World's Most Advance Video Editing Tutorial || Smart Video Editing
as a long tutorial... It's actually very short, since I'm basically compressing four years of my video editing experience down to just four hours. Ooh, not so bad now this is I've already done a massive tutorial like this one and it was tremendously successful with countless commenters saying it improved their workflow, and many saying that they watched it several times! I think this is the best comment I've ever received: "I don't think I've ever learned as much about anything in three hours as I did when watching that video." So what I've done here, is basically just record my screens as I edit a typical Linus tech tips video. This includes live mouse and keyboard visualizations, with history, along with the associated commands being sent to Premiere, so you miss nothing. I also had a mic running, so you'll be able to hear conversations between me and the other people here as we all got our work done. And I've done a fully comprehensive commentary, recorded afterwards. Now, my speed optimized workflow was hugely inspired by video games speedrunning, but I'll talk more about that in a later chapter. So this tutorial, which is at least twice as good as the last one, is targeted towards video editors who are intermediate to extremely advanced. This is not a tutorial for beginners! You guys can still watch, but I am NOT going to be explaining a lot of simple stuff. So it might just get really confusing for you. If you want to learn the beginner stuff, I do recommend lynda.com. That's the website I use when I want to learn anything, because it's very comprehensive, even though they don't sponsor LTT anymore.
So get comfortable, grab a snack, and prepare to experience what it's like to make a Linus tech tips video. [LTT intro plays] No, no, none of that... Okay so I originally designed this video to go up on the LTT channel, but after I finished it, we decided that it really wasn't a great fit. Anyway let's get into it. Chapter 0: chapter navigation! Now, the current chapter title will (almost) always be visible at the very top of the screen. And in the video description there will be titles with timestamps that you can just click on and go straight to any particular chapter or subchapter. Now there's a lot of prerequisite information that I feel I really need to get out of the way in these first few chapters before the actual editing begins. However if you start to feel frustrated or bored and you're just gonna click away from the video, instead what I'd like you to do is just skip straight to chapter 6.2. That's where the editing begins and you can really get into the meat of it, and you can always come back to watch these first few chapters at some other time. CHAPTER 1: Using YouTube's interface. As far as keyboard shortcuts go, J will rewind by 10 seconds, K will pause and play the video, and L will fast-forward by 10 seconds. Furthermore with the arrow keys you can use left to go backwards five seconds, and right to go forwards five seconds, and UP and DOWN will change the volume. However, the arrow keys are not reliable because if you ever click on the seek bar or the volume slider they become highlighted and then the arrow keys will only affect that control shift period and shift comma are also very very useful because they increase and decrease the playback speed which is great for videos that just don't get to the point quickly enough. But don't use that on THIS video because the video I'm working on is already being watched at double or triple speed, so you won't be able to understand anything if you do that. The period and comma keys however will be very useful to you because when the video is paused you can press them to advance forward or backwards by one single frame however sometimes it goes by one full seconds rather than one frame which is really really annoying. If you know how to fix this let me know. Also for extra long YouTube videos if you click and hold the seek bar (that's the red thingy at the bottom) and you drag upwards, it will zoom in and give you a lot more room to find exactly where you want to go. Very useful. Now I do strongly suggest that you watch this video on the YouTube.com website, and not as an embedded video in some other website, and that is simply because an embedded YouTube video player will show the title of the video on the top of that video player anytime you pause. And if that happens, that text is going to be covering up the text that I want to show you, which are chapter titles at the top of my own video. So click through and watch it on YouTube so that you don't get all that extra annoying crap coming up off the top and off the bottom. Now if you want to get really fancy you can right click and go to inspect element and then go through here and find the element itself and just delete it. And don't worry any changes you make are just client-side so if you ruin something, just refresh the page and you'll be fine. You'll see me using that trick when I take screenshots of web pages sometimes just to remove certain unsightly or irrelevant elements from the screenshot. CHAPTER TWO: Things to know while watching my tutorial. Okay first of all you should be watching this on the largest monitor you possibly can at the highest resolution you possibly can. Do not watch this video on a cell phone. You must watch this video at 1080p or higher because there's a lot of small on-screen elements that you won't be able to read otherwise. Keep in mind that the exact time of day is always visible on the bottom right hand corner of the screen down to the second (that's a program called T-clock Redux.) And of course there's the keystroke visualizations with associated command visible on the bottom left-hand corner of the screen that was programmed using autohotkey. And it does nothing other than passively show that information. CHAPTER 3: My hardware. So I have an up desk that can be mechanically adjusted to go up or down. Although I'm almost always in a seated position, I do like being able to move it a little bit. You don't need this. I have a highly adjustable chair from Maxnomic which I like. It doesn't really matter what kind of chair you have as long as it has all the adjustments that you need. I personally like to remove the armrests, tilt the whole chair as far back as possible and then scooch all the way forward so that I can use my desk as arm rests. this also means that I need a deeper desk then I currently have, but I'm gonna get that later. by the way I did make a fast as possible video that goes into a lot of detail about computer and workplace ergonomics, so check that out before you make any big modifications to your own setup. I have four monitors, two of which are the LG 31MU97-B's, but I don't like the aspect ratio on them. It's 17:9 which is too wide in my opinion. The perfect aspect ratio is 16:10 but Linus says they don't really make that aspect ratio anymore. I have a Dell monitor like this at home but the color accuracy of it is not very good even with calibration. If you're doing color sensitive work which as an editor you probably are you've just got to get something that can represent (Correction: [all of the sRGB gamut.]) You don't need 4 monitors, but if you're editing professionally, you need TWO at a minimum. One monitor is not enough. I have one additional keyboard and two extra numpads all of which are programmed using interception and intercept.exe, which is a superior alternative to LUAmacros, however interception is still not perfect and I recently found out that it only supports 10 of each device type, which is why sometimes I'll plug stuff in and it doesn't even work. So I'm still looking for something that's even better. You don't need to get nearly so fancy, but I would suggest that you get a keyboard that has at least a couple of macro keys on it so that you can begin experimenting with doing all that. It is very very useful to be able to chain commands together and if you don't have a keyboard like that never fear you can always use Autohotkey to reprogram all of your function keys to be macro keys themselves, when you are in Premiere. I have scripts for that, it's quite easy to set up. My primary keyboard during this tutorial was the legendary Logitech G15. however today I'm using the Corsair K 95 RGB with Cherry MX brown key switches and it's better in almost every way. the mechanical keyboards subreddit really doesn't seem to like Corsair keyboards, citing poor build quality and buggy software, however I have yet to encounter a single bug with the highly customizable cue 2.0 software. So I'm not sure what these guys are talking about. It's safe to say that this is my favorite keyboard in the world and they don't make it anymore. Your mouse should be something that tracks well across the surface of your desk, and I prefer something wireless so that there's no cable drag either. And if possible you should have macro keys on that mouse, because more macros is better. However I do not have macro keys. The mouse I use is very special because it's the only one I know of in the world that does not aggrivate my RSI, because I can click with my thumb and forefinger, which has made all the difference. I'll talk more about RSI later in the tutorial. My headphones are Bose QuietComfort 15 s I like them they are indeed very comfortable which is important for headphones you're going to be wearing for 8 hours they should not clamp too hard to your head especially if you have glasses. They require a triple-a battery like every week to work at all and also to power the noise cancellation, which is alright but it's not good enough to cancel out any conversations happening in the room that you're in. What you really need is just a quiet environment to work in in the first place. We don't really have this since we're all working in the same room. I'll talk more about that later on in the tutorial. I also have the pallet gear and tangent ripple control surfaces These interact directly with premier's SDK, which allows for some more functions that you can't do with keyboard shortcuts. However you won't see me using the palette gear at all in this tutorial it simply didn't have the features that I needed at that time. They are slowly but surely adding more features in more programs and if they keep it up I think these will eventually become indispensable for video editing and other pursuits. I'm recording voiceover for this tutorial on the Razer Siren Pro, which I don't recommend because it introduces little crackles into the audio or will overmodulate it. So I've had to redo a lot of the voiceover for this tutorial. Now Linus tells me that this could be due to incompatibility with the particular motherboard that I use so your mileage may vary. I also apologize if the voiceover sounds a little bit different at times and the levels aren't perfect. I did my best but it's four hours long what do you want from me. And finally the one peripheral to rule them all: the open BCI ultracortex mark 3 supernova. Now I don't actually use this in my daily work but the idea is that one day, perhaps decades from now, I'll be able to use technology like this to remove all of my peripherals and just use my brain to directly control a computer. Until then this is just an interesting experiment. As for my computer hardware, I'm on Windows 10 Pro 64-bit with an Intel Core i7 6950x CPU at 3 gigahertz. I've got 64 gigabytes of RAM and a generation 9 Nvidia Titan X GPU. It's pretty hardcore. it's all inside a Corsair crystal 570 X with lots of unnecessary RGB. You can see the full details in this (linked) video. We store our footage on a server that was custom-built by Linus with 24 terabytes of NVME SSDs in some flavor of RAID with 10 gigabit ethernet connections to all the editors. At the very least you do need an SSD to store all of your footage on while you're editing it. A hard disk drive is far too slow for that. CHAPTER 4: How I use autohotkey. Autohotkey is a scripting program with windows api integration. It allows you to send keystrokes and mouse clicks and do all sorts of really cool stuff. Basically I just use it to give myself additional very powerful features that windows and Premiere simply do not have. So the first time that I launch a particularly interesting or useful autohotkey script, I will halt the tutorial while I explain it. And from that point on you can always just look at the visualizer to see what I'm using at any given moment even if I'm not directly calling it out. And I will also provide timestamps in the video description every single time that I talk about a new autohotkey script. So you can always go and watch those if you ever want to know how a script works. And of course all these scripts are free and publicly available to download off of my github if you want to use them yourself. Now if you're not interested in autohotkey or automation of any kind for any reason, that's ok. You can just skip forward through the sections where I talk about my autohotkey scripts by tapping the L key on your keyboard and then tapping J once so that you don't overshoot. But basically all that my scripts allow me to do is the same things that you can accomplish manually, except much much faster. CHAPTER 5: Preparing to edit the video. Now I'm using OBS to record this and I'm using a very very nice multi monitor automatic scene switcher plug-in which I will link to in the description so here's just a really quick view of the layout of those screens mostly I'm working on monitor - that's the primary so I have the calendar up here this is that we tracked all of our videos and our integrations some of its blurred you can see the Razerblade late 2016 is due tomorrow which is on a Saturday on the 31st of December and that's on floatplane it also goes up on YouTube two weeks later on the 14th of January 2017 this is the video tracker which I programmed using Google sheets and it shows who is responsible for writing and hosting and shooting the a-roll and shooting the b-roll and editing for each video that we do I am responsible for editing the Razer Pro late 2016 video today and is organized by floatplane release schedule which is our early access platform that goes out one week before YouTube and has no integrations and each time that we begin a whole new video we just copy and paste a group of folders that have a bunch of assets in them already in order to begin the process so I'm going to that folder on the server which has the exact same name as it does on the trackers so I've copied and am now pasting that name onto the project template that I have every one has one of these but this one's mine and here we go starting a new project now there's a lot of stuff in here already my main sequence in this case is a 1080p cineform preview sequence just with three things in it and it's already shouting at me to change the name so I paste in the name that I already copied so - floatplane to indicate this is for floatplane this is the early access version so now I'm going to the all footage folder and I'm gonna drag the entire folder straight into Premiere into the root of the bins and it is importing the footage now but my cursor is on the wrong screen so you can't tell now while it's doing that I'll go and check on the slogans first thing I got to do well one of them is to get a slogan for the intro if you watch our content you know what that's all about so I'm just looking for one actually we don't do it this way anymore after these all ran out we started having the writers put in their own slogans and that's works a lot better Linus made me do it is good enough so I'll cross that off and go into here and paste it in here CTRL A to select all pasted and CTRL W is my mod to close the title or that's done with autohotkey and I delete the thing on there because what you're looking at actually was a title overtop of a nested sequence and the title is already in the nested sequence so it's also directly above the nested sequence just for the convenience of being able to double click on it and get straight into that title okay so now I'm looking at the all footage bin which is supposed to have all the footage but if I go into b-roll one there's a folder there that's not supposed to be there that's those are clips from Linus and those are supposed to go in the El roll folder which stands for Linus roll it's a stupid name but basically it just means clips from the writer with that said the webcam is still pretty good even if it hasn't improved much if at all usually I don't look at footage before I start editing the a-roll but in this case I just wanted to make sure that these were done correctly lonnis likes to record the webcam clips on the webcam which makes sense so now I'm opening up the script and it looks like I have V 3 and V 7 here I already spoke to Brandon and he told me the correct one to use is V 7 okay I wouldn't have known that otherwise so here we go we do use word this is word 2007 I know it's stupid there's probably better scripting programs we could use leave a comment if you know of one the script here has obviously the whole video and it has some comments now you can increase the size of the comment section by going to that little menu thing I just showed you but it's still not good enough and if I scroll down you'll see that a lot of the comments are not even entirely there you see the little stupid little double triple lines and then they go over here to show you more of them it's horrible so instead of relying on that I just I just spaced out the script like this so that the comments always line up with the actual script itself so I'm just gonna fast forward here for you because this is pointless I'm just making it easier for myself to read through the script and then I save this as something called Tarun ruined version because I'm gonna be making notes in here I'm gonna be moving stuff around no one else you to use this version it's just for the editor which is me to mess around with and do stuff that I want so like I'm deleting the stuff it's not important to me and so on and so forth okay so there's the script and I've got everything all ready to go there's the a-roll and now I'm ready to begin editing so first I'm actually going to switch from recording my screen with OBS over to Shadowplay instead and Shadowplay is magnificent because it uses only your GPU your NVIDIA GPU to record your screen and has absolutely no impact that I can find on the CPU but the colors are slightly less accurate can only record one screen at a time but I need really quick snappy response times when I'm doing the a roll cut so recording with Shadowplay was ideal for this section CHAPTER 6.1 the a roll rough cut begins here but first I have to explain how a lot of autohotkey scripts work okay so as the edit begins I'm gonna do four important things in ten seconds first I set both audio tracks to mono using the right track then I add a dynamics preset which includes a compressor and a limiter then I add seven decibels of gain and finally go to the master clip to add a luma tree LUT for color Corrections okay that was pretty fast so I'm just gonna pause the video here for a moment I hope you see the value now in using scripts and macros to automate your workflow because that would have taken a lot longer to do manually if you don't want an in-depth explanation you can just skip to the next chapter where the edit continues but I'm gonna rewind here and just explain each one of those tricks first up we have the mono maker programmed in autohotkey of course and also launched with a single button on my secondary keyboard or primary keyboard what it does is it opens up the modify clip menu and waits for the color of the okay button to appear so that it knows the panel is loaded and then according to whatever parameter you gave it it will check either the left or the right checkboxes on both rows using the colors of the boxes themselves to determine whether or not there is a checkmark already in that box and then it presses OK to accept that and now we have the left and the right track using the same audio because basically how we film is we put the gain a little bit higher on one of the tracks just so that we have some more dynamic range in case there's clipping this next autohotkey script you're going to see me using constantly throughout the entire video it's my script to apply any given presets on to any clip or group of clips using a single keyboard shortcut what it does is it uses Premieres built-in shortcuts to highlight the effects panel another built-in shortcut to highlight the find box of the effects panel now takes note of the position of the caret which is the blinking vertical line then it selects and deletes any text that might already be in the find box and it then inserts the text that want which in this case is 2.4 limiter so that will search for the preset and bring it up to the top where now the cursor is able to move down and to the right click on that preset and drag it back to the cursors original coordinates thus applying that preset on to whatever clip your cursor was hovering over it does all this within half a second and every time I use it it saves something like 5 seconds which adds up enormous ly over the course of a day little side note here obviously there's no shortcut inside of Premiere to do this for you because otherwise I would just use that I've been bugging the Adobe guys to put this in the program for real for maybe two years now but until they do everyone else is stuck doing this manually every single time which is just horrible this next script is really simple all it does is press f2 to open the audio game panel type in seven to add seven gain and then it presses enter to apply and then we have to wait for the little loading bar because Premiere is really slow when calculating gain for some reason and then as we are waiting an eternity for that loading bar to finish I go up here to the master clip of the a roll and then I use my preset application script again this time to apply the LTTE color preset which is a luma tree color effect that uses Brandon's specially created LUT designed for our set with our lighting so now the color correction for the a-roll needs no further tweaks okay here we have another autohotkey script this is the well right-click playhead mod as you can see and basically it just allows me to click anywhere on the timeline in order to move the playhead the standard procedure is having to click all the way up there at the very top of the timeline where all those numbers are it leads to you accidentally entering different sequences and clicking on markers and stuff and it's just not as good because you don't have as much of an area to click on so basically how this works is in Premiere when I right click it looks at the exact color underneath the cursor and if it finds a known color of the timeline autohotkey will fire a keystroke in this case backslash which in Premiere has maps to the command move playhead to cursor the upshot of all of this is that I can right-click on any blank part of the timeline and the playhead will move to that location a14 in fact not much has changed out really about machine either aside from the textured LTT designed by Edie pausing a moment here to explain one more autohotkey script this is my instant application switcher script which works using single button presses that set as CTRL F4 but it's actually triggered by the 15th macro button on my Logitech G15 keyboard so it's one key press only I have five keys in total all with their own dedicated applications they're extremely close to my left hand so that my pinky or ring finger can press any of them at any time and pressing one of these keys will instantaneously activate the latest active window of that particular program so even if I have 10 Explorer windows open it will always open the latest one and this is incredibly useful when I'm trying to move files around you will see me using this constantly throughout the entire video and it is by far the best thing I've ever scripted I highly recommend that you get this for yourself and I have a 10 minute long video linked in the description which shows exactly how to set this all up it's quite easy and will save you an enormous amount of time CHAPTER 6.2 all right that's all the prerequisite knowledge that you need and this is when the editing actually begins okay so now that I've explained all those autohotkey scripts and you understand them I'm gonna rewind we're gonna watch the whole thing in real-time it's only 10 seconds and you'll see how everything fits together and how fast it goes alright so select the clip change the audio to mono from the left channel apply the limiter 26 add audio gain and go to the master clip and apply color correction and now we can begin editing steen since launch in fact I bought it now very quiet on set as I edit this just keep in mind that I remaps JKL over to ASD along with several other useful and commonly used shortcuts so that they're all directly underneath my left hand I've had a review unit of the Razer blade late 2016 since launch in fact and here to ensure consistent audio levels while I edit I'm setting my computer volume to 18 and then not touching it I've had a review unit of the reasonably delay 2016 since launch in fact I bought the unboxing experience right click playhead mod there which you won't find on the one that you might the story anyway it still Rossum normal non-magnetized power cord hands contra Razer to go with its 3 USB 3 ports audio jack fundable 3 port and HDMI port but you gotta check this audio here to see if he gave a note to the other one I didn't do a pass of this for general flow and I kind of broke it here hold on it nothing important it still rocks a normal 9 mega x power record hint in fact not much has changed out really about machine either aside from the textured ltte like it buy at the store in fact not much has changed outwardly though the machine in general aside for me the unboxing experience really hasn't in fact not much a seen 160 by the way my visualizer script is not always perfect this is supposed to be CTRL F4. LINUS: 5 watt power adapter and some papers to accidentally throw away before you remember about the earth and shit. TARAN: Ripple trim here. Rewind, ripple trim. LINUS: in fact, not much has changed outwardly about machine either, aside from the textured - TARAN: Skip forward here... LINUS: That seems to have been born from a desire for RGB backlighting and one that bothers - - on a 1080p late 2016 - 500 bucks plus a video card. So it got some upgrades - I'm, oh - being one of the most noticeable day-to-day. And while the blade has been good enough for a while for me to use as a daily driver for some time, oh... TARAN: Just searching for where these clips line up... LINUS: The improvement to the surface temperatures of the - with that said, the webcam is still pretty good even though it hasn't improved - my favorite laptop keyboards - 2015 model that seems to have been born from a desire for RGB backlighting and one that bothers me pretty much every day - has changed, even going back a few generations. But when you look closelier, Razer has been absolutely refining the experience - the improvement to surface temperatures of the device during use - TARAN: "Add edit to all tracks" and "ripple delete clip at playhead." What you just saw was a very very simple autohotkey script... in fact you can just do this as a regular macro. All it is, is the combination of "U," which I have mapped to "select a clip at playhead" and then CTRL ALT SHIFT D, which I've set to "ripple delete" in Premiere. I did that to avoid cross- 0:28:56.730,0:29:02.649 talk with other shortcuts. This is the only autohotkey script that i had in my previous tutorial, which is kind of funny. But anyway let's just rewind and you'll see it in action once more. So make a cut on the timeline, F1 F1, and we continue. LINUS: device during use being among the most noticeable day today. TARAN: So this feels like there should be a paragraph break here, and that made it kind of hard for me to find it in the script, so i just added it in there. ... [I'm] using the rolling edit tool here. LINUS: Most noticeable day-to-day. And while the blade has been - $5000 US dollars on these machines for my entire staff. So in spite of the very small improvements, do I think the Blade Late 2016 is the best Blade yet? You're damn right I do. Let's just hope that they don't trash the 2017 model by putting that awful keyboard from the Blade Pro on it, or the next time our employees get new computers, they might be from Apple. TARAN: And cut. and this is all nonsense. Okay, I can cut that without even watching it, skip that without watching it yet. LINUS: -to check out my review of a Blade Pro, the bigger, badder brother. TARAN: And, cut. Okay. A-roll rough cut is done. Now you might notice that I did not finesse those cut points very well. They're still pretty rough. And that's okay because I'll fix them up as I go later, because if I were to do really precise cut points on my first pass of the a-roll, I might actually lose a lot of work because I was making a really nice edits and then it turned out that I should have skipped that whole section. So I fix it up when I do the next pass. And, pen tool to make him a bit louder right there, and go back and do a W to move the intro closer. Another W on the other side to move that part closer. And now that I'm done I just zoom out and look at my work and holy moly there's only five cuts in this entire edit! And that's just because Linus is a very experienced host by now as you can see he did basically 75% of the video without stopping. But because I'm trying to make an editing tutorial here I want to show you guys what it's actually like to edit the a-roll of a typical video, where you're gonna have to do a lot more work than this. So what I've done is I've added to this video the a-roll cutting of the MacBook Pro 2016 video, so... CHAPTER 7 MacBook Pro A-roll rough cut. After this is done we'll go back to the Razer video. Also, unlike the previous chapter I'm not going to be pausing this one to tell you about how a particular autohotkey script works, because I've already told you about them. Ok let's start her up again. Same start as last time. First I do the monomaker, this time on left. Doesn't really matter. Then I add the limiter and compressor using my preset autohotkey script. And of course on the master clip I apply the LUT that Brandon has made for our color. Now actually at this stage he was still messing around with trying to get it to work properly it was a little bit too yellow and so I'm fiddling around here trying to figure out which version of his LUT I'm supposed to be using and I end up using the temporary one that he agreed would be ok. It looks a little bit too blue honestly. And we did fix that later. LINUS: Apple products get covered to death and for the most part by people who are - TARAN: adding back in that dynamics effect or more intimately familiar TARAN: Here I manually adjust the gain to add 5 decibels. I want to get it to just barely kiss negative 3. That's what we decided sounds the best. So now I'm going to take a quick look at the very first frame which always contains the slate, [and] see if there's anything unusual on here. Anything I should know. And I didn't see anything so I'm going to continue and just look at the script right now to make sure that I'm started where I'm supposed to be. And let's begin. LINUS: Apple products get covered to death... - TARAN: These stupid lumetri looks keep reappearing so I have to keep pushing them back. LINUS: Prospective buyers and mobile computers moving forward. Here we go. TARAN: Oh, I accidentally cut that piece out because I thought it was useless. See, that piece was useless. You see I always gotta listen those little ones. LINUS: Anytime soon. TARAN: So that was an alternative intro. LINUS: every Apple product has been covered to death. TARAN: Oh let's see what he did all the way over here 'cuz he might be doing it again for all I know. You see, I always edit to the waveform, always on the first pass. Here you see that I'm setting my audio volume to some number and then I'm not touching it. And as before all of my most commonly used shortcuts are directly underneath my left hand for quick access. LINUS: Every Apple product gets covered to death and for the most part by people who are more TARAN: So we usually keep our spoken word anywhere between negative 3 and negative 15. And here I'm using my "ripple delete clip at playhead" macro again. LINUS: So my MacBook Pro 2016 took so long to arrive because I- TARAN: I don't even need to watch this, so I'm going to move to the next gap where he messes up and fix that, and then fix the next one, and so on. LINUS: - redesign keyboard a gigantic trackpad a cooling system that gets a little shouty under heavy load, - a 5500 milliamp hour battery - a 5500 hour battery, a touch bar, -880 by 1880 wide gamut display with a blinding peak brightness of 5 - a touch bar above - battery - TARAN: Okay so that's what I have to find. LINUS: A 5500 milliamp hour battery, a touch bar above the compl- eighteen eighty wide gamut display with a blinding peak brightness of 500 NITs, it's absolutely stunning, a surprise to no one, by the way. Some not overly-loud but very competent speakers, A 5500 milliamp hour battery, a touch bar- TARAN: There it is. F1 F1. Yep! Okay, now go to the next one. LINUS: If you mean by that is - is the Macbook Pro 2016 overpriced for the hardware- -for the hardware that you get. If by that, you mean- TARAN: And there we go. Found it. LINUS: -hardware that you get. If by that you mean- TARAN: F1. Yep! LINUS: if you mean by that, is Apple's mark-up over their cost from their suppliers higher- TARAN: Let's see where he starts here. LINUS: And I/O is - And I/O is TARAN: I wasn't satisfied with where I made that cut so I just went backwards. LINUS: And I/O is- TARAN: Oh, got it! See, you just gotta look for the waveforms. You get good at it. You can almost recognize words. LINUS: and IO is,- and IO- In- Intel's Thunderbolt 3 has- TARAN: See where that matches... ah! And cut! Yep. And F1. Yep! LINUS: Intel's thunderbolt 3 has some huge- TARAN: Go to this one, LINUS: Making matters worse, TARAN: That's what we got to look for. LINUS: Ugh. - Ugh. - Uugh! - TARAN: Oh, he... that's an extra ["Ugh"] there. See, I always gotta check those. Those might not be relevant, but you can see that I matched up the waveform and it was very easy to tell- LINUS: Ugh! TARAN: ...where that belongs. So let's just cut the first "ugh" in. LINUS: Apple has intentionally - TARAN: Go to the next one. LINUS: and the palm rejection is outstanding. which I can't really say about the keyboard. -it was, is outstanding. TARAN: Found it! Sometimes I get lucky. LINUS: and the palm rejection is outstanding -palm rejection, which I was really worried about when I saw how big it was, is outstanding. TARAN: I like this first take of this so I'm just gonna keep that. LINUS: 2nd nature in minutes, and the palm rejection, which I was real - TARAN: I color it purple because I'm not quite sure about it yet... and "W." LINUS: and the palm rejection is outstanding TARAN: And "Q." Yeah I'm gonna keep it. So I turn it blue again. LINUS: out of the gate I absolutely - is outstanding. TARAN: Cut! LINUS: Well I can't say the same of the keyword. I don't hate it- TARAN: I'll fill that gap in later, and go the next one. See how quick this is? LINUS: "pro" means, you want peripherals, and some more - beyond that, the true power users those guys... (blah blah) (blah blah) at least they will if they can afford one. And they're willing to put up, Oh... TARAN: Mmm. Okay, looks like he does the "pro" thing a lot sooner than that. LINUS: "Pro" means you want peripherals and - back to the keyboard, I never got comfortable enough with it - I felt like I'm going to work on a longer writing project and typing suggestions in the touch bar won't help anyone but the most agree-- "pro" means you want- -ing project and taking suggestions mark won't tell anyone but the most egregious hunts and peckers. Which is exactly what allowed me to come to peace with this product. (Fast talking) Nothing we make is designed for pros. How many actually bloody "pro" creative professionals are out there? And as for programmers, no escape key? Who cares! Apple has redefined the conventional product (blah blah) makes sense to people. "Mainstream" now means "browsing Facebook." TARAN: Cut! Right there! Oh, not yet. LINUS: And "pro" now means,- TARAN: There we go. And uh, F1 to cut that whole section out. LINUS: or in the case of the 13 inch, some decent performance - "Pro" means, you want peripherals and some decent performance. - "Pro" means you want peripherals and some more performance. (bla blah) TARAN: Which take do I like the best? LINUS: you want peripherals - you want peripherals and some- TARAN: I'm not sure why I decided to cut it together that way, but that'll be covered by b-roll so there's not gonna be a jump cut. LINUS: -wanna feel like one of the kids and spending more money to adjust your volume or scrub through a YouTube video faster is gonna get you there. and anyone beyond that, the true power users, well, those guys are gonna customize and hack the crap out of it to get the experience they want anyway, (blah blah blah nyan cat) light bar... touch bar! (more fast talking) scrub through YouTube videos a little faster will get you there - and that's where going beyond that (blah blah fast talking) TARAN: And cut both of those. LINUS: and as for anyone beyond that, the true power users, (blah blah) anyway. At least they will if they can afford one, and they're willing to put up with the well managed during standby, but less than advertised battery life. TARAN: And cut. And then go to the next thing. Q! and there's the end. And uh, W right... now! Done! And then move that over there. Okay see. so that's how you edit together A-roll. Now you can see that for some of those cut-togethers, i was really efficient and I found where I needed to go right away, and for others I had to look around a lot more, and then once I found it, I didn't immediately have a good idea of how I wanted to edit it together... because I had to listen to the alternate takes and so on and so forth. The footage you just watched is already a bit out of date, there's a couple more things that I do now that make things even better. So first of all I will make sure that my a-roll clip is set to dual mono and you have to do this from the bin you cannot do it on the timeline and that's what always screwed me up. so you go here you do this setting mono, two tracks, one of them left one of them right, and then both of them will play simultaneously and it will not be in stereo. This is fantastic so if someone is shooting with channel left on a lav mic and channel right on a shotgun mic. You can very easily just grab that clip, grab all the clips, change them to dual mono, and then you don't need to worry about left/right stereo nonsense. However, if you do this, you will find that one single mono audio track doesn't sound as full or as rich as two tracks in stereo. If you double the audio back up again then it sounds fine but if you just have one of them for some reason it feels like a lot of the bass is gone. Even if you increase the gain by like three decibels it still doesn't quite sound right. Here let me just show you what I mean. LINUS: putting up to four 1080p systems on one screen is great for control rooms - putting up to four 1080p systems on one screen is great for control rooms - TARAN: if you know what's going on there, let me know. But I'm still learning how to fiddle with audio. Also I now use the audio track mixer, which is its own special panel, to apply audio limiting and compression rather than doing it on a clip-by-clip basis. This is fantastic because you can do one setting that applies the entire audio track for the whole time and you don't have to worry about it or fiddle with it. I use these settings... brick wall limiter, threshold -10, margin -3, honestly it doesn't sound the best people have complained it sounds kind of hot it sounds a bit like it's clipping just a bit. But this is a lot better than not doing it and having real clipping and because there's no presets for the audio track mixer I now simply have this as a part of my saved template file. anyway now we will return to the Razer video and now we are on CHAPTER 8: The b-roll first pass. This is where most of the editing gets done so now I'm going to organize my b-roll I see I have b-roll 2 in the top and b-roll 1 in the bottom so I'm just switching that around I actually have a shortcut for "back" in the bins but I didn't use it there right here I'm using another autohotkey script that saves a lot of time which basically just locks video track 1 and audio track 1 which again there's no internal shortcut in Premiere to do that. Basically how it works is it searches for an image that I've already taken as a screenshot which corresponds to the lock and then the little a1 or the little V 1 and then it clicks in that area to either click the lock on or off and I do that because that way I can use ripple trim and I can use a data to all tracks and I can do all sorts of stuff without ruining the underlying a roll alright so now that I've done the a roll first pass and probably taken a little break I am going to the bin that contains the b-roll that I've already loaded in and I scrolled through to load up all of the thumbnails anytime that you leave a bin the thumbnails are destroyed so I just keep those bins open all the time going into the script here I'm seeing that it refers to the El roll of this video so I'm grabbing that folder and dragging it into the project root bin and you can see there's a lot of stuff in there that's not supported these are just CSV files that doesn't matter we don't need those that's just stuff that Linus was using to create these assets now el roll is our stupid silly name for "Linus roll" or "Luke roll" it's just kind of an inside joke of "this is the folder that the writer will put all of their important assets into." That's what it means. It's stuff from the writer. Anyway so now I'm able to begin the first pass of the b-roll and looking at the script here it's referring to clip from Christmas prank video but because the working title that we use for the server is usually not the same as what goes up on YouTube I can just use Google or YouTube to search for this video find it immediately and then because it's on our own channel I can click the info and settings pencil icon and see immediately what the original raw file name was for that video and now what I'm doing is I'm deleting the old bad video exports we always append our exports with RC1 RC2 RC3 each time that we need to export again because we're fixing errors so all those old exports we don't need to save them so anytime I see extra exports for a video that has long since gone out I will delete them to give ourselves more space on the server so one of a kind bla bla bla bla give them away to my employees let's see here so we took a bunch of pictures of him pranking us with these and again if you don't understand what's going on it's because you haven't watched the Christmas quote prank unquote that he did to us so because I edited that video originally and hundreds of others I have this sort of internal mental library and catalog of all of the stuff that we've done I don't have to ask anybody I don't have to bother anybody our new editors they have to ask me all the time hey when did you get a shot of lionesses socks and sandals and then I'll tell them so having that backlog of knowledge is valuable. Now again the keystroke visualizer is not perfect so this was actually CTRL shift F which is "set to frame size" and oh my god do not ever use "scale to frame size" which is very very much miss names because "scale to frame size" doesn't actually change the scale variable it changes some variable somewhere that you can only change back by hitting "scale to frame size" again. And what it does is destroy the resolution of your photographs or blow them up so that the pixels are as big as hams. it's horrible no matter what happens "set to frame size" will change the scale variable up in the effect controls panel and that's the one that you should be using. Anyway what I'm doing right now is using the Ripple Tangent to do color correction. This is a specialty piece of hardware known as a control surface that is used with Premiere or other applications which allows you to do stuff significantly more easily than the keyboard or mouse would allow I absolutely love the ripple tangents there's a lot of things that do annoy me about it like the fact that there's only two programmable buttons what but the pros far outweigh the cons and I'm wanting to get one of these for every single editor because it just makes color correction so much easier and therefore so much more likely that it'll actually be done you can see the lumetri Scopes in the bottom right hand corner of the main monitor shifting around that's just me trying to modify the white balance of this photograph which is just horrible and ultimately I don't really succeed you do need to be working with a decent photo or video to start off with if you want any chance of making the color look good now one note I have the lumetri Scopes visible at all times I did some experiments previously it didn't seem to slow everything down but it might and going into the future I should really just turn those off when I don't need them okay so now that I've done that color correction I'm just turning it on and off to see the efforts of my labor and it doesn't actually look all that much better but looks a bit better so whatever we're gonna go with it this is the Christmas video that I'm scrubbing through trying to find some good footage of all the boxes I got some shots of the presents I also shot this video like I was on camera oh here's a good shot this is something Linus took and I put it in the video so let's just grab that footage here not exactly sure what order this will go at Christmas party okay then we cut to the Christmas party that's right that makes more sense that is the rate stretch tool which allows you to well change the rate just by using the tool I have that on "Y" by default but who knows what you would want to have it on. And here I am using the luma tree to change the white balance of the room a little bit more than it already has been this one also I copy pasted that lumetri thing and I'm just trying to fix it up that's this is the white balance that I'm changing there we go those both look a little bit better and that refresh of all the words on the screen that's just because my script is so terrible that it stops working after like a couple hours. so I just have it refreshed the whole script for the key key revealer just every 30 minutes which is such a janky solution but I couldn't figure out what the bug is so that's the solution. Okay so this is footage of Linus faking the receiving of the Razer blade. Okay I'm intentionally going to keep the audio in there and because it's stereo and I want it to be mono I use the mono maker again. Keeping the audio in there because it adds some production value. And I know that that shot goes to that because it was in the script. I'll show you that, if you didn't see already... you see there? "DONE 0088." So I already had grabbed that. Haha, this is so quick I don't have any time to explain. There we go. Yup. Now we cut to the "very special blade." Let's see... 115. Let's go find it. That looks like it's gonna be right there. Awesome. See, this is why we have the shooters label their b-roll in the script as they are shooting that b-roll. Because it allows for the intent of the writer, and then of the shooter, to be communicated to the editor, and ultimately to the audience. So here it says "reveal shot with dope AF lighting" which just doesn't make any sense. So I'm gonna ask Brandon. And that conversation was captured live. "Hey Brandon what's your reveal shot with dope AF lighting. B-roll 2?" BRANDON: Yeah, this is a quick cut, cut, cut, TARAN: and then I need a whole laptop. BRANDON: yeah it's this one and it comes from black to... it's really fast. TARAN: Okay. I'm not sure if you could have written that in here. BRANDON: Sorry, I did those shots after the fact. and then after my first pass of B-roll, so I didn't put all the secondary B-roll in. TARAN: Well if there's another one I'll ask. LINUS: LTT edition blade that will soon be in the hands of a very - TARAN: Ok, so Brandon told me that these are supposed to go together with dip to black so I'm finding a dip to black and putting it in there. Okay, it doesn't quite come in at the right time. LINUS: soon be in the hands of a very lucky winner who graciously agreed - TARAN: and it ends there I'm just gonna put a marker instead of... see, if I put a marker it's permanent, but then I think the program might crash if you put markers on footage because it tries to save the marker onto the footage file rather than just in Premiere. So sometimes it just crashes. It's terrible. So here I found a pretty good spot. What I need is like, real quick... the light coming in, the light coming out. This is a thing that Brandon likes to do, but he doesn't always move the light in a way that is conducive to editing it together in this way. So you can see that this shot he actually did a great job of getting it working, but sometimes he just kind of flounders the light all over the place and I really don't have a good quick way to edit it together. So yeah in that case I could use dip to blacks, but I could use those anytime I wanted. The whole point of this is that it's done in camera and that makes it more cool. So let's see if I can do this one... oh you can select in/out points on the thumbnails as well. I usually don't. Let's see here... If you double click it goes to the source monitor, but again you should already know that if you're watching this tutorial. And OUT. Okay good enough. Let's drag that one in. Let's see if there's any more? I don't know. I'm gonna put the markers on that one as well. So now I have these three and I'm gonna see if I can edit them together in a way that works well, and that won't take me forever. OK, I want that to go sooner so I use the slide tool which I have mapped to H. It's fantastic. I don't use it often but when I do use it it is sure useful. Autosave and then, let's do that... oh I see okay I wanted them to go faster because they're not quite fast enough. So if I use this and I line up the markers with each other... yep there we go see that goes together really well. Oh perfect, perfect timing, okay and now we go to the big shot, TA-DA! Let's see let's start it there. No right there. Come on and does it hold? yes it does. okay. there we go. See? perfect. there we go. It actually begins a little later so I actually could have used Q right there to move that clip and trim at the same time, because I have [tracks] V1 and A1 already locked so it won't interfere with them and notice I did a J cut right there where the audio starts before you see it J cuts are more natural because you're hearing something before you see it which is very similar to the way that real life works where you'll hear something and then you turn your head and you'll see it just you know fun fact for you I learned that from I forget who it was. Some famous editor guy. And the opposite of that is called an L cut where you see something before you hear it. Anyway what I'm doing now is I'm adding some animation. Ah there we go to move the logo so your eye is drawn right to the little square. Excellent because you're probably looking at the logo. Also the color correction on this shot is kind of terrible. The logo is not nearly green enough that looks nice so I think am I going to change the color correction? let's find out. That was a little fast so I changed that up. That begins a little quickly so I'm going to once again just make sure that... just make sure that that begins gradually. You can see from the top one... now hang on I'll... see it move backwards. you don't want that. So from the top one if I move that to be a horizontal line it won't move backwards and there we are. Very nice. I actually have never done that before. But leading the eye to where it's gonna be for the next shot is always a nice trick and saving my project because why the hell not. Oh what I'm doing here is I'm just coloring the footage. So one of the b-roll bins I colored sky blue. The other one I'm coloring red. And then because I didn't do it beforehand I have to go back and do that on the timeline as well. and that helps me a lot just when cutting, to just differentiate between the a-roll and the b-roll because sometimes they get mixed a little bit. There's a good reason for that and you might see that later like if I have to do a transition, in a very particular way, I might have to move the a-roll footage up, although I hardly ever do. So at this point let's see what's going on here. I am looking for the next shot, and I just read it, I'm looking for... this one oh there it is he's taking it out. Okay so now that I'm done with that, let's see, I'm just making a note to myself: "taking a break" now that I have finished just a little bit. And that's really actually really important. I have found that your mental state is important when editing. It's not just about how fast you can edit. It's also about being in the right sort of frame of mind. And if you don't make it to the right frame of mind you're going to be inefficient. Sometimes it helps to just walk away. Also it's good for your body you know you don't wanna be sitting down all day. So there it is. And break over ...now. LINUS: The unboxing experience really hasn't changed a lot - TARAN: Okay let's see what the script says here Glam done 0085, find that here, I could use the search box (the find box) but it's actually faster for me to just scroll through and find it myself most of the time. But that ooh that's a long clip. LINUS: The unboxing experience really hasn't changed a lot since the original Razerblade 14. You get a laptop, Razers character - the unboxing experience really hasn't TARAN: Okay so here obviously you can see I'm just trying to sync up what Linus is saying with the visuals on-screen which is kind of hard cuz it's one single shot that has multiple things going on. So I actually have to cut the shot in half in little pieces and try to do jump cuts. It's basically my only option here because I don't have alternate angles. Notice of course while I'm doing this I am able to use Q and W I'm able to use "add edit to all tracks" and other things that would otherwise interfere with video track 1 and audio track 1. But because they're locked it's not affecting them. And I used the lock feature a lot less before I got my autohotkey script to do it with a keyboard shortcut. One thing that's important to know is that I have "composite preview during trim" off. If I had it on then you'd see more than one little view up there in the program monitor and also Premiere would be potentially extremely slow, because that feature is bugged right now. LINUS: Get a laptop Razers characteristically compact 165 watt power adapter it really hasn't changed a lot since the original Razer blade 14 - Razer blade 14 - you get a lot - TARAN: some video editing is just gonna be kind of tedious or you look at the same shot and listen to the same words over and over again trying to get the timing to work. You know, timing is really important. You can expand time, you can contract time. If you have only one shot, sometimes you've got to expand that out and make it last a lot longer or you got to cut down one shot or if you have a bunch of shots sometimes you got to squish it all together or just don't use a lot of them. LINUS: 165 watt power adapter TARAN: So Linus has a list of words he likes to have censored on the channel. This one is included. It's kind of funny though; he didn't know I was gonna make a tutorial out of this, so he used some strong language here to indicate that his strong language should be censored. Which it will be, but not before I censor it in this tutorial. So you'll see that. So one thing you might notice is that I actually dragged from the little video icon down onto the timeline rather than using the insert and overwrite commands which have keyboard shortcuts that are associated with them. And a lot of people will edit this way it's called three-point editing. But I don't like doing it because Premiere does not have the features that I need and the track targeting and the source patching are not nearly controllable enough for me to be able to use insert and overwrite effectively. The source patching always stays on the same track and there are actually presets that you can use to move the source patching around. And I do, but there's no shortcut to disable only video source patching or only audio source patching. There's also no shortcut to just insert only video or only audio. Same with overwrite. and when I drag it down from the source monitor I can also see exactly how long the clip is gonna be before I put it on the timeline and it doesn't move the playhead when I drag it down there are shortcuts for track targeting but they're all toggles making them useless to me because there's no guarantee of if a tracks gonna be on or off because it's always based upon its last state i've watt power adapter and some papers oh so here what I'm doing is I am rescuing the audio and some papers - sometimes your b-roll clips have audio associated with them you can call that Foley and if you forget to bring the audio out all you got to do is click on the clip and have the playhead over that clip and then press well in my case it's M for match frame and then it'll appear in the source monitor and then you can drag it from their back onto the timeline with the audio included now I wish that Premiere had a shortcut where you could just click it and the audio would just appear but of course that feature does not exist about the earth and shit in fact okay so you can see here that I'm using yet another autohotkey fancy-pants script it's called the instant sfx script I guess I have lots and lots of sound effects I can load this way one of which is a beep for purposes of censoring audio. Basically what it does is there's a bin on my leftmost monitor that is dedicated just to the most common sound effects that I use, and that's a lot of whooshes. And the script will highlight that panel because that's a shortcut in Premiere. Then it will highlight the find box then it'll type in a search query. And then using the caret, it will move the mouse down and onto the icon of the actual sound effect as it appears in the bin. Then it left clicks once to select that audio... and previously it had used a shortcut to load a source assignment preset (yes, that's right, those exist, and those you can find here from the little wrench in the timeline) if you want to make those and you can assign shortcuts in the shortcut panel and that puts the source patching onto audio track 3, and then it presses CTRL / which I have set up to the command "Overwrite." Now you might be familiar with period as the shortcut for Overwrite, however sending keystrokes like that using autohotkey is dangerous because you might accidentally type something in somewhere. So it's best to use the CTRL modifier to ensure that a keystroke is never accidentally inserted anywhere that you don't want it to be. More ideal would be to trigger the command directly but I can't do that so I have to use more obscure shortcuts that include a lot of modifier keys. And that's it the sound effects should now have been inserted into the timeline assuming that nothing has gone horribly wrong (which it often does) and I really need to do a lot more debugging on this particular script. So anyway now that I have that little beep noise, the easiest way I found to censor swear words is to just put the beep directly on top of the audio itself, which is destructive but it's intentionally destructive, and then you use the one of these tools called... I don't remember because it's all muscle memory right now... it's the slide tool and also the rolling edit tool. Using both of those you can very easily scooch around the position of the of the beep thus covering it up exactly as much or as little as you desire. If you want to go less than one frame you can also click the hamburger (the triple line thingy) and select "show audio time units" to get much smaller units and zoom in a lot further. Or you can do it the quick and dirty way which is to use a single frame cross-dissolve transition which is what I have done here. LINUS: "In fact not much has changed outwardly" I try to have just one tiny part of the word audible. So it looks like I don't actually have the footage for this shot or at least it's not labeled, so I don't know where it is, so I'm just gonna add a marker and you can extend that marker either in the marker panel or by ALT left clicking and then dragging it. But the first time you try that you can only ALT+drag to the right, not the left. Probably a bug. Keep in mind also that if you click on that marker accidentally it'll move the playhead to the very beginning of the marker which can be very annoying. LINUS: In fact not much has changed outwardly about the machine either aside from the textured LTT designed by Ed which you won't find on the one that you buy at the store anyway it's still rocks- TARAN: And I wasted a few seconds here doing nothing important so we're just gonna skip that. So right here you see that I'm recoloring one of the shots. that's called a Label Color and what's really really really annoying is that you can't find these very easily in the keyboard shortcuts panel. So I'm gonna put up a little thing right here. I'm gonna show you. look this is how you get to them. Oh scratch that... in 2017.1 I believe you actually can get to the label colors just by searching for the word "label" so they did fix that which is fantastic. So you can see here that the laptop actually does have a sticker on it and the entire point of this joke was that you will not receive a Dbrand skinned or a stickered laptop, so the b-roll shooter wasn't paying close enough attention to the script. LINUS: buy at the store one that you buy at the store anyway at the store or anyway it still rocks a normal not TARAN: So I like adding little sound effects to the b-roll. in this case I tried to add a little beep to simulate Colton swearing. you can pretty much do that to any audio and it'll sound like a swear but I think that later I decided it didn't sound like it was coming from Colton, so I end up cutting it back out. Our b-roll shooting has actually improved quite a bit... we now have meetings between the writer, whomever it might be, and the b-roll shooter. And they go over the script together and they have a b-roll matrix which is an even more information rich method of writing down what shots you intend to get, and not have to have the script there when you're actually shooting because we've already looked it over. And this has actually yielded much better results because the writer is making sure that the shooter is getting exactly what is necessary. LINUS: Rocks a normal non-magnetized power cord, hint-hint Razer! TARAN: However as you will see in this video tutorial it has also led to problems where we don't have enough glam, if any glam, because everything about the product is something specific. However, LATELY lately, we've put an extra note in that says make sure you get like three to five glam shots and that's been working better. That looks like there's two takes in here here. We've got ourselves an insane clown posse joke which... I know about insane clown posse just because of the "how do magnets work" meme. LINUS: -as power cord- TARAN: so once again censoring linus... LINUS: hint-hint Razer. TARAN: first i need to ensure that it's mono rather than weird stereo. I'm gonna go grab this little beep from over here. I would usually alt click drag to duplicate, but I didn't need that there in the first place so I can just grab the whole thing, rough this in here LINUS: hint, Razer - to go with it, hint hint Razer - to go with it. TARAN: what okay so what happened here is around this time NVIDIA was forcing everyone to upgrade to GeForce experience version 3 and it was still really buggy and annoying and requires a sign-in and junk so I was just helping Brandon reset his back to version 2. These days version 3 is adequate so just finding some time there to help someone else because I'm a nice guy. Yeah. So here you're gonna see that I tried to get the Linus in B-roll [to be] talking at the same time as the Linus in a-roll and I decide that's not working you can't hear two people talking at the same time so I'm scooching it over and then I'm messing with the timings in the meantime while you see this happening in the background I'm gonna talk about something completely different because this is boring hint raiser let's just talk about what not to do when you're editing a video the number one greatest problem I see on YouTube is sound effects and music being too loud relative to the dialogue if you don't know what I'm talking about go watch the video what exactly is one second by James May on head squeeze and just try to listen to what he's saying the video is very professionally done otherwise but the sound effects and music should have been lowered by like 12 decibels maybe more and this is just one of hundreds of thousands of possible examples I know audio mixing is not always easy but it is very important another amateur mistake that I see sometimes is having either no motion or no sound in the video at any particular moment having no motion at all is especially bad because how most video streaming sites work is they'll keep the audio playing even if the video is buffering too slowly so if you want to use a freeze-frame or something you better make sure you know what you're doing otherwise it'll look like a mistake also even with a static image on screen it's usually nice to have a bit of a zoom or a pan or something that keeps things more dynamic and interesting after all it's a video not a slideshow so you might as well play to the strengths of the medium okay so once I have the timing of this magnets joke figured out I'm gonna ask Brandon what the heck the next thing is on the script because it doesn't make any sense to me so you'll hear that conversation is starting now Brandon and lattices playing shot we've got cleared things done yeah okay yes so you scroll down it's not in it so I did it two ways you can do it this is the like more standardized way oh the clear holder yes what's what are you guys talking about was like so yeah so look at this this is each side of the laptop sigh oh this is the same laptop yes blade which is two of them Zi Zi both at the same time and so I just a rack for kiss or you could like follow that it's nerve-wracking to anything yeah from nothing today yeah so no that's that's but I don't I did that as a safety but like I think you want like we talked about so I had pitched him this idea of like having a let go across this way I think I want to go across that way but I didn't have hard enough White's in the oil using stuff so I just did it like kind of light reveal right you can use whichever you prefer I did both to give you the option to see you bring up some brighter all of it yeah I think this one okay so the keyboard visualizer is not perfect if you look down on the bottom left here you see that it's u L button il button o L button and that's just because I'm holding down the left mouse button as I am hitting its certain keys so just you know keep that in mind that's what that meant so anyway I found the clip that Brandon was talking about because you know well he was there telling me what was going on looks like I just grabbed a dip to black straight out of the effects panel I don't have a shortcut to apply the dip to black transition and that is because you cannot save any of Premier's standard transitions as a preset and that is yet one more feature that I have been badgering them to please please please add in but it's been a year or two by now interestingly enough you can save transition presets if they are third-party transition presets what you got to do is select it go up to the hamburger on the effect controls and say save preset that works with all third-party and interestingly enough it also works with the dissolve transition but that's all and this will save all of the custom settings you have applied to that transition as well as the duration if you desire I have some autohotkey workarounds for applying transitions and and fake saving transitions as like clipboard' states but it really is not very good and I just wish they had the feature in the program for real anyway so here we have the next shot I wish that this shot was not done with a pink laptop up in the right the upper right corner because it kind of knocks off the sort of Fung Shui of the shot to have it so unbalanced towards that laptop like if that laptop was the point of the shot then sure yeah totally go for it but in this case it wasn't oh well premier crashed there's a lot of things that waste my time when I'm trying to get a video done not having the footage footage being poorly organized people being disruptive but when Premiere is being buggy you can lose hours and hours of time in a day Oh oh this is so funny okay I'm looking through manually to find the latest saved version of the autosave you can see that was 1137 whereas this one was 11:45 that's the one I saved manually so it looks like the autosave stopped working which is so frustrating and these days I actually now have a script that will automatically find the latest saved file for me in any particular folder of any particular file type however I did not have that script when I recorded this video SP 3 ports audio jack so I had to do it manually anyway here's the next shot scrub through to find where the camera moves pumped that on the timeline let's see how that works Thunderbolt 3 port and HDMI port and like it basically looks like the same damn computer still with the black and actually if you look at the script you see that he does specifically call out the fact that the computer is black so using the pink laptop not the best choice there but this next shot is really nice still with the rubber feet excellent move there okay so what what happens sometimes is Brandon will do a move and then he'll be like yeah I messed up that move let's do it again and here we see that that's the actual move that he probably wanted me to use because for that one with the rubber feet for that one he held the shot still with the rubber feet it starts about here so he went okay going with rubber feet going to the rubber feet and holding the shot but I decided you know what his little oh crap I'm going to abort this shot move actually looks really good even though it was an accident because I think it'll make a good lead-in to the next shot so let's go see what the next shot is because Lance is talking so quickly here that the b-roll needs to kind of keep up with him so the fact that there's actually a pan back out of that shot might work to my advantage so let's see here ah so he goes from he goes down and then back up again so I'm thinking I could do a match cut right here so I'm just lining it up bill with you can see that I've got snapping enabled which kind of screws with your ability to move stuff around but you can turn it on and off with a keyboard shortcut - n still with the dime thickness but look at that the die haha match cut okay that's not quite a match cut what kind of a cut is that I don't know but it kind of messes with 3d space cuz it's like you pan up and there's another table and another laptop whereas if you're trying to maintain the dime think the audience's sense of spatial relations you wouldn't do it this way another way that I could have done that would be with a top to bottom wipe however the wipe would probably need to be a feathered wipe rather than a hard-line anyway moving on to the next shot I thought that last one was pretty successful well with the bright green Razer logo on the back here what I'm just a moment [Music] there okay so what happened here is that hella one of our new editors called me a way to help him with something to do with aspect ratio problems I don't mind helping other people with stuff like that because it means ultimately less work and frustration for everybody now let's get back to the Edit so what I had done there just before I got called away was I went over to my various assets sequence and I copied a adjustment layer that has embedded inside of it the impact flash transition and here I'm just loading in some sound effects as I've explained before logo on the back that causes gamers to rush this the reason why I used a adjustment layer for that transition is because if you do it that way you can get away with putting this transition across two clips that are not butted up against each other on the same layer and it doesn't work for every transition but as you can see it works perfectly well for this one so in this case the adjustment layer is basically just kind of an invisible layer and yet everything on it will affect everything below it with the bright green Razer logo on the back that causes gamers to rush the stands and professionals to refuse to go into meetings with their laptops because they're too embarrassed even most of the key specs are the same ok so right now I'm gonna go and search for a crowd cheering sound effect but that's a little boring in the meantime I'm going to talk about something completely different because otherwise we're gonna have dead air so there's this concept called a Lord privy seal or b-roll rebus where basically the editor has put on-screen the literal noun of whatever the presenter is talking about with mr. Wilson where mr. Douglass Houghton the Minister without portfolio and lord longford the Lord privy see the problem with Lord privy seal is that they contain no informational value they can be funny and that's a good reason to use them but like anything there's a time and a place for these and I really don't like using them and I think that there's almost always a better option out there now you might not have access or you might not have the rights to certain photographs or videos or pieces of music or whatever else and perhaps there really is nothing that you can show aside from a talking head and a bunch of Lord privy seal but at that point I I just have to say well why are you making this a video if you really have nothing to show you should just be writing an article anyway what am I doing here it looks like I was just searching for some other sound effects to put in Lowell Crowd audio and did I really call it that [Applause] something that I try to avoid is using sound effects that everyone has already heard a million times like this one see what I mean I only use those ironically anyway I'm finding a nice crowd noise I'm trying to find a crowd noise that will represent a bunch of fanboys crowding the stage trying to get free stuff and I guess I went with this one and oh here's a fun trick so Linus gave me this photo and fricking non editors man they don't understand that you need the highest resolution possible of whatever in order to work so I'm just doing a reverse image search for this thing and then you click on more sizes and it will sort them by the largest first so I'm grabbing this from whomever it is that uploaded it now sometimes you get images that say that they are a high resolution but really somebody just scaled up a low res image to a larger file size and it's all blurry and crappy but in this case I think mmm the resolution actually looks pretty much the same it might be yeah mmm it's it's maybe marginally better anyway apparently I think this photo was taken by Razer themselves so I did grab it from some random website but the actual photographer was one of theirs and they told us that we could use it and so we are using it so this just goes in with a joke about on the back actually I'm not sure you will have to read the script so here I am just putting on some scale keyframes you have to unroll that little triangle menu in order to get to the on the back that causes gamers to easing properties on the back that causes that's what this is if you don't why am i explaining this you should already know that what is this but is this a diaper show this is amateur hour over here mm-hmm but the reverse image search not everybody knows about that so gamers to rush the stands and proof there you go that's a kind of a dramatic zoom out I like that effect I think I learned that from watching cartoons this is gamers trash day ozs game just reusing one of the woosh noises here causes gamers to rush the stands and professionals looks like I decided not to use it oh one thing that's very very very important is I don't delete clips off the timeline if I don't have to I will disable them on the timeline instead I don't know if I've mentioned that yet no I haven't but I'm telling you now so the default shortcut for that is shift e and I have never needed to change that shortcut it's pretty easy to do it's right on your left hand so I've kept it exactly that way and I use it all the time all the time the only thing that you have to watch out for is that even a disabled clip will still invisibly kind of get in your way so if you're somewhere and you double click on the program monitor it will still highlight the disabled clip instead of the clip underneath it that's not disabled and that's really annoying it's one of my 200 problems with Premiere that I have a big little spreadsheet of have I mentioned that yet I put it in my Premiere Pro problems playlist it's not fixed yet refused to go into meetings with their laptops because they're too embarrassed professional bands and prep but my priorities are clearly different from Adobe's priorities professionals to refuse to go into meetings with their lap adobe has fixed several of the bugs and put in some of the features that i've suggested and as much as I don't like to admit it the best way to get stuff fixed in Premiere is to just use the wish form google it and you'll find it so anyway moving on here we've got we this is ridiculous we've got this fake Oh business meeting with Linus because there to embarrass a m-- to his laptop so he left it outside and it's sad about that I used to go into meetings with their laptops because their to him to embarrassed yes very funny okay and then you can see the close-up shot that it is supposed to cut too according to the guidance in the script now I'm thinking this is pretty funny I want to add some music to this but actually not a music it's an orchestral hit I was oh hang on looks like I'm accidentally clicked dragging this stop it okay it's an orchestral hit and I was just perusing the warner/chappell library that's our music library that we pay for and I I stumbled upon these and I thought they were so great I thought they were so funny that I just just listen [Music] but there's so many of these in this folder that I'm trying to find some method of viewing waveforms in either Premiere or in Explorer or or somehow as they are in an icon view so I'm searching around I do this for a minute or two I'm googling a whole bunch and I never find an answer it looks like there's like a third-party application that you can download but I don't want to have to do that so eventually I figure out that it's not going to happen today but I still took the time to try to figure it out because basically every day I'll learn one new thing and sometimes it turns out to not work and sometimes it does work and eventually you know a lot of things so right here you can see we do in fact have the waveforms visible in warner/chappell music library itself [Music] [Laughter] okay so from my laughs there it sounds like I've found the one that I wanted see there's so many of them that I didn't I didn't know which ones were the which ones were the short ones there it is excellent okay a lot of time wasted to find that one hit but again I I was trying to learn a few new skills failed but could have turned out to be something by the way you see me sort of stair stepping as I call it all of the clips on the timeline the reason I do that is to maintain where I know the in/out points are for any clip of usable material this way it's non-destructive okay so you saw me reduce the gain of this clip by 16 decibels now I'm just making sure both audio tracks are on left and I also pen tool that down at the beginning because this extra super loud sound effects like I said you got to be real careful don't make them too loud okay now before I begin animating this that bin of orchestral hits is totally in the way I'm gonna put it back where it belongs okay so I've got two shots here one on the left and one on the right I'm supposed to make them match up they're supposed to be played in sequence now here's the thing I actually waffle about with this for quite a while I try all sorts of different things to make this work and I'm just trying to do it because I read the script and I read the shot guidance and this is what I was told to do however the problem is that this wasn't shot in a way that is conducive to doing that as you can see the bottom of the window is cutting off the bottom of the laptop in the first shot but not in the second shot so I will round with this for quite a long time and I'm gonna fast-forward through some of that but I'm also going to talk about a concept called killing your darlings which is very important for an editor by the way first off notice that I've already pretty much got the shot working watch this because they're too embarrassed even most of the key specs are the same and then it pointlessly cuts to the second shot again I don't need to use that shot and I spend way way too long trying to make it work killing your darlings is a concept where let's say that a movie studio you work for has gone and they've spent like a week getting some really nice shots they're these crane shots of a city there's this whole scene there's this I don't know choreographed dance it cost lots of money but let's say that the movie isn't even a musical and such a scene would be tremendously out of place in this movie and not in a good way the correct answer in this case is to cut that scene do not use it and you might get tremendous blowback from the people who worked really hard on that scene but if it doesn't work in the movie it shouldn't go in the movie and there have been times where I have deliberately not used a very nice shot or shots that Brandon has gotten because they simply do not work I do have one example off the top of my head there was this video what was it called aa project backpack okay so this was a sponsored piece Brandon and Linus spent all night filming all sorts of stuff and they filmed all of these really nice shots of painting the wall there was like I don't know thirty percent of the shots were painting the wall and in the final edit I used four of those shots four because once you know he's painting the wall you don't need to keep seeing it right so I did not use the footage in proportion to how it had been shot when you're in the editing room it becomes very obvious what is needed and what is not and on the flip side I was annoyed that they did not get enough footage of Linus playing various different games I only have footage of like three games and I needed four or five so I had to move other things around to kind of compensate for that something else that I see a lot of is if you're editing a multi-camera shoot there is always the temptation to keep cutting to a different camera just because you have so many cameras you might as well use them right no you might as well only use them when absolutely every cut must be done with purpose and if it's better to hold on the wire then hold on the wide okay so ten wasted minutes later you can see the fruit of my Labor's you can see this you know shot being matched up here and it just it just doesn't look good so after I deleted all the stuff that didn't work here's what the shot finally ended up looking like to refuse to go into meetings with the nataas because they're too embarrassed even most of the keys the fact that it's a little bit blurry is actually kind of funny I don't know it's it's the sort of crudité of it is amusing okey dokey next shot here looks like we've got shot 70 and I'm supposed to label it with stuff okay that's a unique shot does he do it again no Oh what I I don't know what his hands are doing is he pointing to stuff I don't think I ended up using that this shot is really long like really long am I supposed to cut it up I don't I don't understand sometimes I just don't know what the original intent of a shot is if Brandon was around at this point I could have asked him but he wasn't anywhere to be found unfortunately sometimes they shoot for something different from what ends up being in the script so sometimes I get shots that don't even work anymore because the plan has changed so this may have been in the script at some points but it isn't now and right here I'm looking back through the b-roll bin maybe looking for an alternative take but I don't find it so this is the only take that I have yeah like look at all this what is it what is he doing what's he guessed during - am I supposed to label stuff as he's guest ring to it because there's not enough time at all and if you look at the script it doesn't mention anything about hands pointing to things the maximum nvme SSD sighs got doubled to one terabyte and the gtx 970m from last gen okay here we can see that the next shot is 71 so let's go just find that and I guess I found it already this is just static it's not moving at all which is kind of annoying I prefer shots to have a bit of motion in them but maybe I'll add some motion to it later battery same though the maximum nvme SSD sighs got doubled to one terabyte and the GTX 970 okay back to the script we've got shot 71 and 72 coming up here I don't know why the cursor becomes invisible sometimes this is obs/xsplit/whatever [Music] exit 89 well it says use the best take sometimes there's little notes obviously yeah it's pretty good just messing around focus is changing from the laptop to him yeah yeah it's a good shot plop that in there means the newest blade is a very capable little VR machine and that built the Thunderbolt and each this is the ideal kind of b-roll yeah my port to show for a point in the script like that okay next one shot 91 plug 2 displays into the blade there it is found it already fantastic okay plugs in the displays looks through here okay now here's the trouble with doing all the actions in one shot lack of coverage this shot has him plugging in one monitor and then another monitor then he goes around to the other side it's a one-er and the trouble with doing it that way is that your timing has to be perfect so that the actions will match up with the narration also I'm pretty sure that he's plugging in the cables in the wrong order from what he says in the script so they probably didn't have the script with them when they shot this which is why they got the order wrong let's see what he says here and that the Thunderbolt Thunderbolt and then HDMI yeah they did it the wrong way so I got to do HDMI and then the trouble is the cameras moving around so I can't hold that shot for as long as I need it they're bolt and HDMI port can handle and then I can swap over to the other thing yeah huh I want us to be able to be creative like this this is more interesting 4k 60 Hertz can handle 4k 60 Hertz now more recently everyone's been paying a lot more attention to stuff like this where if we have a shot like this we call it a choreographed shot and someone does in fact read through the script as they're acting it out can handle 4k a 60 Hertz now so you see I used an impact push there once again these are transitions that you can get from film impact net they're fantastic they're free for the first pack I bought all the other packs but unfortunately we would also have to buy them for every single other editor just in case you open up a project on someone else's computer anyway it looks like I'm experimenting with this flip over transitioned and I've never I've never tried to use it before and boy I will never try to use it again because this looks awful let's see if I can change the background here to something that's not gray why would you choose gray as the default okay so that didn't work so many of the transitions you get in Premiere are just completely cheesy nonsense that looks like it came straight out of the 80s so oh yeah well Premiere crashed this is unfortunately a very common site Premiere crashes at least once a day for me usually more and if you edit in Premiere you're going to get real friendly with the autosave function and if I haven't told you already your autosave function needs to be set to something hardcore like every three minutes with 70 versions every two minutes is too often but even set to every three minutes it doesn't even save every three minutes that's just like a suggestion to it so I'm gonna make an autohotkey script that just presses CTRL s for me every now and then I'm sick of losing projects like that okay well let's open this back up again it looks like this time it made a potential recovery project it does that on occasion I'd say that I encounter the automatic recovery project safe thingy maybe like 5% of the time it crashes so you've got to be reliant upon your own saving and auto saving now sometimes you load these and it crashes immediately after you open them so let's just see if this works whenever you're loading an autosave or a recovery project never save over your current project always call it v2 or something cuz it might be in a broken state what did I just say what did I just say it crashed as soon as I opened it if I'd overwritten my previous project file I might have a completely unusable project file and that has happened before and the only way that I have been able to continue working was to load an autosave and that's what I have to do here so let's see if this first one is going to work and if not I'll have to go to the one before this or the one for that or the one before that so let's see you know you don't want to lose work so you try to the most recent one okay let's see okay still gray background let's delete that transition as quickly as we can sometimes if you delete something before it loads it won't crash because well because Premiere so let's go back to the good old impact push because we know that that works Oh something that you'll see me do sometimes is hit CTRL S and then immediately go into word and as with all of my little tricks it's just another method of saving time premier will save in the background while I do other things and anyway which is where my second anyway which is where my favorite difference from the last gen comes in the blade is now available with a glass-top 3200 by 1800 touch screen or a matte 1920 by 1080 non-touch means that's cheaper battery avoid any issues with poor resolution scan windows and translates out to double the framerate in games obviously you can turn down the touchscreen model to 1080p but they're dealing with interpolation instead of a crisp image okay let's look at the script here two models side-by-side launching a game oh I see it's showing that one of them is a touch screen and the other isn't and the framerate difference okay it's very convenient when b-roll has talking in it that explains what's going on cuz like I wouldn't know because it's such a extreme closeup which is where my favorite difference for the last gen comes so Thank You Linus the blade is now top or a matte 95 1080 non-touchscreen that's cheaper SATA little battery point any issues with a solution ceiling windows and translates not to double the framerate in games now obviously you can turn down the touch screen model to 1080p okay that's obviously the wrong spot for that b-roll to be on but I'm just consulting the script here again to see what the next shot is and I click back into Premiere and oh no I accidentally took it out of full screen mode and into windowed mode which because I have four monitors and some of them have different UI scaling Premiere can get really confused and this is a bug that I don't really hold against them because UI scaling in Windows is not great so anyway let's continue here and fix our little toolbar there I also decide that I might as well save a v3 I don't know I get nervous when Premiere is acting strangely and I prefer to ensure that I have lots of project files to fall back on 300 touch mean or little battery okay so right here I'm going to do a split screen of the matte screen versus the touch screen model for this laptop showing that the framerate is different depending upon which model you have however this is kind of boring because I'm just moving footage around and scaling it and using the crop effect and so on and so forth so I'm just gonna take this time to talk about something a little bit different obviously Premiere just crashed and I had to recover from that now Etzel and Pella do not use a template when they begin editing a new video instead they just start off completely fresh they open Premiere they say a new project and they go from there they import all of their assets and so on the reason why they do this is because they claim it leads to fewer stability problems right so Premiere crashing less often freezing less often not giving GPU render errors as often now there's probably some truth to that but it also means more busy work now if you don't understand what I mean by a template is basically I just create a new Premiere project I import everything that I think I'll need for editing I will put all sorts of titles in there I'll put all - sound effects in there I'll organize it really cleanly I'll make sure my sequence is absolutely perfect and then I save that and then I will use that from then on for every single project that I use so it's just a pre saved sort of jumping-off points and sometimes I'll open it back up again and make some changes and save it again and then that'll be my new template I've done this like 25 times now I think that using a template is a good idea but it is entirely possible that it leads to more bugs and instability so it's totally up to you if you decide if you do or do not want to work with a pre saved project as a starting off points what I will do is with each new version of Premiere that is released by Adobe I will create a brand new template from scratch without converting it from one version to another and I'll really organize everything I'll save it and then that'll be my brand new template so that's my current solution okay so a weird thing about this is I thought that to change resolution you actually have to do it through Windows there's a little menu of course where you can do that however it looks like in this shot he's just changing the resolution of the game itself and I'm not sure if that counts so in a situation like this basically the shooter in this case brandon has made an educated guess as to what Linus's intent is although actually I think that's linus on the computer yeah that's linus you can see his watch so this is probably the correct shot but it has been the case where the shooter has made an educated guess that turned out to be completely wrong where it makes sense that you would arrive at that conclusion but it's just completely wrong and as an editor i used to make some of those educated guesses as well. But as time has gone on and i've been proven wrong in my guesses over and over again, i now am a lot more [cautious] to make an assumption. And sometimes it's not even an assumption. For example I was editing a video where Linus talks about the Logitech G15 and how it was the first keyboard with 18 macro keys on it. So I Google around and I find the Logitech G15 keyboard with 6 macro keys on it. But I see that there's other keys directly above M1 M2 M3 so I think, 'Oh he must have meant that you can have a total of 18 possible macro keys even if they're not all physical macro keys.' well, I was wrong. There's ANOTHER Logitech G15 keyboard that DOES have 18 physical macro keys. So I made an assumption based upon the name of the keyboard that turned out to be wrong. It is so so easy to miscommunicate in pretty much any situation and I'm infamous around here I guess for being absurdly robotic in the way that I process information and communicate. I insist upon absolute perfect transmission of knowledge where there's no room for interpretation and misunderstanding, and I believe it was actually me who insisted upon guidance in the scripts where there's comments that explain, "here's what this is supposed to be, here's what that's supposed to be, here's a link to this thing" because we weren't really doing that before I came around. And here you see that I'm attempting to search my script for the word "graph" but it's showing results from the comments and then it gets to the bottom and then it tries to go back to the top and you have to be specific if you want to search up or down... but anyway I found it myself. I really hate the way that Word search works. I wish that it was pretty much the same as hitting CTRL F on a web page. That works a lot better. Anyway back to what I was saying before. We now have it as a part of our review process to have the original author of a script review the video before it goes up because, you know, there's so many little details that it's easy to get wrong. And the editor wouldn't even know... because, well, because they don't know! Okay so, oh dear, I'm seeing a lot of graphs and they're only kind of labeled in a way that makes sense! Sometimes I've put the graphs in the wrong locations but even if it says "CPU and GPU temperatures." there might be more than one graph of CPU and GPU temperatures. And in this case there were four different potential graphs that I could have put here. So I don't know what to do. The benchmarking graphs are probably these ones but I just don't know. So I'll put a marker down on the timeline. See. here I'm doing it ...which tells me to ask Linus about what the heck goes here and if you'll notice I created that orange marker instantaneously because I have some fancy-pants autohotkey shortcuts on my secondary keyboard where I press shift numpad 3 and it'll actually make an orange marker straight up. So any orange marker is "ask Linus a question." So I will go through the whole edit all the way to the end, and then I'll go find Linus and I'll ask him all of the orange markers questions, because orange is kind of Linus's color and that way I don't continuously disturb him throughout the day with all my little questions. I can just get them all over with all at once. And again you can use ALT and click+drag on a marker to expand it like so, which can be very valuable because you can time things out even if you don't already have them, (but you can only alt click drag to expand the marker forwards, at least the first time you do it.) So this is a really long shot, but fortunately because the camera is not moving I can very easily cut out the nothingness where it is waiting to boot up. Now this is somewhat disingenuous because it makes it seem as though this process is faster than it really is, because it's not obvious that time has been skipped here. However it doesn't really matter because we did a review on the Razer Core where we do talk about how it works and this video is literally just talking about this in passing. so in this case maintaining absolute accuracy is not necessary. LINUS: performance or core upgrade would boost performance as well but that thing's like 500 bucks plus a video card. TARAN: I used the rate stretch tool to make that footage go just a little bit faster and I do that a lot and it's really really valuable. That's called speed ramping if you don't know, and there are tools for doing it inside of a clip without having to cut it and that's called "time remapping," but it is limited to like 1,000% or 2,000% speed, which is not nearly enough. And it's also just a pain in the ass to set the whole thing up in the first place. So screw it. I just use cuts and the rate stretch tool. And the rate stretch tool is great because you can go to the clip menu. For me it's CTRL R to change the speed there, but if you want to get something very precisely from here to there, [use the] rate stretch tool. You just choose the beginning and the end and then you size it down to the amount of time that you need to take, and there it is. LINUS: On what is purportedly a gaming notebook. With that said the webcam is still pretty good. You know it hasn't improved much if at all. The trackpad took a major leap forward in responsiveness edits without said to my pan is still pretty good it has to prove much if at all so for this section the intent is that I cut away the original a roll and replace it with this webcam and you wouldn't know that just looking at the guidance in the script but because I've been working here and I already know that this is how he likes to do it I knew to do it that way so here you see that I've decided the whole thing is a bit too quiet I increase the gain by seven decibels quite a bit it's tough getting these audio levels just right thankfully bears no resemblance whatsoever to the one in the higher end it takes one second for the audio gain panel to appear and then it takes another second or two or three or more for the audio game to actually be adjusted the second part I can understand but opening a panel should not take one second which is weird because using the brackets to adjust audio gain on Clips is instantaneous and requires no loading of any panels or anything so sometimes I'll just do that rather than dealing with the nonsense of the audio game panel okay let's see here what shot do I need next decibel meter shot of blade 14 in conference room is done 0:08 4 where is it ah okay this is the noise test and the microphone fuzzy is black and so was the laptop and then the device itself is white and so is the background so it it blends together perfectly it should really be the opposite way you know have the black on top of something that's white and have the white of the device on top of something that's black now it's easy to armchair philosophize about what should have been done I actually talked to Brennan about this one and he told me yes he knows it's not great yes he knows not to do that but for one he was on a very tight deadline because somebody needed that laptop to do some more tests and two it was actually quite messy in that room so there was hardly any where to put the camera of the laptop and the audio thingy so I always insist that we shoot b roll with the cameras internal mic always rolling and that's because the environment is sometimes going to have some important audio in it and especially in this case while gaming they are loud when you're pushing them okay fun fact mono maker fails right here because there was a tooltip in the way of the okay button and the script works by looking for the very specific color to know that the panel has loaded because the panel takes an eternity to load lag on the Mears 60-hertz okay yeah so you can hear the fan spinning just a bit there so because the shot is about how noisy the laptop can be obviously you want to hear that show what the host is talking about Golden Rule okay really quick there you saw that I pressed the key on my secondary keyboard which automatically opened up an explorer location which in this case is the Newton server that's our archive server that's got so many terabytes and then I typed in alien or whatever and I immediately went to the video that I was looking for then I open up the delivery folder and I see that we have some unnecessary old exports for this video so I delete those right away because we don't need them we just need the latest and greatest one so this is a cineform export which of course means that I can scrub through its timeline really really quickly and I'm doing all of this in the first place because the script calls for reusing a shot from the Alienware 13 video now I don't think that I edited this video so I'm unfamiliar with it and so I have to scrub through here notice how amazingly quickly I can do that oh my gosh if this was h.264 mp4 this would be tremendously slow so we're looking for something to do with input lag oh [Laughter] that's a ugly graphic oh that's what I'm supposed to use okay if I recall correctly I ended up fixing this image look at the difference in mouse movement to stream movement response not here but believe 14 at about 40 milliseconds of 60 Hertz is far from the worst I've seen but the only 13 is right down around 25 milliseconds a full-screen refresh faster which all the accounts for faster processing time the pixel times contribute equally to the perceived clarity and responsiveness of the display because they keep the image looking crisp even during fast camera heads okay let's put that clip down there let's recolor it display with no GC the input lag on the mere sixth card and the okay now usually I keep my staircase intact so I know how long each clip potentially has where I can shift it around but in this case I'll need to cut that audio directly when you stop seeing it so that we don't have fan noise where it does not belong no g-sync is far from the best I've seen on what is purportedly okay now these two notebooks look pretty similar so I need to label which is which I mean if you're paying attention you'll know that the one with the pink trackpad is Linus's blade but let's not let's not tempt fate here so here I am just using the Premiere title er to to fix up this graphic just make it clear which is which and I'm gonna put a border somewhere in there the title er is it's pretty okay it crashes a lot now which sucks but you can make some nice things I just kind of improved this I could also change the background color if I really wanted to but I thought it was okay so I could totally Photoshop that and probably make it look more pretty but the title er is quick and dirty and for the purposes here it worked perfectly with that said the webcam is still pretty good even if it hasn't improved much if at all now I need to affect the a roll layer so I use my script that removes the lost what is purportedly a gaming notebook with that said the webcam is still pretty good even if it hasn't improved webcam shot yeah I did that okay let's scroll down here to the next thing using trackpad done oh the done must mean that he got that shot but it doesn't say which shot it is I'll have to go find it okay reuse side by side shot from Razer or whatever so again there's that shortcut to go into in this case the normal server the Wanek server and type in a couple letters to automatically go to the folder that I want without having to do a search because searching on the server is orally slow our server is not windows-based it's something else like butter FS I want to say is that right well I don't really know but Linus built all of our servers himself and he tells me that there's no possible way to get that search working faster so fortunately though if you know the first letter of what you're looking for you can just type it in in Explorer and it'll go straight there so on the mic you've heard conversations between me and Brandon and you can currently hear a conversation between Colton and Pella in the editing it's an important conversation but those can still be quite distracting to anyone who is not involved it's like this when you record a video it's very important to have complete control over the lighting and the noise on set you can't have people turning lights on or off or casting shadows or reflections into your shots or making any kind of noise while the camera is rolling similarly it is also very important to have that kind of noise isolation while editing the video it is simply not possible to balance audio levels of dialogue sound effects and music in a video if you are editing that video in a noisy environment particularly if that includes people talking it can become very difficult to distinguish the talking in the video from the talking in the room therefore because we have up to six editors in the same room we all just have to be courteous to one another by keeping our conversations quiet and short so that's one solution another solution is for the editor to turn up their computer volume but anything above 85 decibels can cause hearing loss so I don't like to do that another solution is noise cancelling headphones but those can't block out all the noise and they don't always really work that well you can also try a really good pair of IEMs in-ear monitors now my favorite solution is the Hollywood solution which is to simply have a dedicated soundproof video editing suite for each editor with a door that can be left open or closed we did consider this but it was deemed too expensive and would have taken up twice the floor space of the current editing room so just make sure that you consider the importance of audio isolation in your own work environments. LINUS: keyboard and the keyboard thankfully bears no resemblance whatsoever to the one inherently TARAN: So fortunately I had already made this little graphic and sort of animation for the Razer Blade Pro video so I was able to reuse that for this video. That's convenient. And here as usual before I switch to Word I just pressed CTRL S to save Premiere in the background. You know what, I don't think that works very well anymore. Premiere can sometimes really hog resources. So I'm looking at the script... (mumbling) okay, there is not a quick zoom-in shot. This shot does not exist. Now this is 4k footage so I could zoom in on it but it's not as close as it needs to be and because the keyboard is quite dark yeah it's I really can't I really can't zoom in on that so I tell Brandon that he needs to get this as a pickup shot and then we both forgot and did not get the shots. Yeah. Here I am making the point that I am unable to continue slipping this clip because arbitrarily the end of the clip happens to be over there even though the part of the clip that I want is further down the line. I have to go and move the end of the clip before I can actually slip the clip as I would like to. People disagree with me on this feature request but I feel very strongly about it, since it would only be an optional change. So this is just a thing that I do when I find a bug or I find a feature that I would like. I will take a short maybe one or two minute long clip of what's going on and then I'll make notes to myself in notepad++ and eventually I'll just send those all over to Adobe or put it in a big old video. So for the vast majority of my bug reports I have used Shadowplay's instant replay function where I hit ALT F10 and it retroactively ly saves the last X number of minutes of what has happened on screen with audio and as you might imagine that's incredibly valuable for capturing bugs especially the ones that happen once in a blue moon then you can go back and look at all the footage and see exactly the context that led up to that bug also I have done experiments on whether or not having that instant replay function going all the time actually effects stability of Premiere and of the system and I don't think that it does because shadowplay is all done entirely on the GPU so that's just great you do have to have the right NVIDIA GPU for that however oh there's one more autohotkey script that I have not actually mentioned yet one that I use in every single application and I didn't even program this one it is the accelerated scrolling by buffin brain script which basically just adds additional scroll up and scroll down events to your scroll wheel the more you scroll it and it's been absolutely essential for me because scrolling through premiers timeline has always been incredibly tremendously slow I made a whole video dedicated to this script so go watch that if you want this for yourself so I'm just looking for a shot here what shot am i looking for here's just a shot of Linus typing on this laptop I think I'm considering it for like being reversed so I'm playing it backwards and I think now it's gonna look stupid sometimes you can reverse a b-roll shot and it looks totally fine but in this case I'm just trying to get the shot of Linus having to look really closely this keyboard to try to find out the secondary functions of the function key my favorite laptop keyboards ever by the way just because this is a tutorial sometimes I will lower the volume of what's going on on the computer just so that you can hear me narrating overtop of it and when I stop talking I'm going to increase the volume of the stuff going on on the computer in life so born from a desire for RGB backlighting and one that bothers me I'm just letting you know so that you don't get confused with the audio changing all the time one more thing that you'll see I do in order to move through the timeline is zooming in and out rapidly that'll do it and also pausing and then playing the video if the timeline playhead has already scrolled off the edge you can tell Premiere to do scrolling the timeline along with the playhead I cannot stand that it's horrible Thank You Premiere devs for giving us the option to not have that happen and one that bothers me pretty much every day so on the surface then you probably heard that little audio pop in your left ear if you're wearing headphones these little pops happen from time to time in playback in Premiere I used to rewind and watch again to make sure that the little pops weren't happening for real in the actual audio they're not but you know you need to check some times just to make sure now I'm not really sure what I'm doing here I was just fiddling about with transitions if you move a clip with the transition on its directly on to another clip it will not necessarily merge that transition appropriately you have to delete the transition and put it back on so that both clips will share it so sometimes your transitions can get messed up if you're not paying close enough attention so on the surface then not a lot has changed even going back a few generations but when you look closely err Razer has been absolute okay quickly recoloring that shot saving and going straight out to firefox i'm just going to google look closely err because I'm not sure if Linus is referring to some kind of meme or something specific because obviously that's not proper grammar and I'm not finding anything specific so there is this sort of meme of a guy peering very closely at a book that I have seen and I don't remember what it's called so I just typed in the description of what I was looking for and I didn't find it but I do know that it happens to be in this video aha there it is found it okay so this is really stupid I'm going to screenshot this image from this video and then do a reverse image search in order to find that particular painting hey if it works it works right yeah okay so I find the guy and this is really fast forwarded because this is a photoshopping adventure and this is not a Photoshop tutorial so I'm just gonna fast-forward through this I grab a frame from Shutterstock I grab a art gallery from Shutterstock as well and I get rid of a frame and I put this guy into the frame and it looks pretty legit I even add a drop shadow to make it appear as though it's in the original art gallery put him on the wall out it just even just looks like it even belongs there and replace replace the book with the Razer left haha if I wanted to go full-bore on this eye I could I could change the texture of the laptop to make it look like it's more of a painting but this is good enough now the reason why I did this in Photoshop is because the image itself can be very very very large and I can zoom in really far and not have to worry about zooming in on big pixels as I would with a 1080 or even a or k image that just wouldn't be big enough for me to be able to do such an enormous zoom I could also have done this with after-effects but I am not as familiar with after-effects few generations but when you so I don't know if you've seen this autohotkey script yet I probably used it earlier this is one of the ones that I'm particularly proud of it's my instant VFX hot text selector mod basically what it does is inside the effect controls panel it will find any given variables hot text and then move the cursor there click and hold the left mouse button virtually so that I can just move the mouse around in order to change that hot text without me having to physically move the mouse all the way over there manually and then when I let go of the key it moves the cursor back to where it was to begin with so I'm just gonna go through this script with you real quick here so that you understand how it works in case you want to modify it for your own setup which you have to do I mean this won't work out of the box it's called instant VFX it's got one parameter but first the VFX key global variable must be defined so that it knows what to look for during the function at the very beginning we block the input of the mouse and keyboard so that it doesn't interfere with anything then we define a few variables we save the x and y coordinates of the cursor and then it gets the position of drover lord window class three which is the unique identifier for what I know the effects controls panel is on my own particular version of Premiere so you can use window Spy to figure out exactly what that is but keep in mind that that number can and will change if you change your workspaces inside of Premiere then it moves the cursor to an extremely precise pixel on the effect controls panel where I know that the anti-aliasing on the very edge of this triangle is going to be a different color based upon whether it is untoward or not that is how I know if the effect controls are untoward so it goes through a couple of if statements and looks at colors to figure that all out and if the color is just a normal panel color it means that nothing has been loaded into the effect controls panel and so it'll hit control P which is my shortcut force election follows playhead in order to select the top most targeted track at the playhead and then it'll hit CTRL P again because I prefer to leave that option off most of the time and then it just goes back to the beginning of the function and does everything again now that the controls are probably available and assuming that you have an untoward effects controls panel then it goes on to find a V FX which is another function inside of this function again with one single parameter and then it runs an image search for some very very carefully taken PNG screenshots using fubar as the parameter which is the name of that image whether it be scale or rotation or Anchor Point or what-have-you this is a kind of a derpy way to do it but it works so whatever so assuming that it finds those little images it will move the cursor straight on top of that text and then it searches for a very particular color of blue which is the color that these scrub herbal hot text uses which is located always to the right you see it searches all the way over and what it finds blue it'll stop it'll put the cursor there and it'll virtually press down the left mouse button for you so right here it checks to make sure that the VFX key is still being held down if not then it will reset the value of scale to 100 or rotation to zero that's just a little bonus thing that I put in so that if you just have the key it'll reset that value rather than doing anything else but assuming that you're still holding that key down it enters this loop where you're given control back of the mouse cursor and it will simply continue to hold down the left mouse button for you and then you're free to move your mouse around in order to change the value of that hot text until you release the key in which case it will run one last function to reset everything back to the way that it was and it puts your mouse cursor back where it came from now there's one last thing that you might need in order to make this work which is basically the hot text in Premiere is kind of broken where it only starts to change if you really go quickly with your mouse which is stupid so there's another autohotkey script that you should have running all the time in case you have that bug just to ensure that that is fixed and once again this is another thing that I wish was just a part of Premiere okay so what I'm going to do now is animate this large image in Premiere to do a funny thing now you may have noticed that I saved two different versions of this image one where he has the regular newspaper thingy and another where he has the Razer blade laptop so all I'm gonna do is animate one of them and then I'll take that entire clip on the timeline duplicate it and then do a replace image using the image that has the Razer blade in it and then I'll cross dissolve between the two or do some kind of transition that's just a quick dirty way to accomplish what I want to do here so you can either watch the process of that happening or because it's going to take a little while I'm just going to use this opportunity to explain a couple of other things that I don't have any other place in the tutorial to get to so here we go okay so Premiere is obviously not the most stable of programs and sometimes you have bugs and slowness and lag and stuff obviously the first step is to close out of Premiere and reopen it and if that doesn't work to fix your problem then you restart your entire computer and that's kind of the nuclear option but it'll fix most things closed however sometimes even that does not work and I've done a bit of experimentation to try to figure out how to recover from this and there's still a couple of things you can do so if your problem is lag slowness and stuttering you can try rendering audio previews even if you're somewhere else on the timeline unrendered audio can still slow everything down also if you have some really especially tricky video effects and stuff just render some video previews on the timeline also be on the lookout for graphics that have had their speed changed you're not supposed to be able to do that but you can accidentally do it using the rate stretch tool so if you find those use the rate stretch tool to put them back to 100% speed another thing you can do is literally create a new sequence using the same sequence settings but which matches the settings of your current sequence and then use control a highlight everything in your current sequence and paste it over into that new sequence and this has saved my bacon a couple of times with big ol projects that are constantly crashing and constantly being slow there's something magical about making a brand new fresh sequence where I think maybe because there were some links previews or unrendered audio or maybe conformed audio that went bad or something but doing that will potentially fix your issues so try that out now there are still plenty of other troubleshooting steps to try and there is this absolutely fantastic post on the Adobe forums which goes into very great detail about every single possible thing that might help you out so I'm just gonna link to that you can read that at your leisure I'm just showing you a scroll of the entire thing here just in case the forums go down I don't know so you can read it here if absolutely necessary but there you go Laer Razer has been absolutely okay I think I remembered what the next shot was see 102 this is a really beautiful shot here nice blurred out background Linus Linus deep in thought the movement is good the focus is good and I'm gonna extend that shot as long as I can actually because yeah it's nice to be able to hold on a nice looking shot also on the subject of sequences oh this one drives me crazy if you have for example a 4k sequence that is 3840 by 2160 pixels and from that sequence you render a 1920 by 1080 video all the footage will look good but all the graphics and titles will look like pixely garbage because they will have their resolution cut in half which is nonsense so you have to render at the sequence settings is resolution there's no way around it okay so I don't remember exactly what happened but I was thinking that I accidentally must have deleted a piece of my script so I'm looking back through an older script to see if it's the same what can happen sometimes is if a b-roll shooter or an editor opens up what they think is the latest version of a script and they start working on it and saving stuff but in fact the writer had forgotten to save their latest version and then they do save their latest version then you'll have two different scripts that each contain not all the information that they need. So if that happens you just have to copy paste the info from one script into another but that's not what happened here, I just accidentally cut a paragraph in half with the Enter key. Anyway back to Premiere. So I mentioned this in the last tutorial and I'll mention it again. Nesting fixes a lot of problems I believe the default shortcut for that is CTRL N. So you know you just highlight a bunch of clips, hit CTRL N and all those clips turn into one clip and then you can do whatever you like with that one single clip and all of those things will move together. It's the after-effects equivalent of [pre-composing], so if you're ever confused on how to do something complex with a whole bunch of layers, nesting is probably the answer. Just, you know, experiment with it and see what you can get out of it. Just keep in mind that it will limit the resolution that you have to work with because it will set the resolution of everything inside the sequence to whatever the resolution is of the parent sequence. I hope that made sense. One alternative to nesting is to render a small piece of the timeline and re-import it. These thermal shots are intended to be stitched together and then have their values overlaid in Photoshop and I didn't know that at first but now I do know and that's quite a lot of, quite a lot of work. So again this is not a tutorial for Photoshop I'm just going to fast forward power through this and you'll see the final result. Okay so 17 minutes pass of me photoshopping these thermal shots together and my scratch disks are suddenly full so I have to clear that. And then also I have a meeting about something or other, I don't remember what. And so it's 1:50 right now and when I get back from the meeting suddenly we've lost a lot of time and it's 4:09! Now I only have two hours minus nine minutes to get the video finished and it looks like we spend another couple of minutes fixing up the Photoshop again. Let's see how much longer that takes me. Okay so that took an additional 10 minutes meaning that it took me 27 minutes just to make this one single graphic. Now that's more time than I would like. I'm not great with Photoshop. I actually don't know a lot of the keyboard shortcuts. I don't have any fancy-pants macro setup I don't have any actions set up inside of Photoshop. I should probably learn more about it because I use it often enough where that would become worthwhile to learn that stuff. Yeah you know what, that's in the title unsafe zone. I think I end up raising the final one a little bit. LINUS: and while the Blade has been good enough for a while for me to use TARAN: So I learned Photoshop from some University course and the hilarious and disappointing thing was that the teacher just told us to go purchase a lynda.com subscription and learn Photoshop that way, and she didn't really teach us all that much herself. She just kind of assigned us homework. So I was thinking "why didn't I just use lynda.com in the first place?" and now that's what I do. But that was years ago and I could probably use a refresher and learn some more advanced things in Photoshop, because I'm sure there's a lot that I just don't know about. LINUS: There has been - absolutely refining the experience with the improvement to surface temperatures of the device during use being - as a work first game second kind of person - let's lock those tracks down so we can put more b-roll on top - till it was good enough to spend money on it dropping 25,000 US dollars on these machines for my entire staff - okay he's asking for either the making it rain shot from scrapyard Wars or the shot of him passing out laptops to everybody at the Christmas party so I'm looking through here looking around there's a lot of footage in here but you know what? I think it's actually in scrapyard wars 3 so let's go look in there. Ok it's even in its own special fancy folders. So here's all the making it rain shots. Now like I said before, my familiarity with our backlog of videos makes it easy for me to find this sort of footage quite quickly and in fact I will even go out of my way to name things in such way where it's easy for me to search for them later. For some reason it always makes that sound when I import. And I'm also gonna go look to see if I can find a good shot from the Christmas prank video as well all of the guest containers and now I've found it, it's this dolly shot of all the laptops at once. The issue is that there's text on top of it so I need to find the original shot and fortunately because we save absolutely every single piece of footage that we've ever shot (which is kind of crazy) I have this shot. I have the original and I can plop it right in. So here I've got a slightly mislabeled bin of all my pilfered shots from other videos, and I'm just gonna look through here for the part that I need. Now you might notice that you're hearing all the audio in the right channel and obviously that's just because probably there was a shotgun attached to the right channel and maybe not anything on the left. Alright let's scrub through. Let's see if they do that again. Come on. Really I think they messed it up every single time. Whatever, we're just gonna have to go with it. I mean that's what was in the original video. And now I'm just looking through all these scrapyard Wars shots to find the one where Linus is making it rain and it pans down. Yep that's the one. Let's find a good moment there. Set in and out points, put it on the timeline, LINUS: it wasn't until this generation that it was good enough for me to spend real money on it, dropping over - or 25,000 US dollars on these machines for my entire staff. TARAN: So with this horrificly yellow shot I've got to try to do some kind of color correction. So I'm using the Tangent Ripple and it looks better already. But I can't get rid of that horrible yellow shine on the trophies in the background. One thing I find useful is to go way too far when you're doing color correction and then dial it back. LINUS: So in spite of the very small- TARAN: okay back to the script here. let's see, glam done 107 to find that "Oh!" I let out an audible "Oh" when I saw this shot. Very very nice shot. Brandon does me proud sometimes. This one I'm going to save for the end. Oh, it does go at the end, how lovely. So, it's nice to get a nice look at something like this. LINUS: Do I think the Blade late 2016 is the best Blade yet? You're damn right I do. Let's just hope that they don't trash the 2017 model by putting that awful keyboard from the- TARAN: Okay next shot is 112 or 113 but before I do that I'm just gonna go grab this shot from a previous video, the Razer Blade Pro video, where he complains about the keyboard being terrible now. ...Boy this is a long tutorial, so I don't know if I've mentioned this yet, but we have kind of a standard scheme for labeling old footage and labeling other people's videos versus our videos versus just shots of products that may or may not have been from our videos. So this is the Razer Blade Pro 2016 and I have to label that because if you're watching this video and you don't know these products really well, you won't necessarily know that you're looking at a different laptop. And right there I had to fix up the kerning on the "1" of the font BEBAS NEUE, because whatever genius designed this font they screwed up the kerning on the one and BEBAS NEUE has a few other problems that I want to get fixed. -awful keyboard from the - trash the 2017 model by putting that awful keyboard from the Blade Pro on it, or the next - TARAN: so where the next sentence begins I "add edit to all tracks" then select the remainder of those clips and delete them, then switch to Word to find the next shot, then I go and find the next shot, in Premiere and now I'm back over here looking at that next shot. So this shot unfortunately is really problematic for quite a number of reasons which I will get into. LINUS: Or the next time my employees get new computers, they might be from Apple. So thanks for watching. TARAN: But basically they just didn't time it out properly. Someone on set should have had the script open and they should have just been reading from the script so that the actors (Linus and Luke in this case) could get the timing down to match up with the spoken word. And the shot that they got is like three or four times longer than what it should be. So I have to do jump cuts to fit this all in. Or I could try some speed ramping which is what I'm doing right here. That uses the pen tool you can ease sort of the ends there pull that up to change the speed and oh it's a double move it goes to him and then it realizes that it's not quite on him and then it has to pan back up I want to keep the move because it's funny but I don't think there's enough time in here Apple yeah it looks okay be from Apple yeah that's it that's a pretty harsh move there so I'm just gonna undo all of that stuff and try something else let's see cut it right there that's when it's actually still okay maybe I can maybe I can hide right in here I can hide the actual chain straight cut no I could use Rastas mm it's not great maybe a push impact push that's better it's still not great trimming ripple trimming there extend it out a little bit see if that helps yeah you can see line is starting to cut yeah Apple it's okay he's getting new computers they might be from so I don't know I'm deleting some things moving stuff around I'm gonna take a look here at the beginning of this shot save what I had cut already him walking in there's not enough lead-in this looks like an alternative take when Elana starts walking forward oh he's out of focus this is so frustrating to me as an editor like this shot was out of focus both times and both times the movement of the camera is awkward and doesn't doesn't land on its mark as it should or the next time my employees get new computers they might be from Apple so really each aspect of this should have been its own individual shot you know Linus walking up with lots of lead in Lana's handing the laptop to Luke Luke rejecting the laptop and finally Linus's reaction that would make this a lot easier to edit however it would still be too many shots because we're working with just 14 words worth of time here and that's just not enough time to fit all of this in I could choose to cut out Linus reacting but I think that's the punchline I can't cut it I could call for a reshoot but then Luke Linus and Brandon they're all gonna be upset I've had to do that before sometimes they'll agree sometimes they'll say yeah that's fine just here's what we got and this is what this is why I'll always say okay I'll use it this time but please in the future would you do whatever okay we're just gonna fast-forward through the next few minutes here because it's just boring and miserable and I don't succeed in getting these timings to work so I decide that I'm going to use some music that sounds like insane clown posse to end the whole segment and that'll also give me a little bit more time to make that joke work first of all I need to hear what they actually sound like so I watch one of their videos and finding music is is such a long process you can see here I keep going back to the video it helps to go in the center of a song so start listening to it from there but in this case I'm actually listening for the ending of the song so I'm clicking to find that so I'm just listening to a whole bunch of hip-hop and I just I don't know how to do this it can take an enormous amount of time so I'm just downloading a couple of good tracks really what the only solution that I know of is to just become familiar with whatever music library you have take a day and just go through and listen to all the music and and organize it's in your mind man and that's how I've been able to find some really good music just because I already knew that it was there because no matter what tags you search for whoever put the music library together probably use different tags like I've searched for cheerful and I get songs that are not cheerful at all you just got to be familiar with the library [Music] so I figured this one's good enough he from Apple so thanks for watching guys so this is just me fiddling with the timings of the music and the final shot Apple and now I'm just trying the mono maker to see what it'll sound like in mono [Music] so thanks for watching guys if this video sucked do you know what to do but if it was awesome okay now we are at the end of the Razerblade video so just plop it on the music here that was the end of the b-roll first pass I'll be wondering what to watch next so click so I'm just gonna go to another sequence to copy and then paste in the ending assets notice how this defaults to track number 1 the bottom most targeted track by default I wish it would paste into the top targeted track by default but you can't change that and now once again I'm returning to this very end part of the video just trying to figure out like yeah actually these are timing you know maybe I need more and I just fiddle around with this 4 way way too long so I could just fast-forward through this like I did for the photoshopping adventure but because you have the ability to skip to the next chapter I'm just gonna say you can do that if you want and honestly you're really not gonna miss much because it's just me figuring out this ending here but I'm gonna leave it in the tutorial simply because it's important to be aware of this phenomenon where you're just budding your head up against a wall and really not making much progress and it's valuable for at least me to see this and maybe you as well to know what not to do and you know what this probably happens to me more often than I would like to believe and one thing that I have found from doing these tutorials is that I'm sort of auditing my own workflow and I'm being made more aware of the deficiencies and the problems and and the the dumb things that I do like with the last tutorial Brandon actually happened to be recording in the editing room and he recorded me working on my computer and I noticed that my left hand was going all over the keyboard to get to various different shortcuts which is why today I have all of the most commonly used ones mapped directly underneath and around where my left hand sits on home row right so little things like that you don't notice them as you're doing them because you're busy working but if you look back on yourself I don't know you record yourself or you record your screen hmm you become more aware and another way to do this is to watch other people work you'll see someone doing something stupid and you'll realize oh I do that stupid thing too I shouldn't do that which of course is why I'm leaving this footage in the tutorial in the first place so while this is going I might as well take the opportunity to talk about a few more problems that I see with amateur videos on YouTube or wherever else one of the big differences between amateur and professional work that I have noticed is that the pros pay a lot more attention to something called I trace where you're just aware of where the viewers eye is going to be located on the screen at any given moment oh and here I'm just trying to find a specific photograph of the MacBook Pro so I'm gonna fast-forward through this anyway Walter Murch actually puts I trace as item number four on his list of the six things to keep in mind when making it cut giving it only a 7% kind of importance rating but I really do feel like professional movies pretty much consider where your eye is gonna be looking at every single moment there's this great video on YouTube titled how Mad Max fury road directed you by the film theorists and it goes into this in a lot more detail so I'm just gonna leave it at that and say that it is far more pleasant to have your I pulled from place to place and have your eye already where it needs to be when a cut is made it really does make the viewing experience a lot nicer when you don't have to be constantly searching for the one thing that you're supposed to be looking at and this is another mistake that beginners make there can only be one thing that you're looking at only one thing because human beings have two eyes which must converge on a single point we can look at one thing at a time and we move our eyes very rapidly to look at the next thing but if we were spiders then maybe we'd be able to look at more than one thing at a time we're not and lately I've really been cracking down on the use of quotes in our videos where for example you're showing a website that's just got a solid paragraph of text and the editor just puts that up on screen and doesn't highlight anything and the implication is that you were supposed to have read it and found the most relevant information while the host is talking that's ridiculous the human brain really can't split its attention between having to read something and also simultaneously having to listen to something completely different even if those two things are somewhat related so in the video the host either has to be reading out exactly what that text is or you get like six maybe eight words that a viewer can read and keep in the back of their head while listening to other words now there is one exception to this with a lot of our graphs for example we design them too well ideally to be readable while the host is talking without having to pause so that you'll just see like one important bit of information per graph but if you want more info the implication is that you can pause the video to get that info but it's not necessary to understand the video and that's the key one more mistake that I see in other people's videos sometimes is the video maker not considering the effect of bit rates or low bit rates on their videos now back in the good old days we shot on film stock which was basically just a long strip of photographic negatives and you didn't have to worry about bitrate at all that's film video is very different video is electronic and for web streaming it must be compressed because otherwise the files would be ridic ulis Lee huge but certain things do not lend themselves very well to video compression things like confetti and snow and flocks of birds like lots and lots of birds random static like on a TV screen is the least compressible thing ever and gradients a really smooth gradient will suffer from a lot of banding you'll notice and the more subtle the gradient is the worse the banding effect becomes and that's the reason why I think we should swap out the background for fast as possible with something that has a bit more texture to it okay and at this point I think I'm satisfied with what I've done so I start up on the very end of the video the outro delete the little apple here and you'll notice that I am editing as he's talking moving stuff around while the video is playing I do this all the time although it does lead to crashes sometimes because the Adobe guys don't really expect you to work that quickly I designed this part to be scalable just like that so I can just expand that part out and the rest of it will stay good get rid of the unnecessary title for that because we decided not to put text up there because the little eye thing has its own text and now I need to find a part of this video that is most representative of the Blade Pro so I need a nice shot now usually you're gonna find those at the very beginning or the very end however I did edit this video the Razer Blade Pro video and I remember and I can see after scrubbing through the whole thing that in fact there was no good shot of the front of the laptop with just the desktop showing there's a shot of some random video playing on it but then the video itself becomes the focus of the shots not the laptop as a whole so the footage that I used here was just whatever the top right corner to check out my review of the blip that's another little audio glitch you just heard in your left ear the audio glitches you received while scrubbing through and listening through in Premiere used to be so much worse there would be this really loud horrible buzzing that's gone now fortunately so I keep scrubbing through here trying to find a nice shot and eventually for whatever stupid reason I decide upon this shot even though it really doesn't show the whole laptop and that was certainly a mistake of mine although there really wasn't much to choose from anyway continuing on great corner to check out my review of the Blade Pro the bigger badder brother alright so it took me too long to finish up that final shot but now I am truly and totally done with the b-roll first pass so now I'll take a break and then go back through and resolve the markers and fix anything else that alarm you just heard was the five o'clock sound on my phone I have it programmed with llama just a sort of a chime at the top of the hour to remind me so it's five o'clock and I need the benchmarks for this laptop but Linus is on the when show on Fridays after 4:30 until 6:00 so I have to go and visit him so this is from the wind show this actually happened I've never done this before but just just watch yeah so basically basically the moral of the story is that Edie is one of those nerds who sits and don't move that chair Edie is one of those nerds that sits and practices mariokart by himself so that when all of his friends come over he can be like oh I'm gonna hide behind this weak justification that I wanted to unlock all the characters but actually all he's done is create an environment where no one else can have any fun playing with him so Linus got mad at me there because whenever I sit in the chair I always tilt it all the way back and they hate it when I do that and it's just one lever to put it back now you may think it's severely unprofessional of me to interrupt a live show while it's playing but in fact if you know about the win show we do silly stuff like this all the time that's how I cleverly I'm over here thank you add lettuce yes what can I do for you talk louder the microphone is here did you get thermals for the RazerBlade Prolate 2016 for the GPU and CPU temperatures because I don't have a graph for it and John has no data there um this has nothing to do with the wind show I'm sorry ladies and gentlemen I apologize thermals I don't know why are they in the folder John says he doesn't have it where would is there a place for it to go yeah you say it in the script what am I saying exact say thermals of GPU and CPU ah and that's information I'm sorry ladies and gentlemen so that's a great question and I have a really good answer for you that is that I will use my Razer blade late 2016 which I have right in front of me and I will run a stress test right now Wow on the show on the show that's right folks you are seeing live drinking you're seeing live Korea on our live video you are seeing us live create a video yes my friends that is what is going on this is how Jenkins things get sometimes in this moment yeah well I'm working on it holy actual balls are you coming back to the show okay boy Oh everyone it's not really coming back to the show if you were never known anything yeah cuz it has the surface sauce to do really mostly cool watch the review like what I did there so uh looks like benchmarks are being created so while I wait for those I'll just begin the final pass fix everything up a Danny glam or anything else that is still remaining resolve all the markers then we'll be done late 2016 since launch in fact I bought a dozen of the first one main or a matte 1920 by 1080 I've had a review unit of the Razer blade late fast-forwarding this so right here I am looking for a shot of the laptop open with the desktop visible now you saw that there's three shots here that have that but that is a specific shot for the GPU attachments and so that doesn't work here's some cellphone shots that I'm deleting those are in the wrong spot but basically Brandon actually did not get a single shot of the front of the laptop just showing the desktop so I could tell him to go shoot another shot but it's already 5:12 and he's busy doing something else so instead what I'm going to do is grab a shot from the website of the product now I do this sometimes especially when it has to do with like stats or specs of the product I don't think I did much of that for this one in fact I'm at the end now and I'm only just looking at the product page so I'm actually just scrolling through here trying to see now maybe there is something important that I should have included as part of the video but there's not so I'm expanding the page a little bit horizontally and then I hit CTRL + one or two times and that's something that's very subtle but very very valuable when you're taking screenshots of web pages if you use CTRL + it will increase the size of all of the text and the graphics but because the text is vector based it will always look really really good so you won't have any pixel e text when you zoom in on it now the plugin that I'm using for screenshots in Firefox is called screen grab with an exclamation mark and it is wonderfully gloriously wonderful because somehow it's able to virtually extend the bottom of a page in order to take a multi-page screenshot almost instantaneously however in this case I only needed to take two single page screenshots because I didn't need the entire page this time right man warning update time Firefox forced an update that involves web extensions and it doesn't support everything anymore and now the screen grab plug-in is worthless and doesn't work instantaneously anymore it's super slow forgets where you saved and has a lot of other problems I hate updates oh I hate them this worked perfectly and now it sucks so if you know of any program that can take instantaneous full-page screenshots like screen grab used to be able to please leave a comment so I've just imported those two screenshots and I'm putting this one at the very beginning of the entire video which was the biggest mistake of the entire edit the reason is you need to begin a video with your best shot and you should end the video with your second best shot and this graphic is terrible to begin the video with because the text Paragon is very prevalent Lee display and you're not looking at the laptop you're looking at the game on the laptop so even though that one shot had the dbrand skin on it I probably just should have used that and back in October so I could box them up and give them out at my staff Christmas party so why then did it take me so long to do this review because I was waiting for a very now I remember that there's a very nice shot of Chelsea opening her laptop box in this video somewhere and because this was exported in cineform it allows for extremely fast timeline scrubbing which is why I insist that we always have a cineform copy of all of our videos because there's going to be like a hundred shots in a single video and this makes it way easier to find one all right that's what I'm looking for in and out points plot that on the timeline "I could box them up and give them out at my staff Christmas party. So why then did it take me so long to do this review?" Okay so here just fixing up timings for that b-roll there's three shots to show in a very short amount of time so figuring out the best way to put that all together just takes a little bit so why then did it take me so long by then did it take me so long very special blade so I seem satisfied with that and now Brandon is saying something what why are you fine and taking part along with Jeremy and I have not finished your operator do's and they also have Trebek ins named after my dinner today there's a deer oh well good thing I didn't have you get this shot that you didn't get of the Razer blade of the frontier death Connery it's cool I'll survive Taking a moment here to discuss what you've just overheard... it's easy to say that I should have gotten that shot. and I should have. but I was pretty screwed for time as well. We are really busy At Linus Media Group as you just heard I was busy with this all day Brendon was busy with stuff all day and this whole video was being edited just one day before it goes up and that's not ideal and it's in this frantic atmosphere of holy crap we got to get the video done immediately as quickly as possible and then do the same thing tomorrow that I have developed this insane regime of three keyboards four monitors 100 macros 200 autohotkey scripts and so on including the ripple tangent that I'm currently using to do some color correction you can see that from the GUI on the top right all of my workflow speed optimizations have been born from necessity because if a video is not done and it's supposed to go up that night then whoever's working has to stay to finish it because otherwise we don't have a video and we've established a pattern with our audience that we do a video every single day come hell or high water it's got to get done so more importance than editing a video quickly is having enough time to edit that video and this is absolutely crazy but we used to finish a video all in one day Linus would write it in the morning and then shoot the a roll and b-roll around noon I'd get the footage around 2 o'clock and I'd have like maybe 4 hours left in the day to edit that video and often I'd have to stay late and we did that way way too much and this is why from the beginning I've advocated for having at least one day of buffer between each of those stages and lately we have achieved that which is great it is rare that we will have to shoot a roll and b-roll and edit a video on the same day unless there's a product that has some kind of embargo on us but what I really want for us to have is a buffer of finished videos that can just go up at any time and it's really amusing to see that crash course works not days but weeks ahead while we're over here working maybe one or two days ahead so I've always been pushing for us to achieve a buffer of videos showcase his beautiful prize in mine but it's not happened yet because there's a bottleneck at the scripting stage researching and writing a video is a very time intensive process there's a lot that goes into it and I'm always very impressed by how quickly Linus is able to do it he probably has his own extremely fancy tricks and speed optimized workflow for writing the videos by the way what I'm doing here is deleting one of these clips because it was a duplicate oops Brandon had shot that twice and I accidentally used both of them but Linus is just one man and it's it's impossible for him to do all of that writing and also do all the other stuff he has to do as CEO of the company so we've always known about the bottleneck at the writing stage and that has always been the reason why we don't have nearly enough of a buffer if we have one at all and that is why we recently hired three new writers to write more videos to fix the buffer problems to get stuff done to increase the quality of our content to have Linus be less busy because he's the busiest person I've ever known he works very hard so I don't think you guys actually know this but the only reason why I started writing my own videos like script writing for LTT is because of that script writing bottleneck because we were so out of videos to edit I was never hired to be a writer I am a video editor and I'm actually decent at writing or so I hear and I think my videos have been fairly well received my first few ones were pretty bad I'm not a host either I didn't sign up to be a host learn by doing trial by fire that is how things work around here and in fact now that we have the new writers and they're up to speed things do indeed go a lot more smoothly around here and Linus is now doing a lot of script review with those writers rather than writing all the scripts himself so I'm just gonna fast-forward through this it's color correction I'm not very good at color correction I really need to take some courses I'm sorry well - is making them right now while his laptop that is doing the web show like running a test oh I don't know well he's really sensitive yeah okay okay yeah so maybe he'll have to make the graphs because you shouldn't have to stay late it is his fault he didn't do it there's color correction and there's color gray I'm not great at either but I don't know anything about color grading sometimes I'll plop a premade look on top of everything and then Brendon wrinkles his nose because it was terrible and I'll take it back off and say okay I really need to learn this stuff and then I never do hint hint Razer just fiddling with the timing of this thingy here you see me do this a lot to go with its three USB three hint hint Razer to go with its three USB 3 port power cord so I get to this point and I realize hey I can use the music that I already found over here and it'll add some production value let's do that so I don't know if I've mentioned this yet but I always put the audio gain on music down to about negative 24 to start, and from there I just play it by ear to try to figure out if it's a bit too loud or a bit too quiet. And if it gets louder during the song I'll have to pen tool it up or down or something. This part is just me fixing up the timings a little bit more and then doing some color correction. Oh boy it's boring. You get a vignette, you get a vignette, you get a vignette, everyone's getting vignettes! Speaking of things are not very good at, I'm looking at this note on the script here and it says dual shot with specs on screen showing the previous and current models. This calls for some text tracking and I'm not great with Adobe After Effects. And that's kind of weird because it's exactly my kind of program you can do scripting inside the program itself so I really really need to learn some more After Effects. Actually it was really misbehaving on this one. I don't know why, but I had to retrack it several times. It was miserable. Whatever. It's it's it's done. Yeah this is not an After Effects tutorial so if you want advice on that I am NOT your man. Here I'm just adjusting the framing to make it centered more properly. This is why I like wider shots. They're more adjustable. - Same Ram same battery same - though the maximum nvme SSDs eme SSD sighs god - I should have added a little bit of motion to these upcoming shots. It's kind of annoying when you're watching a video and the screen is totally still. You don't know if the video is frozen or not. LINUS: And the gtx 970m from last - and the gtx 970m from last gen has been bumped to a GTX 1060 which means the newest blade gtx 1060 - which means the newest blade is a very capable little - TARAN: Everyone gets vignettes! You know what I really like about the ripple tangent is that you can color correct while the video is playing. And here I am creating a title but you've already seen me do that, so I'm fast-forwarding to save your sanity and mine. LINUS: Translates to up to double the frame rate in games now obviously you can turn down - IRL TARAN: Can you guys all have your discussion elsewhere, because I'm still working on Today's video! LINUS: on the touchscreen model to 1080p but then you're dealing with interpolation instead of a crisp native resolution image and for me personally the difference in sharpness points has my song need your help with this I think I just needed his help with the placement of exactly where the graphs go. and I'll consult with whoever wrote the video for stuff like that. - Then the massive difference in frame rates that make animations on the 1080 especially - TARAN: With graphs, things can get really weird where it's like "oh you were supposed to show this graph at this point even though there's no words on the graph that would imply that it belongs here" in the script there, and it gets weirder where a graph is just kind of shown and you're just supposed to kind of look at it, even though it's not directly talked about. And that's something that I need to encourage Linus not to do. Like I said before, a person can't split their attention between two totally different things. So if I'm having to show a graph on screen that has nothing to do with what the host is talking about, people aren't going to pay attention to that graph because it doesn't make any sense. Anyway you'll notice that I am painstakingly pasting the transition that I just custom created onto each of those edit points but, like I said before you can't save most transitions as presets, [and] even with the ones you can save, you can only apply them one at a time. one of the reasons, aside from the waste of time, that I get so annoyed at the lack of certain features in Premiere, is because of my RSI or tendinitis. that's my hands. And because we have plenty of time here I'm going to explain that whole thing. And by the way, again, this is the final pass that I'm doing through the video. So I'm taking the time to watch the whole thing, but as I watch I'm making fixes, right. So for this upcoming section here, like I said the human brain can only focus on one thing at a time, really. So you can either listen to me talking about RSI, or you can just focus on the visuals of what I'm doing in Premiere, because those speak for themselves. so, anyway, time to talk about RSI. And this is really important, because you do not want to get RSI. A lot of people don't know this, but I had to take a leave of absence from Linus Media Group for three months, because the RSI in my hands was really bad. So that's a tendinitis or repetitive strain injury, from using a mouse and a keyboard continuously, for, well, in my case years. But the stress of the new job probably didn't help. Carpal tunnel is a bit of a different thing by the way. That has to do with vibrations rather than repetitive strain. So don't get it confused. Anyway, the pain in both of my hands and arms was so intense, that I could not use a computer. And I was also having trouble brushing my teeth (I got an electric toothbrush for that purpose) turning doorknobs, doing the laundry, doing dishes... like things that people with hands do, it was all very difficult for me. Very painful. And I tried so many things to fix my RSI. I tried anti-inflammatories in pill form and as a topical cream, but that only ever seems to treat the symptoms, temporarily. I tried hot/cold contrast baths, I tried stretches, I tried the thera-band flex bar, wraps and braces, and massage, ultrasonic and laser treatments, vitamins and stuff like circumin. I tried using my hands a lot, I tried not using my hands a lot, I read John E Sarno's book "The mind-body prescription" and he says that pain like this is psychosomatic in origin and therefore you have to do mental exercises to fix it... and shockingly that actually worked... for a few months, and then it stopped working. And ultimately none of those things had any noticeable or lasting effect. So I was afraid that my career was over just as soon as it had begun, and that I'd have painful hands forever, and just be effectively disabled. But fortunately I found something that actually works, at least for my version of RSI. And that is to go to the gym and do bench press and rows. That's it. So I started on a program called Strong Lifts 5x5, which I highly recommend by the way, if you're just starting weightlifting. And this was and continues to be my saving grace. One day after I go to the gym, the pain diminishes. Two days after, it's completely gone, and four days later, it starts to come back. Which is why I must go to the gym two times a week at a minimum. This solution might not necessarily work for you, but I do advocate physical fitness for everyone. I mean, you can't afford not to exercise. And back to the edit for a moment - so whooshes are a very very versatile sound effects there's a lot of different kinds of whooshes. So right here I'm just kind of messing with timings and and trying different types of whooshes in different places and the whooshes that I chose didn't really quite work. It sounded more like an object being moved past the camera rather than the camera itself moving closer. I can't really tell you why if it wasn't the big enough sounding whoosh. I don't know. You know, something to be aware of. You got to choose the right whoosh for the right thing. and obviously don't make them too loud! Okay back to physical fitness for a moment. If you do start going to the gym at my advice just make sure you do not hyperextend your limbs! Which means bending them beyond 180 degrees... at least as far as I can tell. Now here's the really really really frustrating part. I didn't want to hurt myself, so I did a ton of research on the proper form for all the big exercises: that's bench press, rows, overhead press, squatting, and deadlifting. And in all of that research I found a lot of sources that were saying you should be "locking" your knees at the top of a squat. However, the term "locking" was never defined. And I still to this day cannot find a good definition for it. So what I think it means is "going to 180 degrees on that joint, but no further." Going beyond 180 degrees would be hyperextension, and I'm pretty sure that that's the reason why I'm having knee problems now. Anyway, sorry for the massive tangent right there, it's just that exercise is really important, but only if you do it the right way, or you're just gonna hurt yourself. Speaking of which, also for my RSI I use a powerball on the days I don't go to the gym. And it's hard to tell but I think it does help quite a bit. LINUS: By putting that awful keyboard from the Blade Pro on it, or the next time my employees get new computers they might be from Apple. So thanks for watching, guys. TARAN: Oh by the way, in addition to noise isolation in your editing area, it's also important to have light isolation in the sense that you don't want any bright lights behind you because then they would be reflecting off the screen even if it is a matte screen, (and it should be a matte screen not glossy) and whatever wall is behind the monitor should be a neutral color. And that will simply help your color correction to be that much more accurate. Here I'm thinking that I might want to make a tweak to the color correction of the a-roll and I can do so very easily because I used a master clip. Okay. So I'm done with the third pass of the video and usually that's when I am finished with the whole video, and so that's when I render the video. However in this case for some reason I'm not realizing that I still have to get those benchmarks into the video, and even after that it's still not that simple. There's still some more things that I have forgotten to do that I notice on my fourth and final pass. So I'm just gonna skip forward in time to when I get those benchmarks. CHAPTER 12: The final pass! So as I'm putting in the GPU and CPU temperatures for ten minutes, it's a little boring so I'm gonna talk about the theory for why and how I use Premiere. So pay attention kids. Right here I have one of the files I need from Linus so while I wait for the other one I'm just doing some color correction because why not make the video look a little better. Here I go plopping in the recording of IADA64. I always insist that IADA64 screen recordings have the application in windowed mode, not in full-screen mode, and that's because all of the little temperatures and tiny little on-screen elements are a lot closer together in windowed mode. So now I can more easily punch in on them to show the audience. ... And right there we've skipped over eight minutes and I think I had a conversation with Linus there but it wasn't captured. And I have the GPU temperatures. So we're gonna go grab those. They're right here. import that, double-click on it, get it in the source monitor, it was done with... wait a minute. Okay oh right there at the end. Okay he runs a game and then shows the temperature. And the little annoying monitoring window keeps popping up so Linus has to move around in order to get it to vanish so I'll have to freeze frame it when it's not present. IRL LINUS: Yes, the scripts are ready. oh okay that was audio captured from xsplit when Linus was doing the recording for the GPU temperatures where I hear that lines was talking about scripts and Brandon sounds upset which means they were probably going to shoot some more a-roll... even after it is now 6:39, and I think Linus has some more videos to shoot, because it's Friday and we needed them for the next Monday. Obviously. as you just saw Premiere crashed and I'm grabbing the most latest and greatest version of this video. Because I have the "date modified" information, I can see which the latest version actually is and I think I said this before but I now have a script that just does that. I push one button and I've already told it the folder I want to look into and it will find the latest Premiere project file and just open it for me. And as you can see once more Premiere has crashed. Now on the list of things that waste my time, Premiere bugs and slowness is near or at the top. By the way I'm actually waiting for some conforming to finish you can see it with a loading bar on the bottom right, because I want that to finish before I try opening it again. Anyway people ask why do you still use Premiere, Taran? Obviously you complain about it all the time and it has all these bugs and problems. Like what are you doing? Well it's kind of like democracy. Democracy is the worst form of government, except for all the others. You're basically trying to choose between the lesser of a few evils here. You know, Premiere, yeah there's stuff that makes me mad but it also does a lot of things that I do like. Of course I don't focus on those as much because I probably take them for granted. I have used Final Cut 7. I've used Avid. I've used DaVinci Resolve 14. But I don't have nearly as much experience with those as I do with Premiere. So I'd have to of course re-train myself to become proficient once again. but that's not really the problem. The problem is like I don't think Avid is worth switching to. It's a really old program and it forces you into a particular workflow (and I hate being told what to do) and I just remember it being very frustrating to work with. But I should probably revisit it. And Final Cut X is supposed to be amazing but it only works on Macintosh. And I don't want to give up everything else wonderful about being on a PC just for the sake of one single program. Like I have everything else set up just the way I like it, and then to have to change operating systems? I don't think that's worth it. And DaVinci Resolve 14 is showing a lot of promise lately but it still is not nearly at the level that Premiere is at. For example you can't even assign multiple shortcuts to one single command using the shortcuts assignment panel in DaVinci Resolve 14. And that's terrible. That feature to me is non-negotiable. I have to have that. because if I don't. I can't set up a lot of my autohotkey scripts. which I use of course to make up for the deficiencies that will almost certainly exist. So a lot of people have asked me if I recommend Premiere Pro and honestly sometimes I just don't know. I'd say it's great for beginners. It's great for intermediates. But for experts like myself there are just far too many things missing. The best analogy that I can come up with is, imagine that Adobe made cookware. And they've made this stockpot that only has one handle on it. The rest of the stockpot is pretty good. but with only one handle it's significantly less usable than it should be. It feels to me like the designers just don't understand why we need an additional handle or even what a chef generally needs in a kitchen. So to explain all of this I do have a 200+ line spreadsheet of bugs and features in Premiere, ranked in order of what I think the priority should be and in order of how often I encounter these problems. And I also have a three hour long Premiere Pro problems playlist that explains about half of them in very great detail. if you really want to watch that you can. And I've used the wishform to send all of this stuff to the Premiere development team and in fact they even sent two employees to our studio to check out the way that I and all the other people here use Premiere and media encoder and Prelude. So good on them for doing that. That was very nice of them to visit. But a lot of my concerns with the program have still gone un-addressed. So it feels like they're really concerned about improving the thermal properties at the bottom of the pot while I'm over here telling them that the cracks in the pot, (you know, bugs) and the missing handle should be fixed first. That's why I get frustrated. So ultimately I can not endorse or recommend Premiere Pro until a lot of these issues get fixed. And if you've encountered any of these, there's a link to the spreadsheet. Go check it out, and by all means tell me if I'm wrong about any one of these items. I'd love to hear your thoughts. But you better bring your a-game. And if any of these items have affected you, please fill out a wish form, and then maybe, maybe one day we'll get some of these things. Or maybe DaVinci Resolve will beat them to the punch. ... So at the beginning of this video I mentioned that my workflow has been heavily inspired by video games speedrunning so I'm going to explain that right now. the first speedrun I ever saw was of mario 64 being beaten in like 20 minutes and I was amazed at the crazy things that the player was able to do just by clever manipulation of glitches in the game to get through a door by using the bunny and so on and so forth. And ever since then I've been fascinated with the idea of this kind of extremely high strategy it looks like cheating. But speedrunning is not cheating. Cheating in a speedrun would be modifying the hardware or the software. And that is not allowed. what speedrunning is, is working inside the confines of a system, but you are allowed to exploit anything you possibly can to achieve your goal. Absolutely every decision that you make is influenced by one single idea that you need to save as much time as possible. Everything else goes out the window. It doesn't matter how many lives you have. It doesn't matter what your health is, or how much ammo you have, or where you are. And from that simple idea you get these insane strategies. For example in Final Fantasy 7 the speedrunners will count the number of steps they are taking from the beginning of the game all the way to the end of the game several hours later, because doing so allows them to know what the game's pseudo-random number generator is going to do in regards to the "random" battles that they find themselves in. RUNNER (PUWEXIL): Once I reached the bottom of the crater, hold on a second... two, three, four, five, six, seven... once I've reached the bottom of the crater, that updates some variables in the game to make it think I've legitimately reached the equivalent of disk 3, and this results in hours of time being saved. TARAN: I've actually done my own speedrun of Spider-man 2, and I had the world record for a little while. PAST TARAN: Watch for the most epic boss fight you've ever seen! And, he's dead. TARAN: It was a whole lot of fun but, I'll never do it again. It really is quite a time suck. But with the things that I learned from my own speedrun, and from watching other speedruns, especially those with commentary, I have now been able to come up with "strats" for adobe Premiere. Now unlike video game speedrunning, in application speedrunning there are absolutely no rules. You can manipulate the hardware. You can manipulate the software. And I definitely have. If there was a button that I could put in Premiere where I would push it and it would edit the whole video for me, I would absolutely install that button. And then tell no one about it because I'd be out of a job. But that's what artificial intelligence is going to do, isn't it? It's a brave new world! Basically the whole idea behind this tutorial can be summarized with one sentence: "When you think of something that you want to do, you should be able to do it as quickly as possible." or, "every millisecond counts." As soon as you have a goal like that in mind, everything becomes crystal clear and you can cut through all the nonsense. "I don't care what anything is designed to do I care about what it can do!" To quote Apollo 13, my favorite movie. So rather than just copying the things that I'm showing you here today, it's much more important that you understand them. what's valuable here is the method of thinking about the problem. And I learned that method of thinking from watching video game speedruns. Okay, and with that we have made it to CHAPTER 13. Now I don't think I've explained this yet, but I'm editing in a 1080p cineform preview timeline. You set that all up in your sequence settings of course. One important thing that I do is I always have my video previews at the exact same resolution as the sequence's frame size. And like I said before, I always render in the exact same resolution as whatever the sequence is. never anything more or less. Otherwise Premiere screws it up. And most of the clips on my timeline actually already had been converted to cineform from whatever they were before... probably .mp4s that came off of the A7SII's that were used to record this video. and the reason for that is, cineform is GPU accelerated, so it really gives you a buttery wonderfully smooth timeline. I think I probably mentioned all this, but it bears repeating. Now one of the greatest things about cineform is that it allows you to do a "smart render," which is monumentally valuable and has saved all of us just hours and hours and days and days of time. And I'm gonna show you that right now. There. You just have to check that little checkbox. The one that says "match sequence settings." That's assuming that you set up your sequence settings correctly in the first place! So you better not get that wrong. So anyway the first time that you render to cineform it's gonna be really slow cuz it's, you know, rendering. But the second time, (and this is just an example from a completely different project that I'm going to show you here) all you have to do is take that rendered video put it on a layer above everything else and then only cut out the sections that you need to change. Then make your fixes and the second time you render most of the video cuz it's already been rendered. UPDATE: It works way better to just "Render in to out," then export to .mov with matched sequence settings as usual. -it's incredibly fast. Okay, now back to the Razer blade video where it turns out we have a problem with the rendering. If you notice that the percentage has not changed for a while, and that the estimated time remaining just keeps going up, or that it's frozen, then you're probably encountering some kind of rendering bug. And you might as well just hit cancel and try something different. Now one thing you could do is render out previews on the timeline so turn all of that yellow stuff green. However I have already rendered the very beginning of this video earlier when I thought I was done but I really wasn't so I'm just going to overlay that on top of everything and it doesn't even turn green up there it just turns empty so it's like super duper already rendered. And then I'm not going to overlay the video on anything beyond that point because I made a whole ton of like little changes to clips and to the color correction of stuff so I will have to re- render most of the video. So here we see because I'd already successfully rendered that beginning parts it's able to cruise right past it. So I don't know what render problem it was encountering the second time that it didn't encounter the first time, and we may never know. And you can see that it rendered the entire thing very very quickly because all of that footage had already been converted to cineform before I even brought it in in the first place so very very quick and of course now that it has rendered I have to watch it to make sure that there are no problems at all that might have been missed by me or that might have been introduced during the render. This is another golden rule who absolutely must watch a video that will go up on YouTube even if you made just one tiny fix. You pretty much have to watch the entire thing all over again. Because there are a thousand and one things that could have happened to your video during its very last render. You just have to watch the video. Now, I have a script that automatically moves it into our transcode system called filemover.ahk and I'm not going to explain how this script works because I don't even know how it works. I entered a trance for an hour and when I woke up the script was magically finished in all of its absurd complexity. So you can look at it if you want. Anyway once the file is moved over it will open an explorer window at that location and there it is that's actually a watch folder and there's a copy of media encoder running on some machine somewhere which will spit out the transcoded files into this big delivery folder. So these are every single different resolution that is used on floatplane. So these would all have to be individually uploaded in some kind of weird manual process by Luke or someone else who knew the system because it was very early days for floatplane back then. And I would simply have to send off an email saying that the files were available. Nowadays it only spits out one single 4k mp4 file and that can just go right on to floatplane very easily. And I will also upload a thumbnail and then send out an email telling people the video is now available. CHAPTER 14: YouTube version. if you look down at the bottom right- hand corner you can see that it is now January 20 2017 and I am making a change to the video before it goes up on youtube. So floatplane, our early access platform, had this video for 20 days before YouTube had it, and I looked at the video and I thought "what the heck is going on with that screen? when they were filming the a-roll they should have tilted the screen downwards a little bit to get rid of that horrible glare." So I decided I'm gonna do what I can using color correction. And I'm using a lumetri effect with a mask so that it only affects the screen and that will be placed into the master clip but I can't do that right now because the ripple tangent does not work on master clip. that's a feature request I've had for a while now. Now I really shouldn't be doing this because ideally the YouTube and floatplane versions of a video should be exactly the same, except that the YouTube one has integrations and the floatplane one does not. Speaking of which if you look closely you can see that I've already put the integration into the sequence - that's the orange FreshBooks integration - oh wait Linus Blade mov and I also put some additional b-roll on top of it right there at the end just cuz I wasn't quite satisfied with it. So anyway once I do my color correction (and it does look a little bit better it's not perfect) but once I do that I will render this out and that's it. That video goes up on YouTube. Now these days we have a lot more review steps in place. We have the writer review the video before it's rendered, we have Linus (Now Nick L) review every video before they go out, and we have another editor review the video as well. With all those steps together we should have caught every single error before the video even goes up on floatplane. ... Now, there have been many changes around here since this tutorial was recorded. We now shoot on red cameras and we're actually shooting 8k footage so we are now working in 4k timelines and we also export to 4k cineform which takes four times as long. Now most people still can't appreciate 4k content because even if they have a 4k screen, YouTube's bitrate isn't even good enough to show it in all of its glory. But Linus says that as one of the top tech channels we need to stay on the cutting edge, which I like to call the bleeding edge. I've had a lot of issues with r3d footage. Anyway that's it. I'm done. I rendered that thing out using the same steps I showed you before, watched the whole thing to check for problems, and then send it off to our transcode server to render it as a 4k mp4 to be uploaded to youtube. And there it is, currently sitting at 1.7 million views. That's pretty good for our channel. And people seem to like it. It's a good video. The laptop's good, although, I had some thermal issues which i hear is not all that uncommon. Anyway, that is what it's like to edit a video at Linus Media Group! Congratulations for watching the whole thing! But we're not done yet. I've got some bonus material for you here at the end of the tutorial. These are all extra credit chapters and if any of it bores you just skip straight to chapter 19 where I do the official conclusion/sign-off/whatever it is. CHAPTER 15: The Past. This is my personal career story. not my life story, my career story. And I'm putting this in here because I've found it very very valuable to learn these sorts of things about other people. And if you are just starting out in your career you should try to find as many of these stories as you can because then your expectations will become increasingly reasonable. As a kid I was always very interested in television and cartoons and movies and computer games me and my older brother would always play computer games together. And we also drew comics together which eventually started finding their way onto the Internet as we created Bobcomics.com which is still up today. You can go there and see all the comics we published to the Internet and also the animations that I made using Macromedia flash 5. newgrounds.com was a really big deal, so I would submit my animations there and get critique and I was very active in the flash forums. Eventually my animations got good enough that I applied to an arts magnet school called Denver School of the Arts and I got in to the video cinema arts department. I had only done animation up until this point and never touched a camera nor an editing program. And I actually didn't learn much about video editing at that school. But it was definitely a great experience to be surrounded by a lot of other creative people who understood this stuff. I won a lot of awards for my animations. Looking back on them they're really not that great, but for a high schooler they were pretty good. Before I graduated from Denver School of the Arts I got a $25,000 scholarship offer from the Art Institute of Colorado. However it was a four-year program that would have cost a hundred thousand dollars in tuition, unless I'm remembering this wrong, and the scholarship they were offering could not be put all on the first year or I would have gone. The Art Institute didn't seem like a particularly good value for my money, so I turned down that scholarship. I also took a look at a couple of different 2d animation schools and courses and so on. I had a lot of them sending me stuff in the mail so I checked that out. And, I don't know, I have so much respect for animators, and it's it's such a wonderful medium, and something that I want to be a part of... but it really seems like you're just a cog in a large machine. And I just kind of got the impression that I would be disposable. And besides, my drawing skills were never really that good so I probably would have become a 3d animator if anything. So after bouncing around direction-less for a few years, I eventually ended up in Vancouver BC, because I have family out here. I had no better plan, so I decided that I wanted to go to BCIT for either programming or television/broadcast. And I chose the latter, because I already had quite a bit of experience with television stuff. So, long story short, I did that for two years, and when I graduated, I made the fatal mistake of not having a job already lined up. So don't make that mistake. Because I bummed around for half a year, floating from job to job, basically just freelancing. I worked on two very low-budget movies. I worked at the back tower at Hastings racetrack. And eventually Edzel Yago got in contact with me (I'd gone to school with him) they needed some NCIX tech tips videos edited for them on a contract basis. now Edzel had joined linus media group because he watched the channel on youtube and thought it was cool. And he did his internship with Linus. PAST EDZEL: "The restraints chafe sometimes, but it's it's a really good place... to work." TARAN: And he actually never came back to school after that. I would like call him and say 'ED, where's your homework? What are you doing? You haven't been to school in a while!' He's like "yeah, whatever" The first NCIX tech tips video i ever edited took me, I think, seven hours. because I had no idea what any of this stuff was. I was googling everything that Linus would say. And he was talking so fast. And he would kind of flub his words And I had no script, so I just I had no idea what any of the computer components were. No one had ever explained this to me. So I just I didn't know what to do. But eventually I got better and faster at editing those. Linus wanted me on full-time. It was actually between Linus tech tips and Bling Digital. I chose Linus Media Group even though they were paying a lot less, because I felt like there was a lot of potential there. And I regretted that decision so hard for the first three weeks. It was horrible. And I've said this before. It's because there was just so much work to do. And I didn't know what to do. There was nobody to train me. It was the NCIX problem all over again. I just was so unfamiliar with all this stuff. I was trying to figure out how can i edit quicker? I had to stay late on most days just to get everything done. I was editing basically NCIX tech tips, Linus tech tips, fast as possible, and eventually they also added channel super fun. The edits weren't nearly as good as they are today because I would have to rush them out as quickly as I could. And I asked Linus "do you want high quality or high quantity?" and he said "both." and internally I thought "No. There's no way. it's got to be quantity." So what I did was, I decided okay, I'm going to finish the video and then if I have time I will go back and I'll add extra things, and I'll improve the quality. But I have to get the video done first. And so that worked Decently well. Eventually we moved the office to the new warehouse and we got more and more employees and the channel has grown significantly larger than I ever imagined. Back when I joined it was just like a four-person team an.d here we are today. I can safely say that working at Linus Media Group is the hardest job I've ever had, and also the best job I've ever had. We have access to some of the latest and greatest cutting-edge technology, and that's really cool. I get to ride around on e-bikes for my job. I got really lucky. The only reason I have this job is because I accidentally networked when I was at BCIT. So that's why I always say that networking is really important. (Young Taran: "Well I had a great time!") so that's the past. Let's talk about the future. Now a lot of the editing that you saw here today is what I like to call paint-by-numbers editing. It doesn't require all that much creativity, because the scriptwriter has already determined basically what shots should go where, and what the shot should be, and the general flow of the entire thing. and your job as an editor is to just assemble it. Now this is very different from the kind of editing where you have to make up the story. you have to figure out the story. Channel super fun videos are a lot more like that. We just film a whole bunch of stuff and you find the narrative thread afterwards. Here's the thing though... because we put all of our shot numbers into the script, and we use comments in Word to show exactly what part of the script a particular shot belongs to, it is conceivable that a program could be written to simply look at the edited a-roll and transcribe that then compare the transcription to what's on the script itself then look into the comments to see the b-roll numbers match those numbers to the actual b-roll clips. and just like that put all of the b-roll onto the timeline precisely where it belongs. This process would take I don't know less than a minutes and it would save us potentially hours. So it would be magnificent if such a program existed. But it doesn't. actually, if this does exist please let me know in the comments, thank you. Anyway such a program would still not be able to make any creative decisions. Obviously you'd have to slip each piece of b-roll and move it around a little bit to make it actually work you'd have to do all the graphics all the animation all that you know music all the sound effects you know everything that I showed you here today except for the initial admittedly tedious process of matching up b-roll clips to a roll Clips right by the way what I just showed you is a Premiere feature called automate to sequence you still have to order the clips manually and you saw have to put markers on the timeline manually it just moves them from one place to the other for you it's not the true automation that I desire so what else I'll tell you about a few personal goals of mine I think it's important for everyone to continue to strive to improve themselves let's see I want to learn more art and animation it's been almost a decade since I made last sketch when pirates and my animation skills have really not come much further since then and it's definitely something I want to know how to do even though I don't want it to be my main career I also want to learn a crap ton of After Effects and I'll probably learn blender as well because the 3d capabilities of that program have only been getting better and as for the brain computer interface that I mentioned at the beginning of this video I still haven't really made any progress with that thing programming is another skill that I do want to learn but obviously there's only so much time in the day to learn new things and also I only have so much mental energy you know some days I come home and I just want to veg out on the couch and do nothing but watch Netflix and chill but to be an artist is to be perpetually dissatisfied with your own work and of course the more you learn the more you know you don't know CHAPTER 17 comparisons to monty oum so one of my YouTube followers told me about the late monty oum who worked at roosterteeth and apparently was just as dedicated to extreme efficiency as I am probably more so I'm going to show you just a few clips from a roosterteeth documentary talking about him and you'll see that there are some parallels for sure Monty Oum is probably one of the hardest-working most focused people I've ever met in my life I need to be fast fast is something that is important he strives to be the most efficient worker possible and all he does is work I work seven days a week every minute of the day I'm not sleeping her in the shower of course I'm not nearly as hard of a worker as Monty was my goal is to actually do as little work as possible so apparently he used nine monitors but I haven't been able to find any info as to exactly what each of them was used for so if you know let me know the shortcut for brightness/contrast on a photoshop on a PC it's all I a and C brings brightness/contrast down it's highlighted you can see it it makes sense Oh Monty you could have done that with one key press with autohotkey I don't think he ever knew about it he rips keys out of his keyboard that slow him down shortcuts will save your life because I literally work with millions upon millions of files at a time yep I do the same thing an accidental key press will only slow you down so you might as well just get rid of it I hate updates and I can see shortcuts disappearing one at a time we got him a new version of his software that he uses to animate he is I can roll me back because I need this menu option and now it's three clicks and before it was two clicks I want to go back to two clicks yeah autohotkey would have fixed that but I share his disdain for software updates for example the comments in Word 365 are absolutely horrible basically they take up so much more space now and they're less functional so I'm back to using Word 2007 and I won't update until they fix the comments which might never happen I'm sure Monty and I could have learned a lot from each other but unfortunately he died in 2015 so I've only been able to piece together information from secondary sources but just imagine if Monty somehow had the time to make a four-hour long tutorial about all of the crazy stuff that he does and how he does it that would be a fantastic resource for upcoming 3d animators I mean I would watch it so if you have any more info on all the stuff that Monty would do leave a comment and furthermore if you work in a creative field like animation or graphic design or whatever and you're at the top of your game and you've been doing this for years and you do crazy stuff that nobody else does and you want to pass on that knowledge by all means please make your own multi-hour tutorial where you go through the process of creating a project from start to finish with every step in between and if you've watched this tutorial I hope you understand why that context is so invaluable very few tutorials have that kind of mortar that holds all of the skills together CHAPTER 18 all the best preferences to use in Premiere Pro oh my goodness this is such a boring chapter you should skip it I swear just go to the next chapter so sometimes Premiere is misbehaving or being buggy and one of the things you can try to do to fix it is to reset your preferences I'm just gonna do that for you right now and I'm also going to take the opportunity to show you what preferences I use for my editing in Premiere because the default preferences are actually really stupid so to reset them you hold down ALT and launch the program looks like that worked this is where all the most recent projects should be appearing so I'll have to manually find my most recent project looks like it reset all of my keyboard shortcuts which is no bueno before you do that you should really save the most recent version of whatever shortcuts you've set up because I did this and I lost the most recent changes that I had made darn okay so now I've got your shortcuts back I'm just gonna start with the Preferences panel okay so at startup show Start screen sure when opening a project show up in dialog sure the default video transition that I use is 12 frames 30 is too long so that's what I use for this one 15 frames is what I use sometimes I want a lot shorter or longer and then I'll just go from there default image duration 5 seconds is fine that's when you are importing them into the projects but you can easily change the duration of lots and lots of clips if you select them in the bin using ctrl R or whatever the clip duration panel is timeline playback auto scrolling I hate smooth scroll and page scroll no scroll is the answer for me you do not want the timeline moving itself when you're trying to do stuff timeline now scrolling horizontal absolutely vertical sex I don't really use insert overwrite so I don't really care about this one snap playhead in timeline but snap is enabled no because you can hold down shift to do that I play back end return to beginning when we starting playback yeah sure when I'm listening to music or sound effects I want to start back over the beginning so I can hear it again so I leave it on even though it's kind of annoying the timeline display out of sync indicators for unlinked Clips yes absolutely more information is better play work area after rendering previews yeah I prefer not to default scale to frame size absolutely not unless you want to completely ruin your footage do that manually if you must clicking in bins this is set up in a stupid way I like to set it up the way that Windows does it so double click open in place control click is open in new window and I leave ALT alone that's how Explorer does it that's how Premieres to do it under audio and rendering video yeah sure why not show clip mismatched warning dialog yes show event indicator I don't know what that is fit clip dialog opens for edit range mismatches is for insert overwrite so I actually never see that so whatever show tooltips yes absolutely more information is better appearance I leave all of these as default because then all the scripts and autohotkey stuff that I use is the same for everybody so whatever audio mute input during timeline recording absolutely if you don't do this and you're doing voiceover on the timeline you'll hear yourself talking as you're talking on a bit of a delay and it's really really annoying play audio while scrubbing yes absolutely more information is better maintain pitch while shuttling yes this is great if listen at double speed or triple speed it won't increase the pitch it actually works really well so I always leave that on otherwise they just sound like chipmunks default audio tracks blah blah blah just leave those where they are they're fine linear keyframe thinning I don't know what these are it says automation I should probably look into that let's see audio hardware I don't know autosave oh boy every three minutes 70 revisions I do not trust Premiere not to crash so I haven't set as intensely as possible even if you set it to three minutes it won't save every three minutes it'll just do five or seven minutes whatever it feels like really so you can try going to one minute thinking that you'll get more frequently but ah that actually seems to be less stable so I'll put it three maybe four minutes let's see caPSURE yeah I've never used the capture panel control surface these are just the ones that I have you if you don't have them you don't need them label colors these are the stupidest names so I always rename them to something not stupid there you go that's much better I just wish that there were more colors in here to choose from label defaults leave these all exactly where they are they're all different that's good enough media I prefer to use a separate SSD for my media cache files and database you probably should as well we all share the same one at the office here I don't know about any of this stuff I just leave it memory maybe I should fiddle with that but I don't know anything about it playback I I don't know project locking I don't know what that is sync settings so one time Adobe over wrote all of my preferences and settings with the defaults from the cloud and ever since then I just do not trust this thing so I save everything manually and I've never actually used that title err yeah I mean leave these all where they are at they're fine and trim I don't know I don't know about this one I never really mess with these things okay so those are the Preferences most important of those first few okay timeline preferences now there's sequence preferences in here but there's really not much to choose from aside from show audio time units and that allows you to zoom in really really far in case you want to and every single sequence has that option aside from that right here these are the timeline settings click on the wrench I want you to enable show duplicate frame markers and show through edits those are so unbelievably useful more information is better if I make an edit like this those are through edits if I make an edit and then I slip the clip afterwards it's not a thru edit anymore because these frames are not sequential okay composite preview during trim I turn this off because it has led to stability problems and slowness if you do something like this even with cineforms sometimes it will lag the crap out of your computer so I just leave it off okay let's see here the rest of these are just presets show audio name you can do that if you really want to like if you've got music and stuff but I usually just keep it off there's also one more timeline setting that really should be in here but it's not for some reason it's all the way over here in the marker menu ripple sequence markers make sure that that is checked on always basically what that does is if you do a ripple trim now all the markers will move along with the footage whereas if you have that option off and you do a ripple trim the markers stay exactly where they are now here's the stupid thing if you try to use the track forward tool the markers still stay exactly where they are even though you have ripple sequence markers enabled which is why I unfortunately hardly ever use this tool because then it messes up my very carefully placed markers so I'll just hold CTRL and do one of these to rip move the footage and the markers at the same time okay now we're done with the timeline settings but we're still not done let's see if there's anything important in here I don't think so you can always click on the hamburgers that's the triple line thingies to see if there's anything important like there's some stuff in effect controls like pin to clip I didn't know about that one that's interesting really useful I'm not gonna tell you what it is you figure it out brah okay if you go to window and then history it'll open the history panel it'll open wherever you can put it wherever who cares click the hamburger triple line thing go to settings I can't believe these are not in the regular preferences history state I put nine another nine it only gives you a hundred of them which is not enough but at least it's better than 32 now you can press undo 100 times before it stops working and then I get rid of the history panel because I'd never need it ok right here we have the audio meters panel you really don't need that much range you don't need 60 decibels worth you just need 48 or at least I do and also I prefer to just turn the color gradiant off because then there's more contrast within the levels it's just a little easier to see what's going on out of the corner of your eye but those are kind of small things okay also here in the audio tracks you can right-click on this empty space here and say customize and it's not entirely clear what each of these do I believe hang on track meter okay I think track meter that's the one that I want and I want to get rid of audio one but just stupid how do you get rid of that for some reason that worked so anyway now you just have little audio meters on each individual audio track which is nice unless of course I make the tracks smaller using ALT MINUS (-) or using the scroll wheel but of course they're visible if the tracks are large enough so basically all the options that I use are just designed to give myself more control and more information while I'm using Premiere okay we're still not done we also have the button editor oh there's so many things this is relatively new you don't need in out points you're an idiot if you're using these buttons with the mouse he hews the keyboard I always have export frame that's a good one I don't need these these are keyboard shortcuts for those always grab the proxies because this is not only a button but it also tells you the status of the proxies that's very important similar to that is this little guy which will tell you the status of your multi camera like sequence I don't know this will like turn itself off randomly so it's nice to know if it's off or not so I just have it there you're rarely using it though at least in my case this one safe margins yeah you can see all the little tooltips are in the wrong screen thanks Premiere addmarker you don't need that that's a shortcut for that I might actually use these because I don't I don't know I don't know what this shirt cuts are for those um play what is this one loop nope this one here this one's useful play video into out I'll always have that one on as well oh and then in global FX mute which is nice okay the problem with global FX mute is that oh wow as a button it works fine but if you're on the timeline and you press the keyboard shortcut for it it won't work unless you have the program monitor selected whatever this one also tells you the status of what's going on so I like to have that one as well and I really don't use these buttons I leave this one up because this one also tells me if Premiere is attempting to play or not and then you know these are actually these are actually completely useless go to in do I need that no I don't need those either and then you can add little barriers if you really want to add marker do I need that no but I'm just gonna leave it anyway okay that's really all you need and then this one is like this one's the same so I'll put this guy on here just to get another place to look and no I don't know yeah always have the export frame and have this one too because why not and yeah the safe title thingy so that's nice you can see where the center is so that's useful and like I said play in two outs this can be very useful in situations where Premiere is being laggy and it just will not stop playing no matter what you do stop stop stop stop it won't stop it'll just keep on going so if you have a planned stop point it will only play until it hits that location pronounced but what it does do is remove blocking artifacts and improve the dynamic range of compressed content exactly so there you go yeah button editor you should just be aware that it exists basically you can you know you can do whatever you want with it okay so the next preference is buried deep what I want you to do is import some graphic or piece of footage that you don't need put it on the timeline right-click and say make off line okay so do that and then it'll turn this odd shade of red okay so right-click on it again and say link media now you are in the link media dialog box go to this check box that says use Media Browser to locate files and turn it off the Media Browser is miserable to work with it's kind of like Explorer if explorer was ten times more difficult to use for no reason and also crashed all the time and also took forever to load everything so I hate using this I will never use it if I don't have to fortunately you can just uncheck that box and you get a good ol Explorer window so now you know and last but not least keyboard shortcuts I'm probably in this panel changing things around at least once a day fun fact you can expand the panel to view the numpad if it's not already visible many of my shortcuts are not the defaults as you may have already noticed from the on-screen visualizer the most important changes that I've made are mapping JKL over to a SD those are the shuttle controls mapping - and equals over to F and G those are for zooming in and out and mapping delete over to C Q and W were left exactly where they are and I put "add edit to all tracks" on E. the other keys around here are pretty much just different tools. also 1 and 2 are for go to previous and next edit point respectively. like I said before this puts all of these very commonly used shortcuts directly under my left hand on home row so that I never have to move my hand back and forth across the keyboard for these very common commands. now I still left the commands for JKL, minus, equals, and delete on their original key bindings as well, simply because I've never needed those keys for anything else, and it's convenient for when I'm shuttling around on the source monitor and I need to set in and out points using I and O. I still have 5 6 7 8 and 9 totally free and again there's not really anything that I need to put there I can't use any autohotkey scripts on those keys since it would make it impossible to write anything in Premiere using those keys so it pretty much has to be done in the keyboard shortcuts panel f2 and f3 are audio gain and audio channels respectively but f1 f4 f5 and f6 are all remapped in autohotkey I've bound these keys and many other keys to a random command in the capture panel because I needed a visual reminder that those keys are reserved for autohotkey scripts I never use the capture panel and so this never causes any issues in Premiere and it just helps me to remember stuff so if you're looking through my shortcuts and you ever see any capture panel shortcuts that's what that means the best thing about the shortcuts panel is that you can assign multiple shortcuts to a single command that's my number one most essential feature for any NLE so I'm very happy that Premiere has had it since 2015 also you can save and load all your Premiere shortcuts to or from a dot kys file so if you want to look through my shortcuts in full detail you can download that file off of my github also you can click copy to clipboard for a simple text read out of all of your shortcuts now there's a lot of keyboard shortcuts I didn't directly you can pause the video to read all of these but here's ctrl, shift, alt, ctrl shift, ctrl alt, shift alt (that's a dangerous one) and ctrl shift alt. Okay, that's it, we are done with Premiere preferences. CHAPTER 19: The final chapter! This is the last one! Finally we're here! Okay I've got two more Premiere tips right here that I just couldn't fit into the main tutorial because there was no more space so I'm shoving them over here at the end. Ah updating Premiere, oh my goodness do not update Premiere as soon as a new version comes out! This goes for all NLEs! You will be so screwed, if there's an error and there was, for 2017.1. There was this bug that would literally delete all of your media files, and we avoided it. Let some other poor sucker update his software in the middle of a project or just too early, let him suffer the consequences, and wait for Adobe to patch the bug. Do not update right away, wait at least a month! Alright next tip: advice from professionals is not always trustworthy! It's funny, I'm undermining the entire tutorial by putting this here. So for example people have asked me what I think of the Editors Keys keyboards, and frankly I think they're stupid, because I changed all of my default key bindings to be more efficient, and I think everyone should so. I think these keyboards are dumb because they have the defaults and the defaults are dumb... However that's not useful advice for a beginner, right? A beginner is not going to know all the several hundred keyboard shortcuts and having them all visually laid out like that is incredibly useful. So in fact there's nothing wrong with these keyboards. They're perfectly good. they're great actually, they're just not great for me. So if I say something else somewhere else in the tutorial and I say "oh this is stupid." Well maybe it's just stupid for ME but not for YOU. That's why I try to give the rationale for why I do something or I don't do something, but it's entirely possible that I'm wrong about a great deal many things. For example I was actually going to suggest that if you have problems with clips not loading that you should install the Combined Community Codec Pack, and I posted that on the Adobe forums, and I got told by some people who said, "Don't do that, it's terrible, you might have to reinstall Windows it can get so bad. Only install the codecs that you know you need." And I was like, what? I've never heard this before. I thought I was a professional but I guess not! So yeah, professional advice can be wrong. And finally, last tip of the tutorial - when you're learning a new piece of software but you're already past the foundation stuff, you're not a beginner anymore, you're intermediate - something that's very important to do is click on every single menu option. Click on every single submenu, click on every single - well, Premiere has these things called hamburgers... they've got little wrenches as well. Click on every single thing. Go into the keyboard shortcuts, go into the Preferences, look at all of it and see if there's anything that you don't recognize. And if there is such a thing then go Google it and figure out what it is. In this way you will learn about all these little useful features that you may not have known about. For example, for a long time I did not know that there was a select find box shortcut, and now I use that all the time. I did not know about "pin to clip" - that's very useful as well. Sometimes some of my co-workers did not know about certain things. For example these little reset buttons. That's a very useful button! Another editor did not know that you can alt+click+drag a clip on the timeline to make a duplicate of that clip! Anyway, the point is make sure you know everything your software is capable of. Okay, so "recommended watching," what have I got here... Oh there's this great video called "Charlie Brooker's screen wipe reality TV editing" which came out in 2007. Wow I watched this 10 years ago. This was part of what inspired me to become an editor and I just remember it being quite mind-blowing to figure out what was possible with just a few simple tricks. I highly recommend this short film called Cinemassacre 200 by James Rolfe who goes into detail about the 199 films that he's made throughout his life. It's actually really really interesting and inspirational. I've watched it about a dozen times and if you like this video you're probably kind of like cinemassacre 200. If you want to learn more about the method of thinking behind speedrunning that I talked about, I highly recommend the video "The Legend of Zelda Ocarina of Time speedrun in 22:38" by the former Cosmo Wright. Now, long story short, Narcisa keeps taking this video down, so you might have to google for it, but you should be able to find it somewhere. Oh and for film criticism there is the infamous "Star Wars The Phantom Menace review" by Red Letter Media. You'll know if you like it or not in the first 10 minutes. VIDEO: "While my son eventually hanged himself in the bathroom of a gas station..." But check it out. I've actually watched it a lot more times than I have the actual movie. There's also a TED talk called "Do schools kill creativity?" by Sir Ken Robinson this video really resonates with me. Before I got into Denver School of the Arts, I had a horrible time in school. To give just one example, I would use the media center computers to create animations using powerpoints. The other students really liked them but my teachers did not. And they told me to stop using the media center computers for non-school-related things. Of course, it turned out that those were the skills that led to my current career. I might as well plug my own personal YouTube channel as well: "TaranVH," you know, it's my name. There's lots of other tutorials on there. There's also a lot of weird random crap that I post because I just don't care about being silly. if you subscribe you're gonna get a random assortment of really informational tutorials and complete garbage. I'm not going to apologize. All right, nearly done here, don't forget that there are links to pretty much everything I've talked about in the video description. Please send a wish form or two over to Adobe if you want any of the features that I talked about, or you can try to hack them into Premiere like I did maybe with something better than autohotkey. And if you do, please share your code with me on github! Thank you very much for watching. I hope you got what you came for, I'm sure you probably did. It's a seven layer dip so if you watch it again, you'll get more out of it! Let me know what you learned, let me know what you found most valuable. Leave a comment below .
