Editing

[00:00:00] hi I'm John N software trainer for Adobe

[00:00:00] and in this video I'll be talking all

[00:00:00] about editing in Premiere Pro and this

[00:00:00] is geared specifically towards editors

[00:00:00] coming from Avid media composer now

[00:00:00] switching between the different software

[00:00:00] can be really difficult especially when

[00:00:00] you find that your muscle memory from

[00:00:00] one nle does not apply to the other very

[00:00:00] easily it's almost like learning a new

[00:00:00] language don't worry I'm here to help

[00:00:00] one of the first things we need to talk

[00:00:00] about are the differences in terminology

[00:00:00] between the two

[00:00:00] programs in Avid you work in bins bins

[00:00:00] contain all of your footage and

[00:00:00] sequences and you sort that inside the

[00:00:00] bin typically in folders a collection of

[00:00:00] bins is called a project but in Premiere

[00:00:00] Pro things are a little bit different

[00:00:00] what you would call a bin in Avid is

[00:00:00] called a project in Premiere Pro a bin

[00:00:00] in Premiere Pro is definitely not the

[00:00:00] same as a bin in Avid it's a folder

[00:00:00] inside a premere pro project that can

[00:00:00] hold Media or sequences or whatever you

[00:00:00] want to put in there but it does not

[00:00:00] exist at the desktop level the way that

[00:00:00] bins do in Avid they're only inside the

[00:00:00] project file and a collection of project

[00:00:00] files that can be used in a

[00:00:00] collaborative environment is known as a

[00:00:00] production this is often one of the

[00:00:00] hardest things for Avid editors to wrap

[00:00:00] their heads around as they're moving

[00:00:00] into Premiere Pro and little things like

[00:00:00] the difference in terminology between

[00:00:00] project and Bin can get a little

[00:00:00] confusing whenever you hear project in

[00:00:00] Premiere Pro just try to think of bin in

[00:00:00] Avid land they're the same thing now

[00:00:00] let's talk about the difference in

[00:00:00] Project settings in AV you set up an

[00:00:00] overall project with a specific frame

[00:00:00] rate and frame size and all the

[00:00:00] sequences you create will be locked into

[00:00:00] that unless you decide to change it but

[00:00:00] in Premiere Pro it's more open we don't

[00:00:00] have to lock ourselves into anything and

[00:00:00] a Premiere Pro project can contain

[00:00:00] multiple sequences at different sizes

[00:00:00] and different frame rates let me show

[00:00:00] you where to change the settings in

[00:00:00] Premiere if you go to file production

[00:00:00] settings or project settings I'm in a

[00:00:00] production right now so this would say

[00:00:00] project settings if it was a standalone

[00:00:00] project and here under General you'll

[00:00:00] see there's nothing there that talks

[00:00:00] about frame rate or frame size uh aspect

[00:00:00] ratio audio all it is is how you display

[00:00:00] your time code how to display your audio

[00:00:00] and some settings there for custom title

[00:00:00] and action safe there's some options

[00:00:00] there for how you want to view your

[00:00:00] color and then scratch discs and ingest

[00:00:00] which is not available in a production

[00:00:00] and that's it you don't have to set a

[00:00:00] frame rate or frame size here in these

[00:00:00] project settings you can decide that on

[00:00:00] a sequence by sequence basis once you

[00:00:00] start a premere pro

[00:00:00] project so I can go in here to my

[00:00:00] project panel create a new sequence and

[00:00:00] this first one can be a regular HD 1080p

[00:00:00] sequence at

[00:00:00] 23976 and I'll just label

[00:00:00] that really quick

[00:00:00] there hit okay and then in right away I

[00:00:00] can also create another sequence

[00:00:00] that is 4K HDR at the same frame

[00:00:00] rate and both those sequences can be

[00:00:00] inside the same Premiere Pro project

[00:00:00] which again is like a bin in Avid now

[00:00:00] obviously the interface in Premiere Pro

[00:00:00] is different than Avid and it's going to

[00:00:00] take a little bit of time to get used to

[00:00:00] that but it does feature some of the

[00:00:00] same customization that you're used to

[00:00:00] in Avid you can move panels around

[00:00:00] around put them in different places and

[00:00:00] also float panels if you'd like to have

[00:00:00] them as free floating windows instead of

[00:00:00] just docked like everything else

[00:00:00] Premiere Pro is built on a system of

[00:00:00] docked panels if you move them around

[00:00:00] they'll each Dock and each panel group

[00:00:00] here will move together when you change

[00:00:00] the width like so everything just kind

[00:00:00] of snaps around it's very elastic if you

[00:00:00] prefer more of the the floating panel

[00:00:00] style from Avid you can click on the h

[00:00:00] hurger menu next to the name of any of

[00:00:00] the panels and choose to undock so now

[00:00:00] my project panel is undocked and I can

[00:00:00] move that around put that where I would

[00:00:00] like it and I can even move that to a

[00:00:00] second Monitor and make it full screen

[00:00:00] over there if you get a configuration of

[00:00:00] panels that you like you can go under

[00:00:00] window workspace and save as a new

[00:00:00] workspace and then your set of custom

[00:00:00] panel configurations will be saved you

[00:00:00] can even assign a keyboard shortcut to

[00:00:00] it and go back to it at any time and if

[00:00:00] you spend a little bit of time moving

[00:00:00] things around you may be able to get

[00:00:00] something that is close

[00:00:00] to an avid configuration this isn't

[00:00:00] exactly like an avid workspace but it's

[00:00:00] pretty darn close we've got the toolbar

[00:00:00] here across the center we have

[00:00:00] horizontal audio meters nice wide

[00:00:00] timeline Source program and some of the

[00:00:00] room options over here on the right that

[00:00:00] take us to color and sound for example

[00:00:00] and the project panel which again is

[00:00:00] like the bin in Avid is docked up here

[00:00:00] in the upper right and you can tear that

[00:00:00] off and put that somewhere else if you

[00:00:00] would prefer now let's talk about the

[00:00:00] timeline panel because that's we're

[00:00:00] going to be doing the majority of your

[00:00:00] work in Premiere Pro here I have a

[00:00:00] sequence open in the timeline panel and

[00:00:00] you'll notice there's obviously a few

[00:00:00] key differences here first and foremost

[00:00:00] we don't have the time code bar at the

[00:00:00] bottom of the panel like we do in Avid

[00:00:00] and we also don't have source and record

[00:00:00] side buttons it may look that way but

[00:00:00] this left side here are Source Patches

[00:00:00] from The Source monitor here I see I

[00:00:00] have a clip loaded that has no audio so

[00:00:00] there is no patch here for the audio

[00:00:00] side if I do load a clip that does have

[00:00:00] audio in it you'll see that you have a

[00:00:00] patch there for the audio and you can

[00:00:00] move that around accordingly but this

[00:00:00] other column here next to the locks is

[00:00:00] not the record side that's something

[00:00:00] else called targeting and I'll explain

[00:00:00] targeting in a moment but essentially

[00:00:00] targeting affects Clips once they're

[00:00:00] already on the timeline line and the

[00:00:00] left side The Source patching effects

[00:00:00] Clips when they're bringing brought in

[00:00:00] from the source monitor but there is no

[00:00:00] record toggle in Premier Pro and the

[00:00:00] other thing you'll notice is is that

[00:00:00] there are track names here you see I've

[00:00:00] named my audio tracks dialogue one two

[00:00:00] sound effects music so on but when

[00:00:00] they're that at their default height

[00:00:00] those are hidden so one thing I

[00:00:00] recommend is to spend some time

[00:00:00] customizing the interface and that

[00:00:00] includes the a AIO headers here when the

[00:00:00] tracks are this skinny you will not see

[00:00:00] the labels so right click here in this

[00:00:00] gray area and go to

[00:00:00] customize and there you have a little

[00:00:00] browser where you can pull in different

[00:00:00] buttons and pull out the buttons that

[00:00:00] you don't want for example I rarely do

[00:00:00] voiceover recording directly into my

[00:00:00] timeline I'm going to grab that

[00:00:00] microphone and pull it out sometimes you

[00:00:00] have to reset here we go and there we go

[00:00:00] the microphone has been pulled out and I

[00:00:00] can see the track label over here I'll

[00:00:00] pull that in to the

[00:00:00] right and I'll move the syn lock

[00:00:00] down to the middle the sync lock isn't

[00:00:00] super important for the way that I like

[00:00:00] to edit and I don't want to accidentally

[00:00:00] click the sync lock and throw something

[00:00:00] out of sync now that I have this

[00:00:00] modified audio track header if I do want

[00:00:00] to see the syn lock or other icons that

[00:00:00] I load here in the center I just need to

[00:00:00] open open it up by double clicking and

[00:00:00] shift double click opens all of them to

[00:00:00] the same height or closes them down but

[00:00:00] now that the track name has been moved

[00:00:00] over to the right here I can see it even

[00:00:00] though these tracks are at their minimal

[00:00:00] height and the same thing up here for

[00:00:00] video tracks there's less options when

[00:00:00] you customize these so we can pull that

[00:00:00] sync lock down like we did before and we

[00:00:00] can move the track name up to that

[00:00:00] higher level and now if I want to label

[00:00:00] my video tracks I can do that as well

[00:00:00] and the sync locks again are hidden

[00:00:00] until I pop that track wide open now

[00:00:00] while we're talking about the interface

[00:00:00] let's talk about the keyboard shortcuts

[00:00:00] I go here under the Premiere Pro menu or

[00:00:00] the file menu on Windows Premiere Pro is

[00:00:00] available on Mac and you see there is

[00:00:00] the keyboard shortcuts this is the

[00:00:00] keyboard shortcuts viewer and you assign

[00:00:00] uh shortcuts down here on the left you

[00:00:00] look and see what shortcuts are

[00:00:00] available that don't already have a

[00:00:00] keyboard shortcut assign or if there is

[00:00:00] one you can decide if you like that or

[00:00:00] not and just exit out and assign it to a

[00:00:00] new key and you can do that just by

[00:00:00] dragging and dropping over an available

[00:00:00] key like so and then if you click on

[00:00:00] that key over here on the right you'll

[00:00:00] see everything that's been assigned to

[00:00:00] it including any modifier Keys now this

[00:00:00] is my custom layout here you can also

[00:00:00] pull up the Avid media composer shortcut

[00:00:00] layout which ships with Premiere Pro

[00:00:00] this is an older version for now there

[00:00:00] may be a newer version uh coming in the

[00:00:00] software that's a more up-to-date

[00:00:00] version of media composer but this at

[00:00:00] least will get you started from a base

[00:00:00] that you're used to and you can build

[00:00:00] from there and again just find the

[00:00:00] shortcut you want over here on the left

[00:00:00] hand side and drag and drop it over an

[00:00:00] available key and if you have a fullsize

[00:00:00] keyboard the number pad and plus and

[00:00:00] minus Keys over here on the right are

[00:00:00] also available now when it comes to

[00:00:00] editing Premier Pro is very flexible if

[00:00:00] you prefer to use the source Monitor and

[00:00:00] rely on In-N-Out points on the timeline

[00:00:00] no problem you can cut that way all day

[00:00:00] day if you would want to just drag from

[00:00:00] The Source monitor to the timeline you

[00:00:00] can do that you can drag directly from

[00:00:00] the bins if you want to if you prefer to

[00:00:00] use keyboard shortcuts for all your

[00:00:00] editing and trimming you can do that or

[00:00:00] you can just use the mouse any way you

[00:00:00] want to work Premiere Pro can

[00:00:00] accommodate you all right I've got a

[00:00:00] sequence here I'm starting to assemble

[00:00:00] this short film I already have a few

[00:00:00] Clips on the timeline and I need to add

[00:00:00] this shot of the office building prior

[00:00:00] to these clips here so going up to the

[00:00:00] source monitor I just double clicked on

[00:00:00] that down here in my bin and again a bin

[00:00:00] in Premiere Pro is the same as a a

[00:00:00] folder in Avid it's just a way to

[00:00:00] collect all the footage here all of my

[00:00:00] shots here are in this bin marked uh

[00:00:00] editing project overtime media and I

[00:00:00] loaded that up here and I'll just set a

[00:00:00] few quick In-N-Out points uh I want to

[00:00:00] get past the little traffic shots there

[00:00:00] yeah just so those cars clear the shot

[00:00:00] and I'll just use my keyboard shortcut I

[00:00:00] to set an endpoint and scrub down here

[00:00:00] just after the shot kind of lands and

[00:00:00] I'll set an out point in this case I'll

[00:00:00] use the bracket instead down below and

[00:00:00] the transport controls either way will

[00:00:00] get me there I could also use the o key

[00:00:00] as the keyboard shortcut now down here

[00:00:00] on the timeline I'm going to go ahead

[00:00:00] and put an inpoint here and I'll put an

[00:00:00] outp point right next to that clip so

[00:00:00] it's going to drop right in there with

[00:00:00] no Gap and I can choose either insert or

[00:00:00] overwrite I have keyboard shortcuts

[00:00:00] assign there or I can just use the handy

[00:00:00] little buttons down here at the bottom

[00:00:00] of the source window I'm just going to

[00:00:00] choose overwrite and I get this fit clip

[00:00:00] dialogue box basically something is not

[00:00:00] the same length and the source is longer

[00:00:00] than the destination so this box will

[00:00:00] always pop up and just ask you what

[00:00:00] you'd like to do you can change the

[00:00:00] speed you can ignore either inpoint or

[00:00:00] either outp point in this case I kind of

[00:00:00] like where that shot started so I'm

[00:00:00] going to ignore the sequence inpoint so

[00:00:00] that the length of the shot that goes

[00:00:00] into the timeline is the length that I

[00:00:00] chose up here in the source monitor and

[00:00:00] if I want to always do that I can click

[00:00:00] this box here and this fit clip dialog

[00:00:00] box will not pop up in the future and it

[00:00:00] will always respect whatever choice I

[00:00:00] just made if I want to have maximum

[00:00:00] flexibility I will not check that now so

[00:00:00] that I always get this fit clip option

[00:00:00] by the way if you do choose always use

[00:00:00] this choice and you regret that later no

[00:00:00] problem there's a setting in the

[00:00:00] preferences to restore this

[00:00:00] box okay there we are so that just

[00:00:00] dropped onto the timeline right there

[00:00:00] and as I mentioned there's different

[00:00:00] ways to do that I just use in andout

[00:00:00] points and an insert command very

[00:00:00] quickly I'm going to select that clip

[00:00:00] and delete it I can also just have

[00:00:00] dragged and dropped like

[00:00:00] so and Pull It in there's a little bit

[00:00:00] of magnetic snapping here that happens

[00:00:00] on the timeline the option for this is

[00:00:00] the snap button which is the little

[00:00:00] magnet up here there's also a keyboard

[00:00:00] shortcut to disable that I have it

[00:00:00] mapped to n and turn that on or off and

[00:00:00] when the snapping is on uh the clips

[00:00:00] will get close to each other and

[00:00:00] immediately snap together you can still

[00:00:00] pull and do an overwrite it just takes a

[00:00:00] little more Force to do that and I

[00:00:00] mentioned you don't have to even pull in

[00:00:00] from the source monitor here's that clip

[00:00:00] down here in the bin notice if I scrub

[00:00:00] over it I get a view of the shot and

[00:00:00] you'll see there's a little blue line in

[00:00:00] there it respects the In-N-Out points

[00:00:00] that were previously set up here in the

[00:00:00] source window so if I pull it from the

[00:00:00] bin it's going to be the same length

[00:00:00] that I had set up here all right I'm

[00:00:00] going to keep editing this short film

[00:00:00] here uh by the way I have all my Clips

[00:00:00] arranged here in icon view so I can see

[00:00:00] them nice and big there is also a list

[00:00:00] view down here in this bin or I should

[00:00:00] say folder and I can go back and forth

[00:00:00] like so and I can change the sort order

[00:00:00] with that little drop down right there

[00:00:00] right now they're just in sort of a

[00:00:00] random user order if I change that to

[00:00:00] name that will be alphabetical and these

[00:00:00] are labeled with their uh shot number

[00:00:00] and take which is uh really helpful and

[00:00:00] I can use this slider to increase the

[00:00:00] preview size of that

[00:00:00] thumbnail like so

[00:00:00] so and incidentally there is a shortcut

[00:00:00] if you use the Premier Pro defaults it

[00:00:00] is the uh Tilda key which is below the

[00:00:00] Escape key in the upper leftand corner

[00:00:00] of the keyboard that will pop any active

[00:00:00] panel full screen and you can toggle

[00:00:00] back and forth there's the timeline if I

[00:00:00] just want to see it by itself or one of

[00:00:00] the viewers there's source and program

[00:00:00] in this case I want to look at the

[00:00:00] project bin here which is full of all my

[00:00:00] clips

[00:00:00] and I want to find the that first shot

[00:00:00] which is let's see where is it where is

[00:00:00] it where is it there it is right there

[00:00:00] okay I want

[00:00:00] 651 that looks good I'm going to double

[00:00:00] click that that's going to take me out

[00:00:00] of that view and load it into the source

[00:00:00] viewer by the way you can also drag and

[00:00:00] drop uh clips into the source viewer

[00:00:00] from here if you'd like otherwise just

[00:00:00] double click so I'm going to bring this

[00:00:00] down onto the timeline I'll set a quick

[00:00:00] endpoint over here now this is where the

[00:00:00] track patching May Come into play right

[00:00:00] now the video is going to come in on V1

[00:00:00] and the audio is going to come in on A1

[00:00:00] and those are assigned to dialogue and

[00:00:00] there is dialogue in this scene but

[00:00:00] maybe I want this on the second dialogue

[00:00:00] track I want that to be on A2 notice I

[00:00:00] just pull down the patch over here on

[00:00:00] the left hand side again this column

[00:00:00] here next to it those are targets

[00:00:00] they're not the record side so that's

[00:00:00] not going to matter in this case in fact

[00:00:00] I can turn those off and it won't have

[00:00:00] any bearing on what's going to happen

[00:00:00] next which is that this shot is going to

[00:00:00] come in on V1 and A2 I just did a quick

[00:00:00] insert I'll just zoom out a little

[00:00:00] bit there we go now if I had i' hit undo

[00:00:00] if I had moved that back to A1 that's

[00:00:00] where it would have come in oh and I

[00:00:00] forgot there was actually a shot that

[00:00:00] was supposed to be in between this paper

[00:00:00] shredder shot here and before our hero

[00:00:00] comes into the scene he's supposed to

[00:00:00] pick up a set of keys I think it's

[00:00:00] labeled keys so I can go to this little

[00:00:00] search bar which is at the top of every

[00:00:00] bin and I can just type in the word keys

[00:00:00] and if it finds a match it's only going

[00:00:00] to narrow it down to the matching shot

[00:00:00] so I'll load that into my source Monitor

[00:00:00] and take a quick look yeah there we go

[00:00:00] that's a quick fast insert of him

[00:00:00] grabbing his car keys on the way home

[00:00:00] let's just start it there and we're out

[00:00:00] great so I'll just move the playhead in

[00:00:00] between the paper shredder clip here and

[00:00:00] him entering the scene and I'll just do

[00:00:00] a quick insert and again that's going to

[00:00:00] go on V1 and A1 but I think there's some

[00:00:00] audio here which may give me the sound

[00:00:00] effects that I want I'll just click on

[00:00:00] that no there's no audio there at all I

[00:00:00] just clicked on the little waveform

[00:00:00] button at the bottom here of the source

[00:00:00] panel that gives me a quick way to look

[00:00:00] at the audio and the video separately on

[00:00:00] a shot I'm going go back and match frame

[00:00:00] this one to show you the difference

[00:00:00] here's a shot with audio that's one

[00:00:00] monot track there and you can flip back

[00:00:00] and forth by clicking on the little film

[00:00:00] strip icon versus the audio incidentally

[00:00:00] this gives you the ability to drag just

[00:00:00] the audio or the video to to the

[00:00:00] timeline regardless of what the patching

[00:00:00] is on the left side here so if I just

[00:00:00] grab that little waveform icon and pull

[00:00:00] it down I will only get the

[00:00:00] audio or if I grab the film strip icon

[00:00:00] and pull that I will only get the

[00:00:00] video me go back to that key shot there

[00:00:00] it is flip it back to the video view

[00:00:00] there great so I want that but there's

[00:00:00] no sound really associated with that

[00:00:00] clip that I need so I'll turn off the

[00:00:00] patch for A1 and I'll put the playhead

[00:00:00] between those two shots and I'll do a

[00:00:00] quick insert and that just pushes

[00:00:00] everything down zoom in there we go all

[00:00:00] right I want to add this next shot here

[00:00:00] here's the boss that steps in the way

[00:00:00] blocks our hero from leaving the office

[00:00:00] and I want to play this in out I already

[00:00:00] have the in and out Point set I want to

[00:00:00] play that back real quick for myself

[00:00:00] just to make sure it's correct there is

[00:00:00] a keyboard shortcut to play in to out

[00:00:00] but there's also a button we can add to

[00:00:00] this button bar here in the source

[00:00:00] monitor so we go to our button editor

[00:00:00] and and right up here play video into

[00:00:00] out I'm going to go ahead and just drag

[00:00:00] that down over here hit okay and now I

[00:00:00] can just play back whoa what's the big

[00:00:00] rush all right so he's saying whoa

[00:00:00] what's the big rush and we also hear

[00:00:00] that dialogue down here in this shot oh

[00:00:00] what's the big rush nothing and I want

[00:00:00] to line those up so I'm going to set my

[00:00:00] In-N-Out

[00:00:00] point right

[00:00:00] here and I'm going to drop that into a

[00:00:00] higher track and a lower audio track and

[00:00:00] then try to align those and I'll go

[00:00:00] ahead and put a marker here on this clip

[00:00:00] where he says

[00:00:00] wo all right so it's right there and I'm

[00:00:00] going to hit M which is my keyboard

[00:00:00] shortcut for marker there's also a

[00:00:00] button right here for add marker and

[00:00:00] there's another button I already have in

[00:00:00] the program monitor as well for adding a

[00:00:00] marker if you select a clip you add a

[00:00:00] marker to that clip if you don't have a

[00:00:00] clip selected and you hit marker you

[00:00:00] will add a marker to the timeline so

[00:00:00] there's two different things there

[00:00:00] there's a timeline marker and a clip

[00:00:00] marker and they are separate just

[00:00:00] depending on which one you select so

[00:00:00] I've got it in both places and I'm going

[00:00:00] to go ahead and find that same line of

[00:00:00] dialogue here in the source monitor I'm

[00:00:00] going to click on the audio and zoom in

[00:00:00] a little

[00:00:00] bit just by sliding these wheels I can

[00:00:00] get really nice and close to the

[00:00:00] waveform and if you want to make the

[00:00:00] waveform uh bigger or smaller there's

[00:00:00] also little wheels over here on on the

[00:00:00] right you can pull those in and out like

[00:00:00] so to make that waveform nice and Tall

[00:00:00] I'm not affecting the gain or the volume

[00:00:00] here this is just visually making the

[00:00:00] waveform larger so I can line up this

[00:00:00] edit whoa okay so that's the wo and I'm

[00:00:00] going to hit another marker right there

[00:00:00] with my m key and now I need to get my

[00:00:00] patching correct on the timeline so I

[00:00:00] want to put that on V2 so I'm going to

[00:00:00] grab the source patch for the video here

[00:00:00] and move it up one position so that's

[00:00:00] going to come in on V2 and I'm going to

[00:00:00] activate the audio which I want and I'm

[00:00:00] going to move that down to A2 like so

[00:00:00] and I'm going to do an overwrite edit to

[00:00:00] drop that on top

[00:00:00] of the clips there and again I have this

[00:00:00] dialogue box pop up so I I'm going to

[00:00:00] ignore the sequence outpoint in this

[00:00:00] case because the source in andout point

[00:00:00] is what I want and there we go and I'm

[00:00:00] going to quickly line those up I'm going

[00:00:00] to zoom in a little bit

[00:00:00] here like so and I'm just going to line

[00:00:00] up the markers I just select my clip and

[00:00:00] I drag it like

[00:00:00] so there's also a keyboard shortcut for

[00:00:00] going a frame at a time like so on the

[00:00:00] Mac I'm holding down the option key and

[00:00:00] on Windows I would hold down the ALT key

[00:00:00] and then there are keyboard shortcuts

[00:00:00] for move forward and back backward by

[00:00:00] one frame mine's mapped to my uh period

[00:00:00] and my comma so I can also select that

[00:00:00] clip and use the keyboard to move it

[00:00:00] into position like so or I can just grab

[00:00:00] it with the mouse and pull it and

[00:00:00] actually I'll get a little uh indicator

[00:00:00] there where all the markers are now

[00:00:00] aligned so I'll let go and play it back

[00:00:00] who the big rush what's the big rush all

[00:00:00] right so have to deal with that dialogue

[00:00:00] there now we have the wo in the right

[00:00:00] place but the what's the big rush is in

[00:00:00] the wrong place so I need to do some

[00:00:00] trimming but first I want to get this

[00:00:00] entrance correct I still want to see the

[00:00:00] hero who was on A1 and V1 before I see

[00:00:00] the boss here who is on V2 so I think

[00:00:00] we'll cut to him right about there so I

[00:00:00] need to shorten this left edge of the

[00:00:00] boss's clip to that position and as I

[00:00:00] mentioned before there's different ways

[00:00:00] to do this in Premiere Pro I can use the

[00:00:00] keyboard I can use the mouse it's

[00:00:00] whatever way I'm the most comfortable

[00:00:00] with let me show you the options so if I

[00:00:00] just select the head of that clip I can

[00:00:00] just pull it to the right I'm just going

[00:00:00] to drag it right to that marker and let

[00:00:00] go a big rush all right pull it back to

[00:00:00] where it was and notice when I select

[00:00:00] that edit point this is a roll edit when

[00:00:00] you see red that's roll and the icon

[00:00:00] turns into this right arrow facing roll

[00:00:00] tool with a red

[00:00:00] bracket and just with the regular

[00:00:00] selection tool over here in the toolbar

[00:00:00] that's what you get when you click on an

[00:00:00] edit Point like that it'll be a

[00:00:00] roll you can also do this little trick

[00:00:00] here if I align the playhead with that

[00:00:00] marker select the edit point and there's

[00:00:00] a keyboard shortcut to extend edit to

[00:00:00] the playhead I have mine mapped to e for

[00:00:00] extend and again you'll find this in

[00:00:00] your keyboard shortcuts extend edit to

[00:00:00] to the

[00:00:00] playhead and that's just going to pop

[00:00:00] the end of that clip right to where I

[00:00:00] parked the playhead which was over those

[00:00:00] markers like

[00:00:00] so also I could have set an in andout

[00:00:00] Point if I wanted to and just shaved off

[00:00:00] the front of this clip that seems like

[00:00:00] kind of a long way to go but I could do

[00:00:00] something like this there's the outpoint

[00:00:00] here's the end point and the duration of

[00:00:00] that was 22 frames over here according

[00:00:00] to my In-N-Out duration I could actually

[00:00:00] click on that edit point and then using

[00:00:00] the full number keypad over here on my

[00:00:00] extended keyboard I can hit the plus key

[00:00:00] and you'll see that the time code window

[00:00:00] has now highlighted there on the

[00:00:00] timeline panel I can type in 22 frames

[00:00:00] and hit enter that would also have moved

[00:00:00] the uh start point the end point of that

[00:00:00] clip ahead 22 frames and I had to set

[00:00:00] the In-N-Out point to determine that

[00:00:00] length but that's just another way to

[00:00:00] get there or I can also just remove that

[00:00:00] section of the timeline by using a lift

[00:00:00] so I can do a lift edit there but notice

[00:00:00] nothing

[00:00:00] happens I have the in and point in

[00:00:00] andout point selected but lft is not

[00:00:00] doing anything why isn't it doing

[00:00:00] anything well this is where those track

[00:00:00] targets come into play remember I

[00:00:00] mentioned that this column here on the

[00:00:00] right side of the locks it's not the

[00:00:00] record side like it is in Avid this is

[00:00:00] called the track targets and they affect

[00:00:00] Clips once they're already on the

[00:00:00] timeline so Watch What Happens now if I

[00:00:00] Target V2 and A2 and then I'll do the

[00:00:00] lift that also chopped out that clip in

[00:00:00] that section so the targeting affects

[00:00:00] things that are already on the timeline

[00:00:00] and whatever edits you do with the lift

[00:00:00] or extract command will remove it but

[00:00:00] only from the tracks that were targeted

[00:00:00] if I targeted V1 and A1 and did the same

[00:00:00] lift notice that they all come out so I

[00:00:00] just use several different methods to

[00:00:00] get this edit point to where I wanted

[00:00:00] it big rush nothing just and I think I

[00:00:00] want to get out of that

[00:00:00] shot to focus on his reaction I want to

[00:00:00] find that reaction shot of my hero here

[00:00:00] but I've covered it up with this clip I

[00:00:00] can turn off track 2 I'll just turn off

[00:00:00] the eyeball or I can just temporarily

[00:00:00] disable this clip by right clicking on

[00:00:00] it and hitting the enable function this

[00:00:00] kind of does the same thing but you

[00:00:00] notice that the clip is grayed out and

[00:00:00] if anything else was on the same track

[00:00:00] it would still be visible so it's like

[00:00:00] an individual mute for this

[00:00:00] clip so where does

[00:00:00] he all right there's a good reaction

[00:00:00] right about there so I think I want to

[00:00:00] end this clip right in that spot and I

[00:00:00] can obviously just click on this end of

[00:00:00] the clip here I could do that extend

[00:00:00] edit function which will go the other

[00:00:00] Direction because I had the playhead

[00:00:00] right where I wanted it or I could

[00:00:00] choose to add an edit Point here and

[00:00:00] kind of Blade this clip right in that

[00:00:00] spot and delete the other part that I

[00:00:00] don't need and in this case I'm going to

[00:00:00] use the razor tool which is kind of a

[00:00:00] really old school way of doing it and I

[00:00:00] click on that clip notice again it

[00:00:00] respects the track targeting it did not

[00:00:00] razor blade through V1 or A1 it only did

[00:00:00] V2 and A2 because the targets were on

[00:00:00] for those Clips let me hit undo real

[00:00:00] quick there's a keyboard shortcut which

[00:00:00] I tend to use which is faster than going

[00:00:00] to the oldfashioned razor blade tool

[00:00:00] there which is ADD edit and again you'll

[00:00:00] find that in the keyboard shortcuts add

[00:00:00] edit and that puts an edit point right

[00:00:00] there and I'm going to move the playhead

[00:00:00] down and I'm just going to drag a little

[00:00:00] bit of this clip out of the way there's

[00:00:00] this other line of dialogue I may want

[00:00:00] to come back to that clip here so I'm

[00:00:00] just going to keep it parked there and

[00:00:00] I'm going to select this portion of it

[00:00:00] that we left behind right click on it

[00:00:00] and reenable it so I can see it and I've

[00:00:00] decided I'm just going to keep one of

[00:00:00] those audio woses that was in there and

[00:00:00] for consistency I'm going to use the

[00:00:00] take that also included the hero

[00:00:00] dialogue it's just kind of a mix down of

[00:00:00] both of their uh microphones here so I'm

[00:00:00] going to select the audio from this clip

[00:00:00] here and disable it now there's a few

[00:00:00] different ways I can do that to

[00:00:00] basically decouple the audio from the

[00:00:00] video because if I select it right now

[00:00:00] and hit the delete key they're both

[00:00:00] going to disappear on me so I don't want

[00:00:00] that let me hit

[00:00:00] undo so how do we disengage our audio

[00:00:00] from our video there's a few different

[00:00:00] ways over here at the top of the

[00:00:00] timeline panel you can see this button

[00:00:00] here is called linked

[00:00:00] selection now if I turn that off all the

[00:00:00] clips that were previously linked

[00:00:00] together will now be UNL they still are

[00:00:00] linked together if I turn this switch

[00:00:00] back on you can see that they are indeed

[00:00:00] still linked together but by throwing

[00:00:00] the switch they temporarily are unlined

[00:00:00] and I could use that to quickly select

[00:00:00] the audio and remove

[00:00:00] it let me hit undo but that's an extra

[00:00:00] click and I don't want to do that now

[00:00:00] I've got a keyboard shortcut I can use

[00:00:00] to just select the video or the audio

[00:00:00] without having to turn off this link

[00:00:00] selection switch here and that is to

[00:00:00] hold down the option or ALT key like so

[00:00:00] and then I can hit delete and if I just

[00:00:00] wanted to unlink the clips since I'm not

[00:00:00] going to come back to this audio

[00:00:00] probably I can always just select the

[00:00:00] clip right click on it and choose this

[00:00:00] unlink function here and now they are

[00:00:00] fully separated from each other I can

[00:00:00] select the audio and delete that all

[00:00:00] right let me show you all of the

[00:00:00] available tools for editing in Premiere

[00:00:00] Pro I've got the toolbar here you can

[00:00:00] move it so that it's horizontal more

[00:00:00] like the Avid toolbar but you can't

[00:00:00] change the appearance or add tools to

[00:00:00] this but there are more tools that are

[00:00:00] readily visible if you see this little

[00:00:00] white dot in the bottom right hand

[00:00:00] corner of a tool that means there are

[00:00:00] other tools docked underneath it so it's

[00:00:00] a little fly out menu use click and hold

[00:00:00] or use the keyboard shortcuts assigned

[00:00:00] to those tools to get to them directly

[00:00:00] so I'm going to focus on this top group

[00:00:00] here the rest of these are for things

[00:00:00] like

[00:00:00] Graphics first of all we just have the

[00:00:00] basic selection tool if you grab an edit

[00:00:00] point or or even hover near it you'll

[00:00:00] notice that it turns into a single-sided

[00:00:00] roll uh red again is for roll and

[00:00:00] there's a single arrow pointing left or

[00:00:00] right and if I just click and drag you

[00:00:00] see I'm rolling to the right or I can

[00:00:00] roll the other way until I run out of

[00:00:00] media and below that we have the Ripple

[00:00:00] tool first and foremost a ripple edit is

[00:00:00] indicated by yellow instead of red and

[00:00:00] if I were to Ripple that way you notice

[00:00:00] that the endp point or at least the

[00:00:00] location in the timeline where that clip

[00:00:00] started stays the same but we're cutting

[00:00:00] into the clip in a

[00:00:00] ripple I can pull it out the other

[00:00:00] direction and same thing it's going to

[00:00:00] stay at the same time code there on the

[00:00:00] timeline but we're adding to the head of

[00:00:00] the clip till we run out of media now

[00:00:00] here we have the rolling edit tool this

[00:00:00] goes in both directions here I'm going

[00:00:00] to quickly delete the gap between these

[00:00:00] two clips I can actually select that

[00:00:00] empty area and just hit the delete key

[00:00:00] to remove the gap and you'll see if I

[00:00:00] select the rolling edit tool and click

[00:00:00] on the edit point between those two

[00:00:00] clips I can shift the out point of the

[00:00:00] first clip and then the end point of the

[00:00:00] second clip without moving either of

[00:00:00] them in time and you see I get a popup

[00:00:00] window up there in the program monitor

[00:00:00] where I can see the new inpoint and out

[00:00:00] Point that's going to be determined

[00:00:00] there I mentioned the snap to playhead

[00:00:00] option which I have mapped to the e tool

[00:00:00] when you have an edit Point selected

[00:00:00] with a particular tool and you use that

[00:00:00] extend edit to playhead function

[00:00:00] like so it's going to respect the tool

[00:00:00] type that you chose so there it did a

[00:00:00] roll edit and if I did the same thing

[00:00:00] but with the Ripple tool I'll move the

[00:00:00] playhead here and I will select a ripple

[00:00:00] to the right and extend edit and in this

[00:00:00] case because it rippled it actually

[00:00:00] moved the playhead along with it but it

[00:00:00] did chop off the beginning of this clip

[00:00:00] it did a ripple edit and shifted it down

[00:00:00] now the other tools in this fly up menu

[00:00:00] are for Speed and remix this rate

[00:00:00] stretch tool here will change the speed

[00:00:00] of a clip based on the length that you

[00:00:00] drag it

[00:00:00] to that's for visually just changing the

[00:00:00] speed by dragging it out you could also

[00:00:00] always right click and go to speed and

[00:00:00] duration and type it in and you can

[00:00:00] choose to change the duration and also

[00:00:00] do a ripple edit and shift Clips as you

[00:00:00] change speed remix is for music and that

[00:00:00] is part of the audio lesson uh if you

[00:00:00] look through these uh video videos on

[00:00:00] the portal here you'll find a lesson on

[00:00:00] audio and I cover remixing in

[00:00:00] there now below that we have the option

[00:00:00] to slip or

[00:00:00] slide slip is obviously moving the

[00:00:00] footage that is inside that clip and you

[00:00:00] know what let me just go and reset that

[00:00:00] speed since I've messed it up there

[00:00:00] change that back to 100% there we go and

[00:00:00] when I do that slip it's just

[00:00:00] changing what is inside that clip

[00:00:00] without changing the length changing the

[00:00:00] in andout point inside that length and

[00:00:00] then the slide tool will move the clip

[00:00:00] in time and let me just go ahead and

[00:00:00] bring in another Quick Clip here could

[00:00:00] be anything let's drag in this little

[00:00:00] shot here drag it down put it between

[00:00:00] those two and I'm going to use the slide

[00:00:00] tool instead of the slip tool and the

[00:00:00] slide tool will adjust the position of

[00:00:00] that clip without changing the overall

[00:00:00] length of any of the other Clips next to

[00:00:00] that we have the track select tool this

[00:00:00] is a handy little tool for just grabbing

[00:00:00] everything past the point where you

[00:00:00] click in the timeline so if I click here

[00:00:00] it's only going to grab those two clips

[00:00:00] but if I click back here at the

[00:00:00] beginning I'm going to

[00:00:00] grab everything there's also another

[00:00:00] tool underneath that for going the other

[00:00:00] direction I can click here and only

[00:00:00] select what was to the left instead of

[00:00:00] the right and there's a shortcut there

[00:00:00] go back to track select forward if you

[00:00:00] hold down the shift key notice that the

[00:00:00] changes to one arrow and you can just

[00:00:00] select one track at a time this is

[00:00:00] useful for things that are on multiple

[00:00:00] tracks so see if I grab it there I'm

[00:00:00] only selecting the clips that were on

[00:00:00] video 2 and any linked audio that was on

[00:00:00] A2 or if I do this down here I'm only

[00:00:00] selecting the clips that were on V1 and

[00:00:00] A1 and then of course we have our friend

[00:00:00] the razor blade which I don't use that

[00:00:00] often anymore because it means uh

[00:00:00] changing tools but you can use the add

[00:00:00] edit function to essentially do the same

[00:00:00] thing I have that hotkey to Y and that

[00:00:00] will blade through the clips you select

[00:00:00] and it will respect the track targets

[00:00:00] over here so if something is not

[00:00:00] targeted and you go to add edit nothing

[00:00:00] will happen now in addition to the tools

[00:00:00] there are many commands in Premiere Pro

[00:00:00] for editing and trimming on the timeline

[00:00:00] and I'm going to cover all of them very

[00:00:00] very briefly but in order to set them up

[00:00:00] you're going to want to check them out

[00:00:00] in the keyboard shortcuts I highly

[00:00:00] recommend you search for the terms trim

[00:00:00] and you'll see all the options available

[00:00:00] there for trimming as well as

[00:00:00] edit and you'll find some options in

[00:00:00] there worth assigning a keyboard

[00:00:00] shortcut to there are many many commands

[00:00:00] in the program and I'll go through them

[00:00:00] really quickly here I already mentioned

[00:00:00] the add edit function which I have

[00:00:00] mapped to Y again which will simply

[00:00:00] blade a clip you can also add edit to

[00:00:00] all tracks

[00:00:00] simultaneously by selecting shift y or

[00:00:00] in this case shift add edit and that's

[00:00:00] going to Blade through all the tracks

[00:00:00] simultaneously you can extend an edit to

[00:00:00] the playhead as I mentioned by clicking

[00:00:00] on the edit point and hitting the extend

[00:00:00] edit key there now this one is really

[00:00:00] important if you are used to editing

[00:00:00] with keyboard shortcuts let me zoom in a

[00:00:00] little bit here and you like to keep

[00:00:00] your hands on the keyboard and you don't

[00:00:00] want to have to go to the toolbar to

[00:00:00] shift tools or use the other keyboard

[00:00:00] shortcut there you just want to toggle a

[00:00:00] different type of edit right here so you

[00:00:00] see I selected this edit point and it is

[00:00:00] a roll to the right there's a key for

[00:00:00] toggling the trim

[00:00:00] type and you'll see it's shifting from

[00:00:00] Roll right to a double roll to a ripple

[00:00:00] left Ripple right and back to a roll

[00:00:00] left so very quickly you can toggle

[00:00:00] through all the different trim types

[00:00:00] right there and you can select multiples

[00:00:00] so by holding down the shift key and

[00:00:00] selecting a second edit point

[00:00:00] there I can change them

[00:00:00] all so I'm going to change those to a

[00:00:00] ripple to the left here and there are

[00:00:00] keyboard shortcuts just to

[00:00:00] trim backwards or forwards one frame at

[00:00:00] a

[00:00:00] time and this is just called trim

[00:00:00] backward or trim

[00:00:00] forward and if you want it to go a

[00:00:00] little bit faster there's trim forward

[00:00:00] and trim backward

[00:00:00] many which will go at a fixed increment

[00:00:00] which you can set up here in the

[00:00:00] timeline trim settings in the

[00:00:00] preferences large trim offset is what

[00:00:00] that is called right now mine is set to

[00:00:00] five

[00:00:00] frames now in Premiere Pro you can use

[00:00:00] the playhead a lot to Ripple and roll

[00:00:00] your trims into position and there are

[00:00:00] keyboard shortcuts for that I'm going to

[00:00:00] position my playhead here at this

[00:00:00] section of the clip and I want to chop

[00:00:00] off the right Edge which I could do if I

[00:00:00] selected that edit point and just pulled

[00:00:00] in or used the extend edit but that's a

[00:00:00] few extra clicks and without even

[00:00:00] selecting the edit point I can do this

[00:00:00] that is a ripple trim next edit to

[00:00:00] playhead and I have that mapped to the W

[00:00:00] button which is part of the uh Premiere

[00:00:00] Pro defaults if I'm coming from the

[00:00:00] other direction I want to chop off the

[00:00:00] head of this clip and ripple trim it so

[00:00:00] there's no gap between that and the

[00:00:00] other clip here I'll go the other

[00:00:00] direction and that's Ripple trim

[00:00:00] previous edit to playhead that's mapped

[00:00:00] to Q on my keyboard and again q and W

[00:00:00] are part of the default Premiere Pro

[00:00:00] keyboard shortcuts if you don't have

[00:00:00] those I highly recommend adding them and

[00:00:00] there's a roll variation on that as well

[00:00:00] let me just hit undo and I can hold down

[00:00:00] uh the option key instead of just

[00:00:00] clicking the key that will do a roll

[00:00:00] edit as opposed to a ripple if I do want

[00:00:00] that gap on either side I can do that

[00:00:00] instead now here's a few other useful

[00:00:00] commands in Premiere I'll mention what

[00:00:00] keys I have bound them to but again

[00:00:00] that's up to you in the keyboard

[00:00:00] shortcuts uh to my bracket Keys here I

[00:00:00] can jump to the nearest edit point and

[00:00:00] select that as an edit in or edit out

[00:00:00] and it defaults to a roll so depending

[00:00:00] on where the playhead is it's going to

[00:00:00] find the nearest edit point and you

[00:00:00] notice that it keeps selecting as I go

[00:00:00] so I can do that to select multiple edit

[00:00:00] points there's also a keyboard shortcut

[00:00:00] to automatically select all the edit

[00:00:00] points in a selection I'm going to hold

[00:00:00] down the command key on the Mac this

[00:00:00] will be the control key on Windows and

[00:00:00] I'm just going to lasso all these clips

[00:00:00] normally when you like this you select

[00:00:00] just the clips but in this case I'm

[00:00:00] grabbing the edit points all in one shot

[00:00:00] and anything I do there will affect

[00:00:00] every edit point and I can use my other

[00:00:00] modifiers that we've already covered

[00:00:00] here like change the type of edit

[00:00:00] there on all of them

[00:00:00] simultaneously all right and you see

[00:00:00] that that uh popped up a new window up

[00:00:00] here this is called the trim window I'll

[00:00:00] cover that in a

[00:00:00] moment there's also an option to show

[00:00:00] through edits you'll see there's a

[00:00:00] little butterfly stitch there a through

[00:00:00] edit is essentially telling you there's

[00:00:00] no time code break we we cut this clip

[00:00:00] here but there's no uh Missing footage

[00:00:00] in between so if I wanted to I could

[00:00:00] rejoin those I can rightclick there and

[00:00:00] join through edit and that removes that

[00:00:00] edit point and finally you can do edits

[00:00:00] using time code I'm going to select this

[00:00:00] edit point right here on this clip

[00:00:00] that's on the upper track and I'm going

[00:00:00] to move it 10 frames to the left so I

[00:00:00] can type in minus 10 here on the numeric

[00:00:00] keypad notice that the time code display

[00:00:00] reflects the minus 10 frames hit enter

[00:00:00] and it has just shifted I can move it a

[00:00:00] full second back to the left by typing

[00:00:00] in minus one and then a period which is

[00:00:00] a shortcut for getting me to 1 second

[00:00:00] there we go and I can do 5 Seconds minus

[00:00:00] 5 a

[00:00:00] period there we go I can go the other

[00:00:00] direction just by using the plus

[00:00:00] key so let me show you how to use a few

[00:00:00] of these tools and commands on a

[00:00:00] sequence edit here I've got another

[00:00:00] version of my short film I've started

[00:00:00] assembling everything I've got some

[00:00:00] sound effects now for this paper

[00:00:00] shredder and then I have this scene here

[00:00:00] between the two guys let me Zoom back

[00:00:00] out a little bit here and just hit

[00:00:00] play what's the big rush uh nothing just

[00:00:00] big date no listen r

[00:00:00] I know you're a private kind of guy all

[00:00:00] right I want to do some tightening and

[00:00:00] move some shots around in here and

[00:00:00] really get this thing on its feet so I

[00:00:00] need to take this long pause out here

[00:00:00] between his two lines now sort of the

[00:00:00] the Avid way to do that right would be

[00:00:00] to do a quick in and out and then an

[00:00:00] extract which would close the gaps

[00:00:00] that's one way we could do that me hit

[00:00:00] undo the long way to do it with our

[00:00:00] tools would be to either use the razor

[00:00:00] blade or just simply add edit right

[00:00:00] there at the playhead select that clip

[00:00:00] and we can do a shift delete which would

[00:00:00] close the gap as well we could also drag

[00:00:00] in this edit Point select the Gap delete

[00:00:00] it we could use the Ripple tool to also

[00:00:00] move that in oops me grab it like so or

[00:00:00] we could use that Ripple trim next edit

[00:00:00] to playhead command which again I have

[00:00:00] mapped to

[00:00:00] W and that does a ripple trim on the end

[00:00:00] of that clip from that edit point that

[00:00:00] was over here on the right to the

[00:00:00] position of the playhead so many

[00:00:00] different ways to get to the same thing

[00:00:00] it totally depends on your editing style

[00:00:00] and whether you prefer the tools

[00:00:00] keyboard shortcuts In-N-Out points with

[00:00:00] lift and extract and so on all

[00:00:00] right no listen R all right I think I

[00:00:00] want to take out that little pause there

[00:00:00] as well so I can do that again very

[00:00:00] quickly I'm using that W key no

[00:00:00] listen all right and I want to

[00:00:00] do an L cut here or a j cut to where I

[00:00:00] hear this character talking when he says

[00:00:00] listen and then cut

[00:00:00] to his side profile shot here in other

[00:00:00] words extend the closeup of this

[00:00:00] character over the listen now we need to

[00:00:00] decouple the audio from the video

[00:00:00] several different ways to do that we

[00:00:00] could turn off this link selection

[00:00:00] switch here and then if I grab grab this

[00:00:00] edit point I'm going to switch to the

[00:00:00] roll tool the double roller that way I'm

[00:00:00] not changing the overall length of

[00:00:00] anything but I am changing the out point

[00:00:00] of this clip to cover the

[00:00:00] listen so that's one way to go the

[00:00:00] shorter way to do that without having to

[00:00:00] turn off linked selection is simply to

[00:00:00] hold down the option key if I select

[00:00:00] this clip with the roller because the

[00:00:00] audio and video are linked I'm getting

[00:00:00] both sides there the audio and the video

[00:00:00] but if I hold down the option key and

[00:00:00] click now I've got just the video side

[00:00:00] of things and I can use that in

[00:00:00] conjunction with the extend edit to

[00:00:00] playhead command which is just going to

[00:00:00] move the edit point to where I have the

[00:00:00] playhead date no listen rph I know

[00:00:00] you're a private kind of guy and I

[00:00:00] respect and I'll just do that a little

[00:00:00] bit here again option click and I'll use

[00:00:00] the forward button just to rather than

[00:00:00] use the playhead I'll just use the trim

[00:00:00] forward and backward by one frame just

[00:00:00] to move that shot a little forward in

[00:00:00] time just give me a little more of that

[00:00:00] side profile there before I cut to his

[00:00:00] over the shoulder I know you're a

[00:00:00] private kind of guy and I all right so

[00:00:00] you can see I can use all the different

[00:00:00] combinations there of selecting edit

[00:00:00] points using the playhead using the

[00:00:00] keyboard shortcuts and the trim commands

[00:00:00] you may be able to get it down to where

[00:00:00] you don't have to take your hands off

[00:00:00] the keyboard hardly at all all right

[00:00:00] let's play back a little bit more of our

[00:00:00] scene

[00:00:00] here listen Ralph I know you're a

[00:00:00] private kind of guy and I respect

[00:00:00] that but let me give you a little bit of

[00:00:00] free advice

[00:00:00] all right I like his performance here so

[00:00:00] I don't mind this little pause between

[00:00:00] dialogue here but I do want to cover

[00:00:00] that with another shot maybe cut to a

[00:00:00] closeup of our hero over here let's play

[00:00:00] back uh what I have loaded here in the

[00:00:00] source

[00:00:00] monitor

[00:00:00] really oh I kind of like that a little

[00:00:00] bit you know what I'm going to just grab

[00:00:00] that little bit right

[00:00:00] there

[00:00:00] just okay and I'm going to drop that in

[00:00:00] here I'm going to put it on V1 and A2 I

[00:00:00] want to get that little sniffling noise

[00:00:00] here separate from the other dialogue

[00:00:00] but I'm going to go ahead and drop it in

[00:00:00] the same video track as everything else

[00:00:00] here

[00:00:00] so right there I want to set that up I'm

[00:00:00] just going to do an in and out kind of

[00:00:00] cover that gap of Silence there and I'll

[00:00:00] just do a basic

[00:00:00] overwrite now again we will have

[00:00:00] matching in andout points here in this

[00:00:00] case I'm going to ignore the source out

[00:00:00] point I just want to fill this in and

[00:00:00] out on the timeline very specifically

[00:00:00] and ignore the source outpoint and here

[00:00:00] we go and I respect

[00:00:00] that but let me give you a little bit of

[00:00:00] free advice all right and I think I

[00:00:00] heard a double sniffle there I think I

[00:00:00] heard something in the dialogue track

[00:00:00] here so after he's done talking I can

[00:00:00] lower the volume there if I want so I

[00:00:00] can quickly turn on my volume key frames

[00:00:00] there I had those hidden so show audio

[00:00:00] key frames I get that white line I'll

[00:00:00] just use the pen tool to just kind of

[00:00:00] drag the volume down I'll set Four

[00:00:00] Points go back to the selection tool

[00:00:00] pull the volume down so I'm not hearing

[00:00:00] a double noise there and I respect

[00:00:00] that but let me give you a little bit of

[00:00:00] free advice all right and I think I want

[00:00:00] to put that a little more towards the

[00:00:00] middle of his shot there that little

[00:00:00] sniffle so I'll use the slip tool which

[00:00:00] is right there I'll select the clip and

[00:00:00] I'll just drag it to the right

[00:00:00] again I'm not changing the duration I'm

[00:00:00] just changing the in andout point

[00:00:00] that but let me give you a little bit

[00:00:00] very nice so one thing we can't do

[00:00:00] unfortunately is slip a clip by specific

[00:00:00] amounts using the number pad to dial in

[00:00:00] with the time code there but I can use a

[00:00:00] keyboard shortcut to move it frame by

[00:00:00] frame and I just have to have that clip

[00:00:00] selected with the normal selection tool

[00:00:00] if I hold on option command and go left

[00:00:00] and right you can see I'm slipping

[00:00:00] it right there in time moving that

[00:00:00] little sound

[00:00:00] around and I respect

[00:00:00] that but let me give you a little bit of

[00:00:00] free advice all right looks great and

[00:00:00] I'll just do a little L cut there just

[00:00:00] going to grab that again with that tool

[00:00:00] and move that a little bit to the right

[00:00:00] using my step forward frame by frame

[00:00:00] keyboard shortcut but let me give you a

[00:00:00] little bit of free advice all right

[00:00:00] great now one thing you may have noticed

[00:00:00] is compared to the Avid I'm not using

[00:00:00] anything like trim mode I haven't

[00:00:00] slipped into a different mode mod in

[00:00:00] order to do these fine cuts and edits on

[00:00:00] the timeline in a sense we're always in

[00:00:00] trim mode in Premiere Pro there's no

[00:00:00] different look for the sequence in order

[00:00:00] to access those tools but we do have

[00:00:00] something called the trim window if you

[00:00:00] want to fine-tune the edit a little more

[00:00:00] between two shots let me just play this

[00:00:00] back one more

[00:00:00] time but let me give you a little bit of

[00:00:00] free advice all right I want to change

[00:00:00] the timing here a little bit and I'm

[00:00:00] going to go ahead and blade this shot

[00:00:00] here the audio which is currently linked

[00:00:00] to this other section of the clip I want

[00:00:00] to link these two together they're not

[00:00:00] linked right now you know if I select

[00:00:00] them they're just being selected

[00:00:00] separately I'm going to lasso both of

[00:00:00] those and I'm going to use the link

[00:00:00] command if I right click it's right

[00:00:00] there I also have a keyword shortcut for

[00:00:00] that okay now those two pieces are

[00:00:00] linked together and if I select this

[00:00:00] edit Point here like so and double click

[00:00:00] it I will load that edit Point into this

[00:00:00] this is the trim window this is the

[00:00:00] previous clip this is the clip that I'm

[00:00:00] on and you'll notice that when I move my

[00:00:00] mouse over the middle I get different

[00:00:00] tools right now it's on

[00:00:00] roll all right and if I click right in

[00:00:00] the middle it's the double roll so it's

[00:00:00] going to go in both directions here so

[00:00:00] any changes that I make in the edit is

[00:00:00] going to affect both sides of it or if I

[00:00:00] hover over the center there I can turn

[00:00:00] that into a ripple all right so if I

[00:00:00] make an edit here I'll go uh minus one

[00:00:00] here on that clip you see that's moving

[00:00:00] moving down like so it's also affecting

[00:00:00] uh track A2 because the sync locks are

[00:00:00] on and everything is moving to respect

[00:00:00] that Ripple edit it's going to Ripple

[00:00:00] all the clips

[00:00:00] together or if I go back here and click

[00:00:00] in the middle I'm now doing the edits on

[00:00:00] both sides simultaneously and I can

[00:00:00] extend that back out or the other way

[00:00:00] this other selection here is the trim

[00:00:00] forward and trim backward mini and that

[00:00:00] is set in the preferences as well right

[00:00:00] now that's set to plus or minus five

[00:00:00] frames either direction just a quick

[00:00:00] shortcut for that and because I'm on the

[00:00:00] roll now I am not Ripple editing the

[00:00:00] audio here that was on A2 I'm just

[00:00:00] dealing in here with A1 and

[00:00:00] V1 if I want to I could apply a

[00:00:00] transition there which I don't want to

[00:00:00] do there's a shortcut to apply the

[00:00:00] transition right there at the bottom and

[00:00:00] there is a loop point so if I just hit

[00:00:00] playback and I respect that

[00:00:00] but let me give you a little bit of free

[00:00:00] advice private kind of guy all right so

[00:00:00] it's going to Loop and I can set that

[00:00:00] amount in the preferences as well how

[00:00:00] how far back it pre-rolls before showing

[00:00:00] me the edit now this editing tool here

[00:00:00] also respects the JK and L tools so when

[00:00:00] you use those with the trim window open

[00:00:00] but let me give you a little bit of free

[00:00:00] advice see

[00:00:00] that so it's not just moving the

[00:00:00] playhead in time it's actually moving

[00:00:00] the edit point there and because it's on

[00:00:00] Roll again it's not affecting that A2

[00:00:00] clip all right now I want to show you

[00:00:00] how to do an asymmetrical edit meaning

[00:00:00] that one track is going to edit this

[00:00:00] direction and another track needs to go

[00:00:00] the opposite direction in order to keep

[00:00:00] certain shots in place so here I've got

[00:00:00] that Shredder sound effect underneath

[00:00:00] all of these shots

[00:00:00] all right and it carries over through

[00:00:00] that following shot there where he goes

[00:00:00] to pick up his keys added a little fade

[00:00:00] there using the new fader controls there

[00:00:00] and maybe I'll just bring in the end of

[00:00:00] that clip just a little

[00:00:00] bit so that it fades out between those

[00:00:00] two shots but this initial shot of the

[00:00:00] Shredder is a little too long and I want

[00:00:00] to edit it while shifting everything

[00:00:00] down so I want to do a ripple edit so

[00:00:00] I'll choose the Ripple edit tool with my

[00:00:00] keyboard shortcut and I will use the

[00:00:00] step forward and backward command to

[00:00:00] edit that down by a few frames but

[00:00:00] notice that that also created an edit

[00:00:00] point there on the sound effect which I

[00:00:00] don't want so I'm going to go back in my

[00:00:00] history palet here to that previous

[00:00:00] state what I want to do is shrink the um

[00:00:00] end of this first Shredder shot while

[00:00:00] keeping the sound effect intact in other

[00:00:00] words it has the same outp point and it

[00:00:00] does not add an edit point right there

[00:00:00] in the center a few different ways we

[00:00:00] can do that we could turn off the syn

[00:00:00] lock and then that wouldn't move at all

[00:00:00] but that would actually affect other

[00:00:00] clips that are on the same track there

[00:00:00] you see I've been a little bit messy

[00:00:00] I've this sound effect is on a track

[00:00:00] with some dialogue so I'd want to move

[00:00:00] that before I tried the syn lock

[00:00:00] approach but that's one step too many I

[00:00:00] could Ripple edit both edges here so I

[00:00:00] just held down the shift key and now I'm

[00:00:00] Rippling both of those

[00:00:00] simultaneously but that is changing the

[00:00:00] end point of that sound effect so that's

[00:00:00] not going to be what I want so what I

[00:00:00] can do is actually change the direction

[00:00:00] of this Ripple here on A2 in other words

[00:00:00] right now it's Rippling to the left I

[00:00:00] can make it Ripple to the right now if I

[00:00:00] just click it's going to deselect both

[00:00:00] those points and only change the edit

[00:00:00] Direction on A2 so I'll go back there's

[00:00:00] my ripple left on that first clip of the

[00:00:00] Shredder and I'm going to hold down the

[00:00:00] shift

[00:00:00] key but this time I'm going to point in

[00:00:00] the other direction so before I click

[00:00:00] with the shift key held down on A2 I'm

[00:00:00] going to move the mouse so that the

[00:00:00] arrow points the other way and now this

[00:00:00] edit point is Rippling to the right and

[00:00:00] this edit point is Rippling to the left

[00:00:00] you can also change that even if you've

[00:00:00] selected both like this you can still

[00:00:00] hold down the shift key hover outside of

[00:00:00] it and click to the right and now when I

[00:00:00] go frame by frame

[00:00:00] backwards notice how that clip does not

[00:00:00] move on A2 to at all because it is

[00:00:00] asymmetrically

[00:00:00] Rippling along with that edit on A1 and

[00:00:00] V1 now the last thing I want to show you

[00:00:00] here is a way to do Source record style

[00:00:00] editing the way you're used to in Avid

[00:00:00] again we don't have that exact system in

[00:00:00] Premiere Pro but I'll show you a way to

[00:00:00] get pretty close so here's my editing

[00:00:00] sequence here that I've been working on

[00:00:00] and I do have that assembly where I've

[00:00:00] pulled in a few more shots and kind of

[00:00:00] strung them together and I want to take

[00:00:00] some chunks out of this assembly and

[00:00:00] drop them into my cut in progress here

[00:00:00] so how do we get all this set up well

[00:00:00] I'm going to close that sequence I don't

[00:00:00] want it open just yet here is this edit

[00:00:00] that I'm working on so think of this as

[00:00:00] the record side in Avid and I'm going to

[00:00:00] go ahead and go over here to my

[00:00:00] sequences bin and here is that assembly

[00:00:00] that I'm going to use as the source side

[00:00:00] and what I want to do is load this

[00:00:00] sequence into the source monitor I can

[00:00:00] right click on it

[00:00:00] and I can choose open in Source monitor

[00:00:00] right there or I can simply drag and

[00:00:00] drop and this is now that edited

[00:00:00] sequence in my source viewer and now I

[00:00:00] need to get this into its own timeline

[00:00:00] so I'm going to click on the wrench

[00:00:00] right here and second option down there

[00:00:00] open sequence in Timeline I'm opening

[00:00:00] the sequence from The Source monitor not

[00:00:00] from the

[00:00:00] bin and there it is this is actually a

[00:00:00] source monitor sequence or a source side

[00:00:00] sequence see how that's playing back in

[00:00:00] the source monitor not the program

[00:00:00] Monitor and you can visually tell the

[00:00:00] difference because this one has a red

[00:00:00] playhead here and the playhead in this

[00:00:00] other sequence is blue and it plays back

[00:00:00] in the program monitor so you can use

[00:00:00] this to

[00:00:00] do see Ino like this and use that to do

[00:00:00] a lift or extract into the other

[00:00:00] sequence but it would be nice to see

[00:00:00] both simultaneously right so what we're

[00:00:00] going to do is move this sequence into

[00:00:00] its own panel I'm going to click and

[00:00:00] hold on the name and drag it down one

[00:00:00] position not into the center that's

[00:00:00] where it already is but one position at

[00:00:00] the top I'm highlighting the purple

[00:00:00] highlight is across the top there I'm

[00:00:00] going to let go and now it's split into

[00:00:00] its own panel and I can see both

[00:00:00] sequences

[00:00:00] simultaneously all right and if I wanted

[00:00:00] to do some very specific match cutting

[00:00:00] between the two I could also gang them

[00:00:00] together right and the playhead is going

[00:00:00] to move accordingly down below to

[00:00:00] match all right but I don't need that

[00:00:00] specifically for this so I'm going go

[00:00:00] ahead and turn that back off what I want

[00:00:00] to do is grab this section

[00:00:00] here where he puts his hand up to his

[00:00:00] forehead let me move that end point

[00:00:00] bring in all of this

[00:00:00] and I'm going to cut that in right

[00:00:00] about here all right so I've got the Inn

[00:00:00] out point there and all I have to do is

[00:00:00] hit

[00:00:00] insert and there it is it dropped it

[00:00:00] into my other sequence now notice what

[00:00:00] happened here it's One Clip and it's

[00:00:00] green this is a nest and by default

[00:00:00] unless you change it you're going to get

[00:00:00] nests when you do these types of inserts

[00:00:00] and overwrites from other sequences so

[00:00:00] to turn that off because I want all the

[00:00:00] original Clips right I'm going hit undo

[00:00:00] and in order to change that we want to

[00:00:00] turn off this switch right here it's at

[00:00:00] the end of the timeline panel next to

[00:00:00] the magnet on the left insert and

[00:00:00] overwrite sequences as nests or

[00:00:00] individual Clips well we already saw the

[00:00:00] nest we want individual clips and I'm

[00:00:00] going to turn that off other source

[00:00:00] patches have lit up here on the left

[00:00:00] showing me that I have all of those

[00:00:00] available and now when I do that

[00:00:00] overwrite I have all the original clips

[00:00:00] from that source side sequence down

[00:00:00] in this record side sequence so that's

[00:00:00] how we approximate The Source record

[00:00:00] style editing from Avid inside Premiere

[00:00:00] it's a few extra steps but it is

[00:00:00] possible that's it for editing in

[00:00:00] Premiere Pro hopefully this was helpful

[00:00:00] for translating some of that Avid muscle

[00:00:00] memory into this new software and by the

[00:00:00] way all the keyboard shortcut C I

[00:00:00] mentioned in this video are available in

[00:00:00] a separate document so look for that I

[00:00:00] highly encourage you to use them to set

[00:00:00] up your own keyboard shortcuts download

[00:00:00] some sample projects in media and just

[00:00:00] practice editing and trimming in

[00:00:00] Premiere Pro thanks for watching I'll

[00:00:00] see you on the next one