Jump Start Course:

Adobe Premiere Pro

Whether you are a novice or an experienced editor, this course is designed to teach you
everything you need to feel comfortable using Premiere Pro.
Follow along with my tutorial video here: adobe.ly/PrTutorial

PART ONE: FOUNDATION

START NEW PROJECT 5

IMPORT WORKSPACE 5

LAYOUT AND WINDOWS 6

CREATING BINS & IMPORTING CLIPS 7

ICON/LIST/FREEFORM VIEW 7

LABELS FOR COLOR CODING 8

CREATING SEQUENCES 8

IN/OUT WORKFLOW TO CREATE SELECTS SEQUENCE 9

NAVIGATING THE TIMELINE

INSERT AND OVERWRITE 10

TRACK TARGETING AND SOURCE PATCHING 10

TRACK LOCKING, VISIBILITY, MUTE, AND SOLO 11

UNLINKING AUDIO FROM VIDEO 12

PART TWO: BUILDING
WORKING WITH CLIPS IN THE TIMELINE

TOOL BAR 13

MOVING EDITS & CLIPS 14-15

16
CREATING MARKERS

17
EDITING WITH MARKERS AND SHORTCUTS

CLOSING GAPS 17

CLIP ADJUSTMENTS

MOTION CONTROLS: ZOOM AND PAN 18

19
WARP STABILIZER DISTORT

RATE STRETCH 20

CORNER PIN 20

GAUSSIAN BLUR 20

HORIZONTAL AND VERTICAL FLIP 20

TIMELINE CUTTING

SYNCING AUDIO 21-24

TRIMMING AND EXTENDING 25

TEXT-BASED EDITING & CAPTIONS 26-27

LOOP PLAYBACK 28
PART THREE: REFINEMENT
LUMETRI COLOR OVERVIEW 29-31

APPLY A COLOR GRADE (LOOK) TO A CLIP 32

ADD & REMOVE COLOR GRADES 33

APPLY GRADE TO ADJUSTMENT LAYER 34

GRAPHICS TEMPLATES 35

ESSENTIAL SOUND OVERVIEW 36

37
FIND STOCK MUSIC (BROWSE TAB)

37
REMIX TOOL (CHANGE AUDIO DURATION)

CHANGE CLIP VOLUME 38

AUTO DUCK MUSIC UNDER DIALOGUE 39

VERSIONING AND AUTO REFRAME 40

RENDERING AND EXPORTING 41

Valentina Vee
VALENTINAVEE.COM

@VALENTINA.VEE

@VALENTINAVEE

About Me
I am a Director, Cinematographer, and Editor living in Los
Angeles, making videos for international campaigns and
shows all over the world. My clients include Nike, AT&T,
National Geographic, Dell, L’Oreal, MTV, Meta, Mashable,
Fujifilm, and Adobe.

My Discovery docuseries focused on youth empowerment,

“Gimme Mo,” was nominated for an Emmy in 2018. And in
2019, I directed a popular travel show for Flickr/Smugmug,
spanning 10 countries across Europe and Asia.

I started editing videos when I was 7 years old.

 HOUR 1: FOUNDATION 5

Start New Project

Open Premiere Pro by double-clicking on the icon on your
computer. The first screen will show you your previous
projects (if you have any) as well as options to create a new
project or open a previous project.

To create a new project, click on “New Project” in the top

left corner of the screen (Image 1).
Image 1: Create a New Project.

Import Workspace
FIND YOUR FOLDER
Give your project a name in the “Project Name” field by
replacing the word “Untitled” with your project name.

You’ll need to store your project on your computer or hard

drive in a specific location, so you can find it later. Choose
that location by clicking on the drop-down menu in the
Project Location field and selecting “Choose Location”
(Image 2). This means that Premiere Pro will create a project
Image 2: Create a new Sequence by dragging the clip to New Item.
file (file extension .prproj) in that location. Whenever you
need to open your project again, you’ll find that project file
and double-click on it to open it again in Premiere.

Ideally, you already have a folder on your computer or hard

drive that is dedicated to only your Premiere Pro projects. If
you don’t, this is how I organize every project folder, making
sure there is a subfolder called PREMIERE (Image 3).

SELECT FOOTAGE TO IMPORT

In the “Devices” section on the left, find the hard drive that
contains your footage and pull it up on the main screen.
Image 3: How I organize every folder within my hard drives.
You can now select your footage (Image 4) one-by-one or
bulk-select it by pressing the first clip, holding down SHIFT,
and then pressing the last one. Or CTRL+A to select all.

If you choose to import your clips from the import window,

the order in which you select the clips will be the order in
which they are placed on your timeline. To create a sequence
with those clips, you can select “Create New Sequence”
and give your new sequence a name.

I prefer to do this manually, without selecting any

footage or making a sequence just yet. The next pages
will show you how to make a sequence from scratch.
Image 4: New Sequence Checkbox.
 HOUR 1: FOUNDATION 6

Layout and Windows

THESE ARE THE FOUR BIG WINDOWS YOU SEE WHEN YOU START A PROJECT. THEIR SIZES CAN BE MOVED AROUND BY HOVERING
OVER THE BOUNDARY BETWEEN THEM, CLICKING, AND DRAGGING.

YOU CAN MAKE ANY OF THEM FULL-SCREEN BY SELECTING IT (IT WILL OUTLINE IN BLUE) AND PRESSING THE “~” KEY ON YOUR
KEYBOARD, USUALLY LOCATED IN THE TOP LEFT. IF YOUR LAYOUT LOOKS DIFFERENT, YOU CAN RESET IT BY GOING TO WINDOW
> WORKSPACES > RESET TO SAVED LAYOUT OR CHOOSE THE “EDITING” LAYOUT FROM WINDOW > WORKSPACES.

PROJECT PANEL
This is where you will organize your project. Think of this as your Finder (or File Explorer on PC). Here you will create
folders (called Bins), import your clips, view and organize footage, and prepare your clips before going into your
timeline. Any clip deleted or altered here will not delete or alter the original clip on your hard drive.

TIMELINE PANEL
This is where you will view, create, and organize your sequences. You can have multiple sequences open at the same
time and they will all appear as tabs across the top. The timeline plays from left to right, from zero seconds until the
end of your sequence. As you are playing through, you’ll see the Current Time Indicator as a blue line showing you where
you are in your timeline. You can stack clips on top of each other on different tracks, and whichever clip is on top is the
clip that will be shown.

SOURCE MONITOR
If you double-click a clip from the Project Panel, it will show up in the Source Monitor, where you can play it. You can
also select just a portion of the clip using in/out points (covered later).

PROGRAM MONITOR
Plays back the sequence from your Timeline Panel.
 HOUR 1: FOUNDATION 7

Create Bins & Import Clips

WHERE: PROJECT PANEL

CREATE BIN
Click on the folder icon on the bottom right of the Project
Panel (Image 1) to create a new bin. You can rename it right Image 1: Create a New Bin by clicking on the New Bin button.
now or rename it later by clicking once on the name.

If you drag a folder into your Project Panel from your

computer (Image 2), bins and sub-bins will automatically be
created to match your folder structure.

IMPORT CLIPS
You can drag clips into the Project Panel from your Finder (or Image 2: You can drag entire folders into the Project Panel.
File Explorer on PC). If you drag them on-top of an existing
bin, they’ll be placed into that bin. You can also double-click
in an empty area of the Project Panel and select the clips
you want to import. Or you can go to FILE > IMPORT.

LIST VIEW
Image 3: List View Button. Image 4: Bin opens in separate tab.
Click List View (Image 3) on the bottom left of the Project
Panel to view the files in your Project Panel as a list.

If you double-click on a bin, the items inside the bin will ap-
pear as a new tab in the Project Panel (Image 4).

ICON VIEW
Click Icon View (Image 5) on the bottom left of the Project
Panel to view the files in your Project Panel as thumbnails.
You can change the size or order of the thumbnails with the
options to the right. Image 5: Clips displayed in Icon View.

FREEFORM VIEW
When you choose to view your thumbnails in Freeform View
(Image 6), you can move them wherever you like within the
Project Panel.

You can stack, align, group, or change their sizes (RIGHT

CLICK > CLIP SIZE).

Image 6: Clips displayed in Freeform View.

 HOUR 1: FOUNDATION 8

Color Code Clips

WHERE: PROJECT PANEL

Before bringing the clips into a sequence, I like to color-

code them. Whether this is by camera, by speaker, by theme
- whatever your color-coding system, it’s easier to label the
clips with colors while they are still in the Project Panel.
Image 1: Bin “CAM A” (labeled yellow) and all the clips inside the CAM A bin
Simply select the clips you’d like to label (hold down (labeled blue) are now being labeled Violet.
SHIFT to select them in a sequence or CMD/CTRL to select
individual clips), RIGHT CLICK, and choose LABEL > select
your label color (Image 1).

Now when you put your clips into your timeline, they will
retain those color labels. You can always change the label
of the clip once it is already in the timeline, but this will not
change the label color of the same clip in the Project Panel.

Create Sequence
WHERE: PROJECT & TIMELINE PANELS
Image 2: Create a new Sequence by dragging the clip to New Item.

FROM A CLIP
Drag any clip from the Project Panel onto the “New Item”
button on the bottom of the Project Panel (Image 2). This
will create a new sequence with the same name, dimensions,
and properties as the clip.

You can rename and reorganize the sequence later inside

the Project Panel.

FROM SCRATCH
Create a new Bin called “Sequences” and select the bin. Image 3: Select the Sequences Bin and choose “Sequence” from New Item menu.
Click on the “New Item” button and select “Sequence...”
(Image 3).

In the New Sequence Dialog Box (Image 4), you can choose
from many presets or create your own. The standard settings
for a standard YouTube video are:

Timebase: 23.976 fps (frames per second)

Frame Size: 1920 x 1080 pixels
Pixel Aspect Ratio: Square Pixels (1:0)

Be sure to give your new sequence a name and click “OK.” Image 4: New Sequence Dialog Box.
 HOUR 1: FOUNDATION 9

Hover Scrub
and the In/Out
Workflow
Image 1: The Icon and Freeform view are at the bottom left of the Project Panel.
WHERE: PROJECT PANEL

WHAT: QUICKLY PREVIEW CLIPS

SELECT: ICON VIEW OR FREEFORM VIEW

IN-POINT SHORTCUT: I

OUT-POINT SHORTCUT: O

PRE-EDIT WHILE BROWSING CLIPS

Image 2: The blue line in “C0045.MP4” shows the range selected in the thumbnail.
You don’t have to drag your entire clip into your sequence,
you can pre-trim it beforehand! Make sure you are
viewing your clips in either Icon or Freeform View (Image
1). Without any clips selected (no gray outline around the
clips), hover your mouse left to right over each thumbnail
to scrub through the entire clip.

Once you land on where you want your trim to start, hit the
“I” key on your keyboard, for “In Point.” Keep hovering
until you get to your desired “Out Point” and hit the “O”
key. After you use the “I” and “O” keys to select a portion
of your clip, you should see your selection reflected as a Image 3: If a clip is selected, scrub by holding and dragging this time indicator.
blue line underneath your thumbnail (Image 2).

If a clip is selected (gray outline) you can still scrub

through the clip by holding and dragging the time
indicator underneath the thumbnail (Image 3).

Image 4: Freeform view can be found at the bottom left of the Project Panel.
 HOUR 1: FOUNDATION 10

Insert &
Overwrite
INSERT SHORTCUT: , (COMMA)
Image 1: The playhead is the blue line in-between the blue and purple clips.
OVERWRITE SHORTCUT: . (PERIOD)

BRING IN CLIPS WITHOUT DRAGGING

Put your playhead (blue line) where you’d like your new clip to
go in your sequence (Image 1), then select the clip that you’d
like to add from the Project Panel. Use “,” to insert the new
clip and have all trailing clips ripple to the right (Image 2) or
Image 2: The green clip was inserted and the purple clip jumped back. use “.” to overwrite the new clip on top of your existing ones
(Image 3). The playhead jumps to the end of the new clip, so
you can keep adding to the sequence without readjusting the
playhead every time.

Not working? Is “Source Patching” enabled for that track?

Look at the space to the LEFT of your track lock (it should say
say V1, V2, A1, etc) and turn it blue (not gray) by clicking on it.

Image 3: The green clip overwrote the beginning half of the purple clip.

The track on which Source The tracks that have

Patching is turned on is Track Targeting turned
where new clips are dropped on work with basic timeline
in via Insert and Overwrite. shortcuts and copy/paste.
This helps when you’ve got This helps if you want to use
lots of tracks and need to shortcuts on multiple tracks
drop specific clips into a at once, or just work on a
specific track. specific track.

Go to Cut Point Faster Playback

WHERE: TIMELINE WHERE: SOURCE MONITOR OR
PROGRAM MONITOR
SHORTCUT: UP OR DOWN ARROWS
FAST FORWARD SHORTCUT: L

Make your playhead jump directly to the next cut point in REWIND SHORTCUT: J
your sequence by clicking the up or down arrows.
STOP SHORTCUT: K
Not working? You might have turned off “Track
Targeting.” Look at the space to the right of your track Scrub quickly through your footage using the JKL keys.
lock and turn it blue (not gray) by clicking on it. The more times you press J and L, the faster the scrub.
 HOUR 1: FOUNDATION 11

Track Locking
Click the track lock icons to prevent yourself from being able to touch or manipulate anything on those tracks.

Video Track Visibility

Click the eyeball icons to not see those tracks in your timeline.

Audio Track Mute

Click the M icon (it should turn green) to not hear that audio track during your playthrough.

Audio Track Solo

Click the S icon (it should turn yellow) to hear only that track playing. Make sure M is disabled if S is enabled.
 HOUR 1: FOUNDATION 12

Unlinking Clips
When you drag the entire clip from the bins into your
timeline, if the clip has audio - the audio will also appear
in your timeline. This is because the video and the audio
are “linked.” Here are 6 ways to unlink your audio:

BEFORE YOU ADD THE CLIP TO YOUR TIMELINE

Double-click on the clip in the Project Window (in your Image 1: Drag Video Only button.
bins) and pull it up in your Source Monitor. Hold down
the the film strip icon at the bottom of the Source
Monitor (Image 1) and drag into your timeline.

IF THE CLIP IS ALREADY IN YOUR TIMELINE

Select the clip (or group of clips), right click, and select
“Unlink” from the list (Image 2).

Select the clip (or group of clips) and press

CMD+L (CTRL +L on PC).
Image 2: Unlink Option in the pop-up menu.
Go to the Sequence menu above and deselect “Linked
Selection” (Image 3). This will make all the clips in the
whole project unlinked.

Disable the “Linked Selection” button on the sequence,

right next to the Snap button (Image 4). This unlinks all
the clips in that sequence, but not in the whole project.

Hold down OPTION (ALT on PC) while selecting a clip (or

group of clips) and after you let go of the mouse, press
Delete to delete them. Otherwise, clicking anywhere else
will just make them all linked again.

Image 4: Once disabled, the Linked Selection button on the sequence goes white. Image 3: Disable Linked Selection from the Sequence Menu.
 HOUR 2: BUILDING 13

Tools Panel Basics

Some tools have more tools hiding underneath! To access them, CLICK AND HOLD onto the tool until the sub-menu pops up.

SELECTION (V)
Default tool to select clips in the timeline.

TRACK SELECT FORWARD/BACK (A/SHIFT+A)

Select all the clips after or before your cursor.

RIPPLE EDIT (B)

Adjust an edit point and all other clips move to compensate.

ROLLING EDIT (N)

Adjust an edit point between two clips without moving anything
else in the timeline.

RATE STRETCH (R)

Change the duration of the clip while changing the speed.

RAZOR (C)
Cut a clip (or multiple clips) into two.

SLIP (Y)
Move a clip’s in and out points simultaneously, without affecting
any of the other timeline clips.

SLIDE (U)
Slide a clip left and right on the timeline while overriding the
other clips that are on either side of it.

PEN (P)
Create and move anchor points.

HAND (H)
Drag the timeline view side to side.

ZOOM (Z)
Zoom into the timeline to see it in more detail.

TYPE (T)
Type onto the screen (creates Essential Graphic clip).
 HOUR 2: BUILDING 14

Moving Edits
WHERE: TIMELINE

RIPPLE EDIT SHORTCUT: B

ROLLING EDIT SHORTCUT: N

These tools will help you move the edit point (cut point)
between clips, directly in the timeline. You can access
these tools via the Tools Menu (Image 1) or via shortcuts. Image 1: Edit tools in the Tools menu.

RIPPLE EDIT
STEP 1: Press “B” on your keyboard and place your
mouse at the edit point you want to manipulate. You
should see a yellow arrow indicator (Image 2).

STEP 2: Click and drag your edit point left or right to

change the length of your clip in the timeline (Image 3).
Image 2: Ripple Edit cursor hovering over end point of yellow clip.

The rest of the clips in the timeline will ripple forward or

back, unlike when you use the selection tool (V) to trim a
clip, where none of the other clips in the timeline move.

Not working? Possible reasons:

1. You are trying to extend a clip on your timeline,

but you are already at the beginning or end
of that source media and the edit cannot be Image 3: Extending end point of yellow clip to the right.

extended any more.

2. You are trying to shorten (contract) a clip, but

have other clips on different tracks getting in
the way of the ripple. If you don’t want certain
tracks interfering with the ripple effect (like
for example the music track), you can lock
those tracks with the Track Lock (Image 4). Image 4: Track lock for music track (Green, Track A2) is on.

ROLLING EDIT
STEP 1: Press “N” on your keyboard and place your
mouse at the edit point. The cursor should become four
red arrows and your edit point should turn red (Image 5).

STEP 2: Click and drag your edit point left or right to

extend or contract the length of your clip in the timeline.
The clip immediately on the other side of the edit will
adjust its own duration while not causing any of the
Image 5: Rolling Edit cursor hovering Image 6: The extended yellow clip over-
other clips on the timeline to ripple (Image 6). over the end point of yellow clip. wrote half of the following blue clip.
 HOUR 2: BUILDING 15

WHERE: TIMELINE
Moving Clips
SELECT AFTER CURSOR SHORTCUT: A SELECT ALL AFTER (OR BEFORE) CURSOR

SELECT BEFORE CURSOR SHORTCUT: SHIFT +A To select all clips at and after your mouse, change
your cursor to Track Select Forward Tool (A) and click
SELECT LINKED: OPTION (ALT) + CLICK anywhere in the timeline. SHIFT + A will select everything
before your cursor. Locked tracks will not be affected.
DUPLICATE CLIP: OPTION (ALT) + DRAG SELECT LINKED CLIP WITHOUT UNLINKING

NUDGE CLIP LEFT/RIGHT 1 FRAME: If your Audio and Video are linked in the same clip but
OPTION (ALT) + LEFT/RIGHT ARROWS you want to select just the audio, hold down OPTION
(ALT on PC) and click just the audio.
NUDGE CLIP UP/DOWN TRACKS:
OPTION (ALT) + UP/DOWN ARROWS DUPLICATE AND DRAG
SLIDE CLIP SHORTCUT: U Instead of using copy/paste commands to duplicate a
clip, select the clip while holding down OPTION (ALT on
SLIP CLIP SHORTCUT: Y PC) and drag the duplicated copy to its new location.

NUDGE LEFT/RIGHT
To move a clip one frame left or right, hold down OPTION
(ALT on PC) and click your left or right arrow keys.

NUDGE UP/DOWN
Image 1: To move this yellow clip up a track, hold OPTION (ALT) and press UP. To move a clip to the track directly above or below it
(Image 1), hold down OPTION (ALT on PC) and click your
up or down arrow keys. This will over-write anything
already on the target track (Image 2).
SLIDE CLIP
Sliding a clip will not change its duration or contents, it
will just slide the clip left or right on its track while its
neighboring clips elongate or shorten, without rippling.
Image 2: The yellow clip over-wrote the first half of the purple clip above it.
STEP 1: Press “U” and select your clip (Image 3).

STEP 2: Drag your clip left or right to its new position,

changing the length of the neighboring clips (Image 4).
Image 3: Yellow clip selected with the Slide Tool enabled.
SLIP CLIP
Slipping a clip will not change its duration or location
on the timeline. It will change the content within the
segment of the clip itself, as you slip along the contents
Image 4: As yellow clip is slid right, blue clip gets longer & green clip gets shorter. of the full original clip.

STEP 1: Press “Y” to activate Slip Tool.

STEP 2: Click and drag left and right over the clip you
want to slip. A new display will appear in the Program
Window (Image 5). The frame at the head end of the
segment will appear on the bottom left, the frame at the
tail end of segment on the bottom right, the last frame
of the previous clip will appear top left, and the first
Image 5: Slip Clip Display in the Program Window. frame of the next clip will appear top right.
 HOUR 2: BUILDING 16

Mark The Music Cues

BEFORE YOU ADD MARKERS, MAKE SURE YOU HAVE THE FOLLOWING TWO SETTINGS DESELECTED:

IN THE MARKERS MENU: Uncheck “Ripple IN THE SEQUENCE MENU: Uncheck “Selection Fol-
Sequence Markers” - this will make sure your markers lows Playhead” - this will allow you to slice across the
are always connected to their exact place in your entire timeline stack without Premiere always selecting
sequence and don’t move when you ripple clips. the top clip by default.

STEP 1: Play through your track by pressing the SPACEBAR or the PLAY BUTTON at the bottom of the Program
Window. Every time you hear a beat where you think it would be good to place a cut, press the “M” button on your
keyboard. This will place a marker there. Markers can also be rearranged and dragged around the timeline.

STEP 2: If you want to place a durational marker to help you indicate a certain segment, you can click on the marker
and hold down OPTION (ALT on PC) to drag it out to your desired length.

STEP 3: To change colors or add notes to a durational marker, double-click on it. Here, I titled it “L’AMOUR” and col-
ored it red to match, because that’s the word that gets repeated during the dance section, and I want to help myself
visually see that. The markers will match their location both in the timeline and in the Program Panel.
 HOUR 2: BUILDING 17

Edit with Markers and Shortcuts

STEP 1 Click SHIFT + M to jump your playhead to the
next maker. Click CMD + K to cut across all your video
layers (Image 1). This will only work if track targeting
is selected across all layers (Page 8, Step 2) and your
music track is locked (Page 7, Step 5).

STEP 2 Insert a cut at each marker (Image 2).

STEP 3 By default, the clip showing is always the top-

most clip. Instead of deleting the clips on top to get to Image 1: An edit is added across all video layers at the first marker.
the clip you want, just disable them by dragging mar-
quee box around the clips you want to disable and using
SHIFT + CMD + E (SHIFT + E on PC) to disable them.

In Image 3, the yellow and pink clips on tracks V4 and

V3, respectively, have been disabled and are grayed-out.
Image 2: All edits have been inserted at all the markers.
In Image 4, all of the tracks under the playhead have
been grayed out, leaving a hole.

SELECT MULTIPLE EDIT POINTS AT ONCE

To manipulate the entire column of edit points, you first
need to select them. Hold down CMD (CTRL on PC) and
draw a marquee box around the edit points you want to
select. They will turn red (Image 5). This can enable you
to copy/paste transitions between multiple edit points
or give you the ability to use the shortcuts on the next Image 3: The yellow and pink clips marquee-selected on V4 and V3 are disabled.

page across multiple edit points.

CLOSE GAP

If there is a gap that you’d like to close, you can RIGHT

CLICK on it and select “Ripple Delete.”

Image 4: All of the clips in this column of tracks have been disabled.

Closing all gaps requires you to create a shortcut. Go to

EDIT > KEYBOARD SHORTCUTS, type in “Gap” in the
search bar and type in a shortcut for Close Gap.

Image 5: Five edit points have been selected by drawing a marquee. Notice the
music track wasn’t selected even though the box is on it - because it is locked.
 HOUR 2: BUILDING 18

Image 2: Effect Controls Window.

Image 1: Place your playhead where the movement should start. Image 3: Enable Scale keyframes. Image 4: First keyframe is placed.

Motion Controls: Zoom and Pan

If you want to add a zooming movement or pan across an
WHERE: TIMELINE AND image or clip, Premiere Pro gives you an easy way to fine-
EFFECT CONTROLS PANEL tune this process, using keyframes.

STEP 1: Select the clip you’d like to pan or zoom (here it is the orange clip on V2) and place your Playhead (blue line,
Image 1) where you’d like the movement to start.

STEP 2: In the Effect Controls Panel (Image 2), enable keyframes by clicking the stopwatch next to the “Scale”
property. The stopwatch should turn blue (Image 3) and the keyframe should appear in the work area (Image 4).

STEP 3: Move your playhead to where you want your scaling movement to end (Image 5) and place a keyframe there
as well by clicking on the keyframe button (Image 6). Keep your playhead at that keyframe.

Image 5: Move your playhead (blue line) to where the movement should end. Image 6: Click to make a new keyframe.

STEP 4: Click on the number that represents the scale and type in a new scale at the new keyframe (Image 7).
STEP 5: Complete this same keyframe process for the “Position” property (Image 8). Instead of typing in each
value, you can also hover your mouse over the number and drag the mouse left to right to change the value (Image 9).

Image 7: Type in a new scale value. Image 8: Keyframes have been added for Position property. Image 9: Hover over number, drag to change.
 HOUR 2: BUILDING 19

Clip Adjustment: Warp Stabilizer

WHERE: EFFECTS PANEL, EFFECT CONTROLS PANEL, AND PROGRAM WINDOW

TO ADD WARP STABILIZER, FIND THE EFFECT IN THE EFFECTS PANEL UNDER VIDEO EFFECTS > DISTORT AND DRAG
IT DIRECTLY ONTO YOUR CLIP OR DOUBLE-CLICK IT WITH YOUR CLIP SELECTED IN THE TIMELINE.
STABILIZATION RESULT
“No Motion” will freeze the motion of your frame in place - making your shot look like a tripod shot. “Smooth Motion” will
make your camera look like it is floating and smooth out the bumps in handheld footage.

METHOD
“Position” will just undo the shake in your clip, not modifying the dimensions. Use this when the camera is generally staying in
one place and pointed in one direction. “Position, Scale, Rotation” will take into account the camera’s movement.

You can always click “Preserve Scale” if you are moving forward or back on a subject and you don’t want the stabilizer to
compensate for that.

Stabilization Result Options in Warp Stabilizer. Stabilization Method Options in Warp Stabilizer.

FRAMING
Framing is how you want your clip to be treated post-stabilization. By default, the “Stabilize, Crop, Auto-scale” is on, which
uses AI to find the best re-cropping for your clip. This is very useful if you have a larger-sized clip (like 4K) in a smaller-sized
sequence (like 1080).

However, I prefer to select “Stabilize Only” and have the rough edges of my clip show, then scale the clip as I see fit, manually.
If you are stabilizing a clip that is the same pixel dimensions as your sequence and you don’t want to lose resolution by cropping,
you can try the “Stabilize, Synthesize Edges” option, which will add additional pixels (fill in the blank space) by analysing
the frames earlier and later in time. To get a more accurate analysis, increase the “Synthesize Input Range” in the Advanced
tab. In order to have a more seamless transition between footage and synthetic edges, use the Edge Feather option and use the
Synthesis Edge Cropping to crop into your footage slightly, giving a less harsh edge.

Border Framing Options in Warp Stabilizer. Advanced Tab options for Synthesize Edges in Warp Stabilizer.
 HOUR 2: BUILDING 20

More Clip Adjustments

RATE STRETCH
Select the clip you’d like to change the speed of. You can either RIGHT CLICK > SPEED/DURATION and enter a new dura-
tion or type a new speed, or you can change your cursor to the Rate Stretch tool by clicking “R.” Now you can hover over the
end of any clip and drag it shorter or longer, therefore dynamically stretching its duration.

VIDEO EFFECTS
All of the following can be found in the Effects Panel and dragged directly onto any clip in the timeline.
CORNER PIN
Assigns position values to the corners of your clip so you can skew it as needed.

Before Corner Pin After Corner Pin

GAUSSIAN BLUR
Blurs your clip. Select “Repeat Edge Pixels” if you don’t want the edges to feather. Also try Camera Blur or Compound Blur!

Before Gaussian Blur Gaussian Blur - no “Repeat Edge Pixels” Gaussian Blur - with “Repeat Edge Pixels”

HORIZONTAL AND VERTICAL FLIP

Simple way to flip your clip. I use these mostly to maintain consistency of framing or motion.

Original Clip Flip Horizontal Flip Vertical

 HOUR 2: BUILDING 21

Sync 1 Video Clip with 1 Audio Clip

WHERE: TIMELINE & PROJECT PANEL

When syncing a video clip to an audio that was

recorded externally, it is important to also record audio
accompanying the video clip. This will allow you to use
the scratch audio from the AV clips (those from your
camera) to sync the external audio.

STEP 1: Select both the AV clip and your audio clip

from the Project Panel by holding down CMD (CTRL on
PC) as you click on both of them.

You can see which audio clips go with which video clips
either by listening through to them or taking a look at
the Media Duration to give you a clue (Image 1).

STEP 2: RIGHT-CLICK and select “Merge Clips.”

Image 1: Select the A/V clip and its accompanying audio clip in the Project Panel.

STEP 3: In the Merge Clips window, you can give your

new merged clip a name if you want. The most important
thing is to select “Audio” as your Synchronize Point
(Image 2). Click OK.

STEP 4: Your new merged clip should appear in your

Project Panel. Now you can drag it onto your timeline.
If you did not previously select “Remove Audio from AV
Clip” in the Merge Clips menu, the audio from the AV
clip will still be there for reference. You can disable it by
right-clicking and selecting “Disable” or you can mute
the entire track (Image 3).
Image 2: Use Audio as the Synchronize Point.

NOTE: IF YOU CHOOSE TO SEND YOUR PROJECT OUT FOR FINISHING IN A THIRD-PARTY AUDIO APPLICATION,
IT IS BETTER TO USE THE MULTICAM SYNC WORKFLOW DESCRIBED ON THE NEXT PAGE

Image 3: Drag your new Merged Clip onto the timeline, everything should be lined up. Mute the audio tracks of the original AV clip.
 HOUR 3: REFINEMENT 22

Multicam Sync Workflow

WHERE: PROJECT PANEL (BINS) AND TIMELINE PANEL

Synchronize audio and video files from multiple cameras and sound devices at once. This workflow is for those who
want to be able to see all of their video feeds at the same time. It helps if your files are organized and you know which
files from which cameras are meant to be synced.
STEP 1
Select the clips you want to sync from the bin by
holding down CMD (CTRL on PC) and clicking each
one. In the example on Image 1, I know WIMB_A_01,
WIMB_B_01, and WIMB_C_01 are the three camera
files meant to sync with WIMB_001 - the audio file.

Tip: if your clips aren’t organized, you can play them through or check
the media duration to see if the clips have a similar length.

STEP 2 Image 1: Selecting the clips that are meant to be synced.

RIGHT CLICK and select “Create Multi-Camera Source Sequence”

STEP 3
Determine what type of sync is required. If you were recording timecode (most cinema cameras do this) with a
timecode-generator box, you can select that. If you’re shooting on a phone or DSLR/mirrorless camera and you were
recording audio on the camera itself (we call this “scratch audio”) you can select “Audio” as your Synchronize Point.

I also like to deselect “Move Source Clips to Processed Clips

Bin” because that disrupts the organization I have in my Bins.

However, this is useful to select when you don’t know which clips
go with which audio, so you’re selecting everything in your bins all
at once and syncing that in a big chunk. If the synchronization fails
on any of the clips, you’ll know because those clips will be the ones
left in your original bins, while those clips that have been synced
(or “Processed”) will be moved to a new “Processed Clips” bin.

I also like to select “Enumerate Cameras” because this assigns

a number to each of my cameras, making it easy to switch between
them by simply pressing the number keys on my keyboard.

You can also create a custom name for the Multi-Camera Source
Sequence (let’s shorten that to MCSS for this guide) that is about
to be created. Or you can let the MCSS take on the name of one of
the video or audio clips that are inside it.

The new MCSS that is created after you click “OK” is put into
your Project Window loose - not attached inside any existing Bin
(Image 3, next page).
Image 2: My preferred settings for multicam sync.
 HOUR 3: REFINEMENT 23

Multicam Sync Workflow (Cont.)

STEP 4
Drag the MCSS onto your timeline. If the first button
under the timer is disabled (white), the MCSS will
split back into individual clip layers as it is being
dragged into the timeline (Image 4).

If that same button is enabled (blue), the MCSS will Image 3: Multi-Cam Source Sequence in the Project Panel.
look like it’s just one video layer after it has been
dragged into the sequence. But in fact, this acts as
a special type of Nested Sequence and allow you to
use Multi-Camera Editing (Image 5).

STEP 5
You’ll need to enable 2 buttons in your Button Editor
that don’t come standard. Go to the “+” icon on the
bottom right corner of the Program Window (Image
6) and add the Multi-Camera Record button and the
Multi-Camera View button by dragging both into the
button bar in the Program Window (Image 7). Image 4: Disable this button to drag MCSS in as separate synced clips.

STEP 6
Click on the Multi-Camera View button to be able
to see all your angles at once. Click on the Multi-
Camera Record button and now you’re able to re-
cord your keystrokes (Image 8).

STEP 7
As you watch the video, press the keypad numbers Image 5: Enable this button to drag MCSS in as an intact MCSS.
(1, 2, 3, and so on) that correspond to the camera
you want active at that point in time. The red rim
around the clips will show you which ones are ac-
tive in the Multi-Camera View. Once you press Stop,
those cuts will appear on your MCSS. If you ever
want to see the clips as regular clips again, you can
RIGHT CLICK > MULT-CAMERA > FLATTEN.
Image 6: Open the Button Editor.

Image 8: Enable Multi-Camera Recording. Image 7: Drag the Multi-Cam Record and Multi-Cam View buttons into button bar.
 HOUR 2: BUILDING 24

Sync Multiple Video Clips to Audio

In the Timeline
WHERE: TIMELINE & PROJECT PANEL

This will allow you to sync multiple cameras with a Here I have Camera A in orange on tracks A1 and V1,
single audio clip, all in the timeline itself, without using Camera B in pink on Tracks A2 and V2, Camera C in blue
the multi-cam workflow. It is important to also record on tracks A3 and V3, and the “good audio” on track V4,
audio accompanying the video clips. This will allow you in green (Image 1).
to use the scratch audio from the AV clips (those from
your camera) to sync the external audio. STEP 2: RIGHT-CLICK and select “Synchronize.” Make
sure to select “Audio” as the Synchronize Point.
STEP 1: Put all of the AV clips from your different Now all of your clips will be lined up and synced together
camera angles on different tracks. These should all have (Image 2). You can mute or disable the audio from the
scratch audio tracks attached to them. Also put your AV clips and only focus on the good audio.
“good audio” on its own track.

Image 1: All the clips on their own separate tracks. Image 2: All the clips are now synced up, tracks A1, A2, and A3 are muted.
 HOUR 2: BUILDING 25

Image 2a: This section of the Image 2b: “Q” cut and ripple delete.
green clip needs to be removed.

Image 1: CMD/CTLR+K slices down through only track targeted layers. Image 3a: This section of the Image 3b: “W” cut and ripple delete.
yellow clip needs to be removed.

Cut & Ripple Trim to Playhead

If you want to cut at your playhead, press CMD+K (CTRL+K
WHERE: TIMELINE on PC)(Image 1). This shortcut will only work on those
tracks that have Track Targeting enabled (see page 5). For
CUT AT PLAYHEAD: CMD+K (CTRL+K ON PC) splicing across all tracks, add a SHIFT to this shortcut.

CUT ALL AT PLAYHEAD: SHFT+CMD+K (MAC) Q deletes what’s between the start of a clip and the playhead,
SHFT+CTRL+K (PC) and ripples everything after the clip (Images 2a / 2b).

RIPPLE TRIM PREV. EDIT TO PLAYHEAD: Q W trims the tail end of a clip. It deletes what’s between the
playhead and the end of the clip and ripples everything after
RIPPLE TRIM NEXT EDIT TO PLAYHEAD: W the playhead (Images 3a / 3b).

Image 4a: Green clip needs to be longer Image 4b: SHIFT+Q extends green clip to Image 5a: Green clip needs to start Image 5b: SHIFT+W extends green clip
and reach the blue line (Playhead). the right, overwriting half of orange clip. earlier, at the blue line (Playhead). to the left, overwriting half of pink clip.

Extend to Playhead & Select without Clicking

EXTEND PREV. EDIT TO PLAYHEAD: SHFT+Q SHIFT+Q lengthens the clip that comes before the playhead
to the playhead itself (Images 4a / 4b).
EXTEND NEXT EDIT TO PLAYHEAD: SHFT+W
SHIFT+W takes the cut point that follows the playhead, and
extends it forward to reach the playhead (Images 5a / 5b).
TRACK SELECT FORWARD: A
“A” selects everything to the right of your cursor, while
TRACK SELECT BACK: SHFT+A “SHIFT+A” selects everything to the left of your cursor.
 HOUR 2: BUILDING 26

Text-Based Editing
STEP 1 To create a transcript, first open up the Text
workspace under WINDOW > TEXT and navigate to the
Transcript tab (Image 1). It will show you which clips on
your timeline can be transcribed.

STEP 2 Click “Transcribe”

STEP 3 Once you have your sequence transcript, you

can edit this text just as you would any text editing
application. You can change the spelling of words by
double-clicking on the text and opening up the editor. Image 1: Transcribe Tab in Text Window.
You can highlight sections and click “delete” to delete
them, copy, paste, etc. You can also RIGHT CLICK to see
these options (Image 2). As you change your transcript,
those changes will be reflected on your timeline.

Pauses are indicated by ellipses [...] and you can select

those separately and delete them as well.

EXPORT TRANSCRIPT
Sometimes you may just want to send the entire un-
edited transcript to someone. This is more common in
documentary scenarios. Just go to the three-dot menu
on the top right of the Text Window and select “Export”
and this will give you several export options (Image 3).

CREATE CAPTIONS/SUBTITLES
Image 2: Text editing options inside the Transcribe Tab.
Click on the CC button (image 4) to open up the Captions
dialog box. This will ask you your preferences including
character length, minimum duration, and number of lines
(Image 5). Once you have selected your preferences,
click “Create captions.”

The captions will be added to a new “Subtitle” track

above your video and audio tracks. You can still edit the Image 3: Export Transcript Options. Image 4: Create Captions button.
captions from there - they act like clips on your timeline.
You can move them around, change their timings, and
change what they say by clicking into them (Image 6).

Image 6: Subtitle Track. Image 5: Caption Preferences window.

 HOUR 3: REFINEMENT 27

Edit a Subtitle
WHERE: TIMELINE &
ESSENTIAL GRAPHICS PANEL

You can update the look of all of the subtitles at once if

anything (like color, font, and font size) need to change.

STEP 1: Open the Essential Graphics Panel under

WINDOW > ESSENTIAL GRAPHICS.

STEP 2: With one or more subtitle clips selected in

the timeline, in the Edit tab, you can now adjust the
parameters of that graphic like the font, color, size, add
shading or a background box, etc (Image 1).

Remember that social media play/scrub bars cover the

bottom of the screen, so don’t place your subtitle too
close to the bottom of the frame.

STEP 3: If you want to push those style attributes to

the rest of the subtitles on the track, click the Arrow
Up button next to Track Style (Image 2) and select “All
Captions on Track” in the pop-up (Image 3). Image 1: Essential Graphics options for text.

If you want to adjust the settings again, you can select

just one subtitle clip, adjust what you need, and use the
Push Up button to apply it across the whole track again.

CREATE TRACK STYLE

You can also create a custom subtitle track style that

Image 2: Push Up button. Image 3: Push Style Window.
you can take with you across other sequences.

Instead of clicking the Push Up button like in Step 3

above, go to “Create Style” in the drop-down menu
under “Track Style” (Image 4) and give your new
subtitle style a name.

Now you can select any text in the whole project and use
Image 4: Create New Text Style.
that same drop-down menu to assign this track style to
your text.

Premiere also creates that preset as an item in your

Project window (bins). If you right-click and select
“Export Text Styles” you can save this file for future
use in other projects (Image 5).
Image 5: Save your Track Style to your computer.
 HOUR 2: BUILDING 28

Loop Playback of a Timeline Section

USE THE “LOOP PLAYBACK” FEATURE IF YOU WANT TO KEEP REPLAYING A SECTION OF YOUR VIDEO OVER AND
OVER AGAIN TO CHECK FOR THE FLOW OR TO AUDITION DIFFERENT TAKES (VIDEO LAYERS).

ENABLE THE LOOP BLACKBACK BUTTON

STEP 1
Go to the Button Editor “+” icon at the bot-
tom left of the Program Window (Image 1).

STEP 2
Image 1: Open Button Editor.
Drag the Loop Blackback Button into your
button bar (Image 2).

STEP 3
Enable the Loop Playback Button (it should
turn blue, Image 3). By default, this will loop
playback on the entire timeline.
Image 2: Add Loop Playback Button to the button bar.
SELECT A SECTION TO LOOP PLAYBACK

STEP 1
Put your playhead at the beginning of the
section you want to play back and press “I”
to set the In Point.

Image 3: Loop Playback Button enabled. STEP 2

Put your playhead at the end of the section
you want to play back and press “O” to set
the Out Point.

That section should turn a light gray in the

timeline (Image 4).
Image 4: Only this section will play when Loop Playback is enabled.

STEP 3
With the Loop Playback Button enabled,
press the SPACEBAR or the Play button in
the Program Window.

STEP 4
To clear the In and Out points, RIGHT CLICK
in the gray area next to the time indicator
Image 5: Clear In and Out Points. and select “Clear In and Out” (Image 5).
 HOUR 3: REFINEMENT 29

Lumetri Color Panel

This panel helps you adjust the colors of your clips. Once you change any value in the Lumetri Color Panel, the Lumteri Color
effect will be added to that clip. You can then copy/paste that effect from the Effect Controls window onto other clips.

BASIC CORRECTION

INPUT LUT
Choose from the pre-loaded LUTs of upload your own .cube file
to quickly add color to footage shot in log (flat profiles).
WHITE BALANCE
Adjust the temperature and tint of your image to make it warm-
er, cooler, or take away/add green.

You can use the eyedropper to pick an area of pure white in your
image and the white balance will be adjusted to reflect that.

TONE
Make basic changes to the image like increasing the brightness
(Exposure), making the colors more saturated (Saturation), or
making the blacks blacker and the whites whiter (Contrast).

AUTO SETTINGS
Click “Auto” to have the program adjust these basic settings for
you. You can always adjust later if needed.

CREATIVE
LOOK
Cycle through Lumetri Looks, which act like filters on the image.
You can change their intensity with the Intensity slider.

ADJUSTMENTS
Add haziness with the Faded Film slider, sharpen your clip, and
add vibrance and saturation.

SHADOW/HIGHLIGHT TINT
Add a tint to your highlights or shadows by dragging the middle
pointer around the color wheel.

TINT BALANCE
Adjust how much of the tint added should be given priority to the
shadows vs the highlights.
 HOUR 3: REFINEMENT 30

Lumetri Color
Panel Cont.
RGB CURVES
Place points along the curve to adjust the luma values of either
the entire clip or individual red, green, and blue channels.

HUE/SATURATION CURVES
Isolate a specific range of hues, luminances, or saturation values
to adjust. Select a range by placing three dots on the line. The
left and right dots indicate the boundaries of the range and the
middle dot is dragged up and down to change that value.

HUE VS SAT
Adjust the saturation of a specific hue range.
HUE VS HUE
Adjust the hue of a specific hue range.

HUE VS LUMA
Adjust the brightness (luma) of a specific hue range.

LUMA VS SAT
Adjust the saturation of a specific luminance range.
SAT VS SAT
Adjust the saturation of areas that are over or under-saturated.
 HOUR 3: REFINEMENT 31

Lumetri Color
Panel Cont.
COLOR WHEELS & MATCH
COLOR MATCH
This section can help you match the clip you are working on with
another clip in your sequence.

COMPARISON VIEW
Pull up this view to choose which part of your sequence
(reference) you want to match to.
FACE DETECTION
If there is a face in both the clip you are trying to correct and the
reference clip you are using, turn on the Face Detection setting
to more accurately match up the skin tones between both clips.

HSL SECONDARY
KEY
This section will let you isolate a specific color or color range
and change the hue, saturation, and luma values of just that
specific range of colors. You can use the eyedroppers on the clip
itself for a more accurate selection.

REFINE
Specify the selection accuracy by adding noise to the selection
or blurring the selection. This will help smooth over any hard
edges, allowing for a seamless transition.
CORRECTION
Add secondary “basic correction” to a selected color range.

VIGNETTE
Add or subtract a vignette, including how much you want to add,
where the midpoint is, and how round or feathered the vignette
should be. This can create emphasis for the middle subject in
your clip or get rid of wide-angle vignetting in some lenses.
 HOUR 3: REFINEMENT 32

Looks
WHERE: LUMETRI COLOR PANEL
& PROGRAM MONITOR

Image 1: Select a look from the drop-down menu. ADDING A LOOK

Under the “Creative” tab of the Lumetri Color Panel, click

the drop-down menu to open up the Looks Premiere comes
pre-instaleld with.

Selecting a look from the drop-down menu will apply it to your

clip, but you can also quickly preview the looks within the
Lumetri Color Panel by clicking on the right and left arrows
Image 2: Audition different looks by pressing the right and left arrows. next to the preview display (Image 2). Click on the preview
image to apply the look to your clip.

You can also change the intesity of the look by using the
intensity slider located directly underneath (Image 3).

If you want to import a Premiere look, just choose “Browse”

from the drop down menu and navigate to the .look file you
want to use.
Image 3: Change the intensity of the look being applied to your footage.

HERE ARE SOME EXAMPLES OF HOW DIFFERENT LOOKS APPEAR ON THE SAME CLIP:

FUJI F125 Kodak 2393 (by Adobe) SL BIG

CineSpace 2383sRGB6bit SL BLUE COLD

 HOUR 3: REFINEMENT 33

Add & Remove

Lumetri Color
WHERE: EFFECT CONTROLS PANEL
& TIMELINE
Image 1: Labeling a clip as Magenta.

ADDING LUMETRI COLOR TO LABEL GROUPS

Use label groups to help differentiate different cameras,

different angles, or anything that can help you organize
Image 2: Footage from two different angles is labeled differently. and differentiate your clips.

STEP 1: If the clip is already in your timeline, to add a

label, right click on the clip and select your color from the
Label options (Image 1).

To select multiple clips, hold down SHIFT + ALT (OPTION)

while clicking on multiple clips. In this example, I have
labeled all the woman’s footage magenta and all the man’s
Image 3: The Lumetri Color in the Effects Rack of Effect Controls Panel.
footage forest green (Image 2).

STEP 2: Once you have adjusted one clip in the Lumetri

Color Panel, those changes all go under the “Lumetri
Color” effect in the Effect Controls Panel (Image 3).
Copy the effect by selecting the words “Lumetri Color”
and pressing COMMAND (CTRL) + C.

Image 4: Selecting multiple clips with a marquee box. STEP 3: Right-click on the clip and go to LABEL > SELECT
LABEL GROUP to select all the other clips in that label
group. While holding down SHIFT, deselect the one clip you
already applied the Lumetri Color effect to. Press COMMAND
(CTRL) + V to apply the effect to every clip in that label group.

REMOVING LUMETRI COLOR FROM MULTIPLE CLIPS

Image 5: Remove Attributes option.
STEP 1: Draw a marquee box around multiple clips (Image
4), select all your clips with COMMAND (CTRL) + A, or select
a label group as described in Step 3 above.

STEP 2: Right-click, go to Remove Attributes (Image 5).

STEP 3: Uncheck all the boxes for the attributes you do

not want to remove. In this case, if you just want to remove
the color correction from the selected clips, leave only the
Lumetri Color effect selected (Image 6).

STEP 4: Click the “OK” button.

Image 6: Uncheck all the attributes except for Lumetri Color.
 HOUR 3: REFINEMENT 34

Lumetri Color via Adjustment Layer

WHERE: TIMELINE, EFFECT CONTROLS PANEL, AND PROJECT PANEL

Adjustment layers help you add effects to regions of the timeline as a whole. If you already know that everything you’ve
shot was with the same camera and at the same time of day, you can apply an adjustment layer across the entire
timeline. Adjustment layers only affect the tracks underneath them, not above them.

STEP 1
Click on the icon of the page with the upturned
corner on the bottom right of the Project Panel and
select “Adjustment Layer” (Image 1).

STEP 2 Image 1: Selecting multiple clips with a marquee box.

Make sure your new adjustment layer is set to the same dimensions and frame rate as your sequence. Press “OK.”

STEP 3
Drag the adjustment layer onto your timeline, above every track that you want the adjustment layer to affect. Here in
this example, there are already 5 tracks of video layers so the adjustment layer will go on the V6 track.

STEP 4
Extend the length of the adjustment layer across the top of all the footage you want it to adjust.

STEP 5
With the adjustment layer selected, move the sliders in the Lumetri Color Panel to add color correction. Or copy/paste
Lumetri Color (or any other effect) to the Effects Rack of the adjustment layer by using the method on Page 9.
 HOUR 3: REFINEMENT 35

Image 1: Many graphics are available in the Browse tab of the Essential Graphics panel.

Using Graphics Templates

The “Browse” tab of the Essential Graphics Panel lets you see
which graphics templates are stored locally on your computer as
well as which templates are available from Adobe Stock (Image 1).

To see the graphics from Adobe Stock, you need to be in the

Essential Graphics Panel’s “Browse” tab and click on the “Adobe
Stock” button. Here you can search for Free or Premium templates.

CUSTOMIZE A GRAPHIC

STEP 1
Image 2: Searching for a graphic from Adobe Stock.
In the search bar of the Browse Tab, enter what type of graphic you’re
looking for. Here, I’m looking for a free title graphic, so I type “title” and
check the “free” box (Image 2).

STEP 2
Drag the desired graphic onto your timeline.

STEP 3
Select your new graphic in the timeline and use the options in the “Edit”
tab of the Essential Graphics Panel (Image 3) to customize your graphic
to your needs.
Image 3: Edit controls of new graphic.
 HOUR 3: REFINEMENT 36

Essential Sound - Edit Dialogue

LOUDNESS
By selecting “Auto Match,” the clip each clip is adjusted to match
common broadcast loudness requirements

REPAIR
REDUCE NOISE
Get rid of unwanted noises in the background, like microphone
noise or wind.
REDUCE RUMBLE
Reduce low-frequency noise in the 80-Hz range.

DEHUM
Hum is noise that consists of a single frequency. Electrical cables
that are too close to audio cables can cause this noise. 50-Hz hum
is common in Europe, Asia, and Africa. 60-Hz hum is common in
North and South America.
DEESS
Reduce high-frequency “s” sounds like those created by saying
words with s-sounds that are close to the microphone.
REDUCE REVERB
Remove the room reverb when recording in echo-y rooms.
CLARITY
DYNAMICS
Compress or expand the dynamic range of the recording.

EQ
Reduce or boost select frequencies. You can choose common ones
from the drop-down menu, including Old Radio and Podcast Voice.

ENHANCE SPEECH
Emphasizes certain frequencies and compresses the voice to give
a more polished sound.

CREATIVE: REVERB
You can add reverb to make it sound like your audio was recorded
in different types of rooms, like a church or auditorium.

CLIP VOLUME
Change the volume of the entire clip or mute it. For other ways to
change clip volume, see Page 7.
 HOUR 3: REFINEMENT 37

Find Stock Music

Adobe has partnered with several sound libraries to
bring stock music options to Premiere Pro! Here’s how
to find what you’re looking for.

STEP 1: Open the Essential Sound panel by selecting

“Essential Sound” from the Window menu.

STEP 2: Go to the Browse Tab. Here you can search

by Mood, Genre, Tempo in Beats Per Minute (BPM),
Duration (how long the track is), Vocals vs Instrumental,
and choose which sound libraries you want to search.

STEP 3: Put your playhead (blue line) where you’d

like the track to start on your sequence. Make sure
“Timeline Sync” at the bottom of the Essential Sound Image 1: Browse Tab and Essential Sound Browse options.
panel is checked off (Image 2). Now you can audition
how each track sounds like in your sequence by pressing
the little Play Button to the left of each track name.

STEP 4: Once you find the track you like, drag it

directly onto the Audio Tracks in your timeline. This will
create a new Bin called “Stock Audio Media.” Before
you’re done with your project, make sure you license the
track by selecting the shopping cart icon (Image 3) next Image 2: Timeline sync toggle in the Essential Sound Browse tab.
ot the track name.

Remix Audio
Remix is an AI tool that lets you shorten or lengthen any
audio clip, without changing the speed. It simply adds
or takes away sections of the audio clip, seamlessly
creating a new clip of the desired length.

To use, click and hold on the third tool icon in the Tool
Bar. This will bring up the drop-down option to select the
Image 4: Remix Tool.
Remix Tool (Image 4). Image 3: license from Adobe Stock.

With the Remix Tool enabled, hover over the end of an

audio clip and drag it left or right, to your desired length.

After a few seconds, you’ll see invisible cuts where the

audio sections have been joined together, indicated by
squiggly lines (Image 5). If you cannot see those clearly,
expand the size of the audio track by clicking in the area
between audio tracks and dragging down (Image 6).
Image 5: Invisible cut. Image 6: Expand Audio Track.
 HOUR 3: REFINEMENT 38

Change Clip Volume - 7 Ways

1: AUDIO GAIN
Right click on the selected audio clip(s) and select Audio Gain. Type in the gain adjustment
you want to apply.

2: EFFECT CONTROLS PANEL

Select the audio clip and go to the Effect Controls Panel. In AUDIO > VOLUME > LEVEL,
disable the stopwatch icon (turns blue to gray) and drag the decibel number left or right
Image 1: Disable stopwatch icon and (or type it in) to change it (Image 1). You can copy/paste the volume effect to other clips.
change the level in Effect Controls.

3: EXPAND AUDIO TRACK

When you expand the view of your audio track in your
timeline by making the track size taller (Image 2a), you
will see a white line appear in the middle of all the audio
clips on that track (Image 2b). You can drag that white line Image 2a: Hover over the edge of the Image 2b: Drag the white volume line up
up and down, increasing and decreasing the volume. track to expand it. or down to change the volume.

COMMAND (CTRL) + clicking on the white line will create

a keyframe. If you create at least 2 keyframes, you can
now change the volume of a section of a clip by dragging
portions of the white line up or down (Image 2c).
Image 2c: The second half of the audio clip has been lowered by 16.6 dBs.
4: SHORTCUT
Select an audio clip you want ot adjust and press “]”
to increase the volume by 1 dB (decibel) or press “[” to
decrease the volume by 1 dB.

5: MASTER VOLUME TRACK Image 3: Expanding the master track to reveal the volume line.
To change the volume across your entire timeline, expand
the master volume track on the bottom of your Sequence
Panel (Image 3).

Then drag the white line up or down, just like in #3 above.

Image 4: Volume adjustment in the Essential Sound Panel.

6: ESSENTIAL SOUND PANEL

Open the Essential Sound Panel, select the clip(s) you want to adjust and assign them as
dialogue, music, SFX, or ambience. Go to the bottom of the Essential Sound Panel and use
the volume slider to adjust the volume (Image 4).

This method uses the Hard Limiter effect, so will not allow the audio to clip (go into the red).
7: AUDIO TRACK MIXER
Go to WINDOW > AUDIO TRACK MIXER and control the levels of each track in your
timeline by sliding the Volume controller up and down on the left side of each track level
Image 5: Control volume levels of each (Image 5).
track in the Audio Track Mixer.
 HOUR 3: REFINEMENT 39

Auto-Ducking Music Under Dialogue

WHERE: ESSENTIAL SOUND PANEL
AND TIMELINE

WHAT: AUTO-FADE MUSIC

STEP 1
Go to WINDOW > ESSENTIAL SOUND and the Essential Image 1: Select just the dialogue audio by holding OPT (ALT) and dragging.
Sound Panel should appear on the right of your screen.

STEP 2
Select all of your “talking” audio (blue clips on track A1) by
dragging a slection box around them. It’s ok if any linked
video clips are selected too, but if you want to temporarily
unlink them, hold down OPTION (ALT on PC) while dragging
Image 2a: Tagging as Dialogue. Image 2b: Tagging as Music.
(Image 1). In this example, we are going to make the music
(green clip on track A2) louder, only during the intro (purple
clip on track V2) and outtro (red clip on track V2).

STEP 3
With all your “talking” clips still selected (Image 1), CLICK
the “Dialogue” button in the Essential Sound Panel (Image
2a) to tag these “talking” audio clips as “Dialogue.” Image 3: With the Ducking option checked, select the Dialogue icon.

STEP 4
Select your music clip (green clip on track A2) and tag it as
“Music” in the Essential Sound Panel (Image 2b).

STEP 5 Image 4: After setting your sliders, select “Generate Keyframes.”

With the music still selected, CLICK the checkmark for

“Ducking” in the Essential Sound Panel and CLICK the blue
speech bubble icon to “Duck Against Dialogue Clips”
(Image 3). This means you will be using the clips you tagged
as “Dialogue” as reference for the music ducking.

STEP 6 Image 5: Where there was no dialogue, the volume of the music increased.
Use the sliders to choose how sensitive you want the ducking
to be, how intense you want each fade to be, and how
quickly you want the fades to occur. CLICK the “Generate
Keyframes” button (Image 4) to activate ducking. Now
the white volume line in the middle of the audio track has
keyframes applied (Image 5). If you want the ducking to be
more severe (Image 6a) or the fades to be faster (Image 6b),
adjust the sliders and RE-CLICK “Generate Keyframes.” Image 6a: Higher duck amount. Image 6b: Higher fade speed.
 HOUR 2: BUILDING 40

Duplicate Sequence for Versioning

VERSIONING YOUR SEQUENCES IS LIKE SAVING YOUR WORK. EVERY TIME YOU GET NEW FEEDBACK FROM A
CLIENT OR WANT TO SAVE YOUR VIDEO IN ITS CURRENT STATE BEFORE MAKING CHANGES, CREATE A VERSION.

STEP 1
Find your sequence. Right-click its name in at the top of the timeline and select “Reveal Sequence in Project” (Image 1).
STEP 2
Duplicate the sequence by selecting it in the Project Window, right clicking and selecting “Duplicate.” You can now click on
the name of the duplicate and rename it to something different (rather than keeping the default suffix “Copy 01”). Double-click
to open the new sequence in your timeline.

If you are creating a duplicate in order to make a version with a different frame size (like a vertical version for Instagram), go to
SEQUENCE > SEQUENCE SETTINGS at the top of the program and change the dimensions of the sequence (Image 2).

Image 1: Reveal Sequence in Project. Image 2: Changing the dimensions of the new sequence.

Auto-Reframe Sequence
STEP 1
After following Step 1 above, instead of right-clicking and selecting “Duplicate,” select “Auto Reframe Sequence”
STEP 2
In the pop-up box, you can choose your new sequence dimensions and give it a new name (Image 3). You can also help the AI out
by letting it know whether the sequence has fast or slow-moving subjects. Press “Create” when done.
Sometimes you need to customize or override the reframing. You can do so in the Effect Controls Window. Toggling the “fx”
button next to “Auto Reframe” (Image 4) will turn it off and you can use your standard Motion controls above to manually
reframe. You can also use the controls in the Auto Reframe effect to adjust the position or offset of the reframing.

Image 3: Auto Reframe Sequence settings. Image 4: Toggle Auto Reframe on/off.
 HOUR 3: REFINEMENT 41

Rendering
RENDERING WILL HELP YOU SMOOTH OUT YOUR
VIDEO PLAYBACK AND SPEED UP YOUR EXPORT.
To see which areas need to be rendered, look at the
colored line indicator right underneath the time display
on the timeline. If there are areas of yellow or red, those
may need to be rendered for faster playback (Image 1).
Image 1: The region in the yellow oval needs rendering.
STEP 1: Select the area you want to render by setting
in and out points. Place your playhead at the beginning
of the area and press “I” on your keyboard.

Then place your playhead at the end of the area you

want to render and press “O” on your keyboard. The area
should be highlighted in light gray (Image 2).

STEP 2: Go to SEQUENCE > RENDER IN TO OUT.

Image 2: The region has been selected with In/Out Points.
This will render the gray-highlighted region from left to
right, turning the top line green (Image 3). If you want
to pause, click “Cancel” and save your project., so the
render of the clips you’ve done so far will be saved.

As you are rendering, you will also see how much time
you have left on your render and the percentage it is
finished (Image 3).

Image 3: The region is rendering from the left to the right.

Exporting
STEP 1: Go to the Export Workflow by clicking EXPORT
at the top left of the screen (Image 4).

STEP 2: Click next to “File Name” to change the name

of the file and the Location on your drive where you want
this to be saved.

Image 4: Open the Export Workflow

Workflow.
I recommend saving YouTube videos with an H.264
format and Preset of “Match Source - Adaptive
High Bitrate.” If you want your captions to be visible
on your video, make sure you enable Captions (Image
5) and if you only want to export the section you have
indicated using In/Out points (Step 1 on this page),
select “Source In/Out” in “Range” (Image 6).

STEP 3: Clicking “Export” will export your video, but

if you want to continue workign on something else inside
Premiere Pro in the meantime, click “Queue” instead,
and Premiere Pro will send your project to Adobe Media
Image 5: Enable Burned-in Captions. Image 6: Select the Export range.
Encoder for Exporting.
Thank You!
Thank you for taking my course. I hope that you are now more prepared
to start editing with confidence! If you have any issues or questions
about Creative Cloud programs, you can contact Adobe Care on Twitter
at @AdobeCare.

If you’d like to keep in touch with me, I’m @valentinavee on Twitter and
@valentina.vee on Instagram.

-Valentina