Read effects for video, and also use blending modes on your video layers. We also spend a good deal of time covering a ton of special text effects, including basic text and topography techniques and styles. Making texts disappear in a really cool way, using special caption overlays, applying, and animating shape to your video. And finally, we learn how to apply and use green screen to your videos. Now, this course is designed to be interactive and hands on. So occasionally you'll hear me say things like pause the video and practice on your own. So make sure you download the class files from the link below to do so..
This will ensure you get the most out of the course and learn the program a more experiential hands on manner. I'm very much looking forward to teaching you even more cool stuff that premier pro has to offer. So get excited and get ready to learn. This lesson is gonna be all about masks and key frames. And in particular, we're gonna be working with the black and white effect where I want to actually make it. So part my image is black and white. And part of it is in color..
Also known as a mask. I want you to think about mask as like a blindfold. You can't see anything at all. And what you see here is essentially blindfold mode, right? There is actually no effect happening, but when we have a mask, we poke a hole through it to be able to see parts of it in that different effect. Right? So that hole is gonna allow us to see through this color in black and white, only in different components and different parts of the image that we show that'll make sense in just a little bit where the key framing aspect.
Of it is gonna be, or it's gonna start off is one size, meaning the mask, and then it's gonna get bigger, right? As we key frame throughout and earlier, we talked about key framing and we defined it as one thing, changing to another, right? And then we have another key frame that goes into another. In this case, it's gonna be one size changing. Into another size. All right. So let's go ahead now. And we're gonna apply the black and white effect..
You can see here it is. I'm just gonna go ahead and just drag that right onto my clip. And you're gonna see that I now have a new black and white effect right there and not a whole lot happens, but what do have is this little circle here in this little square, this is going to be our masks. Okay. So notice how it says, create ellipse mask. So notice what happens as soon as I click on that, you'll notice how my black and white kind of goes away for a certain part of it. Right. And you can notice here, move this around. You'll notice how only that part is in black and white..
Okay. So really lots of options that you can do here right now, this particular ellipse, this can be resized right? In a number of different ways. Right. You can go ahead and just grab from here, grab from here. You can move it around if you want to. As I just showed you this little, guy's gonna play around with the feathering of it. So it's not such a hard circle. Okay. So you can see he's a little bit fuzzier, right? Let's go and do it again. Okay. So you can see, you can play around with all that stuff there. Okay..
Now what our goal here for this project is to make it, so it's gonna start off in black and white, and then as we progress through the clip, it's now gonna come in this kind of like technical dream. I'll a wizard of Oz. Right. And we're gonna do that by using key frames. And remember what a key frame is. It's gonna start at one property and it's gonna finish at another property. All right. So let's just take a look at what we have here with our new mask options..
The first thing I want you to notice is these little guys right here, These little stopwatches. Okay. These are very important. This essentially saying, Hey, I want to do a key frame. We're basically starting off our beginning of the key frame for one of these particular elements to say, Hey, start off doing it this way and then end up doing it another way. All right. So what I'm gonna do is I'm gonna start off way at the beginning.
And notice here is my scrubber. And as I go left and right up on top here, it's also gonna match it down below because at the beginning of my clip, I want to have it start off in a certain way. Okay. So my goal here is to make the color almost nonexistent in the beginning, and then it's gonna grow, grow, grow right as the timeline progresses. Okay. So if you'll notice here, I have this mask expansion right here. All right..
I'm gonna go ahead and bring this down. Smaller, smaller, smaller, right? It's almost us like to nothing. Okay. Now I need to start things off at this place for my key frame to progress. So watch what happens now, when I click on my little stopwatch, I now get this little guy right there. That's telling me that a key frame has now begun. You'll also notice this little area right there. See, I can have this little key frame right there, so you can see that's telling me that this is now in keyframe mode..
Like the rest of these are not gonna be affected at all. Right. Nothing's really happening with these.
I certainly could play around with these if I want to, but I'm gonna make it. So it's only gonna be playing with the mass expansion as I grow right. As I move, this is going to grow. So I'm just gonna go ahead and make it. So at about this amount of time is she's gonna be in full color. Right. So what I'm gonna do next is now just simply expand it out. And as I do that, I want you to just notice, right. That's gonna happen and automatically a new key frame appears..I don't have to necessarily say add new key frame. That's what's kind of neat about this is that you'd think you have to give the command of ad key frame, which you certainly could when that option is here, but by virtue of the fact that the playhead is here, I don't have to do that cuz it automatically did that. Okay. So just so you understand that. Okay. So just remember what did it do? It started off at like negative mass expansion and then what just a few seconds later it went really, really big and now she's in color. Okay. So let's just go ahead and go real fast and let's just see,.
I'm gonna go ahead and play this very cool. All right. But let's just go ahead and perfect. That a little bit more. I'm gonna go ahead and just bring this back to the first key frame and notice how I can click on these guys to be able to do that. Okay. So what I'm gonna do now, just have a little bit more kind of nuance on I'm just gonna go ahead and just resize this. So maybe it's gonna be maybe a little bit more of a wider circle,.
Maybe center it a little bit. And then when this grows, you're gonna see kind of what's gonna happen now. Okay. So it's just gonna kind of explode right from the center there. Okay. And if you wanted to actually make it, so it's gonna be happening a little bit later, or I E taking a little bit longer, you can click on this individual little key frame. You can see that there and then just drag that out. So then maybe it's gonna take a little bit longer..
Okay. So let's just watch that. Now you can see there's the shape of it. You can see how it's taking a little bit longer. Okay. All right. Let's now just play around a little bit more. Let's come over to here and let's now play around with the mask feather. So I'm just gonna go over to here. I'm just gonna add that and I'm gonna increase the feather. Okay. And then notice how I have a new key frame, and then I'm gonna go to the next key frame..
So he notices, bounces right to it and gonna make that even more fuzzy. I want, you see what that does? Nice. He's a little more subtle now. Do you really know what's going on? Okay. Cool. Nice. Okay. So you can see how you can play around with a variety of, of different effects within the same element. Okay. Just by tinkering with the different parts of the key framing and all the.
Different parts of the individual elements within it, but on the timeline to make it come in very slowly and gradually. Okay. So you're gonna wanna practice this, right. And you can do this with a variety of different effects, black and white is a nice, easy one to do, but really understand, you know, what a mask does. Right. Because it does either reveal it or conceal it. Okay. But also working with the key frame to make it, so things are gonna gradually.
Move or grow as a result of where the key frame started and where it's gonna end up. Okay. So that's really kind of like the basic tenets of working with a lot of the stuff within premieres, understanding masking and also understanding key frames. All right. So Paul us, the video practice it and we'll see you in the next lesson. One of the effects that you're gonna be using most often is going to be around.
Color to basically do some post-production work on your video that maybe some of the colors didn't come out the way you wanted to because the lighting wasn't so great. Your camera's not that great, whatever it was for. Right? So within premier, you have some really nice features that you can use. Now, we've already worked with our levels, our contrast, our auto contrast, to be able to do some fixes to these, but let's now, now go to, um, more specific.
Color options within our effects to allow for some nice specific changes.
So I'm just gonna type out L U M and you're gonna see, as I get into here, you're gonna see there's a lot of these LUME presets. Now I'm gonna scroll down here and I'm gonna bring up LUME color down here. Okay, so I'm just gonna go ahead and just drag that into my timeline. And you're gonna see that I have this LUME color option right there, and we've already seen some of these like basic correction, creative curves, et cetera. Now let's just go ahead and just go a little bit deeper into these..Okay. Now this is gonna be more specific around color and you can see that these little changes are gonna really go a long way. And this is, I usually just recommend to people. This is gonna be more or less the first thing you do with your video, um, to really kind of get the most out of what's showing to be able to bring out of what you really want to be shown essentially. Okay. So let's start off with working with our highlights and shadows and our blacks and whites. Okay. So I'm just gonna go ahead and play around with my shadows for right now..
And let's just see the difference here. When I bring this down a little bit easy, have becomes a little bit more rich, right? A little more contrasty, right? So it's only affecting my, a shadow is there. So let's go ahead and bring that back to the original and you'll see the difference there. So let's just go bring that down. Okay. And then in the same vein, I'm gonna go ahead and do the same thing with the blacks, with the blacks is gonna be, it just finds like the darkest parts and you're gonna see, I can then isolate those..
So they're gonna be a little bit even darker, but only affects those darkest parts there again, you can see the difference, right. And that kind of contrast makes all the other colors really stand out. Let's go ahead and go to the highlights and you can see only the highlights now get affected. So then you can see some of the brighter colors than now come into focus more than they were before, because the eyes like to see that contrast. So when we see that the shadows and the blacks get darker, It makes.
The other ones get translated and interpreted as being brighter. So even if you didn't play around with the highlights with the highlights, you'd be able to see that major, major difference. Okay. So let's now go ahead and play around with the whites a little bit and you can see cuz really kind of starts to shine without being overexposed. Okay. Now in that same discussion, you can see, you do have the ability to play around with the exposure if you want to. So I'm gonna go ahead and just bring that up and just notice how that can.
Be a little bit too much, you know, maybe bring down the exposure sometimes works a little bit better for me. Okay. So just bring that down or whatever. Okay. That's just gonna be, you know, probably I'm not gonna do anything at all to that. Okay. And this is all gonna be under the tone. Okay. Now let me go ahead and just collapse that and you'll see a few other options here. Like you can see, we have some other options under creative, right? So let's just bring up our saturation a little bit. Just bring that up. So all of the colors are gonna get that much brighter..
Do you see that? Let's bring that down. Let's go ahead and bring that back down to a hundred so you can see how it changes. Bring this down to like nothing. Okay. Let's bring this back up. Maybe just a tiny bit over a hundred and we can see how things are gonna get a little bit brighter. Okay. So. Not bad. I just went up to a hundred, three tiny bit of a difference. Let's just try going maybe to one 10. Okay. And it's not, not too garish, not too much in your face now. Vibrance works really well, especially when you have, um, people in your.
Image because people, skin tends to get a little bit too orange if you work with saturation. So vibrance is actually really nice one, but let's just see the difference between saturation and vibrance. We can see it's gonna be a little bit more subtle, right? Let's just see the before and after you can't really see too much of a difference there, but when you have people and then you'll be able to see, but you'll notice here, there are certain things that are getting affected by it. So again, kind of a spice to taste type of situation here. Okay. Sharpen that really brings out your image..
Notice how the edges get a little bit sharper notice so I can make that blur, but there's another tool for that. And that really, really does make difference. Okay. So again, this is something you really wanna start your color correction with is working with this particular one. You can see a lot, a lot of good stuff here, just working with our LUME color. Okay. So the curves we played around with that earlier, so we can skip that are vignette. I think we did a little bit of that as well, but we can see how we can play around with that a little bit..
So let's just go ahead and bring this up. Okay. Or if you go less, that makes it darker. Okay. Let's go ahead and bring that. So it kind of brings in your eyes into those colors when you have a nice little VIG there. Okay. So, and you can see again, you can play around with some of these things as well. Underneath there, you can open that up. The midpoint, the roundness, the feather, right?.
How much do you want it to be feathered? Right. So you can just kind of really play around with these things here. Okay. Now what we're gonna do in a little, but is we're gonna save. These presets, because let's just say you have a whole kind of series of things you want to do. Right. And it's like, okay, there, I have a lot of photos that look just like this. I might wanna save this as a preset. We're gonna do that in our next video, because I would like to not.
Have to do this all over again. I wanna remember it. It's not, I can apply it onto these other videos, so I don't have to do it again. So it's gonna be a huge time saver. All right. So again, this is gonna be one of the first places you go when you're working with adjusting your colors and a little bit of the lighting and putting in, you know, vignettes and all kinds of good stuff. Now I'm a big fan of, I just did here and I want to use this again and again and again. So let's just go ahead and take a look at this and it looks pretty great and you'll see how it did lots of things, not just for what I was looking at..
It does it for all of the video. Including all my ocean, everything like that. So I want to use that again and again and again. So I love that effect because I'm gonna have all kinds of other images that are gonna be just like this. So I'm gonna save this as a preset, so therefore I don't have to do all that work all over again. Okay. So you'll notice that way at the top of my effects, I have something called presets..
So that is where the effect that I just created is now going to be saved when I save it. So I can reuse that over and over and over again. Right. So a lot of the things that we've done already, including, you know, the black and white, you know, and some of the other things we did with the monochro and a few other ones, right. You can save these as presets, so you can then apply them very quickly and easily without having to remember what you did. Right. So how do we do that? Very simply. I'm gonna go ahead and see my LUME color. There it is..
And then just simply right. Click. I'm gonna say save preset. Okay. And I'm just gonna say color correction with Ben yet. Okay. And you can put a little description there if you want to. And if there's any type of anchor point happening in terms of a key frame or anything, you you'd want to set it up to do this, but we're not gonna worry about that for right now. Okay. So now let's go ahead and find a good candidate for this. So let's just see this one might be a good one..
So lets just go ahead and bring this over here and now you can see there is that. And yet for this one you can see it's still there, nice little colors there and everything. This one does not have that. So what I wanna do is go to my preset and you can see there it is color correction with vignette and very simply I dragged that on top of it. And bam, look at that, brought up some nice color brought in my vignette. It was very quick, very easy to apply that I don't have to worry about it. And what's so cool about this is that if it's not perfect, I can go over.
To here to my effect controls and I will see that I still have this LUME color and I have the ability to then start playing around with all these things a little bit more if I want to. So I can just see what's going on with some of these guys here. Okay. Great. Or that one actually could use a little bit more color, whatever you want to do here. So you can start playing around with these to more if you like. So let's just go ahead and give that a shot. So I'm just gonna go over here to my. Basic correction..
And let's just maybe bring up my shadows a little bit and you can see how that is making the changes right there. Okay. Let's start playing around maybe with sharpening it a bit more. So we have this like individual, so then if you wanted to, you can now make this a preset just the same. Okay. So again, if you know that you're gonna be doing these things over and over and over again, you may want to then save it as a preset..
So then therefore you're gonna save a lot of time. All right. So the that's pretty much this lesson just know that you can do that very, very easily, know where they're gonna end up, know that you can apply it very easily and then know that you can then make edits to that after it's been applied. No problem at all. It's not necessarily linked up to this one. Okay. All right. So again, pause the video, practice it up, try it on your own own videos. If you want to not just these and see how you do. Now, so far, we've been talking about applying effects to individual clips and.
Then maybe adding on another clip and then adding on some effects to those clips. Now that could be very tedious, very time consuming. And if you ever wanted to change your effect right. Your life or anything like that on your videos and on your clips, that's gonna even more time consuming. Right. So what we're gonna talk about as a way to address that, and that is through something called adjustment, layers and adjustment layer. Okay. So think about an adjustment layer as a kind of container for all of the clips that you want to have an effect on. Okay. But it's basically gonna be sort of this overarching sort of like envelope.
For all of the elements inside of it. And basically that envelope takes the effect and it puts it on top of all of those things within the envelope. All right. So this again is called an adjustment layer. So let's see this in action. All right. So you can see, I have all of these clips here. Let's just say, for example, I want 'em to all be black and white, right. I don't wanna have to do 1, 2, 3, 4, 5 different clips. And for some of you, this is gonna be 500 things we don't necessarily want to have to go through that..
So let's see what we can do now to make it very efficient. So how do we create an adjustment layer? So let's just, first of all, I'm just be very handy here. I'm gonna go over here to my adjustment layers and notice how it's empty and I'm gonna create a new adjustment layer by itself. An adjustment layer is really nothing. All it is is just an empty envelope, right? So I'm gonna go ahead and go over to this little new item and you're gonna see here is an option for adjustment layer. I click on that and then it just pretty much asks me just,.
Okay, what's the size of it. What's gonna be your frames per second. That's great. Happy with that. And you can see here's my adjustment layer. Okay. And it's really pretty much like nothing. There's nothing happening with it yet. I just have to now move it over to what I want it to envelope. Right? Think about it like that. What's gonna, what do you want it to contain? Okay. So I'm gonna just simply drag this over to here and you can see right now, which is very small, it's only five seconds or so I wanna make an envelope, all of this. Okay. So it's gonna be one thing, right? One item, one object..
That's gonna carry. Are we the. For all of the objects underneath it. Okay. So watch this now I'm just gonna go ahead and just do like monochrome. Let's just do like this monochro faded film. I notice how, what I'm doing, I'm dragging it on top of one object and then it's gonna affect everything that lives inside of it. See that now watch what happens as I go across here. Got a nice faded film that could be Italy in the 1950s..
Okay. And then wait for it to go to the next clip. You'd think that it's gonna maintain its own, but guess what? Very nice. Okay. And what's neat about is that I can then make changes on my effect controls to this monochro faded film. You can see this there and let's just go ahead and play around with some of the things I can do. Let's just go ahead and bring up my contrast a little bit and you're gonna see.
How that's gonna affect everything, not us, this one clip, but everything here. Okay. So let's just now watch this one and we'll just see how, see how that gets affected. Just the same. See that let's come down here to creative. Let's do some sharpening. Okay. And that's gonna speak for everything underneath our adjustment layer..
It's such a, such a smart way to work. It's gonna save you a ton of time. And again, if I want to make a change and I want to add in into more, I just add it to one thing and then it speaks for everything underneath it. Okay. So you're gonna really wanna start to kind of get some of these processes down to make it, so it's gonna be a little bit more efficient for you. Not only for when you're actually applying something, right. You're gonna applying it to like a whole swath of different clips, but also thinking long term when you're gonna want to be changing something after the fact, right..
You don't have to change it on five different clips. You just change it on one adjustment layer and then it affects all five or 500 of those clips underneath it. Okay. So that's adjustment, layers, right? Practice that up. Really get to know it and then use it in real life, you know, use it in a project and see how you do. All right. Pause the video practice that have fun. And we'll see you in the next lesson. Now, one quick addendum to this discussion on adjustment layers is the fact that you can actually cut up your adjustment layer into several subsections..
If you wanted to kind of making them as individual clips using the razor tool. So if you don't want everything to be black and want, you want to kind of mix things up a little bit, you can absolutely do that. So notice my play head is right here. I'm just gonna hit the down arrow. And that takes me right to the end of the first clip. Now what I'm gonna do is I'm gonna use the razor tool by coming over to here or just tapping on the C key. And I'm just gonna go right to where it is there. You see that there. So it kind of goes and knows where, where to go..