Advanced Project Management

[00:00:00] took so long today is because I was also

[00:00:00] painting and trimming the next project,

[00:00:00] which is the ceiling balance that I'm

[00:00:00] going to put all over the room to you

[00:00:00] can kind of get it to hide these tracks.

[00:00:00] So, you see the effect of the lights,

[00:00:00] but you don't see the lights themselves.

[00:00:00] Okay, let's get started with our second

[00:00:00] video. But now you have a choice. You

[00:00:00] can either continue on with this

[00:00:00] Premiere Pro project and edit two videos

[00:00:00] inside of it. You can actually edit as

[00:00:00] many videos as you want inside of a

[00:00:00] project because you just create new

[00:00:00] sequences every time. Or you can open a

[00:00:00] new project and start from scratch. The

[00:00:00] advantage to doing a new project is that

[00:00:00] all of your clips for both videos don't

[00:00:00] weigh your project down. Sometimes when

[00:00:00] you're working with hundreds of 4K

[00:00:00] clips, having a really large project

[00:00:00] slows your computer down. In this case,

[00:00:00] let's just keep working on this same

[00:00:00] Premiere Pro project, and I'll show you

[00:00:00] how to organize your clips so that you

[00:00:00] don't get lost. First, let's close all

[00:00:00] the sequences that are related to the

[00:00:00] previous video.

[00:00:00] Then, let's do a little bit more

[00:00:00] organization of the footage. Here in the

[00:00:00] footage bin, while I have it selected,

[00:00:00] I'm going to select new bin. And inside

[00:00:00] of there, I'm going to write 01

[00:00:00] lights. Then I'm going to take all of

[00:00:00] the lights clips. So the first one, hold

[00:00:00] down shift, select the last one, and I'm

[00:00:00] going to put them in this sub bin. There

[00:00:00] we go. Then I'm going to go back, select

[00:00:00] the footage bin again, new bin, O2

[00:00:00] molding, and I'm going to put all of my

[00:00:00] molding clips again. Select, hold down

[00:00:00] shift, select the last one, put it in.

[00:00:00] So now my footage bin has two sub bins

[00:00:00] in it for my two different projects that

[00:00:00] I'm doing. The same thing here for

[00:00:00] sequences. I'm going to create a sub

[00:00:00] bin, 01 lights, and the sequences that I

[00:00:00] had for lights, I'm going to drop in

[00:00:00] there. I might even want to rename them

[00:00:00] to

[00:00:00] specify what they are. Lights string

[00:00:00] out.

[00:00:00] I hope you can understand the importance

[00:00:00] of labeling everything because you can

[00:00:00] get lost pretty quickly. I'm going to

[00:00:00] select the sequences bin again. I'm

[00:00:00] going to write alt to molding. And

[00:00:00] that's our molding project. Now, let's

[00:00:00] make a new sequence in the molding bin.

[00:00:00] So, we'll go to new item, sequence, and

[00:00:00] keep the first thing selected here, HD

[00:00:00] 1080p 23.976.

[00:00:00] Same as before, and we'll give it the

[00:00:00] sequence name 01

[00:00:00] interview string out.

[00:00:00] This will be our interview footage. And

[00:00:00] then we will create yet another

[00:00:00] sequence. And this is going to be called

[00:00:00] 02

[00:00:00] B-roll string out.

[00:00:00] So now we have one of our sequences that

[00:00:00] has the interview footage in it and one

[00:00:00] of the sequences that has the B-roll. In

[00:00:00] order to see what the interview footage

[00:00:00] is, we'll go over here to footage

[00:00:00] molding and let's take a look at the

[00:00:00] thumbnails.

[00:00:00] Okay, looks like a lot of B-roll.

[00:00:00] and wait till we get to the interview.

[00:00:00] Aha. So, here are the interview clips.

[00:00:00] We have AAM interview clips and bcam

[00:00:00] interview clips.

[00:00:00] And I believe they're different colors

[00:00:00] as well. So, if we go over here to list

[00:00:00] view, we'll be able to see that the Bcam

[00:00:00] clips are this magenta color and the A

[00:00:00] cam clips are this light blue color.

[00:00:00] There's also this clip right here, 48.

[00:00:00] Let's double click to pull it up. This

[00:00:00] is B-roll, so we know that that's not

[00:00:00] one of our interview clips. So, this is

[00:00:00] what we're working with. 46, 47, and

[00:00:00] then one and two from Bcam. Which is

[00:00:00] which, which matches with which? Well,

[00:00:00] there's a couple of ways you can see,

[00:00:00] especially if you have a lot of clips to

[00:00:00] match. Right now, we have the frame rate

[00:00:00] column and the video info column. We

[00:00:00] also have media start and media end,

[00:00:00] which aren't that useful, but media

[00:00:00] duration sure is. So, instead of having

[00:00:00] to scroll over, I'm just going to move

[00:00:00] that media duration column right next to

[00:00:00] us so we can see all that information.

[00:00:00] Now, we can see here for this first A

[00:00:00] cam clip, it is 14 minutes long. And

[00:00:00] this first B cam clip is also 14 minutes

[00:00:00] long. So, those they match together. And

[00:00:00] then we have our second A cam clip. It's

[00:00:00] 8 minutes and 46 seconds long. And our

[00:00:00] second Bcam clip is 8 minutes and 52

[00:00:00] seconds long. So even though they're not

[00:00:00] obviously perfectly aligned cuz I had to

[00:00:00] press record on one camera, then press

[00:00:00] record on the other camera. At the very

[00:00:00] least, you can sort of get an idea for

[00:00:00] which clips match with which and which

[00:00:00] sound clips match with them as well. So

[00:00:00] if we go back one or two different

[00:00:00] levels here under audio, if we open this

[00:00:00] audio bin, we can see that one of these

[00:00:00] is 16 minutes and the other one is much

[00:00:00] shorter, almost 9 minutes. So that also

[00:00:00] clues us in to which audio file matches

[00:00:00] with which video files. And if we wanted

[00:00:00] to do this manually, here's how we would

[00:00:00] do it. We would go to where we know our

[00:00:00] two clips are from our A cam, our two

[00:00:00] clips from Bcam and our two clips from

[00:00:00] audio. And we would just drag them into

[00:00:00] the timeline. So I'm going to select

[00:00:00] both of those A cam clips, drag them in.

[00:00:00] Then I'm going to select both of those

[00:00:00] Bcam clips, drag them in, and then both

[00:00:00] of the audio clips, and I'm holding down

[00:00:00] command as I click on them to select

[00:00:00] multiple and drag them in. So you can

[00:00:00] see here's the long clip, here's the

[00:00:00] short clip, long clip, short clip, long

[00:00:00] clip, short clip. And then if I were to

[00:00:00] do this manually, I would use the

[00:00:00] waveforms to line them up to sync them.

[00:00:00] So I would draw a box over these at the

[00:00:00] end here, move them off a little bit,

[00:00:00] then go back here to the beginning. And

[00:00:00] there usually is some sort of visual

[00:00:00] cue. It can be a slate clap or you can

[00:00:00] clap with your hands to show you exactly

[00:00:00] where that cut point is. So, for

[00:00:00] example, here we have our

[00:00:00] B angle on top of our A angle, right?

[00:00:00] So, we're only seeing Bcam clip. And

[00:00:00] therefore, I'm going to solo just the

[00:00:00] Bcam audio so we can hear where that

[00:00:00] clap happens. Let's play. Um,

[00:00:00] this is the video about the crown

[00:00:00] molding. Take one. So, that's where my

[00:00:00] click was, right? So, I can both see it

[00:00:00] visually because you can see my hands

[00:00:00] coming together and I can see it

[00:00:00] visually here on the waveform. So, I'm

[00:00:00] going to zoom way in and you can see

[00:00:00] this is where my little clap happens.

[00:00:00] I'm going to put my play head where on

[00:00:00] this magenta clip the clap happens. And

[00:00:00] then I'm going to press the M button.

[00:00:00] The M button is going to insert a marker

[00:00:00] right there. That way I know that this

[00:00:00] is the clap, not this and not something

[00:00:00] else, but that is the clap. The same

[00:00:00] thing. Now I'm going to go to the other

[00:00:00] clip and I'm going to see where that

[00:00:00] clap happens. So, I'm going to unsolo

[00:00:00] that track. And I'm going to hide by

[00:00:00] using this little eye icon the top track

[00:00:00] so I can see what's underneath. And I'm

[00:00:00] going to solo that one that's blue.

[00:00:00] And go back to the beginning and watch

[00:00:00] for the clap.

[00:00:00] Take um

[00:00:00] this is the video about the crown

[00:00:00] molding. Take one. So, this right here

[00:00:00] is the clap. I'll do the same thing.

[00:00:00] I'll put my play head right where the

[00:00:00] clap is. And then I will put M for my

[00:00:00] marker. Now, I know that this marker

[00:00:00] here and this marker here have to line

[00:00:00] up. So, I'll just move over by holding

[00:00:00] and dragging my bottom clip to match

[00:00:00] with my top clip. And because I've got

[00:00:00] snapping enabled over here, it'll just

[00:00:00] snap to that marker. Now, for this

[00:00:00] bottom audio only, I don't have a visual

[00:00:00] clap that I can see where my hands come

[00:00:00] together. So, I'll need to listen for

[00:00:00] it. Let me unsolo that and then solo

[00:00:00] that last one. And then I'm going to

[00:00:00] hide both just so I'm not distracted by

[00:00:00] it. Now, let's play through that audio.

[00:00:00] Um,

[00:00:00] this is the video about the crown

[00:00:00] molding, take one. So, that's where the

[00:00:00] clap happens right there. I can use the

[00:00:00] left and right button to kind of jump to

[00:00:00] where I need to go, but you can see it's

[00:00:00] actually either jumping before the clap

[00:00:00] or after the clap. Why is that

[00:00:00] happening? Because

[00:00:00] Premiere Pro works in frames, right?

[00:00:00] Each of these is a frame. 1 2 3 4. So,

[00:00:00] if I want to get even more granular in

[00:00:00] between the frames, I can rightclick

[00:00:00] here, show audio time units, deselect

[00:00:00] the snapping, and now I can bring my

[00:00:00] play head even closer and put the marker

[00:00:00] right there. M for marker, and then turn

[00:00:00] the snapping back on,

[00:00:00] deselect, show audio time units. So, now

[00:00:00] I'm back in frame mode. So, basically, I

[00:00:00] want to get rid of everything before the

[00:00:00] clap, or at least I want to line up the

[00:00:00] claps, right? So, I'm just going to

[00:00:00] shorten this bottom clip. Bring it over

[00:00:00] until you can see it snaps.

[00:00:00] So, now

[00:00:00] all I'm going to do is solo that third

[00:00:00] track and it should line up with the top

[00:00:00] two. So, let's try with a cam. showed

[00:00:00] you how I did the track lighting in the

[00:00:00] ceiling and then let's look at Bcam. But

[00:00:00] as much as I love light strips, I don't

[00:00:00] love looking at them. Why do we do it

[00:00:00] like this? Well, because the audio that

[00:00:00] your camera records is never going to be

[00:00:00] as good as the audio that an external

[00:00:00] mic records. So, when I was doing this

[00:00:00] interview setup, I had a lavalier mic

[00:00:00] right here. So, that was picking up the

[00:00:00] clearest audio and much better than a

[00:00:00] camera that's far away. A lot of times

[00:00:00] when you're recording external audio,

[00:00:00] you have to use an external audio

[00:00:00] recorder, which is why you have to do

[00:00:00] this synchronization process, but it

[00:00:00] actually takes a long time. You know, we

[00:00:00] just did it manually just to learn, but

[00:00:00] it took a while. So, instead of doing

[00:00:00] that here with the second group of

[00:00:00] clips, I can just select all of them,

[00:00:00] rightclick, and go to synchronize. It's

[00:00:00] going to ask, okay, what do I want to

[00:00:00] synchronize? I want to synchronize the

[00:00:00] audio track channel. And I'm going to

[00:00:00] say, okay,

[00:00:00] it's put them in sync for me. And let's

[00:00:00] just double check that.

[00:00:00] So, on this wood wall that I installed,

[00:00:00] but I don't want to. Now, this select,

[00:00:00] rightclick, and synchronize technique is

[00:00:00] great, but we already knew that this

[00:00:00] video clip goes with this video clip

[00:00:00] goes with this audio clip because we

[00:00:00] looked at the durations, right? But what

[00:00:00] if you have literally hundreds of them

[00:00:00] and you don't know which clip goes with

[00:00:00] which? Maybe all of them are 4 minutes

[00:00:00] long and you have no idea. How do you

[00:00:00] then synchronize and autosynchronize all

[00:00:00] those clips? Let's see. So, I'm going to

[00:00:00] select everything here and delete it and

[00:00:00] do it an even better way. So, I'm just

[00:00:00] going to select all of the clips that I

[00:00:00] need to synchronize. So, while holding

[00:00:00] down command, I'm going to select the

[00:00:00] first two clips from A, the clips from

[00:00:00] B, and the audio. With all six of those

[00:00:00] selected, I'm going to rightclick and go

[00:00:00] to create multi- camera source sequence.

[00:00:00] This will create little mini sequences

[00:00:00] that are all synced for me. And this is

[00:00:00] great if you have a lot of clips. So for

[00:00:00] the name, I'm going to say custom and

[00:00:00] I'm going to say molding interview.

[00:00:00] For the synchronize point, I'm going to

[00:00:00] do the same thing as I did before. So

[00:00:00] the audio track channel mixdown just

[00:00:00] like I did before. Here for the options,

[00:00:00] this is something to note. So, if you

[00:00:00] select move source clips to processed

[00:00:00] clips bin, that means that all of the

[00:00:00] clips that Premiere Pro does find to be

[00:00:00] a match, it will put in its own bin. I'm

[00:00:00] going to deselect it because I already

[00:00:00] like the organization that I have in

[00:00:00] this project. And then I'm going to make

[00:00:00] sure that enumerate cameras is on.

[00:00:00] Meaning that for camera one, I can just

[00:00:00] go to camera one by selecting the number

[00:00:00] one. For camera two, I can just go to

[00:00:00] camera two by selecting the number two

[00:00:00] on my keyboard. And I'm going to press

[00:00:00] okay. Imagine this happening for

[00:00:00] hundreds of clips.

[00:00:00] So here at the bottom, it's actually

[00:00:00] created the multi- camera source

[00:00:00] sequences and they're not organized,

[00:00:00] right? They're just at the bottom. So,

[00:00:00] what I want to do is I want to move them

[00:00:00] into my sequences bin that I've made for

[00:00:00] molding. So, I'm going to select both of

[00:00:00] them and move them into the sequences

[00:00:00] bin. So, a regular sequence icon looks

[00:00:00] like this where you know it almost looks

[00:00:00] like the tracks aren't perfectly in

[00:00:00] sync. But when you create a multi-

[00:00:00] camera source sequence, it looks like

[00:00:00] this where you know it's telling you all

[00:00:00] the tracks are in sync. So, the regular

[00:00:00] sequence and the multi- camera source

[00:00:00] sequence are different and act

[00:00:00] differently. But first, let's just uh

[00:00:00] clean up a little bit and rename them.

[00:00:00] So, I'm going to say take one. And then

[00:00:00] for this one, I'm going to say take two.

[00:00:00] And then in order to see all of those

[00:00:00] words, I'm going to just make that

[00:00:00] column a little bit thicker. If I go

[00:00:00] ahead and drag this molding interview

[00:00:00] take one directly into my timeline,

[00:00:00] it will look like this. And you're

[00:00:00] probably wondering where are the takes?

[00:00:00] Why is it just one row? Well, because we

[00:00:00] selected enumerate cameras, I can

[00:00:00] actually toggle between camera one and

[00:00:00] two like so.

[00:00:00] And I can see the different angles. One,

[00:00:00] two, one, two, one, two. It created

[00:00:00] essentially a Russian nesting doll

[00:00:00] effect. So this is a sequence now within

[00:00:00] a sequence. And if I want to take a look

[00:00:00] at what's inside of here, I go ahead and

[00:00:00] hold down alt to select just the audio

[00:00:00] and double click. You can see it opened

[00:00:00] that sequence here. And all of that info

[00:00:00] is here. You're also probably wondering

[00:00:00] why does it look like this? Well, it

[00:00:00] looks like that because if we go to the

[00:00:00] video info column under Bcam, my B

[00:00:00] camera clips were shot in HD 1920x 1080.

[00:00:00] However, my A camera clips were shot in

[00:00:00] 4K 3840 by 2160. So, they are different

[00:00:00] sizes. The A cam is four times the size

[00:00:00] of the Bcam. And so when Premiere was

[00:00:00] making the multi- camera source

[00:00:00] sequences, it made them based on the

[00:00:00] larger size of the clip. So it made

[00:00:00] those multi- camera source sequences

[00:00:00] 3840x

[00:00:00] 2160

[00:00:00] instead of 1920x 1080, which is what we

[00:00:00] want our sequence to be. Now, let me go

[00:00:00] back to the main sequence. That's why

[00:00:00] when you actually click on this multi-

[00:00:00] camera source sequence inside of our

[00:00:00] main sequence and you go to effect

[00:00:00] controls, you'll see that it has been

[00:00:00] scaled to 50%.

[00:00:00] Because the main sequence is 1080, the

[00:00:00] source sequence is 4K, so it has to be

[00:00:00] scaled down in order for the entire

[00:00:00] frame to be filled. This technique is

[00:00:00] great if you have not just two cameras,

[00:00:00] but a lot of cameras because you can

[00:00:00] actually see what both cameras are at

[00:00:00] the same time. If you go over here to

[00:00:00] toggle multi- camera view, and if you

[00:00:00] don't have the toggle multi- camera view

[00:00:00] button, you're just going to have to go

[00:00:00] to the button editor with the plus, open

[00:00:00] it up, and then drag the icon for toggle

[00:00:00] multi- camera view into your buttons.

[00:00:00] here.

[00:00:00] You're going to press that

[00:00:00] and all of a sudden you can see both

[00:00:00] cameras at the same time. You can toggle

[00:00:00] between them by pressing one and two on

[00:00:00] your keyboard,

[00:00:00] just like that. You can also use those

[00:00:00] one and two keys on your keyboard to

[00:00:00] actually create cuts as you're playing

[00:00:00] through. For that, you're going to need

[00:00:00] to have another button. This red button.

[00:00:00] The red button is the multi- camera

[00:00:00] record onoff toggle. And again, if it's

[00:00:00] not there, go to the button editor and

[00:00:00] drag the red button down into your

[00:00:00] button editor. Once that is enabled and

[00:00:00] you hit play, you keep your fingers on

[00:00:00] the one and two keys. And as this plays

[00:00:00] through, the one and two keys will

[00:00:00] actually create cuts for you. Let's play

[00:00:00] it. Y project having to do with the

[00:00:00] ceiling and I want to go through it.

[00:00:00] >> True.

[00:00:00] >> In my last video that was more of a

[00:00:00] vlog, I showed you how I did the track

[00:00:00] lighting in the ceiling.

[00:00:00] >> But as much as I love light strips, I

[00:00:00] don't love looking at them. I like the

[00:00:00] effect they make. You can see here on

[00:00:00] the curtains it. So, now that I've done

[00:00:00] the one, two, one, two, you can see that

[00:00:00] it has created cuts here on the video

[00:00:00] layer. and they toggle back and forth.

[00:00:00] Let me turn the multi- camera view off

[00:00:00] so you can see.

[00:00:00] So then I can, for example, go to the

[00:00:00] Bcam clips and scale them up. Right now

[00:00:00] 50%, you can do it either in the effect

[00:00:00] controls panel here under scale or in

[00:00:00] the properties panel under scale. You'll

[00:00:00] see the number is the same. I can take

[00:00:00] that to 100.

[00:00:00] Or I can select both Bcam clips by

[00:00:00] holding down shift as I select them. And

[00:00:00] then I can scale both of them at the

[00:00:00] same time over here. Scale 100. Let's

[00:00:00] say I have a lot more cuts though. Let's

[00:00:00] say I have a cut every couple seconds.

[00:00:00] I'm going to select every other one here

[00:00:00] and press the two button in order to

[00:00:00] make all of those BCAM. And let's say

[00:00:00] I'm zoomed out, so I can't exactly see

[00:00:00] which one's Bcam, which one's A cam, is

[00:00:00] this Bcam. I'm not sure. Holding down

[00:00:00] shift, but I I don't know. So, another

[00:00:00] way I can determine which ones are Bcam,

[00:00:00] which ones are A cam. I'll select them,

[00:00:00] rightclick,

[00:00:00] and in the multi- camera options, I'll

[00:00:00] select flatten.

[00:00:00] And now they revert back to my original

[00:00:00] colors. I know that BCAM is this

[00:00:00] magenta. So I can rightclick, go to

[00:00:00] label, select label group. Now all the

[00:00:00] magenta are selected and I can scale

[00:00:00] those 100.

[00:00:00] Or even simpler, maybe I don't know the

[00:00:00] exact number to scale it. Maybe I shot

[00:00:00] at a different resolution or I'm not

[00:00:00] sure exactly what number will take me to

[00:00:00] full screen. I'll right click and go to

[00:00:00] fit to frame.

[00:00:00] And now all of those magenta clips are

[00:00:00] fit to the frame. Personally, this is

[00:00:00] not my favorite way of working with

[00:00:00] multicam clips. I kind of like working

[00:00:00] with them where I see all of the stacks.

[00:00:00] So, for the second take, instead of

[00:00:00] bringing it over again like this, what

[00:00:00] I'm going to do is deselect this button.

[00:00:00] It's called insert and overwrite

[00:00:00] sequences as nests or individual clips.

[00:00:00] All you got to know is now that it's

[00:00:00] deselected and I bring over my multi-

[00:00:00] camera source sequence, it comes over as

[00:00:00] a stack instead of as a sequence. If

[00:00:00] you're trying to drag the multi- camera

[00:00:00] sequence over and it's still coming as

[00:00:00] just one giant clip, that probably means

[00:00:00] that you have this setting disabled, the

[00:00:00] multi- camera falls nest setting here in

[00:00:00] the sequence menu. So, make sure that

[00:00:00] that is checked. You can see here I have

[00:00:00] a cam, bcam, and the audio. When I'm on

[00:00:00] a cam, I can simply just go to scale,

[00:00:00] take it down to 50%.

[00:00:00] And then BCAM is already at the perfect

[00:00:00] scale for me