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Tips & Tricks to Become a Premiere Pro Power User with Abba Shapiro | Adobe Creative Cloud

February 1, 2020

(calm music) – Well, thank you very much for coming. My name is Abba Shapiro, we’re gonna do power tips
in Adobe Premiere Pro. Is everybody enjoying Max so far? (audience applauding)
Yes! How many people is their first
time, how many first-timers? Oh, that’s awesome, that’s awesome. This is the best conference
I’ve ever had the opportunity to speak at over 25 years of
speaking, it’s a lot of fun. Make sure you go to Sneaks,
make sure you go to Bash, make sure you talk to the people
who have been to Max before because they are eager
to tell you all the tips and secrets you need to know, okay, and the other thing is just to have fun. So we’re gonna try to do
75 minutes of Premiere tips to get you fast-tracked. Just so I have a sense
of the experience level in the audience, an audience
of four or 500 people, how many people here are
relatively new to Premiere, maybe using it a year or less? Okay. How many people been using
it like two to five years? A lot of you, that’s awesome,
it’s a great application. How many people are really long-term, hardcore five and plus? That’s great, how many people
raised their hand three times? (all laughing) So this is great. So let me tell you a little bit about what we’re gonna do today, and it’s just gonna be a
lot of tips and techniques. And first of all, I wanna thank you for coming to take this class, if you like it, and you
wanna tell your friends who are new to Max to come take it, I’m doing this session again on Wednesday. And as I said before, the
idea is we’re gonna show you some of the best trimming
and keyboard shortcuts and ways you can optimize your system, it’s full of power tips. And just to give you an idea what a power tip is versus a tip, and I will explain that
for a specific reason, in that we have people
who’ve been here for a year, if you’ve been here for a year, you’ve waited too long for this class, but people that have been
using it only about a year, the tips are probably good, but if you’ve been using it five years, I wanna make sure that
I also do some depth. So you’re gonna get kind
of two levels of tips here. So the idea is, if you walk out of here with maybe 10, or 15 new tips that can make your workflow faster, where you say, “Oh, I wish
I knew that last week,” that’s success ’cause if
you can save an hour a week, by using some of these shortcuts, think about that, 52 hours a year, it’s like having an extra week of time to take vacation or something. So garner what you can, the slide deck will be available
at the end of Max, okay, so they’ll post that to the Max link, but feel free to take
pictures and take notes. And let’s just get started. Let’s talk about what a power
tip, the Accent Grave tool. Now, I’m gonna be toggling back and forth between Premiere and my presentation. Sometimes that’s where I
get a little bit messed up, great at Premiere, not real
great at PowerPoint and Keynote. So what is a power tip,
the Accent Grave key, or the tilde key, how
many people have heard of the tilde key in the room? That’s awesome, that’s
a tip, not a power tip. For those who haven’t seen this, let me show you what it can do. If I am hovering my mouse
over any one of my windows, if I hit the tilde key
or the Accent Grave key, same key, upper left-hand
corner of your keyboard, it will bring that panel full screen. And this is great when you’re working with a finite amount of
space, such as on a laptop, so I can just toggle it back
and forth with the tilde key. So that’s considered a tip, you know what’s considered a power tip, a power tip is what would
happen if I hit Control + Tilde? Control + Tilde will
bring my image full screen without an interface, so I can
play it back for my client. (upbeat piano music) How many people knew Control + Tilde, how many didn’t, how many
are happy they know it now? Excellent, so those
are the kinds of things that we’re gonna be talking about, different ways with shortcuts, different ways that you
can increase your workflow. So let’s go back and switch over. I’m gonna, to get out of that,
you simply hit the Exit key, if the Exit key works, and thank you for coming.
(audience laughing) Well, that’s interesting. Nothing, okay, let’s go skip slide, he thinks I’m on the slide. I was doing so great for just a moment. It did work, finally, but I really was, but you know that touchpad
on a Mac, oh, well. Okay, so here we are, we’re back again, switch over to my slides, and
we’re back in business again. So, Control + Tilde, for those who wanna know
that, is full screen. Okay, here’s some other things, and I’m gonna maybe
skip some of my slides, I have a lot more slides that
we can cover in 75 minutes, but I’m gonna post all
of them as we go through. So for instance, a lot of
times when you’re editing, you have your playhead in your cursor and you wanna playhead
to jump to the cursor. So this is kind of like a power tip for a more advanced user. So you can control this, I’m
gonna go ahead and hit Hide, move that over, and if you wanna create any kind of a keyboard shortcut, now let me kind of explain what’s there ’cause I saw a couple
people kind of wondering what was actually going on. So I’m gonna switch over to here, go to my keyboard shortcuts and I was just teaching
this on a PC earlier, so now I’m switching back my
brain to a Mac, here we go, so. So, if you notice move playhead to cursor doesn’t have a keyboard shortcut. Now I’m gonna sign this one,
I’m gonna use the function key, I’ll just use the numeric key
of one, that’s good for now, it warns me that would be select camera, we’re not doing multi camera,
so I’m gonna hit Okay. So now as I’m going
through, if I’m playing, (mellow piano music) now, I saw some confused faces, my playhead is not where my cursor is, my cursor can be over here so
I can scroll anywhere I want. If I hit that one key,
come on, you can do that, this is just kind of tricking me out here, hit the wrong things,
that one thing for me, I’ll catch my groove again. Yeah, we’re gonna skip that,
I’m gonna come back to that, that was threw me off
there on my own notes. Okay, so let’s go back to something that works a little bit smoother for me, and that’s smooth scroll editing, another change you can make. So if we look here at
the way Premiere works, if I’m playing to the end of my timeline, and I’m zooming here to my timeline, I’ll be going back
here, and when you play, and if you notice, you play, it gets to the end and
then you have to wait, and it jumps and it keeps playing. So if I wanted to follow, I’m
gonna go into the Preferences and under the Preferences, under Playback, there is an option and it moved it on M, is the option to turn on smooth scrolling, which, you go down once, and there we are. Yeah, I can’t see, (chuckles)
I’m sorry, it’s up there. Oh, I’m sorry, I’m
sorry, smooth scrolling, as you can see right there. So if you switch it to that, and hit Okay, I want you to see how this playback works when we get to the end of the timeline. (mellow piano music) So this way as you’re watching, you don’t have to have the jumps. So this is one thing that
I really like to turn on. – Dancing and teaching,
and doing photo shoots. – So let’s jump back and take a look at some other options that we have. I wanna talk to you a
little bit about audio ’cause I like the audio meters,
but I think the audio meters can give you back a
little more information. So here’s what we’re gonna do, is change some things to the audio meters, and I’m gonna teach you some ways that you can avoid getting
your ears blown out when you’re working with sound, okay? So what I wanna do is, first
of all, when I play something, take a look at the audio
meters on the right side. They’re pretty, but they’re not giving me a lot of information. So what I wanna do is I wanna change some of the aspects of it. If I right click on it, first thing is the color
gradient’s really pretty, but I wanna know at what point
I’m good, which is green, yellow, which is caution, and red which I should
start worrying about, and with the grading,
it’s really hard to tell. So I like turning the gradient off. The other things that I
like to do is I like to know when I’m hitting my maximum volume levels, and what my values are,
what the lower points are. So I’m gonna turn on a
couple of other features, I’m going to say, “Show valleys,” that will show the
softest areas of my audio, and instead of having dynamic peaks, I’m gonna do static peaks. And take a look at what happens
when I switch over to this, it gives me a lot better feedback. (mellow piano music) See, I can see how soft, how
loud, and it hangs there. So if I have a point where
it’s getting really loud, I can easily see that, and I like working my meters that way. And this is a great way when I wanna see something
for audio mixing. And while we’re talking about audio, when I’m doing any kind of a final mix, I find that it’s hard to
see the meter sometimes, I wanna see those bigger, and you can easily
reconfigure your workspace so they can be bigger. And that’s one thing that’s very helpful when you’re working with Premiere, is being able to switch workspaces and have something that’s more functional for the way that you work. So if I wanted to switch your workspace, and just in general, I’ll give
you an idea for workspaces, we have four basic windows
here, but for some reason, you know you can adjust
something by grabbing an edge and dragging it, so if I’m using editing, but I’m not bringing clips in, I can always make that bigger, and I can save any of these
workspaces very easily, I would just go down to
my existing workspace and I would save it as a
new one, so I can jump back. I’m not gonna do that right now, but in addition to being
able to reconfigure the size of your windows, you can reconfigure what’s
inside those panels, you can, for instance, move a tab. I’m gonna show you one thing
that I love about workspaces is you can switch between them very easily at the very top of the interface. So whether you’re doing color correcting, if you’re doing effects, it reconfigures the
interface of your workspace so that you can see work
a little bit smoother, work a little bit better. The other thing is, once
you have switched these, you’ll notice that I’m gonna adjust this, and I wanna get back to where I was, all I have to do is go to
any workspace that I’m in and simply double-click on it, it gives me the option to
return to that workspace, so that’s really kind of nice. But now let’s say I wanna switch, I wanna format it the way that I like it, I can grab any panel and move it. So for instance, if I want my media panel to be in the upper left-hand corner, instead of being next to
where my project panel is, I can drag it into that window. And when I drag it up, I have
a couple of options here. If you notice, I can let go of it in the middle of the interface and there’s a large purple square, or I can drop it on any of
the edges on one of the flaps, and I get a different result. If I drop it directly in the center, it just adds that tab
to the existing panel. If I grab it and instead of
dragging it into the center, I grab it and drop it
onto one of the flaps, it will create a separate
panel, and then I can save this. So that’s really nice. And I configure things
whether I have two screens, or I personally like the
way that I set up my audio and my color correcting,
and then I can save that. So that’s just kind of the background for what I wanna show you,
which is the audio meters, and I’m gonna reset this
back to the default, and what you can do is instead
of leaving your meters here, you can grab the meter. And it’s kind of tricky to
grab this one little section, you have to adjust the right spot, he’s aiming for the right spot, my friend the computer is not
been good to me at all today, not the right spot at all. But that’s really big,
never done that before. (audience laughing)
Okay, I’ll go back. We’ll give it one more shot. We’re gonna use the track
pad here instead of a mouse. It worked beautiful only yesterday. There we go, I think I’m dragging it. I’m gonna drag it and put it
right up here on the flap. Aha, that worked. And now let me go ahead and reconfigure this just a little bit. And now when I’m editing,
I can do playback and really see what my meters are doing. (upbeat piano music) So, of course, once I get
this successfully moved, I do save this as a workspace because you saw how hard
it was for me to get there, but it does allow me a lot of flexibility. I’m gonna go ahead and return
back to my basic workspace, ’cause I wanna talk to you a little bit about just some basic keyboard navigation, and then we’ll jump back into the slides and I’ll support that, ’cause it seems like the slides hate me and the Premiere will
like me a lot better. So for those who’ve been
using it for a while, I know a lot of people
do dragging and dropping versus keyboard shortcuts. Personally, however you
are successful at editing, if you get paid to edit
something, you’re an editor, you don’t have to be purely keyboard, you don’t have to be purely mouse, whatever stylistically works for you. The good thing about Premiere Pro is there’s like four or
five ways to do everything, the bad thing about Premiere Pro is there’s four or five
ways to do everything. So you don’t have to
know all of those ways, but I wanna show you a couple of ways that may be faster for you if
you’re dragging things around, or you’re not taking some
of the keyboard shortcuts that are really very useful
to your best advantage. So we’re gonna talk about just navigation. And this works out really well, whether you’re in the preview
monitor, the program monitor, that would be your source
or your destination, or even if you’re looking
at clips in the browser. So the way you wanna navigate anything is you wanna be able to, first off, the spacebar is just
starting and stopping, you don’t wanna necessarily
always be looking for this Play button. It reminds me of my VCR
and I have to go home and change it back from
flashing 12 to flashing one because of the time change, but that’s a whole different story. And so what I wanna do is
the spacebar will play, and I’m gonna bring the volume down because that way you don’t have to, you can hear me and I’m not
competing with the music. So if you put your right
hand on the keyboard, they naturally fall on the following keys with your thumb on the spacebar, your three fingers in the
middle are J, K and L. J will play backwards, L will play forwards. So that’s basic, and that’s
something that you should know, but it gives you a lot more power when you start adding the K key, the key that’s in between it, in between. So if you hold down that K key, and when you now tap the L key, which was playing forward,
but when you tap it, you can move forward one frame at a time, you can be very precise. Holding down the K key
and then tapping the J key will attract you backwards,
one frame at a time. So that’s great. So now J, K, and L you can navigate, step at a time, play in normal motion. If you choose, you can hold down K and L, another way to attack this, and it’s gonna play
forward in slow motion. (slow piano music) Actually, this is a slow motion clip, so let’s go back to a basic clip here, all the way back to the beginning. So K and L, playing
forward in slow motion, and J and K at the same
time, rewind in slow motion. So now you can play step
at a time, slow motion, normal speed, you can also
fast forward and rewind. And all that’s required to do that is multiple taps of either
the J key or the L key. So if you double tap the L key, you’ll play forward, or fast forward, and if you triple tap,
it plays even faster and you can even quad-tap to really very quickly
skim through a clip. So multiple taps on the
J key for fast rewind, multiple taps on the L key
will bring you to fast forward. Now, where the power
really comes into play when you’re starting to edit is usually your marking ins and outs. So you know the keyboard shortcut for in would be, what do you guess,
what do you think it is? It’s not a trick.
– I. – I, and the keyboard
shortcuts for out, O. So they’re right above J, K, and L, so if I’m navigating through
my timeline this way, and let me go ahead and load a
clip into my preview monitor, we’ll take one of these
dancing B roll clips, and just double-click to load that in. So normally I’ve seen people,
they’re scrubbing through, they find the in, they find the out, what I wanna do is I’m
gonna find the spot, I hit the I key, marks an in point, play or double tap, there’s my out point, and now I’m ready to
bring it into my timeline. And I can bring it into my timeline using either an override
edit or an insert edit, okay? Now, normally, a lot of
folks I’ve been working with that are new to Premiere, they tend to drag things
into the timeline. And as I said, that’s fine. So if I wanted to drag this in, and I’m going to navigate a little bit through this timeline, and to do that, I want
to zoom in or zoom out. Now, hopefully, I never
see anybody grab this to zoom in and zoom out,
because the plus key and the minus key will allow you to very easily zoom in and zoom out. Now, that’s great. The other key that’s very
useful is the backslash key. The backslash key is a toggle that allows me to see my entire sequence, my entire timeline, and
if I toggle it back, I go back to where I was, so that’s nice. I’m gonna toggle it, and then
I’m gonna grab this clip, and if I drag it in, I’ll
have those in and out points, and wherever I drop it, it will go. Now, what if I wanted to
insert it somewhere here, okay, I can do that, or even if I’m
at the end of my timeline, well, I can do that with
the keyboard shortcut that’s directly below J, K and L, and an override edit
would be the period key. I haven’t had to move my hand. J, K and L or three in a row,
I and O were right above it, and comma and period are right below it, period gives me an override edit. So if I go over here, and this is my spot, and I wanna point something
out that’s a little confusing for folks that are new to
Premiere, as well as some folks that have been using it for a while, and those are the little blue buttons that you see to the left
side of the actual sequence. There’s two sets of them, okay,
you have one set over here, okay, and then you have
one set here on the inside. And people are like, “I’m not
sure what each of these do.” So what they do, or what they’re
telling the computer to do is anything on the left side is related to clips you are
bringing into your sequence. So if you’re bringing it
anywhere into your sequence, that’s going to affect it. The ones on the inside affect
anything in your sequence. So when I hit that period button, and I’m gonna just go to
the end of the timeline so you can see it, it’s
gonna put that clip on V1 because it’s coming in to
V1, so watch what happens. Go into V1. If I wanted it to come
into the second track, I could click it there,
or the third track, so I can target where I want things to go. And this is very, very useful because maybe I cut my basic show, and then I wanna bring
in all my B roll onto V2 and I don’t know how to switch
it and I have to drag it, so this is more functional, I just set my target track to V2 and just throw in all of that B roll. And you can see here if I
press the period key again, it goes on that next row. And I wanna point out the difference between the overwrite and
the insert while we’re here. So an overwrite will replace the clip. As a matter of fact, let me do some destructive editing here. And we’ll go back to
earlier on in the show, and maybe I’ll put it
at the very beginning. And here’s a great keyboard shortcut. How many people here
work on a laptop, okay, there’s no Home or End key on a laptop, so it’s hard to go back to the
beginning of your show, okay? One thing that you can do is the up and down keys
will jump you between edits, and the left and right keys will jump you back and
forth one frame at a time. But if you have a full keyboard, you can hit Home and End. On a laptop, if you hit the function key and the left arrow, it will go home. And of course the function
key and the right arrow will go to the end of your sequence, if you’re on a clip, it will go to the beginning
or the end of the clip. So I went to the beginning of the clip, and I wanna just point out the difference between the
overwrite and the insert edit. This is some foundations
that we’re talking about. So I have the clip, I’m gonna use the same in and out point, if I hit the period
button, it’s an override, well, what it’s gonna do and let me go back to my
original target track, V1, and if I hit the period, it replaces, it obliterates
everything there, I wanted to squeeze the clip in, let me go ahead and hit undo, okay, and that’s Control +
Z, Control + Z on a PC, Command + Z on a Mac, but
I wanna squeeze it in, I wanna what’s called an insert edit, and there’s buttons here, but
right next to the period key is a comma, like you’re
wedging something in. And if I hit that key, it
actually puts the clip in and pushes everything downstream, so that’s a very efficient way. So J, K, L, I, and O, comma and period, all where your fingers are, allows you to navigate very quickly around the clip and do editing. So that’s a good base, and I know many of you may
have known much of that, or some of that information, hopefully for some of you
it’s a little bit new, but now I wanna be able to have more control
over my interface, okay, I wanna be able to jump around without necessarily clicking my mouse. So normally, the workflow,
when we edit, is what, we bring clips into our project
through the media browser, we look at them often
in our source monitor, we bring them into the
timeline and view them onto the output monitor
or to our playback. So we have four windows,
one, two, three, and four. Now, a lot of times when
you wanna jump to a window, you have to click on it, right? You don’t have to do that, you have windows one, two, three and four, shift the way that you’re thinking. If you hit Shift + 1, take a look at what happens,
you’ll see the blue bar, Shift + 1 activates the first window, Shift + 2, the second window, Shift + 3, our timeline,
and Shift + 4, our program. So that’s a very quick way to navigate if you want to jump around, but it gets a little bit better than that. So I can easily shift to any
of those windows if I want to, but here’s some other
things I can do with that. Let’s say I’m editing and I wanna work with a handful of clips, okay? So normally you would take
a clip, you would edit, you would bring it into your timeline, you’d open a second clip, you’d edit, you’d bring it into your
timeline, and you’d keep going, but what if you’re using the
same clips back and forth, say, an interview, or maybe
you’re doing a narrative piece, so you have two people talking,
so you have a master shot and two over the shoulder
shots, well, if you take a look underneath the little hamburger drop-down, these are the clips that
I recently had used. So that’s great, it’s
very easy to get to them, that’s a great little shortcut, okay, I can easily switch between those, but let’s take that
one step further, okay? So if I wanted to, I could switch here, but let’s say, I’m gonna
clear all of them out, okay? I’m just gonna close all of those, and so we don’t have anything here, actually, I wanna close all, there we go. So instead of dragging our
clips in and starting to edit, I might have a whole
bin of clips down here, and all I need to do is lasso them and drag them into my source monitor. Now, I have all the clips
there at my fingertips instead of having to go back. A little bit cool, okay? So, thank you for the one person who woke up and applauded.
(audience laughing) But that’s still time-consuming. Remember I said I can switch
to this window with Shift + 2? If I keep tapping Shift + 2, I can switch between
all of the clips there that were available to me. And I can very quickly
mark in and out points, and use J, K, and L in my timelines. Good, I got a second person, good, I only have 398 more to go
and we’ll be successful. So that’s a great little thing with the Shift + 1, two, three and four, other than activating your windows. The other thing where Shift + 3 is useful is how many times have
you been playing along, and you were, say, in this window, and you go here and you click
on this window over here, and as soon as you click, it moves your playhead exactly
where you don’t want it to be because it was perfectly aligned. Well, that’s where Shift +
3 really comes into play, because I can activate that window without accidentally moving the playhead, so that makes things nice again. Anybody here have multiple
timelines open at the same time? Yes, we do. Let me open a couple of other timelines. I’m gonna switch back up here, open up just a couple
of sequences randomly. So I have four here,
one’s completely empty, but if I do Shift + 3,
which gets me to that window and I keep tapping it, guess what it does, it toggles between all
of my open sequences. So if you’re jumping back and forth between two open sequences, it’s really easy not to
have to keep clicking and figuring out what your tab is. So that, again, is
another really useful way to increase your workflow. Let’s jump back to the Keynote, which was causing a
lot of problems before. And we’re gonna talk a little bit, I wanna talk about something
that has to do with sound. So one of the things that is always a challenge
to me when I’m editing, and I’m gonna open up a folder of music. So I’m gonna double-click to open that up, I’ll use the tilde key to
bring that full screen. There’s only two cuts here,
but when you bring in music, and you start listening to it, does anybody ever get
like their ears blown out because it’s so loud? Absolutely. ‘Cause when they record the music, they recorded as close
to zero dB as possible, so when people play it,
they don’t have to turn up the volume of their computers and whatnot. There’s something you can do to adjust the volume of the
clip before you bring it in, you can adjust the gain or
how loud this is before. So one of the things that
many of you may know, I’m gonna go ahead and bring
this a little bit smaller, hit the tilde key, is if I’m listening to a clip in my timeline, you can key-frame it and whatnot, but I can also select a clip and if I hit the G key for gain, it brings me to this dialog box where I can adjust the
gain or set the gain. I’m gonna use set gain and
I can go, “You know what, “I want it 10 dB less,
I want it minus 10 dB. Now before I hit Okay, one of the things that you may be curious about is what’s the difference between
set gain and adjust gain. If I hit set gain, it is finite, it will get rid of any keyframes if I’ve key-framed the volume levels, if I hit minus 10, it goes to minus 10, if I hit minus five,
it goes to minus five, if I hit minus five again,
it stays at minus five, so it goes to that absolute number. Adjust gain by is relative to where it is. So if I go minus five,
it gets five dB lower, if I go minus five again, it’s
now a total of 10 dB lower, and it will keep the keyframes. So that’s one thing you can do to just make things
louder and softer inside, but what you can do is
before you bring in music, you can select your entire folder of music inside your Project panel,
and then if you hit the G key, and this is what I do, I
go, “Set gain to minus 20.” And now, all of this audio is 20 dB softer when I bring it in. So if I bring this into my program, and I’ll go ahead and just
bring in one of the clips, I will use the keyboard
shortcut of a period to bring that in. And let’s go ahead, and one of the things that tripped me up, and sometimes trips everybody
up is, it didn’t go in, and I’m wondering why. So a lot of times you go, “Okay, I did an insert
there, I did something, “but it’s not activating.” And if you notice, the problem is I don’t have the target track life, okay? And this can work with
you and work against you, but the key is, once
you know how it works, you can always have it work with you. So now if I hit that period key, and let me move my
playhead a lot closer in, it brings it into the timeline,
and I’m gonna play it. (mellow piano music) And now I’m not blowing out my ears and I can start mixing the music. So the takeaway is, before
you bring in your music, just lasso everything
inside your music folder, hit G for gain, and just set your absolute
value to minus 20, and now when you bring
it in, life will be good. I do see a hand there. (audience member speaks off mic) Yes, the question was, “Does that work the same for video clips?” So all you’re doing, yes, you’re controlling the audio level, so let’s go ahead and
look at a video clip, we will hop up one level, we will select one of these video clips and I’m gonna bring this in twice, I’m gonna grab one of my interview clips ’cause we’ll have some good sound there, well, not in any good quality sound ’cause I’m using these to fix audio. So this is the level and if I hit Play. – For the moment, I’m
really enjoying photo shoot. – It’s pretty over-modulated. So again, have it selected, hit minus 20, well, probably for audio, I
think I can probably get away with about minus 12 for the narration. And now when I bring this clip in, and make sure I have that selected, I’ll just do it this way, undo,
I keep moving things around. I think this was the one
that I just worked with. Backslash. – Companies, study for– – So, you see before she was peeking out, so if you know that your audio is all low, bad audio, if you know your audio is low, you can bring it up before
or bring it up afterwards, and you can also do this
inside of your sequence. And this is really powerful
because there’s other ways you can leverage the gain control. So here’s an important
strategy when you’re editing, a lot of times when we
first start editing, we’ll just throw things and the audio lands where the audio lands. But if you strategically place like all of your voiceover on track one, and all of your interviews on track two, and all of your music on three, and all of your sound effects on four, then you can select that whole track. So if, for instance, I’m playing it back, and somebody says, “You know, I like it, “but the music’s a little
bit too hot in the show,” I can select just the music track, which would be track three, hit the G key, and bring it down, relatively,
okay, by maybe three dB, which is half the sound volume, okay? So being organized and
structured is a great way of having more control in your edit. So for instance, one of the things, and I’m gonna zoom in here, is we look at our tracks have, A1, A2, A3, so I have my voice over here. So if I wanna select this track I can select everything
using a keyboard shortcut and selecting all the tracks happens to be the keyboard shortcut of A, or I can lasso them, and then once I have
all of those selected, I can simply, and we
just want the single one, so we’ll hit the Undo, Shift + A, there we go, deselect. Everything’s deselected, (grunts) that’s gonna move
backwards, just do it this way. Oh, I know, I’m sorry, I was zoomed in and that’s why it wasn’t editing, so. Go back, select all these audio tracks. Yeah, I did. Alt, I’m on a Mac, they
don’t have Alt, no. Sorry, there we go. It is all, thank you very
much, it’s optional in Mac. So I can select all of
those, I can hit the G key, and now instead of doing set gain to, I can adjust to, lets say, minus three dB, and that’s gonna make her softer, and I can do that very quickly. So that’s one of the nice
features that you have when you’re starting to
work with the gain function. (man speaks off mic) Ah, well, the zoom in on the whole screen, well on a Mac, you can do it
by holding the Control key down and spinning your mouse,
or Command Option +, on Windows there’s the magnifier, so it’s not a Premiere function, but let’s talk about some of
the Premiere functions here. I didn’t wanna hit Exit, let’s go ahead and bring that forward, hit Hide, and come back here and talk a little bit about zooming in in control and navigation, okay, because that’s really important. Now, we talked at the very
beginning, or I talked, and hopefully you listened, is you can zoom in to your sequence. And I’m gonna bring this full
screen with the tilde key. And let’s go ahead and bring that home and get rid of these extra ones,
I’m just gonna delete that. So we have our window, and
here’s a perfect example of why I love the tilde
key, not tilde key, the backslash key, I didn’t realize I had a clip hanging out here at the end. But that backslash zooms
me in and zooms me out, and I can tell you, there have been times I’ve exploited a-one minute commercial, and it took them forever,
and then I realized that I exploited 15 minutes ’cause I threw something like
15 minutes down my timeline. So silly me, but please
learn from my mistakes. So let’s talk a little
bit about getting around and navigating our time. As a matter of fact, I’m gonna mess this up just a little bit. Okay, put that out right there, and I know I’m stepping on that, but that’s okay, that’s not
what I’m really gonna show you. So, first of all, we
know zoom in and zoom out is plus and minus, okay,
but there are times when I wanna be able to
make my individual tracks taller and smaller because
maybe I’m working with video, maybe I’m working with
audio, and of course, one of the things you can do is you can easily grab the edges
here and bring it up. And I say easily because
it’s really not that easy, but there are ways that
are alternative ways that you can do that. So for instance, if I
hit Alt + Plus and Minus, it makes just the audio
tracks bigger, okay, and if I hit Command, or Control
on Windows, plus and minus, it makes just the video tracks bigger, so I can very easily
control what I’m doing. And then, of course, if you
hold the Shift key down, you can also use your
mouse to make these bigger. So these are all very
nice ways to do things, and I can also do individual tracks. But most of the time when I’m editing, I either wanna see things kind of big, I wanna see things all encompassing to see where everything is, I
either want them big or small. So the Shift key is where the magic comes into
play with track heights. Shift + Plus will make them
all equal at a certain size and Shift + Minus will
make them nice and thin. So this is what I do
a lot when I’m editing and I’m gonna hit the tilde
key to bring it back down. So I can, if I’m editing away, and I wanna see everything, Shift + Plus, I go through and it’s
like, “Oh, I need to see “all of my tracks without
changing my resolution,” I can hit Shift + Minus. So Shift + Plus and Shift +
Minus are really useful ways of being able to control
how I’m viewing my tracks. So that’s one of the
things that’s really nice. Let’s talk a little bit more about some of our navigation options. And I’m gonna hit Shift + Plus so you can see what’s happening. So I’m gonna go through here, and if I wanted to jump to
the edit point of a clip, I can use the up and down arrows, and that will jump me to the previous, or next clip’s edit point, so I don’t have to move my
mouse, and it hits it precisely. So I’m going up and down, and it’s stopping at all of my clips, but it doesn’t seem to be
stopping at this one here, which is on the second row, and I’ll bring this so
you can see everything, and it’s not stopping
at the beginning, okay? So the shift, the up
and down kind of works, but it really is working because I wanted to tell
you how it’s thinking. So up and down will automatically
stop on any edit point where the track is targeted on the inside, that goes to what I talked about earlier. So if I click on this button here, now when I use up and down, it stops actually on the edit
point on both of those tracks. And for instance, if I
was just cutting B roll, and I wanted to jump between all the clips on just the second line, I
could unclick that first track, and now it only jumps between
the clips on the second track, so that gives me a lot of power. But here’s where we can make
it just a little bit easier, and I’m gonna extend the size of my tracks a little bit more. Let me go ahead and bring
in a couple of clips, make a third line and a fourth line. For those people who do
dragging and dropping, you can just drag a clip in
and drop it on where you want, but you know something, I’m not really a big
fan of the audio there I brought in the video,
but I don’t want the audio. So how many people have brought in a clip, and then they have to figure out, “Okay, I lock all my tracks, “and then I delete the bass,
and then I unlock my tracks, “or maybe I figure out that
there’s an unlinking button.” First of all, let me undo that, when I drag anything, and
if you choose to drag, you don’t always have to
go from the main picture, you can drag these
little icons here, okay? So that’s video-only,
and that’s audio-only. So if I only want the
video, I can grab that, drag that in, and now
I just have the video and I don’t have to worry about going through all those steps. So that’s great for dragging. I’m gonna undo that again, okay? I can also use the same technique of the track targeting here
to control what I bring in. So, for instance, if I target here, it’s gonna bring the
video onto track three and if I don’t want the audio, I just click to turn it off, okay, so now we’ll only bring in the video because I’ve unpatched it. So if my playhead is there and I hit that period
for the overwrite key, it goes exactly where I want it to be. So that’s really taking advantage of the magic of these tabs here. I’m gonna reset this back to where I want it to be, the original, just so I keep myself out of trouble. Okay, so we know how we can
easily jump between edit points, we know how we can go to
the beginning and the end, and zoom in and zoom out, let’s hop back over to
the Keynote presentation. We fixed our audio, we
moved the meters before so we’ve talked about that, we talked about modifying tracks, you can also modify an audio file, so we talked about G for gain, but if you go back and
you go on to a clip, and maybe the audio isn’t coming
out how you anticipated it, maybe it was recorded and Premiere thinks it’s a stereo track when
it’s actually an interview, and it’s two separate mics. If you take any clip,
whether it’s video and audio, or audio-only, you can right-click on it, and you can modify the audio channels before you bring it in. And when you do that, you can
choose, and let me go ahead and zoom in here so you can
see a little bit better, okay, is this mono? No, maybe it’s stereo, or is it dual mono, so you can tell it exactly
what type of file it is, and now it will split it
or bring it back together if it’s been interpreted wrong because of the way it was recorded. So you can also get to
that by hitting Shift + G in your keyboard shortcuts
when you select the clip. There we go, that’s a
quick way to go to it without having to go to
the drop down windows, Shift + G, G for gain, just like you used to
make something louder. We talked about the J, K, L, we talked about the order of
work, one, two, three, four. The important thing is
Shift + 1, two, three, four because that way it works really well. Now, this is something else
that I really like about this, and I didn’t tell you about this earlier. This happens to me a lot, I know it happens to
other people in the room, you lose your project,
maybe you’ve closed it, or you moved it somewhere,
you don’t know where it is, and the nice thing about this,
I’m gonna hit reset here, so I can intentionally close this, so we’re gonna close this panel. So how many times have
you like not been able to even find the Project panel, it’s like, “I don’t know, it’s moved here
somewhere, or maybe it’s off, “and it’s below the
drop-down to the right,” no matter what, when you hit Shift + 1, it will bring that right to the front, so you don’t have to
waste time looking for it, and that’s really, really useful. So sometimes, if you’ve lost a window, that Shift + 1, two, three and four will bring that window into play. There’s a couple of other
windows that I use a lot that I like to use these
keyboard modifiers, okay? If it’s a question, just one second. So things I do a lot is
effects and effects control. Effects gives me the list of the effects that I’m working with and effects control
allow me to modify them. So a lot of times when I’m editing, I very quickly wanna toggle
back and forth to find things and I don’t wanna click,
and search, and whatnot. So if you hit Shift + 5, it will bring you to
the Effects Control tab of looking at your clip, and Shift + 7, ignore Shift + Six, will actually
open up your Effects tab. And all of the shortcuts work great no matter what workspace that you’re in. So if I’m working in my Effects workspace where everything is in different places, once again, Shift + 5 will jump me to my Effects Control tab,
and Shift + 7 will jump me to my effects so I can
quickly find the effect that I was looking for. And yes, there was a
gentleman had his hand up. (audience member speaks off mic) No, the question was,
if I’ve moved the shift or the program monitor
to the second window, would I hit Shift + 2? No, Shift + 1 will always find it wherever it is on the interface. And one of the other things is, if you have multiple projects open, I know some of you do that, it’s a great way to toggle
between the two projects. So Shift + 1 will actually take you between two open or three open projects, just like Shift + 2 took
you between all the clips, and Shift + 3 took you
between all of your sequences that are open. Good question, thank you very much. Okay, let’s see what
amazing notes that I have, that I’m kind of skipping
and not skipping, I’m just doing it all out of order because I think this was working better. This is actually one of the nice features that a lot of people don’t
use, is first of all, when you import, and I’m
gonna reset my windows, again, back to the default so
everybody knows where to look, when you bring things in, you
should always bring them in, and I wanna clean this up over here. Go to my mini browser, you
should always bring them in not through import Command + I but through the media browser, because the advantage of working
through the media browser is that you can actually,
whether on Windows or Mac, see the clips and skim through them, and it brings in all the metadata
and will correlate things. So that’s the important thing, but what challenging sometimes
with the media browser, and I’m gonna bring this full
screen, is you open it up, and you’re like have to dig down through the hierarchy of your system. So you go, “Okay, my internal drive, “and then I have to get to my user, “and there’s my user “and I wanna go to my desktop
to find out where it is. “And I’m gonna pull this to the side “and then there’s all
my class media,” okay? All you need to do is
right-click on the folders that you go to frequently,
your media folder, your movies folder, your picture folder, and you make it a favorite. And once you make it a favorite, you’ll never have to dig again because it will always be available to you in the upper left corner in
the top part of your interface, and you can pop right there and can say, “Oh, I wanna find all the
media that’s on my desktop,” and you can click on that and you can immediately
dig into your folders. So that’s a really
useful shortcut to create that ultimately saves you time. So it’s better to take
the two or three minutes to do it right the first time and then forever you can easily find where your media and everything is stored. I see a hand over there
to the left, yes, sir. You can drag it in, there are some things that you can’t do that way, for instance, if you wanna bring in, if there’s spanned clips, in other words, some cameras
record across multiple clips ’cause they can only record
a certain amount of time, so it depends on the cameras, if it’s just a QuickTime movie, a lot of times you can drag
them in and they work just fine. What I do see is I see people who are used to using the traditional
way of Import + Command + I, and when you import
actually, it will work, but it doesn’t bring it
to the best advantage. Additionally, I don’t know if
anybody here does time lapse, anybody here do time
lapse, any photographers, so you have 400 images. So if you need to bring
those in, there’s a setting, I’ve seen people bring
in and they bring them in and they go each one is one-frame long and then it just takes
forever, it’s a lot of work. So the secrets with time lapse is, whether you’re in the media browser, or through import,
there’s a little checkbox that says, “Import as image sequence.” Again, this is great for graphic designers who might be exporting out in animation. So if you say, “Import
as an image sequence,” it will bring it in and it will
look just like a movie clip, and you can just hit Play
and work with it like that. And that’s really the secret, but the trick is checking that one box, which is in the media browser, under the little hamburger
or drop-down menu, and that gives you
Import as Image Sequence. It is critical that numerically
you don’t have any gaps ’cause it will stop the image sequence if there’s a number that is missing. Let’s jump back over here. I’m talking about what I’m
doing, you can see I’m jumping, but another thing to do
with the media browser is that you can actually have
multiple media browsers open. So you can say window, of course, I wanna go File, Open New
Browser, New Media Browser, switching between applications,
my brain just wait. It’s good to know that
you guys are patient, New Media Browser panel. So I click that, and
now I actually will have two media browsers, and I
can bring this over here. And the nice thing about
having two media browsers and I can nicely take
advantage of my favorites, and I’ll go over here under Favorites, and I’ll just do Dance
Overview Edit, is I can easily, I’m gonna bring this full
screen by hitting the tilde is, if I wanna bring in clips,
I can just have those open, go back and grab the
clips, and drag them over, so I don’t have to keep
switching between locations. So maybe I have some in my external drive and I have that media browser
open, I created a second one and I have also some on my internal drive. So instead of always having
to switch back and forth, I just have two media
browsers available to me, toggle back and forth between them, and just grab the footage as I need it, so I find that is really helpful. Let’s take a look at another way that we can enhance our workflow. And I’m gonna jump back into my project, I’m gonna hit tilde, I
have no idea right now, where my project main file is, but I know if I hit Shift + 1, it will find it for me immediately. And I’m gonna step into
one of the areas here, I’m gonna go into Dancing B
Roll and bring this full screen. So you can look at it as a list, but it’s also nice that
you can switch over here, in addition to a list, you can
look at it as an icon view, and that’s Command + Page
Up or Page Down to toggle, or control on Windows
to switch between that and then of course, you
can make these bigger. So the nice thing about this and this is great when you’re
working with still images, but I can, in this mode, just move my mouse over
without selecting anything and see what these clips are. I can skim through this, I
can hover scrub through this, and this is is great for finding a clip. But other things I can do
is, if I click on this, it selects it, and now if I wanted to, I can use the J, K, L
that we learned earlier to navigate through this clip. And while I’m in this mode, it’s not just maybe looking at the clip, I can use my I and O
key to mark an in point and an out point, I’m gonna really zoom in so you can see this, so now
I’ve marked the in and out point while I’m inside of my project window. So I can go through all my
clips, highlight the best areas, and now when I either bring
them into my timeline, or bring them into my source monitor, the in and out points
have been already marked, and that’s great. And you can do this a couple of ways. With it selected, you can use J, K and L, when you hover scrub, J, K, L doesn’t work because you’re using your mouse, but I and O still works
to mark your in points and your out points as
you hover over these, so that’s another nice
functionality of this. So if I went through and marked
all the in and out points, let’s go back to full screen,
I’m gonna make a new sequence, just so I can bring these in. And there’s a couple ways you can do that. If you go Command + N, or Control + N, and it makes a new sequence,
and then you are confused by this nightmare of a dialog box, it’s like, “What do I pick,
this is very confusing, “and none of these are appropriate to me,” which is usually people’s first reaction. If you want to do it here, you
can, what I would recommend, is do DSLR and then use
either 24, 25 or 30, depending on if you’re NTSC or PAL, European or U.S. styles,
or if you’re doing film. That’s usually what you want
and it gives you 1920 by 1080. If you pick the wrong thing, and let me just intentionally
pick the wrong thing here, when I first bring in a
clip, you will get a warning, “This clip does not match.” And all you have to do is say,
“Change sequence settings,” and it will change the setting so it perfectly matches your footage, of the first clip that you put in, but any additional clips that
you put in will always go to what the sequence setting
is from the first clip. So if you have a bunch
of different formats, and if 80% or 90% of those
clips are the same camera, same format, but it might not be the first clip in your show, still bring that in at the beginning, ’cause you can always then keep
throwing the other clips in ’cause it sets the right format, and then just go ahead and delete or move that first clip that you drop in. But it also gets a little
bit easier than that. You can click on any clip that you want, and if you right-click on
it, you’ll get a pop up and one of the options
in the pop up is say, either you have to start by
saying, “Make the new sequence,” just select a clip and say, “Create a new sequence from this clip.” Click on that, it will name
the sequence after the clip, it will put the clip inside and
it will be the proper format and that saves you a lot of time. So once again, it’s just
a matter of right-clicking and saying, “Make a new
sequence from the clip.” Now, a few moments ago,
I did talk about the fact that you can mark your in and out points in all of these clips as you
go through, and that’s great. And let me make this a little smaller, ’cause I’m gonna actually show you another couple of great
little things you can do because you’ve gone through, you’ve worked really hard to
mark the in and out points, so I’m just resizing the screen so you can see things better. And if I wanted to, if I’ve marked all these to tell a story, this is all B roll, but imagine you kind of
figured out what you wanted, I can select a bunch of clips, I just hold down the Shift
key and lassoed them, and what I can do is, first of all, let me just get rid of that
so it doesn’t distract us, is I can take all of these, I could drag them over here and let go, and they’re gonna put all
the clips in with the right, let’s see if I can zoom back and hold down the mouse at
the same time, there we go, it will put in all the clips with the in and out points
that I already marked, so it’s a quick way to
kind of set things up. But it will put them
into a numerical value, or basically A to Z, or one to whatever. So I’m gonna hit Undo, you can see it it brought all those in. As a matter of fact, let’s make sure our audio
is tracked right there ’cause I had moved it
before, I’m gonna hit Undo, bring those back out, and just make sure that my audio is live here. Bring in one clip, oh, there is no audio on this clip, this is all B roll without sound, okay, which I could have known because there’s no icon there
that says there’s sound, okay. So here’s another trick that you can do. I can select the order that I want these clips to
go into my timeline, okay, by holding down the Command key on a Mac, or the Control key on
Windows and just select them in the specific order that
I want them on the timeline. I can then drag those down to
this little icon right here. And what this will allow me to do is when I let go, I get this pop up, and it says, “Automate to sequence,” and it will put them in. It gives me the option
to do it sequentially, so that’s alphabetically, or numerically, but actually, I wanna put these in, oh, I’m sorry, right up
here, selection order, suit order, which is
alphanumerically, or selection order. And what this does, with it
checked, is it will allow me the order that I clicked on them, is the order that they
go into the timeline. And that’s really a game-changer, and I can say use the in and out points if it’s a still, if I’m using markers, and I can even have it put in transitions, which is great if I’m doing
a slideshow very quickly. And this is one of the great things about slideshows that you can fix. Let’s say okay, you can see what it does, brought in all of those clips, in the order that I clicked on them, some did have sound and some did not. Okay, let’s go ahead and clear that out. I wanna show you a couple
of trimming techniques. I’m gonna go ahead and reset my windows ’cause I wanna show you
some great little shortcuts that you can use for trimming. And all I did was I double-clicked
on the editing workspace, allows me to go ahead and reset
that so we’re ready to go. I’m gonna open up one of my sequences that has just a few clips
in it, look at this, perhaps they will use the core editing. So I have some clips here. And I wanna talk to you a little bit about trimming or fine-tuning, ’cause the way that I like to edit is I like to bring in my
clips a little bit fat, I don’t worry about that fine-tuning to find the precise moment when I’m just throwing
them on the timeline, I wanna kind of get it into
figure out my story first, and then I wanna go in
and clean things up. So that’s the thing, bring them all in, like I did with that
automate the sequence, and now I can go in and
I can start trimming. And this is the way that a
lot of people would trim. They would wanna get this
little piece off, okay, until they wanna trim
off from here to here, so they go in, they switch
over to the razor blade, they cut this, this might
look familiar to some of you, you’re going, “Yeah, I do that,” and then they switch to
the V key or the arrow, they select it, and they delete it, and then they bring this
back and they’re good to go, and then they do that
again, and again, and again. Way, way, way inefficient. What? I’m hearing sounds. Oh you agreed? Okay, I thought you were
revolting, I didn’t know, I mean not revolting, but you know, I was like, kind of crazy. As I do things, I like to kind of throw some
of these side tips in. So let me go ahead and
clean up my windows, there we go, you have the music. So let’s say I wanna edit this. There is efficient ways of
doing it, it’s called the trim, there’s trim edits and
there’s ripple trims. You might see that when
you hover your mouse over a edit point, you get
this little red bracket here, which points in certain directions. If I drag it, it allows me to trim off to where I wanna cut a clip. And as a matter of fact,
if I was full screen, it’s great because you see exactly what the last frame is
up in the upper right window. So this is nice, but you still
have to deal with that gap, and it saves you a lot of time but not all the time you could, ’cause then I have to
delete the space in the gap. So in addition to these two
trim windows, left and right, I should say trim tools, there’s also something
called a ripple trim, and the keyboard shortcut for that is B, you can get to your Ripple Trim tool here. When you hover over any of these, it’ll tell you what the tool
is, but what I’m thinking is I wanna bring the edit
along as I close it, that’s how I remember the
keyboard shortcut for that, for a Ripple Trim, B for bring it along, or it would be the B key,
I’m gonna click on it now. Now, you’ll notice when I
hover over this, it’s yellow, and it’s going to work a
little bit differently. When I click on that, and I
drag it to the left and let go, not only does it trim the clip, but it snaps it closed again. So this is an awesome way
to go through an eyeball to trim clips using the Ripple Trim tool, and
that’s keyboard shortcut B. That new to anybody? Hopefully, yes, good. So life is good, I’m gonna make life a
little bit better, okay? So I can bring the clip
along, and that’s great, but there’s a couple of
other keyboard shortcuts that are really useful when I start going through and trimming. Here, I actually have to
select them and drag them, and that’s great, and as a matter of fact, if I zoom all the way out, you can see the clip that I’m
trimming, it shows me the end and the other one’s static,
so I can match the frame to make sure it works, and the
same thing if I move forward. One of the nice things about this is let me switch back to
the traditional tool is, you saw that I can move this
to the left, okay, and let go, but if you move it to the
right with the red tool, as soon as you hit that
next clip, it stops you, it’s trying to protect
you from yourself, okay, but I know there’s
extra media on that clip and I really wanna do it. So I don’t wanna go
and have to drag it out and then bring it
forward, let me undo that. That same bring-it-with-me tool, that same keyboard shortcut of B, I’m undoing just to get
back to where I was, okay, I hit the B key there, now
left we saw what it can do but I can also push it. So as long as there’s enough
media on the original clip, I can add to it without going
through all these gyrations of last sawing, moving to
the right, stretching it out, I’m right there. So I love using these all the time, I actually love it so much that I don’t wanna have
to hit the B key to do it. I wanted to do it all the time, and I can change a setting
to change that default. So what I’m gonna do is I’ll go up, and this is a good
thing to take a note of, though it will be in the deck, is you go up to your Preferences, and we’re trimming here, okay? And underneath trim, there is an option that says, “Allow the selection tool “to choose roll and ripple
trims without a modifier key.” I’ll tell you about
rolls in just a second, but I’m gonna click on that. So now I’ve changed that
preference and all hit Okay. When I’m back here with my selection tool, that’s the arrow tool, your default, if usually something’s going wrong, the arrow will get you back into place. Now you’ll notice without having to switch to the bring-along key, the B key, when I hover over the
corners of the edges, it always gives me that
yellow ripple trim tool. So I can very quickly just do what I want. And I like that, that’s much faster. If I wanted the other way of doing it, I wanna point something out that happens a lot, and you don’t see it. When you’re doing things in Premiere, in the lower left corner are
these great little pop ups that we never look at. And if I hover over here, you’ll notice that there’s a little tip that says, “Drag edge of
ripple to trim selection,” shift trailing, or sometimes
you can hit modifier, and if I hit the modifier
of the Command key, let me stay zoomed in here,
so my default is now yellow, but if I hit Command, I can get back to the regular
old Trim tool if I need it. So I still have full control, so it becomes much more efficient, but I also now have easy access to something called the Roll Tool, and the Roll Tool is really powerful because what it allows me to do is change the actual edit point by changing the out
point of the first clip and the in point of the following clip. Sometimes you wanna, like
move it a little bit, know that everything’s good, but maybe you wanted to hit
on the beat of the music, so you need to move the edit point. And the way that a lot of
people normally have done that, who don’t know all the
keyboard shortcuts is like, “Okay, I’m gonna take
this, bring that out, “stretch this out a little
bit, shorten this a little bit, “I gotta grab that, it’s
not even hard to grab it, “and then close the gap and I’ve done it,” but it’s a lot of guesswork. With the Roll Tool, okay, I click on this I got
a solid red bar, okay, so I’m getting this because
I changed that setting, you can always get to this if
you don’t change the setting by going to your Tools menu, and one of the things you should know on all the Adobe applications, is when you have any
kind of a little triangle that indicates there are additional tools underneath the tool that is showing. So underneath ripple, because
it’s part of the same family, there is the Rolling Edit Tool. But we’ve already done that
really cool preference change, and now what I can do,
and I wanna zoom out so you can see what’s in
the upper right corner of the screen, is as I do that roll at it, okay, did I just changed my
key, I changed my key there, there we go, there we go, I’m moving the last
frame of the first clip and the first frame of the second clip so I can see where that cut is happening. And this is great if I
just wanna kind of change, if I’m doing this on a beat of music, or when maybe they’re saying something different on an interview, it allows me to tweak things,
allows me to fine-tune things without having to start
moving a lot of clips around, and I really like those. So those are great, but
there’s a couple of other tools that are just as, if
not even more efficient. And this is absolutely probably my favorite keyboard shortcuts, it’s the Q key and the W key, in the upper left corner of the keyboard, right next to each other, and
sometimes when I’m working and I’m gonna make this
zoom out a little bit, is I’ll be playing and I’ll know that I wanna trim everything
off up until that point ’cause I’m listening to it. I don’t wanna have to go in
grab that tool and drag it, which you can do, but if I hit the Q key without any clips selected, okay, just where the playhead is parked, let me go ahead and deselect
my edit point so this works, and once again, you gotta make sure that your target tracks are working ’cause it only will cut on
the tracks that are live, that’s the inside dealing
with what’s in the sequence. If I hit the Q key, it cuts off everything to
the left of the playhead. And then I play along and then I go, “Okay, I wanna be out at that point,” so I’m just using J,
K, L, I hit the W key, it cuts everything to the
right of the playhead. So this is great, I can
very quickly go through, say, I don’t want that beginning part Q, play ahead a little bit more,
right after that motion, and play back a little bit, W. Q and Wm a real great way,
it’s called tops and tails, it allows you to trim to
the playhead left or right, and you just think about Q and W, your fingers are right there, and it’s a great way to
get and clean things up, especially an interview, I’ll show you another interview trick. Was that new to some of you, hopefully? Yes, you’re getting new things. I’m speaking quick, I know, I wanna get you a lot of information, you can take pictures,
there’s gonna be a slide deck that you can get, which
probably has more information. As a matter of fact, in addition to that, I have a two-page sheet that you’ll get, which are my favorite keyboard shortcuts and why I use them, okay? So I know this is a fire
hose of information, but I also realize some people knew half of the keyboard shortcuts and some people knew
none of them, yes, sir. (man speaks off mic) The question was if I have multiple tracks as a cut to the first edit point, the Q and W will cut to
where the playhead is parked, so it would cut all of them
to where the playhead is no matter what, as long as
that inside blue buttons on those tracks are lit. That’s one of the things
that’s hard to get, but once you get it, it’s that aha moment, and that’s one of the
great things about it. So just keeping track of our time, we have 10 more minutes
here in this session. So Q and W, we now know how we
can do a lot of our trimming, we now know how we can easily navigate through a lot of our clips. Let’s jump back here to our notes to see where we are and what we’ve done. We looked at the multiple
browsers, then the two browsers, a couple of little things, undo, undo is always the things that save us but a lot of people don’t
realize there is a way to actually have 100
levels of undoing Premiere, it’s not the default, okay, I’m gonna go ahead and hide this. First of all, a lot of
people don’t even know that you can see exactly what you’ve done in your History panel. So the History panel, by default, is located in the same location
as the left Project panel. So if I click on that, I can see all of the edits that I’ve done, but it generally I believe
the default is 20 edits. Well, we have pretty much faster computers than when they set this
seven, eight years ago, when they went to Premiere Pro, so if you also go under the History panel, you can go up under
Settings, and in Settings, okay, it’s 32, you can change that to 100, and now I have 100 levels of
Undo, if I really, really, really, really have
made a lot of mistakes. So that’s one of the things that is nice, and it just uses up a little
bit more RAM, so there you go. Let’s zoom back out so you can read that. Oh, I wanna show you a really
great little drag thing that a lot of people aren’t,
“This is a drag,” no. We talked about inserting,
overwriting, dragging, and targeting, and all that, but what a lot of people don’t realize, actually, I’m gonna park this kind of in the middle right
there, is if I drag a clip over from my source monitor
to the program monitor, I get a really cool pop up
that I didn’t know was there and a lot of people don’t know is there. And by the way, you can only do some of
these things by dragging it, there isn’t a keyboard shortcut to do it. I’m gonna zoom in a little bit so you can see what it says, okay? So hopefully, if you
drag it into the middle, it does an insert edit wherever
your playhead is parked, or your in point is, but I can drag it and automatically have it put at one track above my target track. So if I’m doing titles,
if I’m doing B roll, I just drag it, and it
puts it on one track above. I can do an override
edit, we’ve seen that, I can do replace edit, and I’ll show you what that
looks like in just a moment, and I can also say insert
before or insert after. Zooming back out, which is hard to do unless I have three hands, so
right now if I drag this over instead of having to move the playhead, and I just wanna put it
between these two clips, drag it here and I say insert after, we’ll put it on that edit point. If I have this over here, and I drag this and I say insert before, puts it before that edit point. So that’s great, this is
kind of a really cool thing that I couldn’t do with any
of my keyboard shortcuts. And let’s talk a little
bit about overwrite. Overwrite, I’m not sorry,
overwrite, replace, replace allows you to swap out a clip that you might have chosen. Again, I don’t like digging
for where my media is, I hit Shift + 1, you’re starting to see this is becoming really useful as you have limited real estate. And now I can go in and I
can select another clip, and I’m gonna just arbitrarily click on maybe this color correction one. I don’t think color class is doing well, do some more dancing, and
another color, I guess. So there I have this,
and I want that shot here that I have to replace this shot here. So what I can do is with
the playhead over there, I simply go over here
and I say, “Replace,” and it swaps out that
clip with this other clip. So it’s very easy, I don’t have to go in, delete and stretch it out. (audience member speaks off mic) The question was, as soon as actually, you can do a replace
edit with the keyboard and a modifier that can do it, this will not because this
one just swaps it out. But if you drag, so, I’ll replace that,
you can drag a clip on, and then if you hit the
Alt or the Option key, it will do a replace, and then I think if you
do Shift + Alt/Optional, I’ll check on that, you
can do a replace underneath and it will maintain its
filters or plugins, okay, but that’s a really nice thing. Now, by default, it will
when you swap something out, did I just swap it back, I guess I did, is this clip might be longer
or shorter than the other one, it matches from the
endpoint of the first clip to the import of the other clip, because it doesn’t wanna change the duration of your
show to mess things up. But one thing you can do is
you can do what’s called a slip or a slide edit to
change the timing, okay? So if we go over here, and I’m
just gonna scrub through it, she jumps and does this great leap, but I really want it to be
not this part of the leap, if I look at the original clip, let’s see if I can scrub, there we go, I wanna catch her right in midair, okay, so I could go back, I could
try to change the in point and guess, but no, I just
wanted this to go in, and now I wanna adjust the timing of the in and out point of the
clip in the timeline, okay? What I really wanna do is I wanna slip the in and
the out points simultaneously, so instead of seeing her jumping
at this point in the leap, it’s this point in the leap, and what you do is you do
what’s called a slip edit. And the slip edit, the
keyboard shortcut is Y, but there is little button for it. If we go over, and it’s funny, I never remember what the click is because I always use
the keyboard shortcuts, but if you go here under, I believe it’s here, under the
slip tool, so it’s the Y key, I think that there’s two clips on the side and I’m adjusting the one in the middle. So with that, and this is
the way people have done it, I’m gonna just show you real quick, this is not the way to do it, they would go up and then
they would stretch this out, and they would stretch this out, and they would hope that it
fits and brings it in, okay, we don’t do that, I’m gonna
undo that all the way. If I hit the Y key, the Slip
tool, now when I click on this, take a look what I see in
the upper right-hand window, I see a breakout of four images. Upper left is the end of the first clip, upper right is the
beginning of the third clip, those aren’t gonna move, but as I move my mouse back and forth, I can see the beginning
and the end of the clip that’s in the middle. This is a Slip edit, so I wanna pick it up just
as she leaps in the air. And then I let go of my mouse
and when I play that back, I have the leap that I want. So that’s a slip edit and it’s really powerful, it’s the Y key. Complementing that, and
then I’ll be wrapping up, is something called the slide edit. A slide edit is very
similar to a slip edit, except maybe I have the timing right, but I really wanna have that clip happen a little bit
earlier, or have it later. This is great for like if
you have a reaction shot or cutaway of some two people talking, and the person is nodding their head but you want them to not earlier or later, so what’s happening
inside that middle clip is exactly the part of
the image you wanna see, it just wanna happen earlier or later. So instead of slipping it under, you wanna slide it up and down. And underneath the Slip
toolbar, or the U key, which is what it is, if I click and hold, you can see this, is the Slide
tool, okay, that’s the U key. And I think the U is not
pointing between them, it’s looking at the two sides, I try to remember based upon shape. And what I can do here,
when I have that selected, is when I click on it, and
I move this left or right, look at my interface, it changes. The top two little pictures are the frozen beginning
and end of her leap, the ones on the left and right are the last frame of the first clip and the first of the third clip, the first one of the third clip, and I can move it down and let go, and as long as there’s enough media, I can easily slide it up
and down the timeline. And the important thing is I’m doing this because I don’t wanna change the duration of those
three clips in my timeline. So I don’t have to worry about making the timeline
longer or shorter, slip and slide doesn’t affect
the duration of your show, just the relationship
of those three clips. And the way that you can remember this, and this is something
that how I remember it, if it’s winter, you’re not in L.A., you’re walking on ice and you slip, your feet go up and your
butt lands on the ground, you are physically in the same place, but a different part of
you is touching the ground, you slipped, okay? If later on the day, you’re
walking on the same ice, silly you, and you slide, your
feet are still on the ground, but you’re in a different location. So a slide allows you to
move a clip up and down, and a slip allows you to trim underneath. And those are just some
of the the hidden things, or not so hidden things, that will make your editing a
lot faster and a lot quicker. But the the J, K, L, the I, O,
these are some of the things that once I forced myself to really stick to those keyboards, especially that Shift +
1, two, three and four, which may not have seemed really cool when I first told you about it, but did you see how many times I used it to find where I was
without having to hunt? So with that, it is now 2:15, and that was
a boatload of information. I’m gonna give you my contact information, which is kind of crazy. If I can go back to the
area, we go to our Keynote, and let’s just hit Home,
that this is the class, I will upload this as well as some other
information in this slide deck, just give you some hints
as well as a to sheet, all my favorite keyboard shortcuts so that should be available
to you after Wednesday, I think after Max ends, they will upload all
the presenters’ things, so if you heard something and
you didn’t quite get the note, or didn’t quite take the
picture, feel free to reach out. I get a couple hundred emails a day and like this week I won’t
check anything until Wednesday, so if you have a question or concern, feel free to badger me, send a second email a couple days later ’cause sometimes it just
drops off the bottom and I can hopefully reference
some of your questions. Thank you very much,
enjoy the rest of Bash. (audience applauding) (upbeat music)

1 Comment

  • Reply Abdul Aleem Shekhani January 31, 2020 at 3:49 pm

    Great lecture, learnt a bunch of stuff, thanks for sharing :]

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