SECTION: 1
Getting Started
10:15
SECTION: 2
Workflow & Productivity
1:01:52
SECTION: 3
Media Cache
12:32
SECTION: 4
Preferences
10:03
SECTION: 5
Timeline Tricks
59:55
SECTION: 6
Shortcuts
16:29
SECTION: 7
Color
2:41:19
SECTION: 8
Transitions
52:06
SECTION: 9
Stabilizing video
59:18
SECTION: 10
Freeze, Hold & Pause
7:20
SECTION: 11
Tools
11:44
SECTION: 12
Slow Motion
23:03
SECTION: 13
Effects
9:34
SECTION: 14
Storyboarding / Planning
3:04
SECTION: 15
Motion Graphics - Part A
15:32
SECTION: 16
Linking Grouping Nesting
17:30
SECTION: 17
Motion Graphics - Part B
49:25
SECTION: 18
Infographics
18:29
SECTION: 19
After Effects
20:28
SECTION: 20
Working with others
17:43
SECTION: 21
Workspaces
2:38
SECTION: 22
Multi-Cam
16:49
SECTION: 23
File Management
17:30
SECTION: 24
Sound
1:45:18
SECTION: 25
Markers
16:01
SECTION: 26
Subtitle & Closed Captioning
32:34
SECTION: 27
Social Media & Repetitive work
49:54
SECTION: 28
Rendering/Exporting
27:49
SECTION: 29
Media Encoder
1:00:21
SECTION: 30
What Next
22:37
Fixing skin tone with Vectorscopes in Premiere Pro
SECTION: 1
Getting Started
10:15
SECTION: 2
Workflow & Productivity
1:01:52
SECTION: 3
Media Cache
12:32
SECTION: 4
Preferences
10:03
SECTION: 5
Timeline Tricks
59:55
SECTION: 6
Shortcuts
16:29
SECTION: 7
Color
2:41:19
SECTION: 8
Transitions
52:06
SECTION: 9
Stabilizing video
59:18
SECTION: 10
Freeze, Hold & Pause
7:20
SECTION: 11
Tools
11:44
SECTION: 12
Slow Motion
23:03
SECTION: 13
Effects
9:34
SECTION: 14
Storyboarding / Planning
3:04
SECTION: 15
Motion Graphics - Part A
15:32
SECTION: 16
Linking Grouping Nesting
17:30
SECTION: 17
Motion Graphics - Part B
49:25
SECTION: 18
Infographics
18:29
SECTION: 19
After Effects
20:28
SECTION: 20
Working with others
17:43
SECTION: 21
Workspaces
2:38
SECTION: 22
Multi-Cam
16:49
SECTION: 23
File Management
17:30
SECTION: 24
Sound
1:45:18
SECTION: 25
Markers
16:01
SECTION: 26
Subtitle & Closed Captioning
32:34
SECTION: 27
Social Media & Repetitive work
49:54
SECTION: 28
Rendering/Exporting
27:49
SECTION: 29
Media Encoder
1:00:21
SECTION: 30
What Next
22:37
Questions
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Course info
Overview
Hi there, my name is Daniel Walter Scott & I’m an award winning Adobe Certified Instructor. Welcome to the Premiere Pro Advanced Course.
This course is aimed at people who already know the fundamentals of Adobe Premiere Pro. If you have developed your own way of doing things but you realise there are so many tools, updates & time saving techniques that you haven't had time to explore then this course is definitely for you.
• We look at the best productivity hacks & little known features to super speed your timeline editing.
• We explore color management, color grading, color replacement & skin tone correction.
• You will master all the new Lumetri color methods and harness the power of scopes.
• You will learn new ways to successfully create traditional & new style transitions.
• You will quickly become a master at fixing shaky handheld and drone footage.
• There won’t be anything you can’t mask or blur.
• We will get your computer running at warp speed using Proxies, Scratch Disk & Cache management.
• You’ll master high frame rate footage to enable you to produce spectacular slow motion video.
• You will create high quality professional motion graphics & data driven infographics.
• You’ll learn all about Premiere Pro’s responsive time and design tools so you can make graphics & animation once that can be used across multiple future productions.
• You will learn file and footage techniques which will enable you to work with multiple editors.
• Multi-camera editing will be a breeze.
• You will learn stunning techniques to help clean up your audio by removing noise, hiss & echo.
• Learn how to manipulate & extend your music in Premiere Pro & also in Adobe Audition.
• You’ll learn which tools & techniques are best for removing the monotony of repurposing the same footage across multiple sizes for social media.
• Learn about markers, subtitles and amazing plugins,
• You will learn all the best tricks and settings which will enable you to get the most from your rendering in Premiere Pro and also in Adobe Media Encoder.
We cover all these topics and more in this course.
Take a look at the contents and read reviews from other students and you’ll see this is the course that will get you from adequate - to EXCELLENT in Premiere Pro.
In this course we use real world, practical projects and use exercise files which you can download and then work alongside me.
If you can’t remember the last time you sat down & went through the features & updates in Premiere Pro, let this course be your all-in-one professional development & upgrade.
You owe it to yourself - sign up and get ready to become a Premiere Pro Super Hero.
Daniel Scott
Founder of Bring Your Own Laptop & Chief Instructor
instructorI discovered the world of design as an art student when I stumbled upon a lab full of green & blue iMac G3’s. My initial curiosity around using the computer to create ‘art’ developed into a full-blown passion, eventually leading me to become a digital designer and founder of Bring Your Own Laptop.
Sharing and teaching are a huge part of who I am. As a certified Adobe instructor, I've had the honor of winning multiple Adobe teaching awards at their annual MAX conference. I see Bring Your Own Laptop as the supportive community I wished for when I was first starting out and intimidated by design. Through teaching, I hope to bring others along for the ride and empower my students to bring their stories, labors of love, and art into the world.
True to my Kiwi roots, I've lived in many places, and currently, I reside in Ireland with my wife and kids.
Certificates
We’re awarding certificates for this course!
Check out the How to earn your certificate video for instructions on how to earn yours and click the available certificate levels below for more information.
How to earn your certificate
Work your way towards your certificate for this course by following these simple steps.
- Watch the course videos
- Complete the Class Projects - look out for the videos marked with
- Upload your class projects into the My Projects area in your account
- Complete and pass the Knowledge Quiz (Merit level courses only)
- Complete the Distinction Certificate Project (Distinction level courses only) - look out for the video marked with
- Upload your Distinction project to the My Projects area in your account
- Request your certificate when you've completed the requirements for the certificate level you're working towards
Good luck!
Pass certificates
We’re awarding ‘Pass’ level certificates for this course.
You can work your way towards your ‘Pass’ certificate by following these simple steps.
- Watch the course videos
- Complete the Class Projects - look out for the videos marked with
- Upload your class projects into the My Projects area in your account
- Don’t forget to request your certificate when all your projects are complete
Good luck!
Merit certificates
We’re awarding ‘Merit’ level certificates for this course.
You can work your way towards your ‘Merit’ certificate by following these simple steps.
- Watch the course videos
- Complete the Class Projects - look out for the videos marked with
- Upload your class projects into the My Projects area in your account
- Complete and pass the Knowledge Quiz
- Don’t forget to request your certificate when you have passed the quiz and completed all your projects
Good luck!
Distinction certificates
We're awarding 'Distinction' level certificates for this course.
You can work your way towards your 'Distinction' certificate by following these simple steps.
- Watch the course videos
- Complete the Class Projects - look out for the videos marked with
- Upload your class projects into the My Projects area in your account
- Complete and pass the Knowledge Quiz
- Complete the Distinction Certificate Project - look out for the video marked with
- Upload your Distinction project to the My Projects area in your account
- Don't forget to request your certificate when you have passed the quiz and completed all your projects
Good luck!
Downloads & Exercise files
Transcript
Hi there, in this video we are going to use Premiere Pro's Vector scopes, to try and correct skin. We're going to make a little mask, and we're going to look at our Lumetri Vector scope, then we're going to try and get this little blob here to run parallel with the Skin Tone indicator here. It's another great way to use our Vector scope, let's jump in.
For this one, we're going to go back and grab the one we made, we worked on earlier, when we changed the color, it's called 'Color Correction C', bring that in, turn into a sequence. I've started a new project, I'm going to zoom in using my backslash key, ' \ ' on the Timeline, so we can see it all. What we want to do is, to fix the Skin Tone, we need to find the Skin Tone, like we did with the white paper, find a good shot, you see, it kind of gets out of focus there, not good, probably there at the beginning, this great place, and just like we did before, we need to go to our 'Effect Controls', find 'Opacity', create a mask using either of these.
I'm going to use the Ellipse, that always ends up the shape of the clip. Come on, Adobe. I wish it was just circular, I can't figure out a way of doing that, if you do know, let me know in the comments, otherwise we just end up with like weird circles all the time. So I've got a selection here, kind of, there we go, I'm going to go back to my Lumetri Scopes, remember, if you haven't got them on, right click it using this one here, 'Vectorscope YUV'. It's showing us our colors of our skin.
Now see this line here, I briefly talked about it, this line here is showing-- that's the kind of line in there, it's called the Skin Tone Line, actually, I think it's called the Skin Tone Indicator. It's got a few lines, it's just a helpful reference that-- skin tones look great along here, at the moment it's kind of pushed a little bit that way, towards red, you're like, "No, no, no, I can see now, it's easy." So I'm going to move it a little bit this way.
So to adjust it there's a couple of ways, Temperature is a nice easy way, often, if it's just subtle adjustments, you can drag one of these, let's try the top one, top one left and right, not the right one. If I drag it out there I can get it closer to the line. I'm going to show you why that's not a great idea, in a second. Double click it to get it back, or this one here, oh, it's this one, see there, get right up that line there, and let's turn our 'Effects Control', 'Opacity, 'Effects' off. Let's go over here, turn the Effects on and off, you see a bit of a rentage?? to it. So that's a way of using the Vector scopes, to get your skin tones in line. Actually, let me show you the other way.
So I'm going to double click both of these to get back, instead of using the Temperature you can use your Curves, and you can use your Hue Saturation Curves, that we looked at before, and we can use this Hue Hue, Hue versus Hue. We can use the Eyedropper tool, to say, sample that color, please, we're right there. So let's grab the kind of skin tones that are actually there, and you can move it up and down. Can you see, on the Vector scope, to move it around, so you can kind of get it close there, there you go. Kind of watching a bit of both of them, and again, let's turn the Effect Controls on and off, he's got a bit yellow, what do you think?
Now that brings me to the next thing, is I'm going to turn that back on, and let's go to our Lumetri Scopes. Can you see, we kind of understand, I hope we understand a little bit, like when we're heading towards yellow and red, we can kind of adjust this to swing it around. Mine's not adjusting, please hold. All right, we're back. So you can see, I can kind of swing it back and forth, so that's kind of, yeah, swinging the color, but what is the difference between, like the center, and all the way out here, this is how saturated something is, and when we're using, in terms of skin tones, how far that out, closer, how closer to the edge, is more saturated, and then the closer it is to the white, or the center, is the wider it is.
So let's just have a look at the Basic Correction. I'm going to grab 'Saturation', can you see, you can drag it in and out. So skin tones are, it depends on your complexion, so with my kind of white skin, it looks best at just about halfway, about 45, 35% of like halfway, it's a guess, it's not 100%, but if you have a darker skin tone, like this guy, it's closer to the center. So you end up being like a third, or, I don't know, 30% along this line, as a rough guess, just so you know.
Our one at the moment probably needs to come down just a tiny bit, not because it's, you know, it's hard to tell on the line, this is an aid to help us, it's not going to give us exactly, but we also knew, because it looked a bit yellow, out here, was the right tone, but maybe the wrong strength. So now we can use that Lumetri Scope to know that we're kind of close, we use the visuals here to kind of confirm it, and again, in the Scopes, we want to be along this line, and how far along this line? You don't want to be at half, you're going to end up looking over saturated, if you've got light skin, kind of just below, halfway between these two lines, and if it's darker skin, the closer to this middle here. This one here, I think, still needs to come in just a touch.
So to recap, draw the Opacity mask around a certain part of skin, and then start looking at your Scopes, to see where it is in relation to this line here, the Skin Line indicator, the indicator skin line, that thing there, and getting it as close on it, and then how far up that, in terms of the saturation, is determined on the skin color that you're working with.
One thing that might throw you out is your mask, if you make a mask that's in a bad position, that's kind of, let's say I'm going to select my mask, it's in the kind of like, it's grabbing some background or some stubble, or that gap there, it's going to throw it out a little bit, you want to try and find a nice big patch of skin, cheeks, forehead, chin, something that's not-- it seems quite generic for that person.
All right, let's leave that one there, let's move into the next video, where we actually look at a bit more real world example, we're looking at everything in isolation, let's start looking at, in kind of combination scopes. All right, I'll see you in the next video.
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