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
How to use match frame to find original footage 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
Edgar O
1 month ago
1
Jutta M
3 years ago
1
Student Gallery
Be the first to share something.
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.
Downloads & Exercise files
Transcript
Hey there, in this video we're going to look at something called Match Frame, and then Reverse Match Frame. Let's work out what Match Frame is first.
So Match Frame is really useful for, especially when you've got a really long interview, and you've kind of cut it up into lots of little pieces, you're like, “Where's this bit in the big long video?” So just put your CTI, your Playhead, just above the clip, wherever you want it to be, you can be very precise, but just jam it in there somewhere, and tap the 'F' key, boom. What it does is it jumps back to that original footage, there it is here, and it's showing me the snippet, and if I zoom out of this, you can see, it's part of a really long interview, can you see, and that's just a tiny little bit. If I find another piece of it that I've cut up, this bit here, just type 'F' key, you don't have to select it, but it will jump to that snippet there. So I can kind of work out where all these bits have come from.
One thing to note that it is to do with your track targeting, say this column here, if I say-- I've got it hovered here now, I'm going to find this, if I use this somewhere, type the 'F' key, you notice it's not grabbing this, is grabbing the track that's underneath, it's because of this. I'm going to turn that off, turn that one there, Now if I hit 'F', it's going to find that track. So I'm going to turn it back. So that is Match Frame, super useful.
Where it gets kind of weird, and you might already know Match Frame, a lot of people do. Let's do it another way, like let's do this one, and let's double click this. It does the same thing, it opened up here, and you're like, what's the difference between F key, which is Match Frame, and just double clicking some of the clips?
Well, the difference really is, is that this is not showing me my original clip here in the Source monitor, it's showing me the instance that I've chopped it up, so watch what happens, when I say up here, if I zoom out, and I just start adjusting, I'm like, I don't want this bit anymore, I want this bit, and I want this, maybe just here, can you see, it's adjusting that clip, that's the difference. If I double click it and open it, I'm kind of opening this instance of it, and I can edit it. It's generally not what you want.
My advice is, don't double click stuff, saving project, please hold, that took longer than normal. Screen recorders is pretty stressful on your machine. I'm going to undo that. So instead of double clicking just use the F key. F key means that I can go in here, I can still see where the original edit is, it kind of tells me, but I can zoom in now and I can say, actually, I don't want that anymore, I want this bit over here, over here, and this bit over here. You see, it's not editing that original. Anyway, that confused me for a little while. Don't double click, do editing on the Timeline, and just use the 'F' key.
Little thing to note, it's not what you got selected as well, sometimes I think, oh yeah, select that, hit 'F', it's not, it's wherever the Playhead is. So doesn't matter what you've got selected. The other thing to consider is that, say you don't want to find it up here, you want to actually just find it in this big mess of a bin that you've got, no folder structure, you live life on the edge, you're a renegade rogue editor, and it just all piles up in there. You're like, "Where is this thing?" You can right click it, have to select it this time, right click it and say, show me, in the 'Reveal in Project', there it is there, and it'll open up, well, not open up, it'll just highlight it, then you can double click it in the source. You're kind of back to where you were before, but at least it shows you in here, because often you end up with things in the wrong bins, let's say. I'm not judging,
The next one we'll thrown in at the end here is the Reverse Match Frame, this is not very good, I'll be honest. There's a better way which I'll show you in the next video, but you might have a really good use case for it. Let's say that it's great, well, I can see why it would be great-- this doesn't work, for say something like B-roll, say you're in here and you're like, uh, where's-- might be wrong. There's something, so open this up, I'm like, "Oh yeah, this is good, man." Have I used it? Hmm. That is my big question for B-roll, like I'm-- I abuse B-roll a bit, I'm like, I use them for other projects, there's a lot of like my world, there's a lot of, like person typing on computer, person reaching over, short or pointing, you're like, "Did I use it for this project?" I'm not sure.
So you get the kind of CTI where you think you might have done a cut, and you hit 'Shift R', and if it doesn't work, you haven't used it, unless here, 'Shift R', I did use it, there it is there on my Timeline. So Shift R is-- that's the annoying part of it. You have to have the Timeline where you think the B-roll is. It's good when it's clear but this one's got a couple, of different parts I might have used. There's that bit, you tied it a couple of times, oh, there's a zoom.
So you have to have-- you could be submitting, forever going 'Shift R', 'Shift R', 'Shift R', oh, found it, like that's-- so that's why I don't like Reverse Match Frame. It could be useful for what you're doing, so there you go, you know.
Let's jump into the next video, where I'll find you a better way of doing that, like, have I used this B-roll in the Timeline somewhere. I'll show you how in a sec. Actually, before I go, I feel like I've slammed Reverse Match Frame, but Match Frame, you are good. Remember, anyway you want, 'F' key, takes you right there. Anyway, let's jump into the next video.
- Powered by Marvin
- Terms of use
- Privacy policy
-
- © Bring your Own Laptop Ltd 2025