 Hi everyone, welcome to Premiere Video Tutorial Part 3, Titles and Effects. So let's get cracking with this one and I'll show you what's going to be in this session. So we have text, so I'll be showing you the legacy title tool. As with a lot of things in Premiere, which I've discussed before, there are several ways to do text. I'll just be going through this main one today, but I'll briefly touch on the others too. Then we have motion effects, namely frame hold and speed effects, then geometry effects, then transitions, video filters, and finally color grading with Lumetri. So with Lumetri, I'm not going to go into a lot of detail on how to color grade, it's mainly showing you how the actual Lumetri part of Premiere works. There will be another color grading tutorial at some point, which goes into a bit more detail about actual color grading, but for now this is just showing you how to get the Lumetri tool to work. Okay, so text the legacy title tool. So let's get into Premiere. To use the legacy title tool, I need to go up to file new legacy title. Okay, once I select legacy title, I get this sort of new title window, which has just got a couple of little settings that I need to go through first. In actual fact, these settings are taken straight from the sequence settings you have, so assuming that your sequence settings are correct, which they should be, then you shouldn't change anything in the settings part. So I want to keep the resolution as is 1920 by 1080. I want to keep the time base as 25 frames a second and pixel aspect ratio is correct too. So the only thing I can change here is the name of this title. So obviously it kind of numbers them, but if I end up with a lot of titles in my video, then the numbers aren't going to be that descriptive. So it's probably best to call this a more descriptive title. So this could be my opening title credit. So once I've just decided on that, I can click okay and I get this title window here. It might not always look like this when you open it up, actually. So next to where it says opening title credit or that's the name that I've just given it. So next to where it says title is one of the three line menus. So if I click on there and I'm just going to go and select all of these items to make sure that they're all visible, because this is more like what will probably open up the first time you open the legacy title window. So it's just a matter of selecting the type tool, clicking on the type tool, clicking on the screen and something like that. So I'm not going to go through all of this, everything in here, because this is all stuff that you'll see in most text-based software. So you'll have your font, then your font size, etc. You've got aspects leading, kerning and tracking, all of those things. You know, if you want to just type in these numbers or you can use the slider to move up this kind of thing, kerning and tracking, and then font size, I think I mentioned that one, you can do that there. If you want to move the text around, you select the arrow tool or the selection tool and then you can grab that text box and place it wherever you want. So you can see these sort of two boxes on your screen. So these are what we call title safe areas. So because lots of different televisions may or may not sort of crop in slightly from the edge pixels, you might get slightly fewer pixels on your TV than are actually there. And certainly that's the case when you use an old CRT television, which I don't know if they even exist anymore now actually. But the best way to explain what this does is on a CRT television, because the edges are kind of, the screens themselves are slightly rounded so that they've cropped some of the edge pixels off. So to make sure that your text doesn't get cropped, you know, if you put your text right down here, then you might lose some of it in the cropping. So to ensure that that doesn't happen, if you put your titles inside the text, the title safe area, then you know that they'll never get cropped. To guarantee that you don't crop any of your texts, you should put it inside the title safe area. It's not such an issue anymore. Televisions don't tend to crop pixels out like they used to. So it's not 100% necessary, but just so you're aware of what it does. Okay, so you'll also see that I have an image in my in my text screen here and that image is basically just the same as the image underneath where my playhead is on my timeline. So if I move the playhead through the timeline, then it will move through the image in my text tool as well. I can make this text box smaller actually by grabbing the corner just so I can see what's going on. So that follows the playhead and if I take my playhead completely off the end of my clips or off the end of my film, then I'll get a black screen. So if you want your title to be over a black screen, because the title screen itself has an alpha channel, which means it's 100% opaque. Wherever you place a playhead, like I said, the image will show through. So if you did want to put your title on a black screen, then I'll show you how to do that. So once you've created the actual text, it doesn't matter where the playhead is for now. So all you do is once you've got your text where you want it and how you want it, you can just click, you can change the color as well, colors and all sorts of things. So I can draw shapes on there as well. So I just closed down this window, this separate window here and now inside my project browser window, I have my credit file here and what I'm going to do first is right click new bin titles. So now I've got a titles bin and I can put my little credit in there, close that down, keep it neat. So if I want this on my timeline, I just literally drag it over there and there it is. I can edit this clip in the same way that you edit any other clip. I'm using the tools, etc. I can extend it and all this, I can add, I can add transitions, I'll show you those later. So if I've got my title, now I maybe want that there, but I want that over a black screen and what I'll have to do is cut the video track underneath it and remove that track there. So now my opening credit will play over black, okay. And if I want to edit my title, if I've decided I've made a spelling mistake or I need to change it somehow or just want to change the position, I can just double click this clip and it will open up my title tool again, okay. So that is the legacy title and there's a couple of other ways you can add titles. Literally with the text tool in the toolbar here, I can just literally type on the screen, okay. And if I want to do anything with that then I double click that clip, go into effects controls and I've got a few little options here about where I can move it. So yeah, I can drag that around there and move this text wherever I want it. So that's one way of adding text, but you are limited slightly with certain things. If you want to have color the text, you'll need to color grade it, I think, I think that's the only way you can do it. So yeah, there are limitations using that and you don't get shapes or anything like that. So there you go. That's another way of adding text. And then the final way, if we go to this little extender arrow here and click on there and go to graphics and select graphics, then we have these quite cool animated versions of text. Some of them are animated, some of them are sort of set out in specific ways. Just a matter of dragging those directly out of there and onto your timeline. Got some missing fonts. If there are missing fonts, it will just select a different font and use that. So I don't know if you can see that, it's quite small. So you've got options there. Again, it's quite difficult to get in and edit this as it is. So again, if I double click this, you can change all of the parameters down here. This time you have lots and lots of different parameters. The reason we show you legacy title over these two is it is kind of in between in terms of operability. So there are limitations with typing straight on the screen. And with these fancy animated ones, these get quite involved. So, you know, often most of what you want to do is available within the legacy title text tool. But if you do want to get a bit fancier, you go for it with these graphics tools. Or you can just select, click on the browse or edit, select something else. There's lots of different ones. But that's up to you to get in there and have a play with those. So there we go. There's titles. So let's move on. Frame hold and speed effects. So let's go back into Premiere. So frame hold is what we call in Premiere. That's how you add or create a still image from your video clip. So you may have, there are a couple of ways to do it as well. So this is a moving video clip. And if I decide that I get to this clip and I want from this point on, I want that to be a still image. And I just want that still image to play out for the rest of that clip. So I right click here and I go add frame hold. And that has turned the rest of my video clip into a still image. So that is now still sound still plays. But the image is is now a still image. Okay. And that will literally just create the still for as long as your video clip plays out. Okay, to the end of that clip. So that's one way of adding a frame hold. Another way, let me just undo that. Another way is to go again, right click, insert frame hold segment. And that basically cuts your clip wherever the playhead is. And inserts a still image, a still of wherever the playhead was. So I play this now. There's a still and then continues to play the the rest of that video clip. That is a clip of two seconds. And there's probably a way to change that default somewhere in the menus. But there's no real need to because you can always edit that clip to be longer shorter, however you want. Because it's unlikely if you change the default length that the next time you do it, you're going to want exactly the same length anyway. So it makes sense just to be able to edit that in the same way that you would edit any other clip. And then finally, if I right click again, and go frame hold options. So now I get this frame hold window, and I get a few little options. Basically I can create a hold on source timecode. So that's whatever I put in there. Sequence timecode. I can create my hold on the in point on the out point or where the playhead is. Okay, so there are just a few options for you to play with there. So this is the most versatile, but it's not exactly rocket science, the frame hold part. So it might be just that you need to create a frame hold and then get in there and edit it, how I've just shown you previously. Okay, so that's frame hold. Let me just cancel that. So now speed options. Again, there are a few ways to get in and change speed in your clips. One of them is if I double click my clip, go over to effects controls and just close these down a little bit. I've got a few little effects on here already, so just ignore those if you can. This little drop down menu here, time remapping. This is a way you can change the speed of your clip. If you want to do that, I'll let you get involved with this by creating a keyframe in a couple of places and changing the velocity in between them. Moving this, you can speed up your clips. They can speed up and slow down over time by using these keyframes. I'll show you keyframes in a bit more detail in a minute. So yeah, I'll leave you to have a go with that. You can extend these out and you have your bezier curves and all kinds of things. It does get very complicated. So if you want to know more about that, then perhaps if you get in touch with me, I can show you in more detail. It's a bit too much to go into right here, just so you know that it is available. Okay, so the more basic speed controls are if you select your clip and go command R and you get this speed duration window open. So any clip at playing at normal speed and forwards will be 100%. Any clip slowed down will be less than 100%. So 20% and okay. And you can see how that clip has suddenly extended quite considerably. Let's go back to our editing tab. So that is now quite a lot longer than it was. It'll be 80% longer because we slowed it down to 20% of its original speed. And that is much slower now. So let me just go back in there, command R again. So that's down to 20%. You have this thing down the bottom time interpolation. So there's frame sampling, frame blending and optical flow. These will smooth out the motion in your slowed down clips. So frame blending is probably the best average one to go for. So let's go for that and click okay, see if it makes a better job. No, basically. These things sometimes work really well and sometimes don't. So you've got frame blending as an option command R or optical flow. Optical flow is for when you're doing really slow motion. So down to like 5% or something like that. It basically sort of samples the in between the two frames and tries to animate kind of what's in between those frames. Sometimes it gets it horribly wrong and you get all sort of weird pixels all over the place or weird parts of the image being duplicated and you can make a real mess of it. But sometimes it gets it really spot on and you get this super slow motion and super smooth as well. Unfortunately, it's really difficult to know when, as and when that's going to work. So it's just a matter of trial and error. And once you understand what those things are, then you'll know which works and which doesn't. Okay, so like I said, 20% is slowed down. Anything above 100% is speeded up. So 200% will make my clip twice as fast and therefore half as long. And then let's go back to that again. Command R. I can type in a duration rather than a percentage. If I add a minus on the beginning of this, that will actually reverse my clip as well. Or I could just click the reverse button there like that. I think if I check reverse box and have a minus, then it will probably reverse it twice and therefore putting it back to the normal way around again. So yeah, you can reverse clips or you can go. So this thing here, ripple edit. So let's see what this does. So let's say, let's cancel this for a second and undo. So back where we were. Command R, let's click ripple and put this to 20% like we did before. And okay, same thing happened there. Oops. Command R, 200% with ripple ticked and okay, okay. So the ripple edit and shifting trailing clips tick box, it only works when you have multiple clips in the timeline. So I'll probably show you this just by making an edit in here actually. So I just put an edit there and go Command R. So I'm going to slow this clip down, Command R. If I slow that down to 20% and I've got ripple edit ticked and I click okay. So that as you can see, it's pushed the clip after it. It's pushed it further down my timeline. So just undo that and now Command R, untick ripple edit, speed 20% okay. So it looks like nothing has happened, but that clip is much slower. It slowed down, but it just hasn't moved. It hasn't pushed the clip out of the way and therefore it hasn't extended that clip. It's just kept the edit exactly as it was, but it slowed down that clip in the middle. It works the other way as well. Let's just undo that back to where it was. So Command R, if I go 200% and don't click ripple edit, click okay. So that's made my clip shorter, but it hasn't rippled my timeline. It hasn't moved my timeline. It's just left a gap there. Let's do that again, undo there and 200% tick ripple and okay. And now you can see it's rippled my timeline. It's made my clip shorter and it's kept the edit point as it is, but just moved ripple that clip down okay. The more you get into this, the more you work with it, the more you use it, the more it will make sense and the more obvious all of these things become okay. So that's speed effects and frame holds okay. So geometry effects. Let's have a look at some geometry effects in Premiere. Let's go to, let me just undo everything actually. So I'll double click my clip in the timeline and I'm going to go to effect controls and my geometry effects are what I call or these effects here. So anything under motion, so position, scale, rotation and anchor point and I guess you could call opacity as well. So it's anything that affects the shape and position of your image. So there's a few ways I can affect this. I can, with a position, let's work with scale. So that's fairly an obvious one that's going to make my clip bigger or smaller. So I can, anything again above 100, 100% is going to make my clip bigger. So 200, bump that zoomed right in and anything below 100 is going to make it smaller, 50. So that's just be aware that this, the dark area here, the black is my actual frame size. So when I export this, I'm going to see, I'm not just going to see a smaller video, I'm going to see a black border around my video. So this is still my frame size, but my video is just smaller inside that frame size. So there you go. I can just do that by, like I said, typing in the numbers, typing them in or I can click on the number and drag it up and down to make it bigger and smaller or if I select the actual parameter, then I can go over here and drag that in and out to make it bigger and smaller. And that goes the same with any of these. If I can type the numbers in, drag the numbers around or I can click on the word itself and I've got access to all of these functions then and rotate is even in here somewhere. I can't find it, but it's in there somewhere. There it is. So that kind of arrow, a 90 degree arrow. There you go. There's rotate. Okay. So as well as being able to move all these parameters individually, I can also affect them over time. So that's basically animate these parameters. So I can make the scale of this video change over time. I can make it grow and shrink just as the timeline is playing back. And the way that I do that is, so I'll go to scale again. So this little section here represents the length of my clip and this represents the timeline, the playhead, sorry. So I go back somewhere to the beginning of my clip and when you add your first keyframe in, so we're working with keyframes now, I need to click this little toggle animation. That's a bit like a stopwatch I suppose. So you click on there and now it's added a little keyframe in my timeline. You also notice that this appeared add and remove keyframes. So next I can just move my playhead along and now I can just add another keyframe using this little button here. Because I know that my playhead is exactly over there because I've literally just done it, I can now add my additional number in there. And now if I move my playhead between the two, you'll see that it animates between those two points. So if I just play that back, it will zoom in to that clip as it's playing along. And that will work for any of these parameters. I can animate them exactly the same way for any single one of these. And it also works for pretty much any video effect. You can use keyframes to animate all of your video effects. Any parameter that has a little toggle animation icon next to it means that you can use that to animate that particular parameter. So there we go. That's Geometry Effects. So Transition Effects. Transition is very simple. It's going to Premiere. It's just a matter of literally how two clips kind of blend together. So I could really do two separate clips here actually. I'll tell you what I'll do is move that one there so you can see the difference in between those two. So the way to add the default transition is select your edit point, right click on your edit point, apply default transition. And the default transition is what we call a cross dissolve. So that's basically just a fade between one and the other. But what you'll notice is that cross dissolve only appeared on one side. And why is that? And the reason for that is because there aren't any frames after there. It's the very end of that clip. So that's why it can't create a fade where there are no additional frames. Okay so if you imagine the two clips are sort of joined together but they both have additional frames hidden and you need those frames to fade from one into the other. So often people try and add a transition and for some reason that transition won't apply. And the reason most likely is that there are no additional frames to apply the transition to. Which means that you've hit either the very end or the very beginning of one of those clips or even both maybe. So if you had the very end of this clip and the very beginning of this one then the transition just wouldn't apply at all because there are no frames at all to join to. So you need additional frames to apply transitions. So if I close this down here so all of these frames that were here are now my additional frames. So if I now join these together right click apply default transitions and now my cross dissolve goes over both clips. And I can extend or minimize my dissolve like you just saw there just by dragging the edges of it. Or if I double click that cross dissolve I can set a duration for it. Okay cancel that. Or just by going to the effects controls I can change the length of position of it the length of one side the length of the other side etc. Or I can change the position using these parameters as well. So there you go that is a cross dissolve. And so that's how all transitions work. They all work in exactly the same way. You need frames on both sides of the clip on the incoming clip and the outgoing clip. And you can change the the length of them in exactly the same way. To get to your additional transitions you can go into the effects tab at the top. And so this would normally look like this. And I just go into video transitions. And I've got lots and lots of different transitions. Now this one marked in blue is cross dissolve and it's marked in blue because that is the default transition. So set selected as default transition. I could change that if I like. So I can just select whichever transition I want and set that as my default transition. So I'm not going to use that as cross dissolve because that's the most common one. You know there are lots of fancy spins twills zips zaps whatever. Most of them are very dated and look awful. So you're never going to use 99% of these. But the rest yeah there's one or two useful ones mainly dissolve dip to blacks dip to whites. So yeah there you go that's how you would use transitions. Oh sorry and if you just if you want to add a transition to any other part of the clip you literally just drag it from this folder dip to white drop that on there you go. And again I can extend that out etc. Okay so that is your transitions. Okay so onto video filters and adjustment layers and basically video effects. So let's go into premiere. So if we were going from editing tab so editing windows and we want to find our video filters or effects if I want to apply an effect to a video clip. Again a couple of ways you can get to the effects a couple of places you can find them. You can either find them down in the browser window down the bottom left. Click on these right arrows here and scroll to effects and then you have your list of effects and its video effects that we're looking for or let's just go back to the project or if we go to the effects tab at the top so our effects windows layout and now over on the right hand side this list here you have again your list of effects and in these drop down menus here you have your video effects a whole sort of load of effects here. There's a little search bar in the top as well. You might not be able to see this behind my picture but search bar in there if you know the name of your effect and just put blur in there then I can find it will search for anything with the word blur in the effect and then I can add that from there. We have to watch out with these search bars is if you've got something typed in there it will hide everything else so I might go and look for my video a particular effect and because I've got blur in there at the moment it's going to hide everything that hasn't got blur in the title so I won't be able to find anything other than the blur so I just need to delete the search term before I can get the full list back. So let's just choose one of these at random so let's just add this Gaussian blur and to add an effect or to apply an effect to your clip you literally just find the effect in the list select it and drag that over down onto your clip and then double click the clip go over to effect controls and let's just close these down so we can see what's happening Gaussian blur is there now and I can add in my effect with this slider so that's making it more blurry or I can do it with these numbers typing a specific number and there are different types of blur as well horizontal or vertical or both and again I can add this effect over time so let's just find this again so I can animate this effect using keyframes so blurriness let's put that down to zero again so that's totally sharp I'll put a keyframe in first keyframe I have to add with the toggle animation button and then the second keyframe I can just add with this add and remove keyframe button and then while I'm over the second keyframe while my playhead is over the second keyframe I just type in a number there 100 enter and now that will sort of go from sharp to out of focus as it plays through okay so there you go that is how you add an effect to a clip so there is another way of adding video effects in Premiere and this I'll show you that now so rather than add it to the actual clip itself you add it to a separate layer and this is called an adjustment layer and to do that let's just remove this effect for now so if I want to get rid of this blur all together from that clip I can just select it in my effects controls backspace and delete it and it's gone okay I see before I do that if I decide that I really like that effect and I want to add it to all of the other clips in my film I want to make my entire film out of focus like you do and then what I would do there is a way to that you can add effects quickly to a whole load of clips at once and you just select the clip that the effect is on select that there and command c copy and then select the other clips that you want to paste the effect into select as many of those as you like and then you right click or control click and go paste attributes so this will paste the attributes of the clip that I've just copied a second ago so if I select paste attributes and I've got a few effects in there already so I can select which ones I want to add and which ones I don't want to add so this is just going to be the blur I can also paste attributes with the motion effects and opacity as well so yeah you can do those as well so let's just okay that and now I've got the blur effect on all of my clips and you'll notice that it didn't just take the effect it took the the keyframes as well so the keyframe animation has also copied in the in the paste attributes okay so I'm just going to undo that command z undo I'm going to get rid of my blur from that clip so all my clips are without blur again so I'm just sort of randomly showing you with an effect blur for example but this works with absolutely any other effect so all of the effects work in exactly the same way you drop them on the clip open them up in effects controls to get to the individual parameters of that effect and then you can also animate those parameters anyone that has the toggle animation button you can add keyframe animation to and also like I said before there's another way to add effects in Premiere and that's using adjustment layers so to create an adjustment layer I have to go file new adjustment layer um I think I can also go right click in my browser new item adjustment layer there you go and I get the adjustment layer window and again these are taken from my sequence settings so I generally don't want to um you know add something that's taken from my sequence settings that's different so I'm just going to leave those settings as they are and click okay and I have my adjustment layer down here okay um so I can put that adjustment layer into a new bin okay and you can imagine if I start adding quite a few effects eventually I'm going to start building up quite a few of these adjustment layers if I'm going to work like that um and if they're all called adjustment layer then then that's not going to be very helpful to me so I'm going to need to uh label these with something that's a bit more useful so let's just call this blur and so now what I want to do is I want to get my adjustment layer into my edit so just drag it over and in and so at the moment let's just leave that where it is and add the blur to the adjustment layer so rather than now dragging the effect onto the clip I'm going to drag it onto the adjustment layer and if I double click go to effects controls then there it is that's my blur and if I increase the blurriness then that's what I end up with on so basically what it does is it will apply the effect to any clip which is underneath um that adjustment layer um so you'll notice with this one as soon as the adjustment layer runs out the effect stops um but I can just extend that out if I want to and I can edit this adjustment layer in the same way as uh I can with any other clip you know I can add cuts and fades and all that sort of thing so yeah the handy thing about that is obviously if I want to go back and see what my clip was like without um that adjustment layer on I can just just take it out of the way um or if it's just a temporary thing um maybe a bit of temporary color correction before it actually goes off to be color graded um I can just apply it there and then just remove it um if I just backspace from the sequence then it's deleted from there but it's still in my um my project undo that bring that back so and yeah if I if I discovered that um you know I might apply it to one clip and then if I decide that I want to add that to all the other clips rather than have to go through the sort of um copy and paste attributes I can just literally extend that um and it will apply to any clip um which is underneath it okay and that's adjustment layers I don't think there's anything else I need to say about those um I can I can uh animate with keyframes in the adjustment layer in the same way as I can on the clip um so there you go that's effects video filters um like I said uh applying applying effects to a two clips works in exactly the same way for pretty much all of these effects um so yeah okay so let's go back to lumetry so color grading um like I said I'm not going to go into detail um on how to color grade uh I'm just going to show you how the color grading tool works in premiere um color grading is a whole subject in itself uh and there will be further color grading tutorials um that will help you with the actual process of color grading um so for now lumetry back into premiere um let's just get rid of this uh blur effect and I'll just go with this clip here for a bit of color grading so in the same way that there is a tab for some of the other processes there's also a color tab so if I click on color and what I end up with is um this lumetry color panel over on the right hand side um and importantly here I've got this lumetry scopes um so it may not initially open with the scopes but they are there it's just a matter of selecting selecting them in the uh in the heading at the top there um so let's if I hover over my clip here with the playhead so whichever clip I have selected is the one that the color grading will be applied to and you can also apply color grading to uh adjustment layers as well and in fact um color grading is a good example of of uh how adjustment layers um are quite good to use in in your workflow um so let's go for let's go for one showy so let's file new uh my adjustment layer is grayed out can anybody remember why that is so you may remember from earlier tutorials um whichever window I have selected will determine uh what access I have to some of the menu items so I need to have my project browser selected to go file new adjustment layer okay and keep those parameters adjustment layer and let's just call this um grade one um if I was doing something specific you know if this was a project then I'd probably know uh what kind of color grading I was about to do so I'd be a bit more descriptive than than just that um that this is just a test so uh we can either put that in with the rest of our adjustment layers or we could even create a new color grading bin and add that there but either way I'm still going to need to put my adjustment layer over into my timeline so let's put that in there and now this is one thing you also have to um be be careful of um so if I click on my um play head you'll notice that my clip is selected rather than the adjustment layer so if I start doing any color grading now then that is going to be applied to the clip and not the adjustment layer even though the adjustment layer is there um it's going to apply it to the um to the clip because the clip is selected so I need to select my adjustment layer for any changes that I make to be applied to that adjustment layer and not the clip um so uh these headings here are all a different set of tools um and like I said I'm not going to go into exactly how each of these work um because that's uh a whole separate um tutorial in itself um but what I will say is the color wheels are usually the the place to start when you're doing uh color grading especially if it's contrast adjustments and sort of color balance adjustments or you know white balance fixes or something like that for example um you'd start with the color wheels um okay you can also you know because in color grading what the the essentially the workflow is you do your primary grade first and then your secondary grade so the primary grade would be fixing contrast and fixing white balance and then the secondary grade would be adding any many sort of stylistic content or flares and things like that um so you could even use separate adjustment layers for primary and secondary and you could even use a whole load of adjustment layers you know you could use one for contrast one for color uh one for effects you know as many as you like you can just stack them up um however I'm just going to use one for now uh and if I want to do uh do a contrast adjustment on my uh clip so I'm going to go to uh color wheels and you'll notice that there is three color wheels in here there's one for the shadows one for the mid tones and one for the highlights I think that's fairly obvious what they do um but there's also so there's a color wheel for each one of those and there's also this little slider for each one of those as well so um the color wheels affect the color of the shadows mid tones and highlights and the sliders affect the contrast of the shadows mid turns and highlights so if I want to increase the contrast in this image um it's already quite a high contrast image so I necessarily want to do that but just to show you how to do it um what I would do is um make the the the blacks uh stand out more so kind of um more intense blacks and you do that by dragging this slider down so making the blacks darker and then the highlights I would push those up and that's increasing the highlights and then maybe you could either push the mid turns up or down depending on what the overall brightness you are after is for your clip um so anyway there's a bit of additional contrast in there um this little tick box here I can tick that on and off and that shows you basically what you've done just there so you can see the difference between the way you started and where you are now um so that's how you add contrast adjustments color adjustments um for example imagine this was a clip with the uh with the white balance saw wrong um and uh if this clip was sort of too orange which it might be if it had a uh you know the uh the white balance wronged um or it could be too blue um if it's an out dot or um sorry if it's an external clip that's more likely to be blue um so if it's too blue what you do is you go to the mid tones color wheel and you grab this cross here in the middle and shift it away from the blue and that will start removing the blue from your image and balancing it out better so making it more natural um obviously that there wasn't anything really wrong with that white balance so um this is kind of having the opposite effect um but imagine you started there like that and the clip was too orange again what you do is you go to the crosshairs and move the mid tones cross hair away from the orange and towards the blue and then that would start looking more natural okay so whatever color balance problem you have you take the mid tone slider uh sorry the mid tones uh color wheel and move it away from that color that you're having a problem with um and that should do the trick if you're finding that it's still not working properly you might need to do a little bit the same with the highlights and maybe even the shadows um more likely to be a bit of a additional color balance with the highlights than the shadows but it depends how bad it is I suppose so yeah that's how you do sort of basic contrast and color adjustments um using the uh color wheels in Lumetri um but also so how do I know that I'm moving them by the right amount you know how do I know if I'm not going too far or how do I know that I'm not underexposing my image or overexposing my image so that's where these scopes come in over here um it looks mind-boggling when you first see a scope um but all you have to think about is the the left to right pixels are all in the right positions um but the up and down um pixels the vertical pixels are distributed by um contrast or brightness rather than actual physical position uh so um what that means is when you play through the image you can sort of recognize where it's moving you can kind of see if you look over in the far left when those branches from the little tree start to come into the image you can actually see that in the scopes so you can you can actually recognize parts of the image in the scope um but importantly what's going on in the scope is we need to be looking right at this top layer so up at 100% and and down at zero so none of our image should be below zero and none of it should be above 100 um in actual fact what will happen is when you hit those um zero and 100 marks uh it it won't go any further than that anyway um but what it does do is it starts crushing it out starts flattening it starts clipping it basically so it's clipping your image so you can see that down at the bottom here at zero a lot of our image is hitting this zero line and that means that any place where we hit zero we have clipped this image we've made it um uh we've basically lost any detail in that in those black areas down there and if I keep going with this you'll kind of see that it gets really black in certain places and you can't make out anything that's going on in there so that is now clipped in the black levels um it's underexposed and you can kind of see that on the zero we've got signal hitting that zero line almost all the way along there now um so what you'd need to do is push those shadows back up until they come out of the zero line um so you might also now be able to see that even along this zero line now we still have some of our um they're called graticules these kind of little tiny dots that make up this image here um there are still some graticules along the edge of the zero line so this kind of blue uh line that it's sort of left there means that we still got some of our image is hitting the zero line so what I'd have to do is I'd have to push the shadows pretty high before we start to lose those graticules along there and I'm I'm purely looking at the scopes now I'm not looking at the image at the moment so now that is telling me that I've got no part of my image is underexposed but when I go over to my image now um it's I've kind of lost the contrast in it all together you know it's kind of really starting to look quite gray and washed out now um and that's not what I want either so it's just a matter of getting the balance right um basically what's happened where you can see this line here it's kind of been underexposed slightly when it was shot so um those underexposed areas uh are showing up in this in the scopes just here um and to try and get rid of them I'm having to push it too far um and uh so it's starting to you know I'm losing the contrast in the image so it's just a matter of finding that right balance between um you know actually clipping a part of your image and um and making the contrast look natural uh so yeah it's just a matter of getting that balance right basically ideally you would make sure that you don't have any of your image um clipped but that's not always possible um due to the way that it may well have been shot in the first place um especially when you're perhaps working with uh footage that was shot on a mobile phone like this was um okay so the same goes for the top end actually 100 um and in fact it's probably more important at the at the 100 end of the scale so the at the white end of the scale um simply because whites uh are obviously brighter um and they they they catch your eye more um so therefore you tend to be drawn to them more than the the dark areas therefore you're going to notice overexposed bright white areas more than you would underexposed dark areas um in general generally speaking um so um again we're not doing too badly here actually um there is some areas of my image slightly touching the 100% line and that's probably up in the sky just here some of these clouds might be just touching the the overexposed um the clipping um 100% line and potentially maybe some of this white uh area here too um so I can drag down the highlights just to make sure and you can see now that um even though this guy is you know generally is quite bright um we can still see all the details there we can still see all the clouds if I push the highlights the other way you'll see what happens so the grattiscules start to sort of flatten out at the top everything goes uh you know sort of um flattens out into a line at the top and now the sky in my image has pretty much just gone white um so there's now no detail in this guy hardly um it's just bright white clipped image um and that's generally not what we want so if I bring that back down we start to see the detail of the clouds come back and that's a much nicer image to look at okay um so that's how your scopes work um these are called waveforms um and this is an RGB waveform you can see the red green and the blue channel all there um in one all mixed together um if you look down at the uh little spanner menu down the bottom and we can select different types of uh scopes so there's a waveform there's a parade so the parade is in actual fact so let actually let's turn the waveform off and the parade is exactly the same as the waveform but with the red green and blue channels separated so now you can see each one of those channels separately and you can kind of see which one might be clipping so this this is kind of handy sometimes because you might think well okay I need to push up my entire image all of my contrast to get rid of the clipping in the in the darks uh in the black area but in actual fact it's mostly the blue here that's clipping so I might be able to just get away with raising the levels of the blue channel uh again I'm not going to go into all of that now because it's uh yes not enough time here um so yeah you've got the parade uh which is the RGB version of the waveform you have a histogram let's turn the parade off the histogram uh just shows you black to white and how the the detail in the image and colors and brightness in the image is spread throughout that zero to a hundred percent mark then you have the vectorscope and this uh is showing me colors actually so if you look here you've got the red uh red green and blue primary colors and then um yellow cyan and magenta secondary colors um and wherever these graticules are sort of leaning towards is telling you that that is the overall color balance in your image so uh they're going to yellow quite a lot and a little bit towards red and towards green as well certainly they're over this side of the color wheel um and that's because in actual fact there's a lot of yellow in green green grass actually has quite a lot of yellow in it um and there's a lot of green grass in this image so uh there's quite a high yellow count there um and a bit of red sort of red bricks in the building um sort of reddish track a few little bits of red here and there um and then obviously green as well um so you can kind of tell what colors are going to be an image in in an image by looking at the um the vectorscope so there are two versions of the vectorscope um and uh they kind of show you this the same thing basically um so again yeah a bit too much detail to go into there for now so what I will do is just go back to the waveform because this is probably the one that's going to be most useful to you um so yeah uh so there you go there's a lumetri tool with the waveform uh scopes okay there we go there's the end of the video tutorial there's one more thing that I wanted to show you actually so I'm just going to go back into Premiere so um as you're working on effects you'll notice that um what we have is this line above your clips which is yellow um and the more effects you add this line can change color there's a few different colors um red is another one um it's mostly red yellow or green actually um so I suppose it's a bit of a traffic light thing red is is bad um um red means that um it might not actually play your clip um because you might have piled too many effects on yellow means that um you've got some effects on there but it's um it's it's okay it will play and green means that it's playing back at full quality full frame rate and it's really happy so before it's rendered the computer is playing the video track then it's applying the effects in real time and processing all of that information as it plays back on the fly that's why it might be struggling a bit um you know trying to play things back uh and what happens when you render the effect is you basically sort of export that clip um consolidate all of those effects into the clip so it all it needs to do is play back that um that rendered clip and it's not applying effects as it goes if you export um these clips when the line is not green then they will be exported uh not at full quality as well so that means your export will be a kind of low quality version so you have to do a full render before you do your final export but what you might find is that as your pining effects on um then playback will start to struggle and if that happens and if you get some of these lines going red then you might find that you have to render the um render your clips even before you get to the export stage okay and to do that if you say I needed to export this little section here I can just select putting it in an out point there it doesn't have to be precise and put in point here out point there uh so I did that using uh i and o i and o and then I go up to sequence and render into out select that and that will render those clips for me okay for some reason it starts to automatically play as soon as the render's finished but now you can see that that line is green and these will be playing back now at 100 full quality okay um if I want to get rid of my in and out points in here now I can just control click or right click in this top ruler bar clear in and out so that's all I want to say about titles and effects for now um thanks for watching the premiere video tutorial part three uh look out for part four which is uh sound mixing and then part five um finishing and exporting okay thank you very much