Beatedit For Premiere 26
Lupe Elnicki
Jake Bartlett (00:00): Hey, it's Jake Bartlett. And in this tutorial, I'm going to be taking you into premiere pro and showing you some of my favorite tools and techniques that you're probably not using, but are really going to save you a lot of time. If you don't already have one, create a student account for free at school of motion so that you can download the assets that I'll be using and follow along with me, if that's what you want to do, let's get started
Jake Bartlett (00:31): Now, if you're like a lot of motion designers, you probably dread opening up premiere being in this weird environment that doesn't really match after effects has different tools, and you don't know what a lot of them do, but it's just like any other piece of software. Once you understand what the tools do and how you can use them to your advantage. It really is a big time-saver and it's a much better piece of software for editing than after effects. So here I am in premiere, and this is the default layout that premiere is probably going to start with for you. The workspace is called editing, and honestly, this is not the way that I like to have it set up. So I'm going to clean this up. And in fact, I even just have my own workspace right here. I'm going to click on, but just want to point out that down here, there's a lot of stuff that I don't even need, like the libraries or info, um, the effects I do need, but markers, you know, a lot of these panels are unnecessary for what I'm doing.
Jake Bartlett (02:02): That's about 17 seconds long. I've added markers on the beats of that track. So I can have those editing cues to snap my clips to very easily. And I also have a title graphic and an end card for this kind of promo that I'm putting together. So I also have a couple of adjustment layers here, the color grade, which is another thing that I've already set up to work with the clips that we're going to be using. Don't worry about that. But I also have these two adjustment layers right up here that are a flash, and you'll see what that is. Once we get to actually editing things in, but first let's just listen to the track and you can see the title and end cards just so you know what we're working with. So let's play this back
Jake Bartlett (02:58): So there you have it now, uh, right there at the end card, you see that, uh, we're kind of making an advertisement for epic Joan shots and by Michael James, who has been so gracious to give us his own drone footage from Iceland, uh, that we can work with in this project. And you can download this premiere project file along with the video clips that I'll be using. Just make sure that you're signing your free school of motion account and follow the link in the description of this video. But I just want to give a big shout out to Michael James for allowing us to use these clips. You can also find his website in the description of the video, so go check them out and thank you, Michael. All right. Now, let me zoom out a little bit here on my timeline and let's take a look at the actual drone shots that we have to work with.
Jake Bartlett (03:37): I've already got them all in order here. I'm basically just for simplicity sake. I'm going to go ahead and use the order that they're already in and just lay them into sequence again, editing them to the beat using these markers, but we've got this epic flyover of some water, some rivers, we've got some ice formations, you know, all of this, just amazing looking drone footage, horses, waves, crashing, uh, this awesome kind of crashed airplane in the middle of nowhere. Um, just some really epic shots. And like I said, I've already prepared these clips. I've done a little bit of color correction just to kind of bring them all together a little bit better, but that way we don't have to worry about all that. We're just going to focus on these time-saving tools that you're probably not using in premiere. So let's just start by laying these clips in one at a time.
Jake Bartlett (04:23): Uh, obviously each one of these clips is significantly longer than we can fit in, in a sequence. So we're going to need to do a lot of trimming. And if you're not that familiar with premiere, uh, if you just use it to get by then you're probably doing most of your editing like this. Let me zoom in on press plus on the keyboard and then come over to my tools and grab the razor tool. So you're probably used to grabbing this, uh, finding a spot that you want to start at. Maybe we'll say this frame right here, cutting. And then going forward a little bit, um, maybe about there and cut again, then switch to your selection tool, grab that clip and back it up. And I'll zoom out a little bit, zoom out a little bit and just move this into place from there.
Jake Bartlett (09:12): Cool. So let's move on to the next clip. Now I could zoom out here and kind of move my play, head down the timeline and work over here a little bit, but, uh, I really, I just want to close up this gap down here. So I'm still going to click on this empty space right here. And this is my next quick little tip is called a ripple delete. And literally all you have to do is select that gap and press delete and everything on that track moves backward, just for good measure. I'm going to lock my music track. So nothing is going to be manipulated except the drone footage. And we can work on this next shot right here. Now I told you that I set these markers up to the beat of the music. And if you don't know anything about music, it's basically what you can clap your hands to the beat of the song.
Jake Bartlett (09:52): And there are four beats per measure. And again, it doesn't matter if you don't know what that means, but I'm just going to count this out for you really quick. So we've got 1, 2, 3, 4 1 2 3 4 1 2 3 4 1. So on every one, that's where I put the marker. That's how this song is constructed. It's a very common format for music, especially stock music, uh, but there are four beats per measure. So the edits typically look good on those beats, but in this particular song, if we listen to this first clip again, right here, watch when the scrubber goes right there, there's a hit on the music there, right? And I think the edit is going to look nice if I shift this back one beat. So on the third beat instead of the fourth beat. So let's use that ripple edit tool, be on the keyboard, grab this clip. And I'm going to find where that beat is plus on the keyboard we'll zoom in and I'm kinda just gonna scrub through this and try and find where that is right there. You can hear it. Okay. So that's where I want the edit to be. I'm going to grab this clip right here, ripple edit back to that point and then play this again.
Jake Bartlett (11:07): Cool. So for the next shot, I actually want to cut even a little bit quicker. So, um, I think I'm going to do two beats on this clip and then bring in the next clip. So let's listen to that one more time here with that second hit is so there's a, an identical hit on this beat as there is right here where that little thump is. That's what I want the next edit to be, use my ripple edit and bring this back. Okay, Cool. And then the next little thump is right there on that beat. So that's, that's kind of what I'm editing too. I'm going to ripple edit the rest of that back.
Jake Bartlett (11:53): Then we've got this epic shot of these horses running, which is just awesome. So I'm going to give this one a little bit more time and use all four beats on this measure right here. I'm just going to ripple, edit back to that marker.
Jake Bartlett (12:13): Same thing right there. So I'm going to ripple edit this clip back to that whole beat. And then from this point, the song is kind of mirrored or repeats from that point, at least the structure of it. So let's just listen to the rest
Jake Bartlett (12:32): Okay. So it's very similar in the structure as the first half of this edit. So I'm going to make very similar choices in the editing. So for the first clip of the second half, I'm going to do the same three beats of that measure. So I'm going to go three beats and right there at that thump, that's where I'm going to ripple, edit this back to the next clip, make sure I get straight to the play head there. And the next set I want to happen right here. Right? Where that, that kind of clamp is right there when it bled it back. And then this shot, I want to be shorter. So I'm going to edit on that whole beat right there. Not the playhead, but the marker. There we go.
Jake Bartlett (22:15): Actually, I think I'm just going to use my marker for the beat rate there. That's where I want the fast motion to stop. So with my rate stretch tool, I'll just grab this point, bring it back. And because I made that razor cut right there, I know that the end of this clip is going to go straight into the start of this clip. So now we can grab my selection tool, bring this one back and then just trim the out point of this to fill in the rest of that gap and bring those two clips back down. And now this should play back seamlessly. Very cool. So faster to start and then into regular motion. All right, this next clip, same thing. It's pretty slow, but it's a very dynamic camera move. So I'm going to just speed it all up by bringing this out, uh, up up a track rate, stretching it down to fit the entire, uh, gap right there, that edit point. But now the entire clip is within that timeframe
Jake Bartlett (24:19): So there you have it a really quick rundown on some of my favorite tools in premiere that I feel like a lot of people aren't using to their full potential. Hopefully you got something out of that and you can start applying that to your own editing projects, whether it's as simple as cutting your own demo reel or you're working on client work that actually requires editing. The reality is you're saving clicks by using these other tools, rather than just using the razor tool and the selection tool to shift stuff around. It really comes down to the number of clicks that you're putting in to an entire day's worth of work inside of premiere. It can save you a lot of time if you use these tools to your advantage, thanks so much for watching. And if you enjoy this tutorial, be sure to share it on social media. That really helps us get the word out. And don't forget to sign up for a free student account so that you can get access to not only the assets in this tutorial, but also a wealth of other information and invaluable resources. Thanks again for watching. And I'll see you in the next one.
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