Advanced Premiere Pro for Everyone

Introduction

In this quick introduction video, I'll tell you about what we'll cover in the next 4 hours. You won't just learn Premiere Pro, you'll master it, with instruction on edit techniques like source patching and track targeting. You'll learn how to work with footage of all kinds and how to use LUTs and color-checker cards. We'll even cover audio by looking at fixing audio drift, using multiple compressors, loudness normalization, and more.

Download all the Premiere Pro plugins and other resources used in the course:

• Collection of Stock Footage
• Collection of Assets Used in Chapter 5
• BRAW Example Clips From Black Magic Design
• RED RAW example footage from Red Camera
• Fircomp
• Limiter No.6 Plugin

Advanced Editing

In this lesson you'll learn about track targeting and source patching. Track targeting controls things like copy/paste, match frame, and navigation commands, so that the asset ends up where you want it on the timeline.

When you have a clip that you're inserting into your project, you bring it up in the source monitor and if you then want to use insert or overwrite, this will help you control where that clip is placed, or 'patched in'. This is where source patching comes in.

By default, in Premiere Pro, sync lock is enabled for all tracks and track lock is disabled. If you have an audio track you're happy with and you leave those options as default while you continue editing, you can get gaps in your audio. I'll show you how to change the settings so that you can leave certain assets untouched while you edit but still allow you to select them for certain things, like adding effects.

These edits relate to putting a clip in a spot in the timeline in a precise way. If you just patched in your video, it might not fill the gap you have. This is where three and four point edits come in, so you can tell Premiere you want it to fill a space in the timeline, and exactly which part of the footage you want in there.

Dynamic trimming is just one way you can approach trimming your clips in Premiere Pro. I've set up a basic sequence with two clips in this video, to show you how dynamic trimming works.

Automate to sequence is really simple. I'll demonstrate this useful tool by selecting some stock footage and showing you the options you have to be able to add those to your timeline. You can choose how they're placed—whether that's sequentially or a custom value that you decide with markers. I'll go through markers in more detail in an upcoming lesson.

Slow motion is a great tool so in this lesson I'll show you how you can achieve this great effect, including using conventional 24/25/30 fps footage, and slow it down. I'll go through which settings you'll need to know to make it look right.

In the last lesson we looked at slowing down footage entirely. In this video, we'll look at how you can alter the speed over time, so it might start fast and then go slow, or start in slow motion and then speed up. 

Sometimes when you're editing, you don't have all the footage exactly how you might want it, you might have been sent footage that's been edited already, like a long clip of various bits of b-roll. Breaking that up used to be a pain, but there's a newer option in Premiere that helps sort it all out quickly and easily, and that's Scene Edit Detection. 

You'll learn how to work with RAW footage in Premiere in this lesson. I'll show you two pieces of RAW footage including .braw, which is RAW footage from Blackmagic.

Log footage is a way for a camera to store the information from the sensor in a non-linear way. It's a way to map the luminance values of the image to get more information into the video file. This makes the image look flat and lifeless. I'll show you how to bring that footage back to life, using Look Up Tables (LUTs).

In this lesson I'll show you how you can use a color-checker card like the one in the picture below, and make adjustments in Premiere Pro to get the most accurate colors for your footage. 

In the example in this video, I have two clips that were part of a multi-camera shoot. They were from different cameras, so the footage doesn't look the same. This is something you might come across when filming, so I'll show you how to get your shots matching.

This lesson picks up on the last, and this time we'll work on the background of the image to get the two pieces of footage to match. 

Audio drift—where what you're listening to will start to drift out of sync with the visuals—is something that can happen when you're recording on devices that don't have the same synchronization clock for audio. That could be different cameras, a camera and a separate audio device, and so on. I'll show you an example and how to fix it.

Learn how to merge audio and video clips in this 5-minute video. Say you have a project where you have a video clip with scratch audio and then you have separate audio, and you need to use them in multiple sequences. Premiere has a feature that lets you do that without having to drag everything in manually.

 Find out how and why you might want to use multiple compressors in Premiere. Sometimes you can't use one compressor to do more than one thing. I'll show you an example in this lesson.

The Master Bus is what all your audio gets routed to/through before it gets rendered out. I like to put at least two things in there: something to protect the levels so they don't clip, and an effect to keep an eye on the overall loudness of my project. I'll show you how.

You have a few normalization options on export in Premiere Pro. It can be hard to know which is the right to choose, so I'll talk you through the one you should select, and then how to customize that so you get a good end result.

Edit Enhancers

I use two additional monitors plus a laptop displaying the same thing as my program monitor. I'll explain why that is, and how you can use your own multi-monitor setup with Premiere to help you work faster.

Premiere Pro comes with a lot of stock effects, things like adjustments, blur, sharpening, and so on. You've probably got your basics covered with the ones included; you can even combine them. However, sometimes they just won't cut it, and it's faster and easier to use third-party effects. I'll show you some great ones in this video, and how you can use them.

A MOGRT is a motion graphic template. It's a way to get complex-looking titles and transitions into your project without having to know anything about animation and without needing to use After Effects. I'll take you through the Essential Graphics panel, where you'll work with your MOGRT templates.

These are not really camera moves! I know. It looks like one, but it isn't, we're faking it to some degree and it's a handy trick to know because you can give your shots more movement that isn't really there. Intrigued? Watch the video to find out how you can do it.

Sometimes, you might need to show more than one thing happening at the same time, so in this lesson you'll learn how to create split screen and multi-box effects.

Footage timed to music can create a cool, rhythmical edit. I'll walk you through some different ideas that you can use to create these so that you have a better idea of the process if it's something you want to try.

A Few Tips When Adding Music Markers in Premiere

1. Duplicate Your Sequence.
2. Delete Footage From the Duplicate: If you don't want to delete it, just toggle off all the track outputs so that Premiere doesn't slow down on a clip.
3. Disable Track Targeting: Make sure you don't accidentally have clips selected and create clip markers instead of sequence markers.

Conclusion

You've completed the course! Well done, and thanks for watching. Hopefully, you've learned some new ideas, techniques, and skills that you can put to use on just about every project you do. 

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