so that we have something to actually work with on our timeline. Essentially, this process consists of watching all of the footage that you’ve compiled up until this point and dragging and dropping the pieces that you want to keep onto the timeline. It’s important at this stage of your editing or even when you’re bringing those media files into your software to begin with, that you create what are known as transcoded video files. Basically, you want to make very light, easy to work with video files from the originals to work with so that you can edit and make decisions really quickly and easily.
In Premiere Pro this is really easily done by creating what are called proxy files, which automatically connect to your original footage and then swap out at the touch of a button. You can even configure it to automatically create these proxies when you import any footage into your project. Remember, at this stage of your editing, you don’t care how nice or how crisp things look, you’re just going after the basics. And at this point, if you’re editing software allows you to, you may want to create two separate timelines that are directly on top of one another. This is called a pancake timeline setup. The first one is for footage that basically just makes the cut and it’s good enough to pass on to the next stage. While the second one is for the actual timeline where the footage will get passed along for the rough cut. The reason you may want to do this is if you have multiple options for a particular shot that you like, but it’s distracting to have multiple options in your rough-cut timeline. Having them in a separate timeline can help you to make decisions and go back and forth without having to dig through every single piece of video footage that you have.
The other reason you may want to do this is if you’re making selections for something like a montage, where there’s a bunch of different great shots that you’re compiling together, but you don’t necessarily have a particular structure in mind. You might really like a moment, even if you’re not sure if there’s a place for it in your final edit. So placing it in an intermediary timeline cannot be to make really quick decisions, even if you’re not 100% sure that it’s going to make the cut. But once you’ve gone through all the your footage and made the selections of the footage, that’s actually going to stay, it’s time to move on to the rough cut.
This is essentially the process of taking your footage and creating a skeleton of what you want your project to look like. The only thing you’re really concerned with at this stage is order and sequence of events. In a narrative film, for example, this is following the script and storyboard to make sure that each scene happens as it was intended. Scene one shot 1, 2, 3. Then scene two shot 1, 2, 3. Then scene three and so on. You’re basically just putting things in order. If there’s any titles or text that needs to be included in the scene, they should be incredibly basic. Don’t spend a lot of time on them.
Once you finish the rough cut, watch it back from start to finish. If you did your job correctly, you should hate it. And I’m only sort of half kidding about that. If you know the intended result, it should be incredibly frustrating to see all the potential that it has, and the direction that it’s going, but none of the fine detail elements in place. All of your footage should be low-quality transcoded files with no color correction, there should be no sound design, no effects, or really no polish at all that’s going to help it sink in. The reason this is the case is because if you get really excited and do all the compositing for a VFX shot for a scene because you really just want to see how it turns out, and then the director comes back and says, Hey, we’re going to cut that one scene, then all of that work you did was wasted. The same thing goes with color correction, don’t worry about getting the skin tones just right if that shot might not even end up in the final product. Once you’ve completed a rough cut, this is when you’re gonna bring in the directors, the producers, or really anybody who’s calling the shots in your particular case, and they’ll watch it back and give notes. And if you’re working on your own with the client, you can actually send them the rough cut so that they can watch it themselves and make notes. And here at motion array we actually have a video collaboration tool that you can upload your video to so that your clients can point to certain areas, specify exact time codes, and give you detailed responses so that you know exactly what they want changed. Even if they’re on the other side of the world.
But now you’ve got their notes back and you’re going to have to make some changes, which is always gonna be the case by the way. So now begins the process of working closer and closer to what’s called the fine cut. As you continue to edit and tighten up the rough cut, your goal is to get towards what’s known as the fine cut. This is the point at which you make all the major structural changes that the directors or producers are requiring of you, and you’re really starting to see the video project develop and start to take shape. Small details are coming together, the pacing feels tighter, but you’re still not doing anything like color correction or intensive sound design at this stage yet. This is because you’re waiting until the fine cut of the film is finished and you’re able to declare picture lock. Picture lock is the term used to describe a video or film that’s structurally finished. The color hasn’t been touched, and you’re still working with low-quality video files, but as far as the amount of time that each shot is taking up, that should not change from this point forwards.
The reason that the stage is so important is because it’s here that you’re actually able to start sending things to different departments. If you have VFX that needs to be done in your film, you now have the exact number of frames that each number of shot needs work done for. Your audio engineers will be able to know to the millisecond, to the beat, exactly when music needs to hit, and when moments are going to happen, and not worry about if their music is going to be out of sync later on if changes are made because what you see is what you get. And people like your colorist won’t be correcting and grading footage that might get cut out later because you’ve declared that from here on out you’re not making structural changes. But that’s a really good point actually, If your colorist is going to be working with correcting and grading detailed shots, then they’re going to need the original source files, which is why it’s also at this stage in the process where you reconnect those original source files and swap them out with the transcoded ones. This stage is called online.
Now, normally the process of swapping in back those original files is going to make things really choppy and difficult to work with but, oh yeah, you’re not making any more changes. It’s done. This is where teams divide and conquer, and each provide a different piece of the finished polish to give back to the final product. It’s the finishing coat of paint that really ties it all together and make sure that it looks, sounds, and feels like a finished product. Once each of these different departments gives you back their finished piece, you’re finished and you’re ready to finally export your completed video.
Congratulations to those of you who are just getting into filmmaking this might seem a little much. Almost an unnecessary degree of organization and specificity. And the truth is, is that if you’re doing everything by yourself, where you’re the writer, director, editor, cinematographer, colorist, sound designer, then yeah, you can kind of do whatever you want. But this step-by-step process is so incredibly helpful, even if you don’t have teams of dozens or hundreds of people helping you out in different ways. The basic idea is that the order of events matter. The whole idea is that this is designed so that the least amount of time is wasted, and so that you’re able to maximize each step along the way. This is gonna help you create the best possible finished product in the least possible amount of time. And in the growing world of social media, with never-ending cycles of content, being able to create multiple videos in a short time as possible is essential for growing your brand, your business, your film studio, or yes, even your YouTube channel. So get out there and make something awesome.
I really hope that you’ve been able to get a lot out of this video on the organization of editing. Thank you so much for taking the time and I can’t wait to see you in the next video.
Today I’m going to quickly show you how to synchronize audio and video inside of Premiere Pro in just a couple of clicks and some solutions to some common problems. The whole reason why you’d want to do this, to begin with, though, is because you have your video and your audio being recorded separately like I do here. My video camera is recording my video, but it doesn’t have this microphone attached to it. It doesn’t connect very well. So I’m recording this audio separately, directly into my computer. And inside of Premiere Pro, this is what that would look like: if your camera video layer’s here, you have your camera scratch track here, that doesn’t sound nearly as good. And then you have your nice clean microphone audio here. And the difference between those is pretty clear. So let’s quickly take a listen to what just the camera audio sounds like. And then this is what the nice clean microphone audio sounds like. It’s pretty obvious why you’d want to use this layer here. But in Premiere Pro, when you bring this in, you’re not going to have it nicely set up like this. You’re probably going to have something a little bit more like this.
These aren’t going to be synched up nicely. They’re going to be kind of offset here. You just kind of slap it down. It’s like I don’t quite know where it goes. Premiere actually has an automatic function that you can use to just line these up and Premiere will just do all the work for you. It’s really great as you literally just highlight everything that you want to synchronize together. Right-click and click synchronize. Then you just want to make sure that you’ve highlighted the audio section here. You don’t want clip start or clip end. Like the name suggests, you found a way to either start or end your clips at exactly the same time. Which means that you found a way to remotely trigger them to start or end at the same time. So you probably don’t need this tutorial. So if you have the situation where you’re randomly trying to figure out where do these synchronize choose audio, then we only have one option here. Don’t worry about track channel click, OK. And then Premiere Pro will do all the work for you lining these up. I’m going to bring these way far apart here so you can see that Premiere Pro is actually doing all that work. Right-click, synchronize, audio. OK. And there you go. It lines it up perfectly.
Now, here’s the nice thing, too. You actually don’t need to do this with just two layers here. You can have as many audio track layers as you want. Let’s say, for example, I have one, two, three, four different audio track layers. These are duplicates. It doesn’t really matter. It will work even if you have multiple different audio sources that you’re trying to sync together. Just highlight all of these. Right-click and synchronize is available. There you go. But here’s the thing, though. You might come into the situation where, say, for example, you highlight these right-click and synchronize is greyed out and you’re not actually able to select it. There’s two main reasons why that could happen.
The first is that you have two audio layers on the same track. You need them to be on separate tracks. You can see here that if we have these on the same track and I highlight these three, synchronize is available. If I highlight these three, synchronize is available. But as soon as I highlight two things that are on the same track layer, synchronize becomes unavailable. This can be easily fixed by simply moving one of those to a new separate track. Now, all of a sudden, synchronize is available.
The other thing is that this can be caused by something as simple as just a cut in your audio. So it’s just double check here that before that happened, synchronize is available. But as soon as I make a cut here and there’s multiple audio layers here, technically on the same track now, synchronize becomes unavailable. So the solution to that is either move these two again, separate tracks, or just remove the cut in between them so that you have only one audio layer per track. Then you can synchronize.
The second reason why you might not be able to synchronize is because you have no track layers targeted. So targeting is in this section here. This left section here is for source patching, insert, and overwrites. Don’t worry about that for the moment. It’s this right section here that’s responsible for trace targeting. If we have no audio or video layers that are targeted, if we highlight all these right-click synchronize is unavailable. And as soon as we target anything that’s on the same track as something that we want to be synchronizing, you can highlight these and you can see that synchronize becomes available.
Now, if you target something that’s not on a layer that you’re trying to synchronize. So Audio track five, we don’t have anything there that we’re trying to synchronize. You can see that synchronize is still unavailable. So you want to make sure that you have at least one thing, even if it’s just a video layer, that you’re also including in the synchronization, you need to have at least one layer targeted that you’re actually including in the synchronization process. So if you find that, synchronize for you is greyed out, check those two things. Is every single audio layer on a separate audio track, including small cuts in between them? And you have at least one track that are targeted that you’re including in the synchronization.
But now you’re in the situation where you have two different audio tracks and if you play them at the same time. It doesn’t sound the greatest you want just this audio layer here, so one way that you could deal with that is you could highlight just this audio layer here by holding alt or option and clicking. Then you can right-click and disable this track so you only hear the nice clean audio. The other option that you have is you can just literally drag this over top and completely replace that layer. That’s actually my preferred method. But you run into this problem here where then let’s say you wanted to move this audio and video track pair around here and oh, no, they don’t move together. They’re completely separated.
The easy solution to fix that is to simply highlight both of them. Right-click and then link them together. Now, you might come to the situation where the very first time you try to do that, you highlight them and right click and it says unlink. This just means that at least one of those audio or video layers is linked to something else. Just click unlink and then do it again and you’ll be able to link them up so that now they’ll work together as a single unit. Any time you move one around, the other will follow.
If you’re running into a situation, though, where this isn’t working, you might simply have the linked selection button here turned off. If this is white, doesn’t matter if you have a linked selection, they’ll act independently. But if you have a linked pair like this and this linked selection is blue, then it will respect that and you can move them around as a pair. Awesome. So that’s how you synchronize audio and video in Premiere. And some solutions to some common problems.
But there is one more thing I want to leave you with, and that’s that if you are doing this on a regular basis, you’ll end up with a lot of different materials here. And I won’t just look like that. You’ll have a lot here. But then you also have that same situation repeated a bunch of times. So if that’s you, how do you synchronize all these different sections together quickly and easily? Instead of just like highlighting, right, clicking sync. There’s a better way. And what you can do is you can go up to edit and then down to keyboard shortcuts. So from here, you can search for synchronize. And you’ll notice here that I have a keyboard shortcut for synchronizing my audio. I’ll get rid of that for a moment because this is likely what you’ll have. Just click underneath the shortcut here, beside the synchronized label here. And then you can actually key in what keyboard shortcut you want this to be assigned to. So for me, I like “Alt and S,” soon as I click that, Alt S is now the keyboard shortcut for synchronizing my audio and video. Click, OK. And now any time that we want to synchronize our audio and our video together, it’s literally as simple as highlighting, hitting our keyboard shortcut, and enter. And so synchronizing audio and video is literally just this quick.
And guys, that’s just been a quick tutorial in how you synchronize audio inside of Premiere Pro. That’s it for me. Thanks so much for watching. I can’t wait to see you in the next video. Bye.
Today we’re going to be going over Adobe’s dynamic link. I know what you’re thinking. We’re not just going over the basics. We’re going to be going over some applications that you might not have actually known about to get the most out of your video projects.
So most of you probably know what dynamic linking is, but for those of you who don’t? Here’s a quick ten-second explanation. It’s basically the system that Adobe came up with so that multiple different programs could interact with the same clip or set of clips and recognize what each of the other programs was actually doing to it. The classic example is having a clip or set of clips in Premiere Pro, sending them over to After Effects, working on them there, and then having all of those results show up in your Premiere Pro timeline. It’s pretty cool, but what a lot of people forget is that you can actually use that system with Adobe Audition. I know everybody forgets about Adobe Audition. We’re going to be covering all that and more. But let’s not waste any more time and jump right into Premiere Pro.
OK, so here we are in Premiere Pro, and right off the bat, let’s start with linking Premiere Pro and After Effects, and we’re going to go over three different ways that you can use to initiate this process. The first is probably the most common way that people use this. Taking a part of your Premiere Pro project by highlighting it, right-clicking it, and selecting Replace with After Effects composition and bada bing bada boom. You’ve got an After Effects composition that opens up for you to be able to work with.
It’ll ask you to name your After Effects project file, and once you’ve done that, that’s really it. That’s really how easy it is to link these. Now, whatever you do here is going to show up as a recognizable change in Premiere Pro. So let’s take this and make a noticeable change to it. And then let’s go back to Premiere Pro to take a look, and you can see that it takes just a second. But Premiere recognizes and plays back our footage with the changes from After Effects. Great.
Now here’s something else. It doesn’t just apply to an individual clip. You can do this for multiple clips at the same time or nested sequences with multiple clips inside of them. I’m just going to quickly nest the set of clips here as an example, if we send this nested sequence over to After Effects, in the same way, you can see that not only do we get the nested sequence, but we also have access to the other files that are present within that nested sequence as a sub composition within After Effects. Cool.
But here’s another great thing we didn’t have to close After Effects or open a new project in order to work with another piece from our Premiere Pro timeline. That first clip we sent over is just in a different tab here as a different composition within the same After Effects project, which is awesome. So much less headache if you had multiple different shots that you needed to work on at the same time, this makes that process so much simpler, but there is one piece of advice that I would give when sending over clips from Premiere to After Effects. What you might notice here is that our After Effects linked file replaces our original piece of footage. So if we wanted to go back to what we had originally, we kind of can’t. I mean, we can undo our changes until we get back to the original. But that can break the dynamic link between these programs for this file, making seeing just a quick before and after pretty difficult.
So what I would suggest is to hold alt or option and click and drag this clip or set of clips directly above the originals as duplicates, before you actually send them to After Effects. And then, with all of them still highlighted, just right-click and uncheck Enable. That way, they’re still there, but they’re deactivated. And if you want to check out what you began with or just keep them aside as a failsafe, then simply reenabling them will get you back to square one.
OK. The next way that you can link these two programs is by literally starting in After Effects. Say with something like this and then literally just drag and drop the After Effects project file into Premiere Pro. It’ll ask you what specific sequence you want to use and if you’ve got a main sequence with multiple pre-comps inside of it. Selecting that top most sequence will ensure that you’re getting the final result to all your hard work. This does mean that organization will help you a long ways in this process. Now, with this file linked, you can place it down on your timeline and you’ve essentially got exactly the same thing as we had before. The only difference is that you started in After Effects and ended in Premiere Pro rather than a round trip from Premiere to After Effects back to Premiere.
Finally, the last one, we don’t think you’ll end up using that often and wouldn’t recommend unless you know your edit is complete, but you can actually import a Premiere Pro project into After Effects. By doing this, you’ll be asked again to select a sequence from Premiere that you want to drag into After Effects. And from there, it’ll show up in After Effects as a single unit. So this is why we would suggest avoiding this unless you’re absolutely positive that your edit in Premiere Pro is complete and you just want to add some little tweaks to the overall unit as a whole.
Now on to Audition. Here’s the thing we’ve said this before that one of the easiest ways to enhance your video projects is with better audio. But when people think about dynamic linking to Audition, they might be like, yeah, yeah. Replace the file, edit it in Audition, move to the next one. But I’ve got loads of audio files and that would take forever. But here’s the thing. Did you know that with dynamic linking, you can edit your entire sequence in Adobe Audition? Let me show you how to do that.
Go to edit, Edit in Adobe Audition, sequence. Send video through Dynamic Link and then make sure you keep pan and volume information so that if you made changes to the audio like a fade in or a fade out, for example, Audition will actually notice this and display it properly. So now we can see that we have all of our audio from that sequence inside of Audition in the track orders that we originally set up. And here’s the cool thing when you do this, this way, you can actually get a window here where you see the corresponding video previews so that you can see how your audio is actually lining up with your video. And if during this process you make changes and Premiere Pro, it’ll actually show these changes in real-time in Audition without rendering. And once you get comfortable working in Adobe Audition, you’ll probably end up feeling like you have a superpower.
Now to actually finish up inside of Audition. Unfortunately, it’s not quite the same as After Effects, you’ll need to export your audio back into Premiere, but thankfully it’s really simple. Once you’ve saved, always save your work, by the way, go up to multichannel, export to Adobe Premiere Pro. Then you can select whether you want to export as stems, keeping each track as an individual unit or as a mixed-down session, which will turn all of these into one single audio unit to be moved around within Premiere Pro. Now, once you do this, you can see that in Premiere Pro it’ll be placed below your original audio. But all of the timing will be correct and ready to playback.
A simple solution would be just to mute all of the original audio tracks. Or if you choose a mixed-down session, simply soloing this layer. And your work has all of the changes that you’ve made to make it sound absolutely amazing.
Now one last thing. If you’re having trouble with dynamic linking as a whole in any way, if it’s giving you stability problems or crashing for some reason, one of the things we’d suggest is to either update all of your software to the most current version or at the very least, try and make sure that your After Effects, Premiere Pro and Audition versions are from relatively similar releases. One of the most effective ways to ensure that you’re not getting problems is to make sure that your programs are communicating effectively together, and the chances of problems occurring goes up the farther apart each of their different versions are.
But guys, that’s just been an overview of dynamic linking and some helpful tips to hopefully help you get the most out of it for your video projects. Thanks for stopping by and I can’t wait to see you in the next video.
If you’re like me, then you’ve spent way too long on some video projects, adding things like text and captions to your project. But, Premiere Pro has an incredibly fast way to do all of this work for you. It’s called speech-to-text, and I’m going to show you how to use it right now.
OK, so here’s the deal for a while now, Adobe has had this feature inside of Premiere Pro called speech to text, which basically just takes your existing audio or dialog inside your project and turns it into actual text captions for you. The process is super smooth and simple, but it does take a little bit of getting used to, and there is a bit of a workaround you need to do in order to actually turn those captions into text boxes that you can add things like effects and transitions to. So today I’m going to be showing you a basic rundown of how to actually use this feature, whether you’re creating social media content and you want to have text to help retain users from scrolling by, or you’re exporting out a two-hour-long feature film and you don’t want to manually type in every single line of dialogue. Speech-to-text is definitely your friend, and you’re going to be able to get a lot of use out of it. And the cherry on top is that near to the end I’m going to be showing you how to turn those captions that you cannot add effects and transitions onto and turn them into text boxes that you can edit.
So here I have just a 15-second video that I want to post on my social media account, and I wanted to create subtitles for it to help retain users’ attention. But it’s really tedious to listen and add a text box, then line it up, type it out, reposition and fine-tune it, then repeat that. That would just become ridiculous. So there’s a better way. First thing is just to make sure that your Premiere Pro is up to date to at least version 15.4. Once you do, you should see that you have a text option. And to find that, go to window text. From here, under the captions section, you can either import captions from a file. If that work has been done in advance, create a new caption track or transcribe a sequence. We’re going to transcribe this sequence that I have open. Once you click the button, you have a couple of options to set up Premiere Pro to have the easiest time possible. If you’ve already gone through your audio and label dialogue through the Essential Sound Panel, you can select this option up here. But for me, I know that all of my dialogue is under audio track number one, so I’ll select audio on track and track one.
There’s a lot of different languages you can choose from, but I’m transcribing English content, so I’ll tell Premiere to look for that. You can see here that I’ve already set my in and out point for this region here, and by selecting only inside of in and out points, I can make sure that nothing extra gets processed, just the stuff in this area. And if you have multiple different people speaking, you can ask Premiere Pro to distinguish between them. I only have myself talking, so I’ll leave this unchecked. So let’s hit the transcribe button. And here we go.
Now I sped this process up in post, but the whole thing took exactly 24 seconds. Now our video was 15 seconds. So even though that wasn’t blistering fast, that was way faster than doing it all by hand and typing everything out and moving everything around. And here’s the thing if you did have a much longer video, this process is going to take longer, but you can just hit, transcribe and walk away, go make yourself a coffee, do some other work and you can effectively multitask.
But now let’s dive in, and let’s see exactly how good of a job it actually did. This was incredibly accurate. No mistakes made apart from simply wanting After Effects to be capitalized. But you noticed that it actually got things like YouTube right even though there’s a unique capitalization situation and even things like punctuation and question marks are flawlessly included. So if we wanted to make this properly capitalized, we can actually just click on that word and Premiere will actually go to that part of the video where that word was said, amazing. Now, just double-click on it and we can either edit it to respell, capitalize or change it to be however we want. And you’ll notice that we don’t actually have any of our text showing up in the video, and that’s because we haven’t created the captions yet. So once you’re ready, just go up here to the Create Captions button and click it.
Once you click the Create Captions button, you’ll have a couple of options you want to create them from the sequence transcript that you just had to create. You can choose the format that you want your captions to be in. There’s a variety like CEA-608 and 708 and Teletext, but for me, subtitle is perfect. And if you know of any other requirements that you need, this is where you would click that option. You can choose a particular style to already create a specific look for your subtitles, and you can see here that I have a couple of options that I’ve already created ahead of time. But if this is your first time doing it, you’re not going to have any styles that you’ve pre-created so you can stick with None. The maximum length and characters is just how far across the screen it’ll reach. I like maximum length of 42 and the minimum duration in seconds. You can keep the default unless you know you have a specific requirement. And then finally gap between captions. I like keeping it to zero, so there’s always text on screen, and it’s not jarring if there’s a frame or two where there’s no text on screen before the next one shows up. And finally, you can choose whether or not you want to have one line or two lines visible of text. I like a clean single line personally.
And there you go. Your captions are on a separate track above your video here, and they’re actually showing up in real time. So let’s playback and see exactly how this looks and sounds: “Want to know how I made my dog appear out of a picture? It’s easier than you might think. And thankfully, all of this can be done right inside of After Effects. Check out our YouTube channel for the full-length tutorial on this effect.”
So you can see that the captions were perfectly done. There’s not a single point at which they’re off. But if you did need to make any sort of adjustments, you can actually just treat these like regular timeline layers and edit their timing to your liking. But there is a problem. This is not the style that I want my text to be in. I want it to be a different font. Maybe a little bit of a different color. No stroke on the outside. How do I actually do that?
Well, it’s really simple, you can edit your captions by highlighting one or as many captions as you want and then go up to the essential graphics panel. And from here you can see that we have our C1 subtitle being indicated at the top here, indicating that we are actually editing right now these captions here in the C1 section, and it says that multiple items are selected, indicating that for as many items as we have selected, those are the changes that are going to be applied. So if we just had one item selected and we make a change like increase its size, that’s only going to apply to this one caption here. But for example, if we highlight all of them and we increase the size, all of our captions are going to retain those changes. So if you’re making global changes across your entire project, I’d suggest highlighting all of your captions and then making changes here from inside the essential graphics panel.
So let’s go through and just stylized our text a little bit. I’m going to start by changing the font. You can also choose here which zone you would like your captions to be in: bottom middle, top right, left corner. I like bottom middle, personally. I’m going to change the font style to be something a little less bold, and I’m going to take off the shadow. You can also do things like add a stroke, change the color of that stroke. You can add a background, increase the opacity of that background, increase the size of that background, round the corners. But for me, I’m going to take off background and stroke, and I’m actually going to reintroduce the shadow. Take it down a little bit. Push it a little bit further away from my text to create a bit of a 3D sense. And then I’m actually going to soften this a little bit more so you can see the before and the after.
And if you wanted to change the color of your text, you can do that here too. Maybe something a little bit more like a traditional movie yellow text that might suit you personally, but I like plain white. And with that, you can see that my captions reflect all of those changes across the entirety of the project. And if you like what you created, you can easily set a preset to use in the future by going up to track style and selecting create style. Name it. And then all that work is saved so you can just select this preset in the future.
But now we come into a little bit of a problem here. Let’s say that I wanted to add this simple text rise that I created in a previous tutorial. Nothing crazy, but it does add a little bit of energy to the text. I go over here to my presets, but you actually can’t add effects or transitions to captions. So how do you fix this? There’s actually two different methods. The first one is for short videos like my 15-second video here, and the other one is for longer videos. Say that your video was like two-hour long feature film that would be a better method for that. But let’s start with the first short method.
Add a new text layer with control or command T and then stretch out that to be the same length as all of your captions. Now let’s highlight our text layer and go to essential graphics and center our text with paragraph styles and then center align it horizontally. This will just make sure that any time we make changes, it’ll treat our text in the same way that we’ve set up or captions to be. Now let’s take our blade tool and make cuts in the same places as the captions begin and end. Having snapping on here will really help us out. Now comes the main part – copying and pasting our text. Super easy.
Double-click your first caption. This brings it up in the central graphics. Now, double-click on the text up here. It highlights all of your text for you. From there, you can just copy it with control or command C. Now highlight your text layer and double-click this same section. It’ll highlight your text and then you can paste it here with control or command V and your text is here ready to go. And once you get the feel for it, you can start flying through your text. And with that boom, that’s a really fast way to turn your transcribed captions into text. Now you can add effects, animations, transitions, whatever you want to them.
So let’s say that you had a two-hour-long video that you wanted to convert your captions into true text. Using this method would take forever, but thankfully there is a better way. Go up here to your text section and export it as an SRT file. Just name it something that you can remember it by and keep it in an easy-to-access place like on your desktop. Your text in this format will be just a bunch of garbled information, but we’re going to fix that. Now go to Google and search for subtitle to XML, and I’ll leave a link to the specific converter that I’m using in this example. It was the second result for me when I searched for it. Here you’re going to select the format you want to convert to as Final Cut Pro XML from this dropdown. It has to be Final Cut Pro XML for it to work. I know we’re using Premiere Pro, but it can actually read Final Cut Pro XML. So just so you know that’s what we’re using. Upload your SRT file and convert it, and that’s it. Your job is done. You can now take this new XML file back into Premiere Pro, and it’ll just be displayed as a new sequence. But you can see that it keeps the exact same formatting as our captions. Just lovely.
If in the rare event that during this process, your text changes to be a different font. That’s very possible but very fixable. And I’ll show you how to fix that in just a second. But for now, we can bring these captions into our main sequence by highlighting all of them and copying them with control or command C. Now find a video track that’s completely empty or add a new one by right-clicking here and adding one. Target this empty track by clicking these areas here so that they’re highlighted. And now we can bring our play head to the very beginning, and when we paste with control or command V our text lines are perfectly lined up with our captions. I’m sure that you can see how if this was a two-hour-long project, this would save loads of time. And right now we have both captions and text visible on the screen at the same time. So for now, I’m just going to turn off these captions here by clicking this little eye symbol. And now our true text is the only thing visible.
But like I mentioned before, if at any point in this process, the text gets messed up from its original font, you can click on an example of that text and go up to the essential graphics panel to see exactly what font it switched to. Now that you know which font it switched to, you can go up to graphics and replace fonts in Project and now click on the font that you want to change. And from this dropdown here, select the font that you want to replace it with. Once you hit OK, it will replace that font in every instant that it’s present in your project. And that’s it. You’re done. Now you can play with it to your heart’s content, adding any sort of text animation or preset or anything creative that your mind can come up with.
But guys, that’s it for me. Thank you so much for watching this video. I really hope it was helpful, and I can’t wait to see you in the next one. Bye.
In today’s lesson I’m going to talk to you about creating a post-shooting script. Now that you have a basic understanding of the fundamentals of script writing, we’re going to work a bit backwards. We’re going to start with the footage first, then we’re going to build a story script based off the footage our production team has sent us. It’d be very rare that you’d receive a bunch of footage without some sort of script or story. But this is a great place for practicing your editing and learning to build a story. And the principles on how I approach editing a story together would be the same whether we were given a script or not. This is also good practice if you were handed a bunch of stock footage and need to create a montage.
By breaking down the key elements in a story or a scene, you’ll be able to manipulate your edit into the exact visual feeling you want to represent on the screen. The footage that we’re going to use is footage from Artgrid of a cop car chase scene, but before we start looking through the footage, we must understand what does a scene typically consist of? Typically, you have an establishing shot, which is the first shot in the scene that helps the viewer understand the setting.
It doesn’t always have to be the first shot, but it’s important to allow the viewer to understand where they are so that they can better paint a mental picture in their head. Next, we’re going to want a shot that will establish our protagonist or our antagonist, whether that be a full, medium, or close-up. Without really looking through the footage, I know there’s a cop car with a cop or two in it and there’s a bad guy.
The question is, how do we want to tell the story? Is it a story where the protagonist is a cop chasing down a low-life criminal or is our criminal actually just a misunderstood outlaw who’s actually the protagonist of the story? Let’s make the outlaw our antagonist and our cops, the protagonists. This will be important because our main focus will be on the protagonist compared to the antagonist. And through editing, we’ll establish with the viewer that our cop is a person of importance.
Now that we have our key characters, let’s understand our footage better. We know in just a brief glimpse that this is going to be an action scene.
There are two key features of an action scene: 1. A rapid series of physical events that take place. And 2. A strong element of danger or urgency exists either causing or caused by the action. For a scene, we’ll have our beginning, which will be the establishing shots and our protagonists. Then, the building suspense, introducing our conflict, antagonist, obstacles, and goals. Then the climax, the ultimate challenge made. For example, maybe the cop car crashes while pursuing our antagonist. And then the end, a resolution to our scene. For example, our outlaw could get away.
The story or scene is like a hill that your viewer must climb. They start with a walk that turns into a jog that then turns into a sprint, then back to a walk. We want to start slow and build tension until we hit our climax and then resolve the scene. We can do this with the shots we choose and how we edit the shots together. Again, I haven’t even looked through the footage yet, but these basic principles will help carry us when building out our scene. Now let’s dive into our clips and start culling the shots we think will fit our scene structure. Remember, I’m looking for establishing shots and our protagonist shots first before we start to build tension.
Alright guys, so now we’ve dived into the editing portion of this on how to build an action scene or a scene in general. And what I’m going to just talk about really fast is, I’m editing in Premiere right now. You do not have to be in Premiere to edit a scene. This is the program that I use. There are so many different programs. So if you feel a little confused, all of this is transferable into any editing program you’re working on, whether that be Final Cut, DaVinci, Avid.
So the first thing that I said that we’re going to do is we’re going to do something called culling. And what culling is, is you’re just really going through clips and kind of getting a better understanding for them. And then either you can cut them down or you can organize them into groups. And what I want to do is organize them into groups. And I have actually already started to do that. But I’m just going to show you guys kind of the process. So these are kind of already split up into groups just because I was doing this tutorial and then I forgot that I pressed record. So, you know, things happen sometimes and so I have…
What I’ve done is I’ve taken all my clips of the car chase scene or the scenes or the videos that I’ve got off of Artgrid. And I’m just going to start going through them. And what I did was first start putting them into sections. So this section right here, as you can see, these are all the cop car chasing the bad guy’s car. And so I just separate these and I already know what they are, but you’re going to go through and then you’re going to separate them.
So, say if this one is part of that, then I’m just going to put it over there. But it’s not because again, I’ve already put them into groups and the next section I’ve kind of broken it up into is now I have shots of my antagonist. So these are kind of facial shots of my antagonist. Here is one right here, as you can see. But here’s a few more as you can see right here. Then right here I have my protagonist shots so you can see the cops, right? And so I just what I did was just go through all the footage because it’s not in order and I put it into different groups and just spaced it out.
Then I have the ending scenes because obviously, you can tell that there is a resolution happening right here. And then I have shots of the initial scene happening. This is where the lights go on, boom. And then the car goes by. It’s hard to see right there. And then another one right here. And then lastly, I couldn’t find any establishing shots that I really liked. And what’s nice about Artgird is that they have so much different footage that I found something that is very similar because looking at the footage, it is kind of a snowy, woodsy area. So I thought this drone shot right here would be perfect.
So this is what we’re going to be using as our first shot, but we’re going to dive into that in a second because I’m going to show you the next step.
Okay. So the next step, what I do now that I’ve separated all of them, this is just to help me a little bit more in the editing process. I would select the different groups that I have right here. I go to Label and then I’m going to make them different colors so I can go mango for those. And then just each group is going to be a different color. So these are antagonist shots. I’m going to make these red for bad. That just is an easy way for me to remember that.
So we can do something what is magenta right there or pink or whatever. And then we can do a nice ocean blue or something like that for this blue and so then you’re just going to label them and then eventually you’re going to get something like this. So now I’ve split up my shots and like I said, what we’re looking for first is an establishing shot, and I’ve decided my establishing shot is going to be this footage of the forest. And again, this is not a shot that comes in this pack but I thought it was a lot better of an establishing shot. So we’re going to use that.
And the first thing that we’re going to do is we’re just going to come over here to the timeline that I’ve started to build very slowly and I’m just going to lay in the establishing shot, which is this one right here.
So now that I’ve looked through the footage, I’ve got an even better idea in my head of what I want to build out and so I’m thinking I’m going to start very suddenly with sound effects, and I’m going to show this establishing shot. You’re going to hear wind and everything like that. And then the next thing I want to do is I want to break this calm shot up with some rising tension. And you don’t have to do it like this is just what I envision. And that’s a beautiful thing about editing is you can get really creative.
What I want to do next is I want to break it up with the antagonist, but I don’t want to reveal antagonist yet because I want to reveal my protagonist before I reveal my antagonist, just to show that they are a character of importance over the antagonist. But I still want to show that rising tension is coming towards them. So what I want to put next is I saw a few shots in my car chase scenes of a close-up of the antagonist’s car or the bad guy’s car. And I think those are perfect. So I grab those right here. So we’re going to go – this. And I’m going to break it up with “Vrrrrrrrrrrrrrr”.
And then we’re going to go to another calm shot. And I found this perfect shot just here of the car just sitting here. And that’s perfect because now it establishes there’s a police car. So now we’re kind of building the story for our viewer, even though that we only have these quick shots right here. We have, oh, it’s wintertime. And then here’s another shot. This is definitely a different time of day. Because this is shaded. But we can fix this probably enough with color grading that I think it should be A-okay.
And then another thing that I notice, and this is something that you just want to be aware of, is I actually flipped the shot because in this scene right here, the car is going this way, and so they filmed in a bunch of different angles. But, for continuity reasons, I do know that the car’s eventually going to cross this way.
So if we have our car going this way and all of a sudden it’s going to cross this way, in one of the shots, it’s going to be highly confusing to the viewer. So just a quick little fix is I just flipped it like that. After this shot, I want to go back to a calm shot and then I want to go to another energy or tension-rising shot right here. And so, like, I’m going to use this pattern to start building to our rising action.
And so we have a calm shot. We have a tension-building shot. We have another calm shot, tension-building shot. Then I want to show our protagonist, look, he’s eating a donut and he’s like, “Hey pass me the box.” And as he’s handing him the box, I kind of cut it right here, and he’s like, “Oh, there is a car coming, right?” So I’m just trying to match it a little bit. And then right here, they turn on their lights, and then the car flies by. And then from there, I took from this shot to another shot because I want to show them peel out, and this is kind of taking too long. I even might cut it right there. Because I just I think it’s just too long of a shot and go like this. And then “tuvvvv,” right? Car’s flying by and then the next shot is right here.
And yeah, these are two different times of the day. It looks like these are supposed to be continuous shots, but unfortunately, they shot at different times of the day. But that’s okay. We will try to color grade our best and we’re going to only, we can only do the best with the footage that we’ve been given. We did not shoot this, right? But, before I go in any further, typically I like to choose my song first, and I’m not going to go through the whole process, but this is what I love about Artlist, is that you can pretty much go in here and then you can start selecting a mood or you can even go to Spotlight ‘cuz Spotlight is going to have it sometimes, or genre, or anything like that.
But I think what I’m going to do is go to mood and then I’m going to put in things that are going to invoke what I think is going to happen. So it’s going to be powerful, it’s going to be exciting. And then another thing is, I think it’s probably going to be pretty tense because this is a car chase scene. The way that I’m building my scene, I’m looking for a song that’s going to build. And you can tell by the waveforms of songs that are building in action. So for example, this waveform right here, this is going to start out really hard and fast. And the way that I already have chosen my shots and the way that I envision it is I’m looking for waveforms to click on just to save me a little bit of time that are going to be slow and then start to build.
This one’s kind of very slow and then very hard, but something along these lines would be a good waveform because it’s going to slowly build up and then get louder and louder to build to our action. I’ve selected a few different songs that are kind of completely different from each other, but I’m just going to listen through them really fast. Our song right here is about to rise on this action right there. And as we can see, we have our car right here. One second of displays, and the car is going to pass right there.
So that would be kind of where our rising action starts to pick up. So I would select the song and kind of put it right here. Whoops too far. And we’ll just see how that lines up really fast. Most of this is going to be sound design for the beginning parts. And that works pretty well. We’re really going to start kind of basing our edits off of the song and I might put a shot in between here just because I don’t think these cut well together.
So let’s see, let’s extend this shot really fast and see what happens. So this even showing right here, look how that kind of cuts together better, you know, and I might just even cut a little bit farther because… A lot better. A lot better, right?
So we kind of have to react right there, if we’re going to add this in, I think, and put it like that. Much better. I think that’s much smoother. And so it’s just tweaks like that, that we’re going to start to make as we build out our story. So that is the starting introduction into our action scene.
What we’re going to do is try to find a shot that maybe matches with this. And if we can’t, then the obvious thing that we would do to kind of jump from the next part of this is we could find a shot of our antagonist, maybe looking through the rearview mirror or him looking backwards. But let’s look through our action shots really fast and see if there’s anything of this, the car pulling out. I think our best shot is going to be this one right here. Because now that we’re in center, we can cut from this one to one of him on the other side. We’re just going to slowly build this out and we’re going to put in shots and we’re going to build tension all the way up until we probably hit here. I’m going to finish putting this together.
And the last thing that I would say that I would just think about when building your scene is you remember what the diagram that I pulled up earlier is that we’re starting with the walk, we’re establishing our shots, then we’re showing our protagonist, then we’re showing our antagonist and the problem, and then we’re going to build rising action right in here. Right. So just follow a song, really, to do it. We’re going to be showing our rising action and we’re going to have our climax which is him getting caught because that’s the footage that we have here.
Here’s our protagonist putting on his gun to stop him. Here’s our antagonist with the gun. Right. And that’s going to go in, probably, right here and that’s how our song is going to end. And we’re just going to have our resolution ending right here.
After all the editing this is what we came up with: [scene]
I hope you all enjoyed the process of creating a script backwards. I believe it’s a super important technique, not only on building your editing skills, but understanding the structure of a scene. Thanks for tuning in. And, until next time.
Today, I’m going to show you how to create a seamless video loop perfect for social media, and you’ll be surprised just how easy it actually is. I’m going to be showing you a couple of tricks and Premiere Pro to help take your videos and turn them into a seamless video loop. And if you’re using a different piece of software than Premiere, don’t worry these concepts are actually universal. You’ll probably just have to press a few different buttons than I do along the way. And you might be happy to hear that you don’t need to plan this all in advance in order to make it happen. I mean, if you’re creating something like a complex quick change clothing loop, then yeah, you’ll probably have to plan that out in advance. But if you’re just trying to take your existing edit and give it the ability to loop infinitely, it’s actually all done in editing.
Once you have a version of your video edited, you’ll need to make sure that there’s two things that don’t give away the repeat your audio and your video, and both of these have a similar method to looping. So let’s start with video. In order to create the illusion of a loop, you might think that you need to film in a unique way. And if you’re doing a one-take of a single video, then yeah, maybe you do. But if you’re like me with just an edit that you want to loop back to the start, the first step is just to decide where the end of the video actually is.
I have an audio cue here, which wraps up the end of the video, and I want it to start looping back again right about here. So let’s make a mark with our outpoint by placing your play head here and then hitting the O key. Next, all you have to do is take the very first clip of your video footage and copy it by holding alt or option and clicking and dragging to the end of your timeline. Place it directly on the right of this out point here. And if you have your snapping on shortcut key S, you can see exactly when it’s perfect, you want the start of this clip to remain unchanged and to be directly to the right of the out point like this. With your clip set up like that now, you can drag it backwards to fill in the empty space here.
The only thing you need to do is make sure that you actually have a little bit of extra space before where your clip originally started at the beginning. And because we took the beginning clip from exactly where it started, if we snip off this and here, as long as we have it perfectly end at the out point here, we’ll see a perfect loop and we can check this by clicking the looping icon here. And if you don’t see this, you can go under your buttons, feature here and drag it in here. Click it so that it’s blue. And now when we play back our footage, we can see that it loops seamlessly with the beginning.
Now, all we have to do is make sure that our audio is looping too, only this one might be a little bit more challenging. If you have a song that’s playing underneath the background, you’re just going to do the same thing copy by holding alt or option and dragging it to the end, and lining it up immediately on the right of the out point. Then drag it backwards. But because there’s probably not going to be empty space here, you can actually hit the N key for the rolling edit tool, then click on the cutting point between these two portions of the music, and you can drag this cutting point backwards in time. This will keep the looping point exactly where it needs to be. Chop off the excess here and we have a seamless loop like with the video.
Only there’s a problem. The cut point here might sound terrible, depending on where it is in the song. So this is where you can use the rolling edit tool again to try and find the best cutting point in the music. If you’re still having trouble, what can help is adding a constant power audio transition to smooth out the difference between them. Something like even four frames of audio transition will help to make it not as jarring. Getting rid of that audio hiccup you might be used to hearing if the audio was cut poorly. And if you’re still having trouble finding a good place to hide that audio transition, a great place to start looking would be where the narrator is speaking really loud or the music is incredibly quiet.
Or you could look for areas where the beat is syncopated or not perfectly on time or doing something kind of crazy and interesting, basically finding a spot where you can’t really tell if it’s the cut or if it’s intentionally what the music is doing. Once you’ve found that spot to blend in your audio, your whole project should loop flawlessly.
Now I’m assuming that you’re posting to a location where the looping happens automatically. Places like Instagram, YouTube, shorts, and even TikTok are prime examples. But if that’s not the case for you and you’re actually going to want to try to recreate this effect manually, you can simply highlight your whole project with control or command A and then copy it with control or command C. Then put your play head up to the very end of your sequence and paste it with control or command v. Keep hitting it for as long as you want this loop to last for.
But if you’re looking for how you can create an infinite loop for just a single video clip, we actually already did a tutorial on it. Believe it or not, it’s one of the very first tutorials I ever did here at Motion Array almost five years ago, but I think I can actually do a way better job than I did in that video. So I’m going to give you a basic rundown of the information from that video, but also a bunch of other ideas in case that’s not giving you the results that you want.
The classic example for how to do this would be to cut your clip somewhere in the middle and then bring the first portion to the end and place these two right up against each other. Splice off some of the excess from each of these middle portions here, and then make sure that these clips are placed right up against each other. Now you can add a cross dissolve effect. What this does now is effectively starts the clip in the middle and where the beginnings and ends meet it blends them together. And because we have our looping feature turned on here, you can see that in this shot, it’s pretty hard to see exactly where that point is because the cutting point flows together with a cross dissolve. Now you can either copy and paste this section to make an endless loop yourself or post it to social media where the looping is done automatically.
But a little bit of a caveat here. This method requires two things to be true. One is that your footage was shot on a tripod and two is that it’s actually a really still scene, or it’s incredibly chaotic. You can see that in this example time-lapse, we have both, but they’re separated so that the stationary stuff is stationary and the chaotic stuff is chaotic. Another great example of this is time lapses of cars. And here we actually have a different option, which is to just find a good cutting point. And you may not have realized this yet, but the footage that you’re seeing right now is actually already looped three times. Four. Five. Just because of the way this was shot on a tripod and the rapidness of the motion lends itself to not being able to distinguish exactly where the cut took place. So you might even find that a harsh cut can get the result that you’re looking for, depending on your footage.
But if both of these methods are not working for you, let’s say, for example, that your shot has camera motion. My suggestion would be to look to see if there’s anything that stands out that would look terrible if it was played backwards. This would include people walking or if there’s a clock clearly moving in one direction in the shot. Stuff like that. If not, then what you can try is to take that entire video clip and duplicate it the same way as before. Except this time, right-click on the second clip and select Speed Duration, and then reverse the clip by pressing this button here.
The result is that your clip now plays backwards, but by putting it right up against the previous clip, you actually create a situation where the start of the new clip perfectly matches the end of the previous one. This means that as long as the start and end are not too jarring, you have a loop where you can never really tell where it starts and ends. And if you find yourself actually filming the footage to begin with, then you can rely on other methods like hiding the cut during motion. I’ve shown you before how to use a whip pan to effectively cut between two different clips. And we also have whip pan style transitions here at Motion Array that you can just drag and drop in between your footage. Similar to the cross dissolve, you’re hiding the cutting point by using a transition, only the main difference is that with the cross dissolve, you’re trying to make it look like nothing is happening, whereas a whip pan style transition is intentionally trying to make things look chaotic.
So by cutting our footage in the middle and placing the first one at the end like we were setting up before for the cross dissolve, we can actually add in one of these whip pan style transitions. And even though now we can see a clear, distinctive change in the scene, we still don’t see exactly where the cutting point is, which can help you as a last-ditch effort in case your footage is having trouble looping naturally. In cases like this, people will know that it’s actually looping, but there’s no one point that they can point to say where that’s the cutting point. So the effect actually remains intact. So, guys, that’s how you create a seamless video loop inside of Premiere Pro and some strategies to help get exactly the look that you’re going for.
But guys, that’s it for me. Thanks so much for watching. I can’t wait to see you in the next video. Bye.
Today I’m going to be showing you how to create this quick change loop trend inside of Premiere Pro. So this trend has been going around social media, and I thought this is a great opportunity not only to show you how to pull off the transition itself but to break down the techniques that actually go into making this effect because there’s a couple of different things going on and all of them can be used individually in different projects down the line.
But let’s start at the beginning. Here’s the basic premise. You throw a bunch of clothing on the ground and then appear where those clothes land and then repeat the process all the way until the end. What’s cool about this trend is how seamless it looks like you’re transitioning and appearing. There’s a couple of little tricks, but it all starts with filming. Start by locking your shot off on a tripod and having somewhat of a nice-looking background. Find two spots for yourself getting as close to the third of frame as you can just to look nice, and also to make sure that you’re not spilling off the side of the screen. Start recording, take a bunch of clothes in your hand and then film yourself starting from a crouching position, then popping up really fast and throwing those close to the side immediately, then change into those clothes you just threw and stand in the position they landed in. Don’t stop recording here or even touch the camera. Just keep it rolling all the way until you’re done. Everything, even the slightest movement from just touching the recording button can change your framing enough to break the entire illusion.
For the next shot, make sure to already be holding the next set of clothes that you want to change into. Start crouching, jump up, throw them down again and repeat this for an even number of times, and end by throwing the same clothes you started the first shot with. That way, everything can move together perfectly because you’re throwing the same clothing you started in and they’re landing in the same place that you started in.
You also want to make sure that when you shot yourself at the very start, you started crouching down before you jump up and throw the clothes so that you can continue the loop. And with this trend, there’s also some lip syncing that goes on to that needs to be done at the beginning as well.
Now that you filmed everything, bring it into Premiere Pro and place it down on the timeline and just make some very rough cuts where you’re going to be throwing the clothes and where the new you is going to appear. So once you’ve cut all that down, it should look something like this. Pretty rough, but you could see the basics coming through, but you want to have multiples of yourself on the screen at the same time.
So what you need to do is bring the second clip where the new person appears up one layer and then drag the remainder of the previous shot underneath until that version of you leaves the frame. Now, on the top layer here you can add a mask around your new character that just appeared and make sure it extends all the way past the edge of the frame. Feather it a little bit and then keyframe it so that it expands until the old you fully exits the frame. The result is that a new you now appears and the old you is also there until you leave the frame.
Repeat this process for every throw and add some more fine detail to the mask paths. And to make it loop perfectly, what I do is take that very first clip and duplicate it and bring it to the end by holding alt or option and clicking and dragging it over here. Now take your play head and place it at the very start of this new copied clip. Extend it backwards over top and then chop off this portion to the right of the play head. Now you can use this to make the new you appear where you start crouching down. Just make sure that you don’t change the timing of the end of this clip here. The reason is because now if you set an out point and activate looping, you can see that the cutting point between the end of our clip here and the beginning of our timeline creates a seamless loop.
And if you wanted more information on how to create seamless loops, we have an entire video dedicated to just that concept. So now we can highlight everything, nest it, and we can make some speed and timing adjustments to make sure that all the throw-downs happen on the downbeat of the song, and we can make each section happen at the same pace. There’s so much action going on that even if you change from 100% to 120% really quickly, people really aren’t going to notice the difference or care. When you do these actions in real life, you’re probably not going to be nearly fast enough and your timing is going to vary from scene to scene. So increasing the speed for each of these sections from anywhere from 101 to 125% can help smooth out the timing. You can go above 125%, but if you go a lot farther, you risk starting to look silly and comical.
OK, so now this is what you should have. We’re all done, right? Well, not quite.
You can still see some imperfections, and even though you could use this as is if you really want to, I want to add a little bit of subtle camera shake to really sell the impact when it happens. This is also really going to help to smooth out the transition and tie in every single time somebody new appears. So what I’m going to do is add an adjustment layer by right-clicking and adding it to my project window, then add in an adjustment layer over top of each hit appearance for around two to four frames. Then I’m going to add a Motion Array camera shake. This is the one that I’m using, and if you’re interested to test it out, it’s free to download and try out to see if you really like it. It basically creates a shaking look by changing the position, but it also repeats the edges of frames so that you don’t get black edges, which would destroy the illusion. I’ve already installed it in Premiere so I can just drag and drop it onto my adjustment layer, and it starts to work immediately. I’ll just adjust the amount to my liking, and I personally like around 160, and I think that gives me the best result.
And now, with all of that done, this is the final effect:
Guys, I really hope that you like this brief tutorial on how to get this quick change effect. The concepts involved like cutting on motion, using motion to smooth out a transition and even stuff like basic masking can all be used to enhance your future video projects. But guys, that’s it for me. Thanks so much for watching, and I can’t wait to see you in the next video. Bye.
Hey guys, it’s Yuval here for Artlist, and in today’s video, I want to show you how to take any video to the next level. I’m going to show you a clean edit that I made using footage from Artgrid and then together we’re going to add elements. And you’re going to see how that is really going to elevate the video. It’s going to add a lot of pop, a lot of interest. First, let’s watch the clink up, and then we’re going to jump straight into Premiere Pro.
OK, so we’re in Premiere Pro and I’ve got this timeline over here of the video we just saw. And I’m now going to use a bunch of elements to really get this video to the next level. So let’s start. So for the first few shots, which are these ones, I think I’m going to go for the overlays and specifically the shapes. I’m going to find something that I think could work quite nice. That looks pretty cool, let’s drag it in on top of our face footage.
So you can see if I play this now we have some of these black parts and I don’t want them. So all I’m going to do is go to my effects controls and I’m going to change the landing mode from normal to screen. And that’s going to get rid of all of the black background. And now we have this.
So now for this part, I think I’m going to use something like a film matte. So it’s basically like the borders of the film gate. And we have a bunch of these in the overlays category. If we go over to matte you can see we have a bunch of these. And I’m going to use that one. Drag it over again.
So now we’re getting this. It’s pretty cool. It’s framing our footage over there. But I do want to see the footage that is underneath this layer, so I’m going to go into the effects and get the crop effect. And I’m just going to crop all of the sites.
So that’s pretty cool, but now I want to add some even more pop. So I think I’m also going to use this frame. So for this one, I’m also going to put it on the screen blending mode. And I think I’m also going to add a film burn, which is also in the overlays category.
And now for this next scene, I’m going to use some more shapes like this one. And this one is already pretty keyed for us, so we don’t even have to change the blending mode. So it’s that easy.
And now for this shot, I want to do parallax effect, which is also a preset that we have over here, and I’m going to use the parallax, smooth zoom out three. I’m just going to drag it onto my footage directly. And we get this kind of cool effect, it’s pretty subtle in this case. But it just adds a little bit of movement, and I think it works quite well. Now, let’s put in a few more film burns. Maybe this one. And here, I think I want to add like a shake preset, so I’ve got it already imported into here. I’m going to go for shaker, shake two. And for this one, you’re probably going to want to go ahead and create an adjustment layer and put that just over the footage where you want the effect to happen. And then I’m just going to drag shake two over there. And that looks pretty cool. Let’s play it.
And then we have these three shots popping up on top of each other. So let’s see what we can create from that. I think I’m going to go for some shapes again. So let’s see what we have. Let’s try this one. That’s pretty cool. I just want it to go a little bit faster, so I’m going to right-click speed and duration and I’m going to do 120, and let’s try to maybe take this shot. Scale it down. And then we can have some sort of a background gradient that could be cool. And let’s go for maybe white and blue. Not too bad. I think I want to scale this up a little bit more and then maybe have the colors change. Let’s see. Maybe somewhere around there. I’m going to change the color to orange-yellow, maybe. Let’s see how that goes. And I think we can add a little bit more shapes over there, and maybe these ones could be cool.
Then on this shot, I think I want to add some grain. I think it could be cool. Let’s go for grain. And we’re going to take something that’s a little bit more strong. Maybe this one. Change the blending mode to something like maybe overlay, soft light is going to be more subtle. I think I’m going to add some VHS elements. We have five options. I think I’m going to go for something less extreme. So maybe this one. And let’s turn that into screen. Let’s lower the opacity just a bit. And now when that footage pops up, I think I want to go for some glitches, maybe. So let’s see the options here. This one is pretty cool. Let’s drag that here. Change the blend mode to screen. Let’s add a couple more of these. And let’s add parallax again on this one.
For this sequence that we have over here, I already cropped the footage because I want to do some sort of like a split over there. And we have the overlays. We have the splits. Yeah, there we go. You just have to put it in and you’ll probably have to align footage using the effect controls, position, scale, and also you can add in crop effects if you need to.
And let’s just make it a little bit more interesting by adding some VHS textures. Then let’s add some shapes. Let’s get a little film burn over there. And then maybe some shake over here. So again, adjust player. Adjust it to where you want the effect to happen. That’s between these two shots. Presets, shaker, and let’s go shake eleven. And maybe let’s even have some more shake in here. Let’s go for a shake six up. And let’s get some VHS over there. So let’s just play everything we’ve done so far, and then we’re going to go into the final step, which is adding a few decks animations.
OK. Already way better than the original. It really added tons of like pop and flash and fun to the mix into this video. But now I want to add just a few titles to really wrap this all up. So let’s take this part, for example. So I’m just going to copy that one, and I’m going to go back into my original timeline and I’m going to paste it over here, and let’s change the text. I’m going to double click and now I need to double click Title 04 as well. And let’s maybe put it over here, for example. All right. And then let’s just take another cool deck from that one. Let’s maybe get that one. And just for the ending here, maybe I’ll go for film bands, actually.
I really hope you liked this video, and it helped you out to make better videos for yourselves and until the next time, stay creative.
About this course
Video editing is about so much more than just putting your clips together; a great edit comprises many different elements and can dramatically change the impact of your video. This practical course will teach you how to edit videos, from getting started with your video editing software to working with audio, creating loops and more.
What you’ll learn
- Key video editing techniques and tips for beginners
- How to work with sequences and timelines in your video editing software
- How to form an organized, efficient and time-saving workflow
- The main stages of video editing
- Different types of cuts in editing
- Adobe Premiere Pro basics