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Trimming shot length using ripple trims

- [Narrator] So far, we've learned a lot about assembling and manipulating clips in our sequence. Often,
when you're going through this process, you'll get the major components where they need to be but
then, you'll need to tweak the edits even more to perfect timing and eliminate small errors. And that is
where trimming comes in. Specifically in this movie, we'll take a look at how to perform basic trims and
ripple trims to adjust the length of our clips and to control where our clips begin and end. Alright, so I
have a partial version of our sequence here of just our Madame Donut interview. This is before any B-roll
has been added. And there are some problems, okay?So we're going to play through some of these
edits and see how we can improve them. Let's zoom in here, plus, plus, and I'll start here at the
beginning. - I can speak, three donuts-- - [Narrator] Alright, so it looks like just the very first few frames
of this shot need to be eliminated. The audio waveform of her beginning to speak right here is probably
where this needs to begin. So if I wanted to, I could perform an extract and we already know how to do
that. I can set an in and an out and then press apostrophe to extract, but when you're performing these
minute changes,that's too many steps. So let me undo that.And then I can clear my in and out points by
pressing option + X or alt + X. And instead, you would wanna trim here, okay? So a basic trim is
just when you're in general selection mode, okay? The selection tool is enabled and you grab onto the
edge of a clip and you'll notice that it is a red trimming indicator. And I can drag and I've eliminated
those frames and it leaves a gap in its way, alright? So I could then just select the gap and then press
Delete and it's gone. But in this case, that's probably too many steps. Let me undo that. And I'd like to
introduce you to something else called a ripple trim. That's over here in the tool panel,the ripple edit tool,
keyboard shortcut B. So if I press B and then grab onto the edge of this,you'll notice that now I have a
yellow trimming indicator and if I drag back, it eliminates the gap, okay? So I believe I've solved my
problem. - I can speak, three donuts-- - [Narrator] Alright, that's what we wanted.Now let's move on to
this edit here. And I'll play over this and let's see if there are any errors over this edit. - About donuts, so
when I-- - [Narrator] Okay, so here she says, "I like to change people's minds through donuts."And then
she comes in and says "So." But the problem on this shot is that we have too many frames. And the
problem on this shot is that we don't have enough. So we can again, solve this through ripple trims. So
let's find exactly where we want this shot to end. - Is about donuts, so-- - [Narrator] Okay, so I think we
need that as the S on the end of donuts. But we need to eliminate everything at the end of this shot. So I
could click and drag, and by the way, when you do click and drag, it snaps to the play head which is
handy, okay? That's as long as snapping is enabled. But I also wanna show you how you do this with
the keyboard.So if I just select the edge of this clip, and then I press option + left arrow, or control + left
arrow in a PC, you'll notice that I'm trimming one frame at a time. And this is really nice when you're
looking at the audio waveform and you know that you have a specific point that you need to go
to. Alright, let's see if we got it. - Minds about donuts, so-- - [Narrator] Okay, I think that's good.Now on
this shot here, we need to add some frames. So I'm again, going to just select this edge, and I think I'll
just drag out and let's see exactly where the beginning of that word is.Okay, and it looks like the audio
waveform bottoms out here so I think we've got it. I'm gonna play over it. - Minds about donuts, so---
[Narrator] Alright, I think that works just fine.Let's move on to our next edit. I'll play over this. - Brioche is,
it's actually called the rich man's bread. - [Narrator] Okay, and it sounds okay but I think we can improve
it. One more time. - Brioche is, it's actually called the rich man's bread. - [Narrator] Okay, I think the shot
here is just fine. But this one, we need to maybe eliminate some frames. So she says, "Brioche is
actually "called the rich man's bread." So we'll eliminate this word here which I believe is the word
it's. By the way, when we are trimming, just logistically speaking, when we're at a trim, the shot to the
left is often called the A side shot, and the shot to the right is called the B side shot. So we will be
eliminating the head of the B side shot here. I wanna show you a couple more ways to trim here. And I'm
gonna go back to my selection tool V. Because I wanna show you that you don't actually have to enable
the ripple trim tool by pressing B in order to use it. You can actually temporarily enable it by just using a
modifier. So if I am just in general selection mode and I know that I need to trim this part of the shot
here, I can just command + click on this edit point, you can see that it changes from a red trim
indicator to a yellow trim indicator just by holding down command,that's control on a PC. And then, I
can perform the trim and then I let go and I'm back in editing mode. And I will tell you thatthis is pretty
much how I trim, okay? I just temporarily enable that, I'll perform the trim and then I'm back in editing
mode so I'm not switching back and forth between ripple trim and selection mode all the time. Alright, at
any rate, let's play over this and see if we got it. - Brioche is actually called the-- - [Narrator] Alright, I
think we could maybe eliminate a few more frames here. Play one more time. - Is actually-- - [Narrator]
Okay, I'm actually going to remove just a few more frames from either side of this edit. I'll command +
click here and let's just use our keyboard. I'll option + left arrow, one frame there, and I'll command +
click on the right side and option + right arrow, right there. Okay, I think that'll be a little bit smoother. - Is
actually called the-- - [Narrator] Alright, I think that works really well. By the way, when you are
clicking on one side of the edit or the other, if you don't get on either the A side or the B side, and you
go in the middle, you'll notice that both the A side and the B side are selected. We're set up for a roll
edit, that's not what we want, we'll explore that in the next movie. But I just wanted to draw your
attention to it since it's easy to have happen. Alright, let's move on to our next edit here. And take a
listen. - Rich man's bread, it's, it's the Cadillac of, rich man's bread, it's, it's the-- - [Narrator] Alright, so I
think we can eliminate just this first it's from the B side shot here. And I'm gonna show you yet another
way to trim. So let's command + click on this edit point and I'm going to just move my play head to the
point where I wanna trim. And let me just make sure that this is where I wanna be. - It's the Cadillac-- -
[Narrator] Yup, okay. So I am going to enable the type of trim that I wantwhich is a B side ripple trim. I
have my play head where I want the trim to occur. And now I'm gonna perform an extend edit which is
basically gonna perform the trim that I have set up to the play head. And I do that by pressing E. Alright,
you can see those frames were eliminated. And I think I've got this. - Rich man's bread, it's the Cadillac
of all doughs and-- - [Narrator] Alright, so that is ripple trimming, a really handy tool. You can continue on
through the rest of the sequence if you'd like. I will say that many say trimmingis the absolute most
important part of editingbecause it's during trimming that you're really defining the timing and the pacing
of your program, edit by edit. And certainly, ripple trimming is a major part of this process.

Adjusting transitions using roll trims

- [Instructor] In the previous movie, we learned all about how you can perform ripple trims to lengthen or
shorten a clip, while all downstream clips move in to accommodate the edit. In this movie, we're gonna
take a look at roll trims, which also allow you to adjust the length of clips in the timeline, but in a much
more isolated fashion where it only affects two adjacent clips. So, I'm gonna come down here to where I
have my markers, I'm gonna come to my first marker, and let's zoom in here and I want to play over this
section, and I want you to notice that what we see doesn't necessarily match with what we hear. -
[Woman] And then my husband usually rolls the dough. I would've made the brioche dough at least a
day-- - [Instructor] Okay, so here we're talking about the husband rolling the dough, but we sort of have
this static shot of the apron, and then we don't actually get to see the rolling of the dough until here. So
it'd be nice if we could just move this edit point over, and one way that we already know how to do
that is through a basic trim, so I could trim this over like so, and then trim this shot over, and then I think
this will work better. - [Woman] Usually rolls the dough. I would've made-- - [Instructor] Okay, but I think
you'll agree that that is just too many steps. So let me undo that, n and z, and instead I want to
introduce you to the rolling edit tool. If you come over here to the ripple edit tool, and click on it, you'll
see that it opens up a menu,and rolling edit tool is the second one down here, keyboard shortcut n. So,
once I enable that, then the moment I click on my edit and setup to perform a roll trim, so now I can just
roll this back like so, and I have shortened the A side clip, I have lengthened the B side clip,all in one
movement, and I'll press v to get back to my general selection tool. Alright, let's play and make sure it
looks okay. - [Woman] Usually rolls the dough. I would've made the brio-- - [Instructor] Alright, that
works just fine. Now just a few mechanics about performing a roll trim, when I press n to enable roll
trim and then click on the edit, as I drag, notice the program monitor actually shows us a lot of really
valuable information.The frame on the left is gonna show me the very last frame of the A side clip, and
the frame on the right shows me the very first frame of the B side clip. So if I want him to just finish tying
his apron right there, and then release, I know what the last frame of this shot is, and then I know also
the first frame of this shot. So you can use that to your advantage as you're rolling your edit, also notice
that right now I've got snapping enabled so it's snapping to edit points, it's snapping to markers. If I
want a little bit more minute control, I would just disable snapping.So, I'll press s to disable
snapping, you'll notice that snapping turns off, and now, as I roll, I no longer have that magnetic
behavior.So when you are trimming and you don't want that magnetic behavior, just turn off snapping
temporarily, and that should work fine. Alright, I'm gonna come down to this marker and I have quite a
few shots where it's importantthat what we see matches up with what we hear. I'm gonna play over
it and you can see that it's definitely not the case right now. - [Woman] We cut them, we proof them, we
fry them, we cool them, we glaze them. By the time all of these are done-- - [Instructor] Alright, so a
scenario like this is fairly common, things are sort of roughed in, and they're not matching up too
well. So here's a great opportunity to use roll trim in order to get things finessed a little bit more. I'm
gonna go back to my selection tool, v, and I want to show you how you can enable roll trim without
actually pressing the n key to enable it, and this behaves the same way as with ripple. If you remember,
if I was just to command click,or control click on the PC, on an edit point, it temporarily put me into a
ripple edit trim. So if I command click on top of an edit point, it enables a roll edit. So I'll do that now,
let's find out exactly where we want this first edit to go.- [Woman] We proof them, we-- - [Instructor]
Okay, so we want the image of frying doughnuts to appear. - We proof them-- - Right here. So we can
sort of use the audio waveform to our advantage. We want to roll this edit earlier in time, so I'm just
going to command click, or control click on a PC, and then just drag that over like so, and that should
work. - [Woman] We proof them, we fry them. - [Instructor] Okay, that worked fine, and now we need the
shot of cooling to come right around here, I think this is where she says we cool them. - [Woman] We
cool them.- [Instructor] Okay, and so, again, I'm going to command click on this edit point and I can
certainly drag, but I also want to remind youthat you can use the keyboard shortcut. So just as with
ripple edit, if I option left arrow, or control left arrow on the PC, you can see my edit is moving over, like
so, and we can do the same thing here. - [Woman] Cool them. - [Instructor] And we want to move this
edit over as well. So I'll command click, if I want to go over faster, I can add shift to that. So shift option
left arrow will go five frames at a time,that's shift and control on a PC, and I think we've got them all
now. Let's see here. - [Woman] We glaze them. By the time all of these are done-- - [Instructor] Okay, so
I'm gonna, again, just check the timing of these shots, and I think we've got it. - [Woman] Cut them, we
proof them, we fry them, we cool them, we glaze them. By the time-- - [Instructor] Alright, so I think
everythingworked fairly well. We do have sort of this movement at the very beginning of the glazing shot
that we may or may not want to include, but remember that, because if we want to change the content
of this shot while leaving it parked exactly where it is, we can perform another type of trimming called a
slip trim which we'll explore in the next movie. For now I'll leave that alone. Now the last thing that I want
to mention, when you are performing a roll trim is that sometimes you want to isolate just the video or
just the audio instead of trimming both. So if I was to just click on this edit point, notice that the
associated audio is also selected. If I just want to trim my video, then I just add option to that or alt on a
PC, and now you can see that just my video is selected, or just my audio is selected. Okay, so I could
trim this over, and you can see that I have made a trim on the audio without affecting my video, so
sometimes that's very important to be able to isolate your trims, so use that to your advantage. Alright,
so roll edits are a very easy way to work, and you just need to finesse edit points to the left or the right
just a bit, in order to make these isolated trims.

Changing content and position: Slipping and sliding edits

- [Instructor] Trimming is so important and as we learn more and more ways to trim our shots, we
become more efficient and versatile editors. So we're now going to talk about slip and slide edits, two
more types of trimming which allow us to manipulate the content and the position of our shots within our
sequence.So let's take a look at how. I'm gonna come down to my first marker here and I'll zoom in,
plus, plus, and I'm gonna play over these first few shots here. - [Madam Donut] To midnight,depending
on the day of the week. And then my husband usually rolls the dough. - [Instructor] Alright, so we have
two shots here. We have Madam Donut and her husband putting on their aprons. And the timing is good
except the part of the shot that we actually see isn't really that great. I want a very crisp action of tying a
bow and then another very crisp action of tying a bow.Okay? So I'm going to just select this clip and I'm
going to press F to perform a match frameand this loads the shot into the source monitor and it puts an
in and an out point around the area that's currently in the timeline. But what this does is it gives me an
indication of everything that comes beforeand after this moment in time, okay? So let's find the actual
moment that we want to include. Alright, so it's right there. Okay, so that tying motion. But rather than
editing this part back into the sequence, I'm going to simply leave this parked exactly where it's at and
then reach into a later moment within this clip and then perform that trim. So let's look at how to do
this. I'm going to come over here to my tool panel and here you can see that I have slip and slide within
this option right here. And we're going to start with slip.Keyboard shortcut for slip is the y key, okay?And
then when I click on this clip, and then I drag to the left and the right, basically I am accessing earlier and
later frames while leaving the shot parked right where it's at. If you take a look at the program
monitor, the frame on the bottom left is the very first frameof the shot that I'm slipping. The frame on the
bottom right is the very last frame of the shot that I'm slipping. And then you have two frames in the
upper left and upper right that represent the adjacent frames on this clip and on this clip. Alright so I'm
primarily looking at the bottom right frame so I can see when that bow is finished tying. So I'm dragging
to the left, I'm dragging to the left, and looks like that bow is done tying right there, and I'll release and
let's give it a play. - [Madam Donut] On the day of the week. And then-- - [Instructor] Alright, there was
our nice, crisp bow tie. Let's go to this one because we need to do the same thing. So I can select this
while in slip mode. And let's find that moment.I'm going to just drag to the left until, again, in the bottom
right, I see him tie that bow. We want that crisp action so as soon as he's finished tying it right there, I'm
going to release and let's check that out. - [Madam Donut] And then my husband usually rolls the-- -
[Instructor] Alright, so I think that worked really well. That's slipping, changing a shot's content but not
its position or its duration. By the way, you can use the keyboard to slip if you want, you can press
Command+Option and then either the left or the right arrow to slip. That's Control+Alt plus the arrow
keys on a PC. But you see here that I'm basically leaving the shot parked where it is and then slipping as
I go. Now I don't like this way quite as much. This might be one of the only times that I tell you that I
don't like the keyboard better, because as you can see, I don't have my four up display where I see the
first and last frames of what I'm slipping.Okay, so when you're doing the keyboard, it's sort of just
happening here in the program monitor and if you want to eye something up, great. But I really do prefer
to be able to seeexactly what's happening in the first and the last frame. So again, we'll make that nice,
crisp tie and I think we've got it. I'll play over both of them. - [Madam Donut] On the day of the
week. And then my husband usually rolls the-- - [Instructor] Alright, so I'm done with slip, so I'm going to
just go back to my selection mode, v okay? And I'm going to come down to my next marker right
here.Alright, I'm going to play over this section so you can get a context of what we're working with. -
[Madam Donut] Finish more donuts for the store, we open our donut shop at seven a.m. Usually we stay
open around one p.m. - [Instructor] So here she says we open our donut shop at seven a.m. - [Madam
Donut] We open our donut shop at seven a.m. - [Instructor] And this is a shot of the donut shop
opening so what I'd like to do is actually move this shot over to where she says that.The way that we
know how to do that alreadyis to just select this and then drag it over, and then we have a gap so we
have to deal with that. So I'm going to undo that. That's not what we want to do. Instead, I'm going to
implement a slide trim. So if I come over here to my tool panel and I click and press, you can see that
the slide tool has a keyboard shortcut of U. So I'll enable slide and then this is going to allow me to
move this clip in between the adjacent clips, alright? So as I drag this to the left, the clip on the left gets
shorter, and the clip on the right gets longer.And I think I'm just about where I want to be,maybe a little
bit more, and let's play this. - [Madam Donut] For the store, we open our donut shop at seven a.m. -
[Instructor] Alright, so the timing of this shot worked out just fine, but what happens a lot when you slide
shots is that the adjacent shots might not work out in the way that you want. So this got much too
short. Let me undo that, Command+Z, and instead, you can actually slide multiple shots which is what I
think I want to do here. So I'm going to click and then Shift click, and then let's bring both of those over
so that we start this shot at the appropriate moment but then we move this one down as well, okay? So I
have those selected, I'm in slide mode. I'm going to bring this down and release and let's see how that
worked out. - [Madam Donut] Then we finish more donuts for the store. We open our donut shop at
seven a.m. Usually-- - [Instructor] Alright, I think that worked out really well. If I wanted to slide three
shots so that this wouldn't get too short, I could do that too, okay? So sliding shots is really nice when
youneed to move clips to the left or the right and you don't want to deal with closing up gaps.All of this
happens in one motion and we very efficiently moved these clips down. - [Madam Donut] And then we
finish more donuts for the store. We open our donut shop at seven a.m.- [Instructor] And when I'm
finished using my slide tool, I'm just going to press V to get back into selection mode. Alright, so as you
can see, slipping and sliding shots are really nice ways to efficiently change a shot's content or its
position within the larger construct of the sequence.

Performing replace edits

- [Instructor] We've learned a lot of ways to get material into the
timeline, and how to tweak it once it's there. But there are still some
more useful techniques for both editing and organization, some of
which we'll learn in this hodge podge chapter of many different useful
post-production techniques.Specifically in this movie, we're going to
explore the replace edit. I have a scratch sequence here where I'm
experimenting with a few shots from our donut footage. First, here, I
have a shot of Madam Donut frying donuts, and I have this action from
several angles. If I come over to my 6.1 bin, I have a bin called replace
shots and I'm gonna load Fry Donuts 1. You can see that this is a close
up action of this, okay. So what I wanna do is start in the wide
shot, and then cut to the close up, and then go back to the wide
shot.Now, we know how to do this through an overwrite edit
already, but I wanna show you how you do this with the replace
edit. I'm gonna use the razor tool. We've used this before, but just to
remind you, it's right here.Keyboard shortcut C. I'm just going to cut
this shot up where I want the edits to occur.(humming noise) I'm going
to cut right as she's at this second to last donut. Okay so here's the
second to last donut, and she touches it right there, and I'm gonna
press C to enable the razor tool. If I just click, you'll notice that it
cuts both the video and the audio. I don't wanna do that, I want to just
affect the video. So I'm going to Option+Click, or Alt+Click on a
PC, and it's just gonna cut the video. All right, and then I'm gonna
come to maybe about right there, and Option+Click again. All right, so
I have marked a segmentwhere I want to cut to the closeup. I have the
closeup loaded, I've already marked an end point for you. But basically
what you need to do is, mark an end point at the exact momentthat
you want to cut down to the time line.Again, we wanna put an end
point right where she's touching that second to last donut, okay. I've
done that, I've marked an end, and I'm just gonna drag down. If I drag
down without holding down any modifier keys, you can see that it's
not going to work, okay. What I wanna do is actually constrain this to
this part of the shot here. So, I'm gonna hold a modifier. I'm gonna hold
down Option or Alt on a PC, and notice when I do that, it goes straight
into that segment that I've defined.And I'll release, and let's
play. (humming noise) All right, so that was performing a replace
edit by quickly swapping out this portion of that shot and all you
needed was a single mark end point in the source.Remember, that's an
Option drag, or an Alt drag, and that will constrain the shot to the exact
moment that you want. Let's take a look at a different type of replace
edit, here. This is Madam Donut folding her dough, and wrapping it
up. Then I have this from another angle, right here, okay. (super fast
humming noise) So again, I'm going to use the razor tool to cut up the
portion of the shot where I want to cut away to this other angle. Let's
find that. (super fast humming noise) I think right as she's bringing the
cellophane up, that's where I wanna cut. So I wanna make sure that my
razor tool is enabled. I'm gonna press C, and again, I just wanna cut my
video so that my audio remains intact. I'm going to Option+Click so
that it just gets my video, and let's go forward and see where we want
this shot to end. (super fast humming noise) All right, I think right
where the cellophane starts to come down again. I'll Option+Click
here, as well. All right and I'll go back to my selection tool V. Okay, so
I've defined the area that I wanna cut away. This time I'm not even
going to set an end point. All I'm gonna do is match up my play head in
the timeline with the play head in the source monitor, and I wanna
make sure that it's at the same moment. Let's find a suitable
moment. (humming noise) All right, when the cellophane comes
down and touches the table, right there, that's where I'm gonna
park. I'm not gonna set an in point or an out point, I'm simply gonna
park the play head there, and let's do the same thing here in the
source. (super fast humming noise) So, here comes the
cellophane, and it touches the table, there we go, okay so that
moment right there, and this moment right here, are the same. Now, all
I'm gonna do is just select this clip, right click and then come to
Replace With Clip, From Source Monitor, Match Frame.And I'll select
that. Now, it's taking this moment where the play head is, and
substituted that moment and it's front timed, and it's back timed, and
now we should be synced up quite well. (cellophane crinkling)(women
mumbling) All right, pretty good. This was a seamless edit without
needing to set any in or out points. We just matched our play heads
up, and then performed the Match Frame. All right, so replace edits are
great ways for you to very quickly swap out material, either with in or
out points, or by just using the play head location as the reference
point for the swap.

Using markers for organization

- [Instructor] As you're editing, you're always gonna be making
notes. Things you need to do, concepts you need to communicate to
others and the creative team, or items you need to check. In that
regard, it's really nice to make notes right in your project, right on the
shot, and even the frame that corresponds to your notes. And you do
this with markers. So it's easy to put a marker anywhere within any of
your sequences or attached to any of your clips. Let's start with
timeline markers. To add a marker, you simply move your cursor where
you want to put a note. For example, if I want to use the close-up
shot of Madame Donut here, and I wanna remind myself to slap that in
later, I'm simply going to move to the frame where I want to place my
marker. I wanna make sure that the clip itself is not selectedbut the
timeline at large is selected. And then I'm gonna press "m". You can
see that a pale green marker is added. And by default, it has no notes
added to it yet. There's two ways to actually open up the note dialogue
box. One is to press "m" again, and it opens up. And the other way is to
just double click on it. Under name, I'll just say use closeup. I can put
any comments that I like. And you aren't limited by word count
here. So sometimes when I'm adding markers for an interview, for
example, I'll put portions on the transcript in here. But that's enough
for now. I'll say OK. Again, if I ever need to edit that, it's as simple as
just reopening that marker dialogue box. I can double click and make
any changes that I want. If I hover over the marker, you can see that
the little popup tells me the exact time code and the note occurring at
that marker location. I can also see this via the marker window. If I take
a look at the project paneland then go over to my two little white
arrows here, I have the marker panel here. If that's not there, you can
come up to window and then just make sure that markers is
checked.So right now, the timeline is selected so I see that marker. If I
have a clip in the timeline selected, I don't see the marker. So keep
that in mind. That comes useful later on. Alright, let's add another
marker. I'm gonna go to 1[41 in my sequence. And I can quickly go
there by just typing in 14100 in my numeric keypad.Enter. And I wanna
make sure that I have a talent release for this shop worker right
here.So I'm going to, again, make sure that the timeline is selected, not
the clip. And then press "mm" to just quickly open up the marker
dialogue box. And then in name, I'm going to say rights check. And
then under comments, I'm gonna say check talent release. And let's
say that all of my rights check markers are red, so I'll change the
marker color to red. And before saying OK, I just wanna point out a
couple of things. Right now, we're making a comment marker which is
the default type.Just adding notes. Other type of markers you can
create are chapter markers, segmentation markers, web links, as well
as flash cue points.We won't go into any of these in this course,but
just be aware that you are able to add markers for other things such as
creating chapter points in a DBD, adding URL information, or triggering
interactive content.You can check out the course premiere pro guru
markers for much more information on that. Also, up here is the ability
to add the duration to my marker, which of course, makes it a little bit
easier to see in the timeline. But it can also represent an event that
takes place over a certain number of frames. So I'm going to just
increase the duration. You can type in a number here or this is a value
shuttle, so if I click and drag to the right, you can see that it increases
the duration here. So I'm gonna say OK. And you can see that the
duration increases in the timeline. And I believe that the shop worker's
also here. So I can extend that duration right in the timeline as well. By
the way, if you want to extend a duration of a marker without opening
the marker dialogue box, you can do that, too. I'm just gonna press
"m" and then I'm gonna hold down option or alt on a PC and drag. And
you can see that the marker increases duration here. I don't need that
marker so let me show you how you delete the marker. You just select
it and then right clickand you can clear selected marker or all
markers. I'll just clear the selected marker.Alright, so again, I can hover
over this markerto see the information quite easily. I can also use my
marker window to pop two these moments in the timeline which is
really handy.So I can click on this and it goes to my first marker. And I
can click on this and it goes to my second. Go to previous and go to
next marker can also be handy. If I go to my markers menu up
here, you see that go to next marker is shift "m" and go to previous
marker is shift command "m" or shift control "m" on a PC. When you're
in the timeline and you have a lot of markers, that can be useful.Shift
command "m" will go back. Shift "m" will go forward. I also wanna talk
about source clip markers. I'm going to go to 2[04 in my timeline. So
20400, enter on my numeric keypad. And this is a time lapse shot. I
want to label this as a native in camera time lapse shot. This time, I
want to actually add the marker to the source clip itself. Not to the
timeline, but to the source clip. So I'm going to select it and then press
"mm". And I'm gonna call this native time lapse shot in camera. We'll
give that a teal color here. And I'll say OK. Now, if I click on this, you
can see that the marker panel displays my source clip markers. Click
on the timeline. My timeline markers are shown. But I'm going to select
this shot and then I'm gonna reform a match frame that's keyboard
shortcut "f". And here, you can see that it's been added directly to the
source clip. So if I wanted to extend the duration here in the source
clip, I could. I can option drag. And notice that anytime that I do that
for my source clip, that's also displayed in the timeline. If for some
reason you can't see your source clip markers, then you just need to
come to your wrench and choose show clip markers. Notice that right
now it is checked.But if it is unchecked, then that's not gonna show
up. Just my timeline markers are gonna show up. So you wanna make
sure to select that. Alright, so that is the very tip of the iceberg on
markers in Premiere Pro. Again, if you wanna learn more, go for that
Premiere Pro Guru Markers course. It'll teach you all about this
awesome organizational tool that allows you to communicate to
yourself or to others anything about your Premiere Pro project.

Understanding track and clip behavior

- [Instructor] I'd like to take a look at how you can control how you are
able to see, hear, and lock your tracks, as well as your individual clips
in your timeline. So, I have my sequence here and we obviously
haven't gotten to the point of putting all the finishing touches on
ours like titles and music, but I did wanna present a version of the
sequence with a few more bells and whistles here, so that we could
really explore some of the important aspects of track monitoring and
locking. As far as video is concerned, I have my interviews on V1, and
my B-roll on V2, and I have titles on V3. On A1 I have my interview
audio, on A2 I have my B-roll, ambient audio, and on A3 I have my
music. So let's talk about some various ways that I can control what I
see in my sequence. If I'd like to isolate specific tracks visually, then I
use these little eyeball icons, which are toggle, track, output
controls. So, if I go to any point in time, and I want to toggle my track
output, then that allows me to see down vertically through the various
tracks. So, right now I'm looking at V2, but if I toggle V2 off, you can
see that it shows down to V1. If I come over to this part with my
title, and I just wanna see the title, then I can toggle off V1 for
example. If I wanna toggle off my title, then I could toggle off V3. Now,
this is not only being altered for display, but also for output. So, if I
wanted to output a version of the show without a particular track, I
absolutely could. In this case, I would be outputting the show without
my titles. Okay?Why would I want to do this? Well, maybe my titles are
just quick and dirty placeholders and now I wanna send this to my
professional graphics artist to design titles for me. So not a problem. I
would just toggle those off. Now, this is not only true for visuals, but
also for audio. Instead of the little eye icon though, I have mute and
solo buttons. I can solo as many tracks as I want and I can mute as
many tracks as I want. If I wanted to play a version of the
sequence with no music, I would just mute my music. - [Girl with
Orange Hair] When somebody walks in here and is like, "Oh my God, a
donut!", that excite... - [Instructor] The opposite of that is, of course,
soloing. So, if I solo my music, I'm only hearing the music.(cute,
bouncy music) Now, I only have three audio tracks, but imagine that I
had 10 or 20.Muting and soloing multiple tracks is also a viable option
in that case. For example, if I did have many tracks and I just wanted to
come here and listen to just my interview audio and my ambient B-
roll, then I could solo both of those and hear those in isolation. - [Girl
with Orange Hair] (mumbles) with my husband. I...- [Instructor] Now,
all of this is possible on a clip by clip basis and not just a track basis, as
well. To do that, you simply just select a clip,or a group of clips, and I'll
just take these first few clips the sequence here, and I'm just going to
lasso them in this case, and I'm going to right-click and come down to
'Enable'. You can see that they gray out and now, when I play
this, they're still in the timeline, but I can't see them or hear them. -
[Girl with Orange Hair] When somebody walks in here and is like, "Oh
my God, a donut!", that... - [Instructor] To enable those again, I simply
select and then... 'Enable'. If I wanna do that for just video and just
audio, then I would need to isolate that. Right now, I have the link
selection toggle on. That's this, right here. So, every time I click on a
clip that has married audio, or anytime I click on the audio and it has
married video, that's selected as well. I can turn that off, and now every
time I select something, I select it in isolation. Or, we've taken a look at
this before, but if this is on and you temporarily want to enable that
behavior,you can option-click, or alt-click on a pc, and then you're
able to just select the video or just select the audio. In that sense, an
option lasso will select multiple ones, and then I'm going to right-click
and then choose 'Enable', so that's essentially disabling it, and now
my video tracks are enabled, but the associated audio tracks are
not. I'm gonna turn those back on.So, I'm going to option-select those
again, and 'Enable'. Now, another very useful technique is the ability to
lock tracks, and I do that simply by clicking on this little lock
icon.When I do that, you can see that the clips on the tracks that are
locked have this little cross-hatching, and now I can't do anything to
them. I can't select the clips. If I was to perform an edit... I'll just mark
an in and an out, and I'll select all tracks here. And if I perform a lift,
which is semi-colon, notice that everything participated in the edit,
except for what was locked. Let me undo that. So, locking is very
useful, if I want to prevent myself from accidentally moving, deleting,
inserting, or overwriting any clips on a locked track. Now, this is
especially useful when I have a piece over music. So, when I am
making small changes to my B-roll or to my interviews, I will lock my
music track, so that I don't unnecessarily cut up or alter my
music.When you are locking tracks, you do need to be careful about
locking a track that has a married component. For example, if I was to
lock A2 in this case, then the married behavior that I usually
have when I select clips on V2 no longer applies. So, if I was to move a
clip over, now you'll see that I'm out of sync with the married
component on A2. I'll undo that.That isn't a common situation, but do
be aware of it. So, as you can see, changing your track's visibility,
audibility, and lockability can be really useful techniques during the
editing process.

Undoing and redoing actions

- Most programs give you the ability to undoyour last action, or
actions. Which is great for fixing mistakes or trying something
different.And in most programs, the keyboard shortcut for undoing an
action is Command + Z, or Control + Z on a PC. So if I delete a clip and
I want it back, I just press Command + Z, and I have it back. But what if
I'd like to go back to a point five minutes ago? Or 15 minutes ago?Well
fortunately, Premiere Pro makes this relatively easy by using the
history panel. So you access your history panel by coming over to your
project panel, and then coming over to your little while arrows, and
then history is usually the last one. If that's not there you can go to
Window, and then History. Make sure that's checked. Now just so you
know, I don't have any specific exercise files for this moviebecause
each individual user has his or her own unique activity within the
history panel.So just follow along with your own history
panel, although it will look different than mine.I've still provided you a
sequence in the 6.4 bin for you to play around with if you'd like.Alright,
so here is the history panel. At the bottom here, you can see that I
have 32 levels of undo. Alright, so these are my last 32 actions. If I've
recently opened the project, that number will reset. So accessing your
history panel is only as good as the sessionyou've most recently been
working in. So when would I use my history panel? Well, it can help me
out in one of two ways. One, perhaps I just need to take a look at my
list of actions to refresh my memory on how I got to a certain
place. And two, and probably much more likely, is that I actually need
to step back in time because something that I tried out didn't work
very well. Maybe I messed things up and got out of sync, or maybe I
just like the edit the way it was before I tried a bunch of stuff. All I need
to do, is simply, select the point in time before I made the mistake. So
in this case, I actually just extracted a portion of the sequence and I'd
like it back, but it was several edits ago. All I need to do is identify
where that is, and then go to the point directly before that. So, I can
either climb back and find it step by step, or you can go to the exact
moment where you knew that occurred. And so here it is, it's the
Extract. I'm gonna go back to the moment right before that. And here
you can see that the material that I extracted is now back in the
timeline. Okay, so that's great. I'm going to press backslash to fit that
in the timeline view. And now let's take a look at the history panel. So I
can keep going back through time, if I like. I can go forward through
time. So I can re extract that, and then go forward through each of my
actions.But I wanna talk about what happens when you go back to a
crucial moment in time, and then make another edit. So let's again go
back before I performed that extract. Okay, and now take a look at
what happens to all of these grayed out actions after the extract when
I make another edit. So, I'll just do something very simple, like move
this over a tiny bit. So doing that was equivalent to Lift and Overwrite
Selection, but notice that all of the actions that used to come after that
extract are now gone. You can kind of think of it like a parallel
timeline that you can't go back and change. So now I'm sort of
committed to this version of actions. And every action I make after
this, will create new actions in my history panel. Alright so needless to
say, the history panel is a very useful tool, especially when you need to
jump back in time and access an earlier point of your editing process.

Customizing the keyboard

- [Instructor] I've been spouting off a lot of keyboard shortcuts to
you, and some are probably a little bit more intuitive and some are less
intuitive, so let's talk about what you can do to modify your keyboard
shortcuts to suit your own working style. I'm gonna come up to
Premiere Pro, and then Keyboard Shortcuts, and let's take a look at
everythingwithin this very powerful window. First of all, the Keyboard
Layout Preset, I have on Adobe Premiere Pro Default, but notice there
are other NLEs that you can choose from, and if we want to change
our keyboard, I'm gonna come down to Custom so that we can
saveour changes out and access them any time we like. Okay, so what
do we see here? On the keys themselves, we see what is already
mapped to each key. This keyboard is just the regular keyboard, so, in
other words, if you don't hold down any of the modifier keys like
Command, Option, Control, and Shift, then you just press these
keys, and these are the commands you get. You press "Y" to get the
Slip Tool, "U" to get the Slide Tool, "I" to do Mark In, and so on. But, if
you did wanna look at what the keyboard would look like with certain
modifier keys, then you just press those modifier keys. So, I'll hold
down "Command," and you can see that the Command key turns blue
to let you know that this is what the keyboard looks like when you hold
down "Command" and then certain keys,so "Command U", is Make
Sub Clip,"Command I" is Import, and so on, and then here's what it
looks like for Shift and Option, and so on. You can also combine
modifiers, so if I hold down Command and Shift together,these are the
commands associated with that modifier combination. So, you see
that modifier keys are very powerful because they bring a lot more
possibilities to your keyboard shortcuts. Alright, let's take a look at a
few more things. First, let's talk about color coding. We've got purple,
green, and gray color coding. Now, purple represents the
commands for the application at-large, okay?If I want to look at
commands that become active when particular panels are in
focus,then I can choose those from this menu here.Alright, so here
we're on the application at-large, but if I have, for example, the
Capture Panel in focus, I'm gonna choose that, and then these green
keys represent what happens when the Capture Panel is in focus,and
you press the F key, the G key, the V key, and so on. Alright, so
different commands are available when different panels are in
focus.Okay, so there's lots of different panels, you can kind of go
through these, but most of the time, you're gonna be looking at the
keyboardjust with application, and then you see that some of them are
split purple and green because depending on whether you're just
working in the application at-large or have a specific panel in focus,
they do different things. As you hover over each of these keys,you get
a sense of that. Alright, so an easy one, I'll just hover over "Y," you can
see that, it's the Slip Tool, if I hover over "T," you can see for the
application at-large, T activates my Trim edit, but when I have the
Legacy Titler panel open, it's the Type tool, so lots of things going on,
but I think the color codingreally does make a lot of sense. If you look
down here, I think this is a good explanation of this. "Application short
cuts in purple are active regardless "of panel focus, and panel
shortcuts in green override "the application shortcuts when the panel
has focus." Okay, so that's color coding. Now, if you wanna check out
the specific commands associated with any key, again you can just
hover over it. You can also click on it and then come down to this
menu down here and it'll tell you everything. So, for example, when you
don't hold down any modifier, "I" is Mark In, when you hold down
"Command" and "I," when the Titler Panel is in focus, you have a
Italics;otherwise it's Import, Option I is Clear In and so on. If I click on
"U," you can see that I have a whole new list of items. Then you can
come over here and actually search for various commands, and it will
live filter for you. So, let's say that I'm curious about the Ingest
settings to see if it has a keyboard shortcut associated with it, I'm just
gonna type in "Ingest," and I see it right here, and it does not have a
keyboard shortcut associated with it,so I can set one. I'm just gonna
click right here, in the shortcut column, and then I need to choose
what I want to assign. Now, what I recommend is to just figure
out, what am I gonna remember, and for Ingest, what I'm gonna
remember is "I," okay, so I'm gonna click on "I," and "I" is very
crowded, so let's find something that's available, alright. So, it looks
like the Shift and Command combo is available, so let's assign
that. I'm gonna come over to Ingest, I'm gonna click here, then I'm
gonna type in "Shift, Command, I," and there we go, we've assigned
it, so if I click on "I" and come down to "Shift Command," we've got it
assigned to Ingest settings. You can also drag and drop, so I'll x this
out and then I can physically hold down "Shift" and "Command,"and
then just drag and drop Ingest Settings right on "I," and now it's
assigned appropriately. Now, if I didn't want to remember "Shift,
Command, I" and I just wanted it to be "Shift I," then I could also
override what's already on "Shift I" that's not a problem either, so I
could go to "I," and see what's on "Shift I," which is "Go to In," that's a
fairly important one, but I'll just show you that you can override it if you
like. I'm going to x this out now, and in here I'm just gonna type in
"Shift I." Now, it does give me a little warning, it says, "The shortcut
Shift I is already in use"by another application command, Go to In,"this
command will no longer have a shortcut,"so I can make the decision,
and I can say "You know what I think I'm gonna open up Ingest
settings "more than Go to In, I'll say okay."Again, just as an example in
this one case, so I'm gonna open up my Keyboard Shortcuts one more
time, and I wanna make sure that's available to me going forward, so
I'm gonna go to Save As, and I'm just gonna call this AK Premiere Pro,
and Okay, and now, if I press "Shift I," my Ingest settings come
up. Alright, so pretty powerful stuff, and the keyboard shortcuts are
always available to me as long as I'm logged in under my Adobe ID. I
can check that by going to Premiere Pro, Preferences, and Sync
Settings, and then Keyboard Shortcuts is checked, so my Adobe ID is
associated with the Keyboard Shortcutsthat I customize and so that
means that they're always available to me when I log into the software
and sync my settings.

Modifying buttons on the user interface

- [Instructor] In addition to customizing your keyboard, as we just
learned, you can also customize your user interface by adding and
modifying the button layout, which are these spaces underneath the
Source Monitor and the Program Monitor. Alright, so before teaching
you how to add buttons, let me show you what to do to remove all
buttons from your layout. You simply come to this wrench here, and
then come down to Show Transport Controls, okay? And when I select
this, noticethat my buttons disappear, so if you're 100%on the
keyboard, and you really don't use buttons, this can give you some
added real estate. I'm gonna turn that back on though,most people do
work with some buttons. And now let's go over how to actually change
this layout. I come over to this little plus sign,which is your button
editor, and I'll open that up and here is your button layout, and then
here is your button bank. All you need to do is just hover over each
one of these, and a tool tip will pop up to tell you what the button is. If I
want to change around the layout, it's as simple as dragging and
dropping. If you want to remove a button, you click and drag outside
the box and it's gone. And then to add buttons into your layout, you
drag and drop like so. These are spaces, so if you want to add spaces,
you can, okay, as many as you'd like. You also have an entire second
row. So if you really like buttons, you can begin to add buttons to that
second row. I like to keep things fairly clean to one row though, so I'm
going to just bring that out of my layout. I am going to add a couple of
buttons though. I'm going to add Go To Next Marker, and Go To
Previous Marker. Notice what happens when I add another button on
my first row even though it looks like I don't have enough room.So I'm
going to add another button here. Well I now have these little white
arrows, so if I say OK, and I click on my white arrows, and that extra
option is available to you if you like, alright? And here are the buttons
that I added,Go To Previous and Go To Next Markerbehaving exactly
as I would expect. Finally, if you would like to reset your button
layout, you again open your button editor and choose Reset Layout,
and it'll go back to the factory defaults. Alright, so if you're a button
person,you can make the most out of your user interface by
customizing your button layout to whatever makes sense for your own
way of working.

Exploring audio channel configuration

- [Instructor] In this chapter, we'll be focusing entirely on the audio to
make sure that our project is sounding its best. Before doing so,
however, I thought it might be useful to explain a few things about the
properties of audio channel configuration and the way things work in
Premier Pro. Alright so as you can see here in my 7.1 bin, I do have a
couple of clips containing audio, each of which has some
characteristics that I'd like to discuss.First of all, I'd like to take a look
at this music clip. This is a professionally mixed stereo clipso the
sound mixer was very careful to create this with two channels of audio
in which the sounds and instruments are playing at different levels
within each channel. The audio wave form does look very similar in the
left and the right channel but if I zoom in, you can see that there are
variances. You can also tell this when I play it. If you take a look over
here in the audio meters, take a look at the left and the right
channel and you'll notice that there are differences. (soft, bubbly
musical notes)(soft, bubbly musical notes) Alright so you probably
notice that besides the audio being very hot or mixed very loudly as
music often is, there were definite differences between the left and the
right channel. Let's take a look at when this edited into a sequence. I
have a blank sequence here which I'll load and I'm just gonna mark an
in and an out around a short portion of this music clip so that we can
see this in action. Right now I have A1 patched to A2. Let's just have it
patched to A1 so I'll move that up. And then we'll splice this in so I'll
press comma, okay. And we have our music clip edited to our
timeline. I'm going to just maximize the timeline by pressing tilde and
let's expand the A1 track. I can do that by hovering over the bottom of
the track until I get my double-sided arrow and I drag down.You can
also use your mouse scroll wheel. If I hold down option or alt on a PC
and scroll up and down, you can enlarge and reduce the track that
way. Alright so you see that I have both my left and right channel
edited onto one track, okay. And for music, this is usually fine.You
don't wanna mess with the configurationof your audio because it was
professionally mixed. So besides bringing the audio levels down
because again, it's mixed very hot, we're probably not going to mess
with the audio channel configuration of this clip. (soft, bubbly musical
notes) I do have some other clips, however, where I definitely do want
to change the audio channel configurationbetween the left and the
right channels. Here I have a clip of Madame Donut giving a tour of
her kitchen and I'll play this and you will definitely be able to hear that
there is a problem. (static noise) As you can hear, the right channel has
static and we'll definitely need to remove that. But watch what
happens when I edit this into the timeline. Again, I'll just take a small
section of this and edit this right down. I'm gonna patch V1 to V1
here. And I'll press comma, alright. And here you see we have
our ambient audio on the left channeland our static on the right
channel. In its current configuration, there's no way for me to dial in
and bring down the static on the right channel because it's all on one
audio track so it's mixed together as stereo and I'm stuck with
it. (static noise) So in this case, let me come back to the source
clip. So I'm going to just right-click and then choose modify and audio
channels. By default, the audio characteristics will be set at use file
which is meant that it's going to use the configuration settings of the
original file which in this case is a stereo clip with a left and a right
channel.If you ever want to preview a clip to see what's what in terms
of left and right, you just come down here. So here, I'll preview my left
channel. - [Madame Donut] We have different kinds of brioche so
that's already portioned. - [Instructor] Alright, so the left is the on-
boardcamera mic of Madame Donut speaking and the right, brace
yourself, is the static. (static noise) So our goal here is to retain the left
channel and get rid of the right. There are a few ways that we can do
this. First, if I want to retain stereo audio configuration, that is we have
both a left and a right channel, I can just repeat the left channel
twice. Okay so now we are customizing this in a stereo configuration,
one clip of audio, and we're repeating the left channel twice. I'm gonna
say okay and now, if you take a look in the timeline, we have eliminated
the static and we have duplicated the left channel twice. And we
should now we able to head that on-board camera mic. - For classic
brioche. - [Instructor] Now another way to handle this is to change the
audio configuration format to mono. So I'm gonna come back to that
clip and right-click and choose modify, audio channels. And here
we've left it as stereo but now I'm going to change it to mono and we
have the option of doing single mono or dual mono depending on if we
need both the left and the right channels. Well here, we don't need the
right channel. We're only interested in the left so we're gonna leave it
at single mono, left channel, and I'll say okay. Now this warning is just
tell me that if I've edited this clip into the sequence any other time, it's
not going to affect those clips. So that's fine, I'll say yes.And then I'm
going to re-edit this into the timeline and I wanna show you how it's
different than what we just edited in. I'm going to edit A1 to A1 so I'll
bring this up and we'll press comma and I'll press tilde to maximizeand
let's take a look here. So in this example, we repeated the left channel
twice but each is coming out from the left and the right speakers. In
this example, we dropped a channel so we're only using the good
channeland then the audio is panned to the middle so it's coming out
equally from both speakers.Let me show you this. I'm going to
minimize, and let's play this and take a look in the audio meters. - For
classic brioche. - [Instructor] Okay, so the integrity of the audio is
basically the same between the duplicated stereo clipand the mono
clip. The only difference is that the stereo clip's levels will be just a
little bit higher because of this duplication. Alright, let's move on and
I'm going to come to this clip right here. Alright, let me play. - God, this
is so good. Nobody says that about a salad.I'm so sorry. - [Instructor]
So this definitely sounds better than that awful static but you probably
notice something. Take a look at the audio view meters as I play
this. You'll see there's a big discrepancy between the left and the right
channels. - I was like oh my God, this is so good. Nobody says that. -
[Instructor] So let's take a look at our audio channel configuration. I'm
going to right-click and go to modify, audio channels. Again, we have a
stereo format, one clip between the left and the right channels. Let's
preview what's what.I'm going to start with the left. - [Madame Donut]
I was like oh my God, this is so good. - [Instructor] Alright, the left is
not sounding too good. I think that's the on-board camera mic. And
let's preview the right. - [Madame Donut] I was like oh my God, this is
so good.Nobody says that. - [Instructor] Alright, so we definitely
want to keep the right and ditch the left. So if we use the first method,
we can stay stereo and then just duplicate the right channel and say
okay. And then let's just edit a small portion of this clip down so we
can see how this has changed. I'll press comma and as you would
expect, I now have duplicated my right channel twice and so when we
play this, it should be coming equallyout both the left and the right
channels. - God, this is so good. Nobody says that about a salad. -
[Instructor] Alright, so we've eliminated that low, muddy audio from the
left channel. Again, I could solve this by turning it into a mono clip as
well. If I right-click and choose modify, audio channels, change it from
stereo to mono, and we want the right channel so we'll say okay. Again
it says that anything I've already edited is not gonna be affected, no
problem. We'll edit this back down. Okay, and again very similar, the
integrity of the audio remains the same but here we just have a mono
clip that is panned to the middle so that everything is playing equally
out of both the left and the right speaker. - This is so good. Nobody
says that about a salad. - [Instructor] Alright, now I'd like you to
imagine another scenario. Instead of having an interview with one
subject as I have here, imagine that I have an interviewwith two people
and the left and the right channels represent the two mic sources that
are picking up the audio from each of my interview subjects. So in this
case, I would have person one on the left channel and person two on
the right channel. As you can imagine, it would be really nice to
haveindividual control over each of those in case person one spoke
too quietly and person two spoke too loudly, I would need to dial in and
make specific adjustments. The way that it exists now in the stereo
clip, I can't do that, alright. I can't climb in and make individual
adjustments on just one track of audio. So in this scenario, we're going
to change our audioconfiguration so that there are two separate
clips for the left channel and the right channelthat we can control
individually. Alright so let's go back to our audio channel
configuration.Right-click and modify, audio channels. And this time, I
want mono but instead of just one audio clip, I want two and so by
doing this,this is called dual mono and so in this case, I would want the
left channel for the first channel of audio, the right channel for the
second, I'll say okay. Again, same warning. That's fine. And let's edit
this down again and comma and I'll maximize here and here we go,
okay. So here is my simulated person one.Here is my simulated person
two. And I would have individual control over each of those. So we
have not forced a stereo clip onto one track. Rather, it's split onto two
tracks and again, because each of these is a mono clip,they're each
panned to the middle so they'll play evenly out of the left and the right
speakers. Alright, so bottom line, you're going to be working with all
types of audio in Premier Pro and it's good to know exactly what's
happening when you're working with stereo and mono clips and when
you might have to reconfigure those channel settings.

Editing in your music

- [Instructor] We've done a lot of work editing our sequence and now
it's time to really start to build and refine the soundtrack, and before
we dig in and get the audio sounding exactly as it should, we need to
add our music, so let's take a look at that. All right, I have a couple of
music selections here and I've chosen these from a stock music
library. I'm gonna play a little bit of each so you can get a sense of
what we're gonna be working with.Here is New Ideas. (perky
percussive music)Okay, and here is Inquisitive Marimba.(curious
percussive music) All right, so you can see that we're using some
fun and whimsical music tracks for this project, and you can also see
that although we are using two separate piece of music, we've chosen
tracks that can easily be paired together. Each definitely belongs to
the same musical universe. Now, when you're working with stock
music like this, there are some challenges. First of all, it can be tricky to
get the musical arc to match up with your video's arc. I'm gonna load
the pre-music sequence here. Here we start with Madame Donut and
her philosophy, then we get into a detailed description of the workday
and the donut making process and then we end with the
conclusion which talks about the passion that it takes to do this
difficult work over very long hours. So musically, we need to try to
figure out how we can accompany this. After some experimentation, I
decided that I wanted to use the same piece of music at the beginning
and at the end, when we are basically discussing the love and passion
for donuts,and then in the middle, I wanted to use a different, more
methodical piece of music,where we're going through the donut
making process. Now, discovering this can definitely take some
work because in a sense, we're sort of forcing this music into an
already existing structure. But when you're working with stock
music, that's one of the biggest challenges. But it's fun! So, for the
beginning and the end, we're gonna go with New Ideas.But there are a
few cues that I'm interested in hitting. We'll start simple. I definitely
want the beginning of the video to match with the beginning of the
music, which again, sounds like this. (perky percussive music) And
then, I want the part where she introduces herself as Madame Donut,
to coincide with this chime here. Let me show you that. So here's
where she introduces herself. - [Madame Donut] I'm Madame
Donut, and I own Donut Dynamite with my husband. I can speak... -
[Instructor] All right, so that moment, I want to cue up with this musical
moment, and I'll go right before it so you can hear the chime come in.
(perky percussive music) (music intensifies)Okay, so we have a sort of
fun rhythmic introduction and then when we get to meet Madame
Donut, we hear that chime. One more thing about the cues for this
song, I want the very end of the video to coincide with the end of the
song, so we'll need to back time the edit to get the ending just right.So
let me play the very end of the video for you here. - I do. And, I really
feel like I'm changing the world (laughing) through a donut! -
[Instructor] Okay, and here's the end of our song. (perky percussive
music) (music wraps up neatly) Okay, so that's a very precise
ending and that'll go nicely with our little donut montage, and then in
the middle, where she talks about the donut making process, again we
have this very rhythmic, methodical piece of music. Just a quick
reminder on what this sounds like. (curious percussive music) And that
goes with this section right here. - [Madame Donut] So our workday
usually starts anywhere between 10 PM to midnight, depending on the
day of the week, and then, my husband usually rolls the dough. I
would have made the brioche doughat least a day in advance. -
[Instructor] All right, so hopefully you're getting a sense for the type of
accompaniment we're after. Before we begin adding our music, I just
want to draw you attention to the fact that music is generally mixed
very hot, which means that it's going to be a lot louder than we want. If
I play the loudest part of the song here... (full flowing music) You can
hopefully see that that's far too loud. This needs to be background
music, and most definitely should be supplementary to our primary
audio. So I'd like to make a baseline adjustment now before we even
edit this into the sequence. To lower my audio at the source level, I
simply select the clip and then right click and choose Audio Gain or
keyboard shortcut G, okay, G for Gain.All right, and so I'm just going to
lower this by 15 decibels right off the bat, all right, so I'm just gonna
type in minus 15, okay. All right, and you can see that the audio
waveformshrunk up a lot, let's do the same thing here.I'm just gonna
select it and press G and then minus 15, and OK. Now if I play over
that same section of the song, things should sound a lot better. (soft
flowing music) We'll definitely be making further adjustments later but
this is a good start. We'll at least be able to hear Madame Donut when
we edit in the music. So let's go ahead and slot some music in. I am
going to physically go through this process of making one of these
edits, but because this does take a lot of time and a lot of trial and
error to get the timing just right, I'm gonna move forward in the
process and just show you how everything eventually comes
together. So, for the beginning, I want New Ideas, and I want this
happy mellow beat to play. And then again, when I get to this part of
the video, I want this part of the song to play, this chime, so let's check
our durations. I'm going to set an in and an out in the timeline,marking
in, and an out, and so I have 12 seconds and 21 frames, roughly, and
then I'm gonna do the same thing here. I'm gonna mark an in and an
out and here I have just over seven seconds, so I'm gonna need to do
some looping, okay? Not a problem, I'm just gonna zoom in here, and
let's play this, I'll press Option + K or Control + Shift + Spacebar to
play in to out. (perky percussive music) All right, it seems that's exactly
what we want, so let me clear my in and out point here, Option +
X, and then go back to the beginning, and let's make sure our tracks
are patched appropriately. We've got the audio from the source going
to A3, which is what we want, and let's go ahead and overwrite this in,
I'm gonna press Period, and now, let's go ahead and mark the next
duration in the timeline, because we want to make sure that it ends
right when Madame Donut starts talkingwith her introduction. So I'll
mark an in, and here, I'm going to mark an out, and now we need to
decide what exactly we're gonna put here. My instinct is to simply loop
from the beginning again, so let's go ahead and do that. I'm gonna go
ahead and clear my out here, that's Option + O, all right, so I just have
an endpoint at the beginning, and let's see what happens when we
loop the beginning again. So I will overwrite this in, I'll press
Period, and we just need to check a few things. I'm gonna come to this
section right here and let's play over it and see how smooth it's
sounding. I'm going to solo it, and let's play. (perky percussive
music) All right, I think we need to trim it just a bit. It seems like we just
need to take about a frame or two off of the A side here. Again, I'll play.
(perky percussive music) All right, so that sounded much
smoother. I'm happy with that. Then, we simply come to the
part where we want the chime to come in, and I'll park the play head
there, and then let's find the moment in the song. I'm going to mark an
in here, and I'm not exactly sure how long I want to go before making
an edit, so what I'm gonna do is just mark an out where I know that I
definitely need to end it before I go on to the next song,and then we
can figure it out after that. So I'll mark an endpoint at this moment, and
let's press Period, and then I'm just gonna check the transition from
this moment to this moment. I probably don't want a gap, so I'm going
to just trim this over a bit, and we'll see where we're at. (perky
percussive music)Okay, and so probably, I need to un-solo thisand
take a listen to it with the dialog, but it seems like I probably need to
trim off a few frames here. One more time. (perky percussive music) -
[Madame Donut] I'm Madame Donut, and I own Donut Dynamite... -
[Instructor] Okay, so I think I'm going to have to come in and trim off
just a couple frames here, maybe move that over, okay. Again, this is
minute work. It does take some time. I am gonna move forward into the
process so I can show you each of the cues once I've done it, so I'm
gonna go to post music. We've already done this part. Let's take a
listen at this transition, and I'm going to play it with her dialog so you
can see how it coincides with the video. (perky percussive music) - I'm
Madame Donut, and I own Donut Dynamite with my husband. -
[Instructor] Okay, so I thought that worked well. Here, we did a little bit
of an edit and I want to first play it for you soloed so you can hear how
we've edited the music. (bright orchestral music) And now I'm gonna
play it with her speaking. - Want it to be challenging, changing
people's mindsabout donuts, so... - [Instructor] All right, so that
worked pretty well. Again, everything is still a little bit loud, mixed a
little bit too hot,but we'll fix that in a future movie. Now let's play this
section here. This is sort of the end of the introduction, and into the
beginning of the workday. - [Madame Donut] The Cadillac of
donuts. (perky music gives way to curious music) So, our workday
usually startsanywhere between 10 PM to midnight,depending on the
day of the week, and then my husband usually rolls the dough. -
[Instructor] Okay. And then, let's go back to this section here. Again,
this is where we go back to the New Ideas music for our conclusion. -
Varieties of brioche, every day.You have to be passionate about this to
do the kind of work that we're doing. It takes our...Feel like I'm
changing the world (laughing)through a donut! (music wraps up
neatly) - [Instructor] All right, so we still have a lot of work to do to
perfect our sound mix, but I just wanted to show you a little bit about
working with stock music and editing in our music cues.

Making audio gain adjustments

- [Narrator] Getting audio levels right is one of the most important
parts of the audio editing process. So, let's take a look. First, I want to
start by setting up the interface so that we can see everything
okay. There is an audio editing workspace here, but we don't quite
need this much so I'm going to stay in editing for now and just make a
few adjustments. I'm going to just make my timeline a little tallerand
then I'm going to grab this line in betweenvideo and audio and make
my audio a little bit more prominent. And then I'm going to also
increase the size of each of my audio tracks. I can do that by just
dragging down on each of these or I can use my mouse scroll
wheel. I'll hold down an option or alt on a PC and then increase the
size of each of those. And basically I want to make it so that I can
seethis white line on each of my tracks. Lastly I just want to make my
audio meters a little larger as well. Alright so, where do we start?Well
when you're mixing audio, the first thing that you want to do is make
sure that the most important audio, which is our dialogue, is set
properly. Then we can mix everything else around that. So, because of
this, let's go ahead and solo A1 which is our Madam Donut interview
audio. So, I'm going to solo A1 and let's just take a listen to see what
she sounds like. - When somebody walks in, hands up "Oh my god, a
donut," that excitement, it's like oh my god, this is so good. Nobody
says that about a salad. I'm so sorry, but that's the truth. I'm Madam
Donut and I own Donut Dynamite with my husband. I can speak
through donuts. - [Narrator] Alright, so a couple of observations
there. One, is that she definitely fluctuates. You hear she sort of
shouts a little bit, and then here whispers a little bit. And then in
general she's just too quiet across the board. But, what is too quiet?
Well, there is actually a measurement that we're looking for. And I'm
gonna come over here to the audio meters. We want normals sounds
like the human voice to peak right around here, at around negative 12
decimals.Or between negative 12 and negative six at the most. And
so, let me play this for you again and let's take a look at exactly where
she is peaking. - It's like oh my god, this is so good. Nobody say's that
about a salad. I'm so sorry, but that's the truth. - [Narrator] So she's
often peaking between negative 24 and negative 18. There is probably
a place over here where she shouts, that she's a little bit louder. - Oh
my god, a donut! That excitement. - [Narrator] But generally she is
much too quiet. We're gonna have to raise her audio levels up to this
negative 12 threshold to make sure that she's sounding okay. By the
way, these standards can of course be different depending on who
you're delivering your show for. So, be sure to check out the specific
requirements that you need to deliver your audio mix level. But, in
general we're gonna be mixing right in this threshold. Now, how do we
go about this? Well in general a good work flow to take in Premier
Pro is to first adjust your audio gain, which is the input level of your
clips. And this is to make a baseline adjustment for the majority of your
audio. Then, you adjust the audio volume,which is the output
level. And this is when you individually adjust the different volume
levels of the clips in the timeline which then allows you to tweak
things on a clip-by-blip basis.So, we'll be talking about adjusting gain
in this movie and volume in the next movie. So, let's first adjust Madam
Donuts audio gain to make her baseline adjustment. We got a sense of
where she was falling, but if you want a little more guidance on exactly
where levels are falling on a clip-by-clip basis you can get that.You
just open the audio gain window, which you can do by clicking on the
clip and then right clicking and coming to Audio Gain. Or, simply by
pressing the G key. Which is what I will be doing throughout. So, I'll
select this and press G. And if you take a look down here it lists my
peak amplitude. So, this is the very loudest that audio gets within this
specific clip. So negative 10.1 decibels is in the correct target, but
again this is the very loudest that she gets. She's quieter through
much of the clip, so we are gonna have to raise her audio gain. Now,
through the spot checking that I just did where everything was
hanging out between negative 24 and negative 18, I'm thinking that
we should definitely raise the audio gain by at least 10 decibels. So, I
can adjust the gain by 10 decibels and say okay.And this is just going
to adjust them for this clip, so if I wanted to adjust them for all of
Madam Donuts audio I would just select everything. So, let me actually
do that. I'll select all of her audio. And then press G and let's adjust
everything by 10 decibels. By the way, just real quick about the
difference between Set Gain To and Adjust Gain By, Set Gain To is the
total gain adjustment and this is what you're adjusting just on this
particularadjustment, so on the very first adjustmentthese are
identical. But, if I say okay and then open this back up, you can see
that now this is at 10. So, if I adjust my gain by two for example this is
going to climb to 12, okay. So you can see how these work in
conjunction with one another. I'll cancel that for now.Alright so let's go
back and see how she's peaking now. We've just raise the audio gain
by 10 decibels across the board and let's play.- When somebody
walks in here and is like,"Oh my god, a donut!" That excitement, it's
like oh my god, this is so good! Nobody say's that about a salad. -
[Narrator] Alright, so her general talking voice is pretty good. It's
peaking right in the right area. When she's shouting here it's too
loud. When she's whispering here, it's too quiet. But again, setting
your audio gain is all about making that baseline adjustment. Then you
come back and you make a volume adjustment on a clip-by-clip
basis. So, I just like to offer a very brief preview of that workflow now
because again, the next movie is dedicated entirely to volume
adjustments. This white line is your volume line, so you're able to raise
and lower the volume accordingly and again, you're gonna play over
each of these clips taking a look at where the audio levels are
falling and make those adjustments. Not only that but you have the
ability to key frame your volume adjustments. So in a situation like this,
where she starts off talking and then shouts, we'll be able to add key
frames so that we can make variable volume adjustments within the
same clip. I'm gonna undo those two volume adjustments because
they are rather arbitrary.Command Z, command Z. And instead we'll
just focus on gain adjustments. Alright, so it does take a while to set
initial gain adjustments, making sure that all the audio is sounding
good. All we've done is raise her audio gain across the board by 10
decibels.But, what I would want to do is just spot check that. Make
sure that that is a correct baseline adjustment. I'll do that right now, I'll
kind of go through and see what I think. - Through donuts, like I
express myself through donuts.Brioche is actually called-- to midnight
depending on the day of the week. Usually it would be around 5
o'clock in the morning.And I make at least four to six differentvarieties
of brioche. - [Narrator] Alright, so in general, I'm okay with it. She's
peaking right around negative 12, there's a couple of times that she
comes up here, there's a couple of times that she peaks below
negative 12. But, as far as a baseline adjustment is concerned, I think
it's okay. At any rate, once you have gone through and set the
appropriate gain adjustments for your principal audio, then you can set
levels for the ambient audio for your B role as well as your music. Then
come in here and play a couple of these sections. You'll see that we
definitely have some big adjustmentsthat we need to make on some of
our ambient B role audio. - [Madame Donut] Style donuts.Brioche is-
- - [Narrator] So, for that sort of thing, it's up to you whether you make
a gain or a volume adjustment. If I was to make a gain adjustment I
might just select all of these, press G and that needs to be brought
down significantly. So let's maybe go, minus 15. And then I'll play
again and see how I like it. - [Madame Donut] Style donuts. Brioche is-
- - [Narrator] Maybe that needs to be brought down a little bit more. I
can open that back up and let's bring it down by another five. -
[Madame Donut] Brioche is actually called the rich-- - [Narrator]
Alright, so again, that does take time. You'll need to go through and
make sure that none of your ambient B role audio is drowning out your
dialogue. And then of course lastly there's music. As far as the music
is concerned, you may remember in the previous movie how we
actually lowered the music by 15 decibels before we even edited it into
the sequence. That again, gave us a decent baseline so that the
music didn't drowned out our dialogue. And we could actually here
what Madame Donut was saying.But now, we can go ahead and make
further adjustments as necessary. You can certainly come in here and
do a lot of this with gain adjustments, but I actually find you'll probably
use volume adjustments more with music.Again, because you are able
to key frame those adjustments within the boundaries of a clip. Now, I
do have a sequence where I've gone through and adjusted my audio
gain, post audio gain. So, here is where I have a baseline
adjustments on my interview audio, I have mixed the B role
audio accordingly and I've made several audio gain adjustments on my
music as well. So you can check that out if you like. Finally, I do just
want to point out one more thing. Because we actually hadn't started
talking about audio prior to now, I of course edited in these clips into
my sequence as they were and I didn't make any audio level
adjustments before editing them in. However, there are many times
when doing exactly thatwould be a very good idea. If all of your clips
are consistently too loud, or too quiet you can adjust the audio gain of
your clips in the project panel before editing. So, for example I'm going
to come into source clips. Here's all of my Madam Donut source clips. I
can just select all of these. And then I can open up the gain window,
press G and if we've determined that we generally need to raise her by
10 decibels I can just take then 10 here and okay.And now all of these
source clips have an adjustment of plus 10 decibels. So, now when I
edit these into the timeline it already has the adjustment. The order of
operations though, says that anything that's already been edited into
the timeline is unaffected, so if you want to make a source
level adjustment you just need to do that first. Alright, so that is audio
gain. Again, adjusting audio gain provides that solid baseline for your
audio going forward to make sure that you have the appropriate levels
and an appropriate mix. Now let's continue on talking about different
ways to adjust your audio in the form of those volume adjustments.