HOUR 2: BUILDING 19

Sync 1 Video Clip with 1 Audio Clip

WHERE: TIMELINE & PROJECT PANEL

When synching 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

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 2: BUILDING 20

Sync Multiple Video Clips to Audio

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 synched
camera angles on different tracks. These should all have together (Image 2). You can mute or disable the audio
scratch audio tracks attached to them. Also put your from the 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 synched up, tracks A1, A2, and A3 are muted
 HOUR 2: BUILDING 21

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 splicing
CUT AT PLAYHEAD: CMD+K (CTRL+K ON PC) 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 mouse cursor,
TRACK SELECT BACK: SHFT+A while “SHIFT+A” selects everything to the left of your cursor.
 HOUR 2: BUILDING 22

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 grey 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 grey area next to the time indicator
Image 5: Clear In and Out Points and select “Clear In and Out” (Image 5).
 HOUR 3: REFINEMENT 23

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
These are the basic control you’ll see with most of Adobe’s other
softwares. Make exposure changes to select parts of the image,
like lowering the highlights or increasing the shadows.

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 24

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-staurated.
 HOUR 3: REFINEMENT 25

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
Decreate noise or blur.
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 26

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 27

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 28

Coloring 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 29

Create a Subtitle
WHERE: TIMELINE &
ESSENTIAL GRAPHICS PANEL

This is my favorite way to create subtitles in Premiere

Pro because they go directly into your timeline. You
can line up the cuts with your edit points, and 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: Put your playhead where you want your first Image 1: Type Tool Image 2: Typing in Program Monitor
subtitle to begin. Select the Type Tool or press “T” on
your keyboard (Image 1).

STEP 2: Click into the image on the Program Monitor

and type out your first subtitle (Image 2). Don’t worry if
it’s the wrong font and location.

STEP 3: Click into the image on the Program Monitor

Image 3: New subtitle in the timeline.
and start typing your first subtitle. Don’t worry if it’s the
wrong font and location. Just type out the text first. You
should see your new subtitle in the timeline (Image 3).

STEP 4: Go to the Graphics workspace (Image 4)

or open the Essential Graphics Panel in WINDOW >
ESSENTIAL GRAPHICS.

STEP 5: With your subtitle selected in the timeline, Image 4: Effects Workspace
find it in the layers stack of the “Edit” tab of the Essential
Graphics panel and click on it (Image 5) to open up the
options for that graphic.

STEP 6: Make sure the subtitle is center-aligned

(Image 6) and centered on the screen (Image 7). Now you
can use the other transform controls to place it where
you want, change the font, color, size, add shading or a Image 5: Your new subtitle as it appears in the Essential Graphics Panel
background box, etc.

Remember that the YouTube play/scrub bar covers the

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

ONCE YOU ARE SATISFIED WITH THE LOOK OF

YOUR SUBTITLE, YOU CAN SAVE IT BY CREATING
A MASTER TEXT STYLE (NEXT PAGE). Image 6: Center-align button Image 7: Horizontal Center button
 HOUR 3: REFINEMENT 30

Creating Master
Text Style
WHERE: ESSENTIAL GRAPHICS PANEL

CREATING A MASTER TEXT STYLE MUST BE DONE

Image 1: Master Styles drop-down menu ON THE FIRST SUBTITLE YOU MAKE, SO THE REST
OF THE SUBTITLES RETAIN THE SAME STYLE.

CONTINUED FROM PAGE 3:

STEP 7: With your subtitle open in the “Edit” tab of

the Essential Graphics Panel (page 3), navigate to the
Master Styles drop-down menu and select “Create
Master Text Style” (Image 1).

Image 2: Re-naming the Master Text Style STEP 8: Give your Master Text Style a name (Image 2).
I usually go with something descriptive about the font
and what the text will be used for.

STEP 9: Duplicate the subtitle clip in your timeline

by holding it down while pressing ALT (OPTION) and
dragging it to a new location. Write a new subtitle in the
duplicated clip (Image 3).

Alternatively, you can extend the subtitle across

Image 3: Duplicating a clip multiple clips and use the Razor tool (C) or the Create
Edit shortcut CMD (CTRL) + K to cut the subtitle.

Updating Master
Text Style
If you want to change the style of your text but you don’t
Image 4: Modified Master Text Style name want to go into every subtitle and change it one-by-one,
updating the master text style will save you time.

Simply change the text style of just one of your subtitles

(update the color, font, size, scale, etc). The name of
your Master Text Style should have [Modified] added to
it (Image 4).

Click the up arrow to the right of the Master Styles

drop-down menu (Image 5) to update all the text that
Image 5: Arrow to update Master Text Style.
uses that master style.
 HOUR 3: REFINEMENT 31

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 32

Essential Sound
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 33

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. Under AUDIO > VOLUME > LEVEL,
disable the stopwatch icon (turns blue to grey) 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).
Image 5: Control volume levels of each
track in the Audio Track Mixer
 HOUR 3: REFINEMENT 34

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 tells the program 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 3: REFINEMENT 35

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 grey (Image 2).

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

Image 2: The region has been selected with In/Out Points.
will render the grey-highlighted region from left to right,
turning the top line green (Image 3). If you want to pause
at any point, 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 FILE > EXPORT > MEDIA or press CMD
+ M (CTRL + M on PC) in order to pull up the Export
Settings Window.

STEP 2: This is where you can adjust your export

settings like file type and bitrate. I recommend just
sticking to the basic “YouTube 1080” setting for now -
this will give you the quality and settings that Premiere
Pro recommends having for YouTube videos.

You can also click on the name of the file next to “Output
Name” to change the name of the file and the destination
of where it will be located on your drive.

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

Image 5: Arrow to update Master Text Style.
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
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