PremierePro - Foundational Editing Concepts and Workflow

Let's get started on the first aspect of Premiere Pro, or our first task, which is going to be editing to music. I have my files organized before I actually start, which we would have done in a previous exercise. I'll start from the beginning screen. I'm going to close this opening window and create a new project. We can name this project, otherwise, I actually have a project that we'll see on screen here that we already started called "The Project." If you have already done that one, then we'll open that up.

This is going to be our primary working space. I already have some stock videos imported into here that includes all the dancing videos and some other stuff. Basically, if you want to start from scratch, I'm going to delete the stock videos. I'm going to go to the YouTube videos and it will preserve the name. I'll just drag this in here. It's going to keep the name of the stock videos. We're also going to have texture and overlays, but we'll do that in another video.

The other thing we're going to need here is audio, specifically some music so we can add it to the video. I'm going to use the "Bilinguals Version 1," but we could just bring in the music folder and you can sample all that together.

Now that we have the music and stock videos, the next thing we need to do is create a sequence. We're going to have four sequences here, so we need to make use of creating a new bin. Down here there's a new folder icon; we'll click on this and call it "Sequences." I like for this to be at the very start, so I'll hit the return key on a Mac (enter on a PC) and just put a little underscore. If we sort by name, that will always be at the top.

With the sequences folder selected, I'm going to create a new sequence. I can come down here to "New Item" or go to File > New > Sequence. Most of the time we're going to use the same thing. In this class, we use the HD 1080p 29.97 setting. That is in the HD section for high definition. I'm going to call this "01 Edit to Music" because that's what we're going to work on.

We could preset all the sequences we need—we're going to create four in general—but for now, we're ready to go. Now we're going to get the music set up. Under music, there are two ways to bring this in. The first way is we can just drag and drop. I'm going to drag this into the A2 section. That takes up as much space as I need.

The other option is to double-click the file, which gives you a waveform. You can take this waveform and, wherever the playhead is, drag this into the screen. We will cover these different options in other videos, but for now, you would do an insert edit. The reason this goes into A1 is because of the track patching settings. If you want this to be in A2, make sure the audio source is set to go into the A2 track. Now if we drag this audio in and use the insert edit, it's going to be at the very start of the playhead in audio track two.

We have the audio set up. In the next video, we are going to set markers to help us with our editing decisions.

The next thing we need to do is add markers to our sequence. I am changing workspaces for this task; while I was in "Editing" mode previously, I am now moving to "Assembly" mode. You can use whatever workspace you prefer, such as the "Starter" workspace, as long as you know where the panels are located.

Adjusting the Timeline View

In the timeline, use the scrubby bar at the bottom to zoom in or out. I recommend zooming in enough to see the audio waveforms clearly. You can also click and drag between the track elements to make the waveform display taller.

To see everything more clearly, press the tilde key (~)—located above the Tab key and below Escape—to toggle the panel to full screen. Press it again to return to the normal view.

Setting the Sequence Length

We only need about 30 seconds for this exercise. To set this precisely:

1. Type 30; in the playhead timecode box and hit Tab.

   
   

2. Drag the end of your audio clip until it snaps to the playhead.

   
   

3. While there are keyboard shortcuts for this, dragging is the simplest way for now.

   
   

Adding Markers to the Beat

To insert a marker, use the M key. It is much faster than using the Markers menu every time. In the next session, we will use Shift + M to quickly move between these markers.

I recommend listening through the music first to get a feel for the rhythm and practice tapping along before you actually set the markers. The number of markers you set depends on how many edits you want to make. I have set about eleven markers for this 30-second montage. Our goal is to create a motivated sequence, similar to a montage, where we may reuse some clips multiple times.

Now that the markers are set, we are ready to start adding video.

Now we’re ready for the most exciting part: getting videos into your scene. We are currently in "Assembly" mode, but I’m going to switch to the Editing workspace (Window > Workspaces > Editing) so I can have the Source monitor on the left and the Program monitor on the right.

Setting Up the Timeline

I’ve adjusted my screen orientation to give the timeline more room. Since we aren't using the original audio from the video clips, I am going to lock the music audio track by clicking the Toggle Track Lock icon. This prevents us from accidentally overwriting or shifting our music while we edit.

The Three-Point Edit Technique

To perform a basic edit, you need at least three points: two on your timeline (the "destination") and one on your source clip (the "source").

1. Define the Timeline Gap:

   • In the timeline, set a Mark In (I) at the start of a gap.

   • Use Shift + M to snap the playhead to the next marker.

   • Set a Mark Out (O). This defines exactly how much time the clip will occupy.

     
     

2. Select the Source Clip:

   • Double-click a video in your "Stock Videos" folder to load it into the Source Monitor.

     
     

3. Set the Source Point:

   • Find a specific moment or action you want the clip to end on (like a cool expression or a flash) and set a Mark Out (O).

     
     

   • You don't need to set a "Mark In" on the source clip because Premiere will calculate backward from your "Out" point to fill the gap you defined on the timeline.

     
     

4. Perform the Edit:

   • Press the period key (.) to perform an Overwrite edit. This placed the video into the gap.

     
     

Essential Keyboard Shortcuts

To speed up your workflow, memorize these shortcuts:

• Shift + 3: Set focus to the Timeline.

• Shift + 2: Set focus to the Source Monitor.

• I / O: Mark In / Mark Out.

• Shift + M: Jump to the next Marker.

• Comma (,): Insert Edit.

• Period (.): Overwrite Edit.

  
  

Refining the Montage

You can repeat this process for every marker on your timeline. If you see a warning that there is "not enough footage," it means your source clip is shorter than the gap you've marked on the timeline; you’ll need to pick a different part of the clip or a different video.

You can switch to Icon View in your project panel to see a visual preview of which parts of each clip you have used. Finally, to finish the sequence, unlock your music track and use the fade icon at the end of the clip to create a smooth audio fade-out.

Now is the perfect time to discuss Effect Controls, as we will use this panel to adjust our clips and eventually animate them.

Accessing the Panel

In the standard editing view, the Effect Controls menu is located near the Source monitor. You can navigate to different panels quickly using Shift shortcuts:

• Shift + 1: Project Window

• Shift + 2: Source Monitor

• Shift + 3: Timeline

• Shift + 4: Program Monitor

• Shift + 5: Effect Controls

• Shift + 7: Effects

  
  

Understanding Clip Resolutions

It is important to realize that your clips may be different sizes. Some of our stock footage is 4K, while our sequence is standard HD. If a 4K clip is placed in an HD sequence at 100% scale, the edges are cut off, and you are only seeing a portion of the image.

To check your clip sizes:

1. Go to your Project Window (Shift + 1).

2. Ensure you are in List View.

3. Find the Video Info column. You can click and drag this column next to the "Frame Rate" column to see it more easily.

4. Note which clips are 4K (roughly twice the size of HD). In this project, clips 01, 03, 04, and 07 are the larger files.

   
   

Scaling Clips

To make these clips fit correctly in your scene, you need to scale them down:

1. Select the clip on your timeline.

2. Open the Effect Controls panel (Shift + 5).

3. Change the Scale from 100% to 50%.

   
   

Adjusting the scale ensures you see the full frame of the video. While having a larger clip gives you the flexibility to "zoom in" without losing quality, for this exercise, we want our framing to be consistent. We will return to the Effect Controls panel in the next lesson to look at keyframes for animation.

Now that you have finished your first project, you should be comfortable moving quickly between panels using shortcuts like Shift + 2, 3, and 4, as well as setting in and out points and markers. We are now starting a new mini-project: Editing to Voiceover.

Setting Up the Sequence

1. Go to your Project Window (Shift + 1).

2. Create a new sequence (File > New > Sequence) using the same settings as before.

3. Name this sequence "02 Edit to Voiceover A - Video".

   
   

Importing Assets

• Voiceover: Bring your voiceover audio files into the project.

• Script: Open your voiceover script document to use as a reference.

• Music: You can reuse the same music from the previous exercise.

  
  

Placing the Audio

Choose a voiceover take—either Version A or B. Since we aren't editing the voiceover itself yet, you can drag it directly onto Audio Track 1 (A1). I recommend locking your music track (A2) once it's placed to keep it from moving while you edit the video.

You can use the W key to perform a Tail Edit, which lopped off the end of a clip from the playhead's position to the end of the clip.

Editing Video to Dialog

Instead of editing to markers on a beat, you will now be marking your timeline based on the script's sentences.

1. Mark the Timeline: Listen to a line of dialog (e.g., "It starts with a beat, a feeling, a spark") and set a Mark In (I) at the start and a Mark Out (O) at the end of that specific phrase on your timeline.

   
   

2. Select B-Roll: Choose a dancing video that matches the "feeling" of those words.

   
   

3. Set Source Point: In the Source Monitor, find the action you want to see and set a Mark Out (O).

   
   

4. Insert/Overwrite: Press the period key (.) to perform an Overwrite edit. If your source clip is too short for the timeline gap, you may need to use Fit to Fill or choose a different section of the clip.

   
   
   
   

Finishing Touches

After matching video clips to all the lines in your script, remember to check your Effect Controls (Shift + 5). Since some clips are 4K, you may need to scale them down to 50% or adjust them visually until the framing looks correct for your HD sequence. Finally, unlock your music track and add a fade-out to the end.

Now we can begin working on the audio for our project. When you have multiple audio tracks, the music often competes with the voiceover, making it difficult to hear the speech clearly.

Organizing the Audio Workspace

To manage your sound effectively, you can switch to the Audio Workspace to access the Clip Mixer. It is helpful to label your tracks so you know exactly what they contain:

• A1: Raw camera audio (which we can mute or turn all the way down for this project).

• A2: Voiceover (VO).

• A3: Music.

• A4: Unused tracks (these can be deleted by right-clicking the track header).

  
  

Basic Level Mixing

The goal is to ensure the voiceover is the primary focus. Monitor your levels using the audio meters, paying attention to the red indicators.

1. Voiceover: Keep this at a clear, audible level.

   
   

2. Music: Lower the music level so it sits in the background. Start by dropping it to -12 dB; if it still feels too loud, try -18 dB.

Advanced Techniques: Keyframes and Submixes

For more precise control, you can use Keyframes to adjust volume over time.

• Manual Adjustments: Expand the audio track height to see the keyframe line. You can add points to the line to "duck" the music (lower the volume) when the voiceover starts and raise it during pauses.

  
  

• Smoothing: Right-click a keyframe and select Continuous Bezier to create smoother volume transitions.

  
  

• Submix Tracks (Busses): You can create a Submix Track (or "Bus") to group multiple tracks together. By sending both your voiceover and music to a single bus, you can apply effects or adjust the master volume of that group collectively.

Recording Voiceovers Directly in Premiere

If you have a microphone, you can record your own narration directly into the timeline:

1. Hardware Settings: Go to Settings > Audio Hardware (or use Cmd/Ctrl + Comma) to ensure your microphone is selected as the Default Input.

   
   

2. Preparation: Mute other tracks to prevent feedback or distractions while recording.

   
   

3. Record: Click the Voiceover Record icon (microphone symbol) on your desired track. After a short countdown, you can read your script directly into the project.

In this exercise, we will continue editing to a voiceover, but this time we will use still images instead of video clips.

Setting Up the Sequence

1. Select your desired folder and go to File > New > Sequence.

2. Choose the HD 1080p 29.97 preset.

3. Name the sequence "03 Edit to Voiceover Images".

Tip: You can customize your tracks ahead of time. For this project, we only need one video track for the images and two audio tracks—one for the voiceover and one for music.

Organizing Assets

• Voiceover: We are using Voiceover Script 2 for this practice. Double-click the audio files to find the correct take (e.g., "Julia") and perform an Insert Edit to place it at the beginning of Track 1.

  
  

• Music: Place your music on Track 2. You can use the W key (Tail Edit) to trim the music to the end of your voiceover. Mute and lock this track for now to focus on the images.

  
  

• Images: Drag your "Stock Images" folder into the project. These images are various sizes, which will require adjustment in the next steps.

  
  

Workflow: Batch Placement and Trimming

A quick way to organize images is to drag them into the timeline in the specific order mentioned in your script:

1. Select in Order: Hold Cmd (Mac) or Ctrl (PC) and click the images in the required sequence (e.g., 3, 7, 9, 1, 6, 4, 8, 10, 2).

   
   

2. Drag to Timeline: When you drag the group, Premiere Pro will place them in the order they were selected.

   
   

3. Ripple Trim: With the voiceover and music tracks locked, listen to the dialog. Use the W key to ripple edit the end of each image so it perfectly matches the timing of the spoken lines.

   
   
   
   

Initial Framing and Effects Controls

Because the images are still, we must manually frame them using the Effect Controls panel (Shift + 5).

• Scale: Adjust the scale so the image fits the frame. You can "scrub" the blue numerical values to see the changes in real-time.

  
  

• Position: Use the X (horizontal) and Y (vertical) coordinates to center the subject or focus on specific details, like a dancer's face or eyes.

  
  

These initial positions serve as the starting point for animation. In the next video, we will learn how to use these controls to create movement through rotation and panning.

In this lesson, we will add movement to still images using keyframes in the Effect Controls panel. By animating properties like position, scale, and rotation, we can create continuity and a sense of life in a project using only static assets.

The Effects Controls Mini-Timeline

Inside the Effect Controls panel, you will find a mini-timeline. This area represents the duration of the specific clip selected on your main timeline.

• Track Targeting: Ensure the track selector for your video layer is turned on. This allows you to use the Up and Down arrow keys to snap your playhead exactly to the start or end of clips.

  
  

• Setting Keyframes: To begin an animation, move the playhead to your starting or ending point and click the toggle animation icon (the stopwatch) next to a property like Position or Scale. This creates a keyframe that saves the property's value at that specific point in time.

  
  
  
  

Animating Common Properties

To create a "Ken Burns" effect or general motion, you will primarily work with three values:

1. Position: The first value represents X (horizontal) and the second represents Y (vertical). By setting a keyframe at the start and another at the end with different values, the image will move across the screen over time.

2. Scale: You can create a zoom-in or zoom-out effect by changing the scale percentage between keyframes.

3. Rotation: Adding a subtle rotation (e.g., -5 or -7 degrees) can make the motion feel more dynamic.

   
   

Finishing Touches: Opacity and Text

• Fading Out: You can animate Opacity just like motion. Set a keyframe for 100% near the end of your clip and another for 0% at the very end to create a smooth fade to black.

  
  

• Audio Fade: Match your video fade with an audio fade on your music track by dragging the volume line down at the end of the sequence.

  
  

• Adding Text: Use the Type Tool to add a final message (e.g., "You are alive"). You can customize the font in the Essential Graphics or Effect Controls panel to match your project's style.

In this exercise, we will explore how to add depth and professional polish to your video by stacking overlays, textures, and adjustment layers.

Setting Up the Sequence

Rather than starting from a blank project, we will use a previous sequence as a foundation.

1. Duplicate an existing sequence: Right-click on any of your previous sequences (such as the voiceover or image edit) and select Duplicate.

   
   

2. Rename the sequence: Name this new sequence "04 Texture and Overlays" and double-click to activate it.

   
   

3. Import Assets: Drag the "Overlays" and "Texture Overlays" folders from your assets into the project.

   
   
   
   

Working with Static Overlays

Static overlays, like gradients, can be used to bias the color or focus of the screen.

• Placement: Drag a gradient (e.g., a blue gradient) onto a track above your footage and extend it across the entire timeline.

  
  

• Blend Modes: Instead of just lowering the opacity, experiment with Blend Modes in the Effect Controls panel. For example, Linear Burn can deepen shadows, while Linear Dodge can affect highlights.

  
  

• Subtlety: Keep the effect subtle by reducing opacity to around 10-15% so it is barely noticeable but still adds character.

  
  
  
  

Adding Video Textures

You can also use video clips as overlays to add dynamic movement like flickering lights or smoke.

• The Rate Stretch Tool: If a texture clip is too short for your timeline, use the Rate Stretch Tool (R) to click and drag the end of the clip to your desired length.

  
  

• Removing Black Backgrounds: For textures like smoke that have a black background, change the Blend Mode to Screen to make the black areas transparent.

  
  

• Atmospheric Effects: Lower the opacity of these textures to create a "hint" of fog or light flickering without overwhelming the subject.

  
  

Using Adjustment Layers

An Adjustment Layer applies an effect to every clip currently stacked beneath it on the timeline.

1. Create the Layer: Go to File > New > Adjustment Layer and drag it to the top track.

   
   

2. Soft Focus Effect: Apply a Gaussian Blur (found in the Effects window, Shift + 7) to the adjustment layer. Set the blur to about 40, change the blend mode to Soft Light, and drop the opacity to 50% for a diffused, dreamlike look.

   
   

3. Color Grading and Vignettes: Use the Lumetri Color panel on an adjustment layer to apply a Creative Look (LUT) or add a Vignette to darken the edges of the frame and draw focus to the center.

In this lesson, we will focus on bringing external assets into Premiere Pro and exploring how to link different programs together to create more complex scenes.

Organizing Your Project

1. Create a New Sequence: Start a new sequence named "New Sequence Master" with HD 1080p 29.97 settings.

   
   

2. Bin Management: Create a new bin (folder) named "Photoshop" to keep your external assets organized.

   
   

Integrating Photoshop Files

When you drag and drop a Photoshop (.psd) file into Premiere Pro, it will ask how you want to import the layers.

• Importing Layers: Choose to import Individual Layers to maintain control over each element, such as gradients, backgrounds, and text borders.

  
  

• Dynamic Updating: One of the biggest advantages is that if you edit the original file in Photoshop and hit save, Premiere Pro will automatically update those layers in your timeline. This is perfect for title cards or lower thirds where you might need to adjust colors or text on the fly.

  
  

• Layer Animation: Once imported, you can animate these individual Photoshop layers within Premiere Pro using position and scale keyframes. Use Temporal Interpolation > Ease In on your keyframes for a smoother, more professional movement.

  
  
  
  

Building Complex Scenes with Nested Sequences

You can place one sequence inside another to build a "Master" project.

• Sub-sequences: For example, you can take your "Texture and Overlay" sequence and drag it directly into Video Track 1 of your Master sequence.

  
  

• Efficiency: This makes it much easier to manage your story by "tucking" complex edits into a single block that is easier to move and organize.

  
  

Using Adobe Dynamic Link with After Effects

For more advanced motion graphics, use Adobe Dynamic Link to bring in After Effects compositions.

• Importing: Go to File > Adobe Dynamic Link > Import After Effects Composition. This creates a linked icon in your project panel.

  
  

• Live Editing: By right-clicking the composition and choosing Edit Original, you can open After Effects, make changes—like changing text color or extending the duration—and those changes will be reflected in your Premiere Pro timeline once saved.

  
  

• Version Compatibility: Ensure both Premiere Pro and After Effects are using the same version year to avoid import errors.

Exporting is the final stage of the editing process where you turn your sequence into a shareable media file. You can export sequences individually directly from Premiere Pro or batch process multiple sequences using Adobe Media Encoder.

Exporting from Premiere Pro

In current versions of Premiere Pro, you move from the Edit module to the Export module to begin this process.

• File Naming and Location: By default, the file takes the name of your sequence. It is critical to click the blue location text and save the file into an "Exports" or "Roughs" folder within your project directory.

  
  

• Presets: Use the YouTube 1080p Full HD preset for a good balance of quality and small file size. You can "favorite" this preset by clicking the star icon so it appears in your main list.

  
  

• Adding Overlays (For Rough Cuts): Under the Effects tab in the Export window, you can add helpful information for review:

  
  

  • Text Overlay: Use this to display the source file name or a specific "Rough" tag at the top of the screen.

  • Timecode Overlay: This allows others to reference specific timestamps when giving feedback or requesting corrections.

    
    

• Final Export: Once settings are confirmed, click Export. The process time depends on your hardware and the length of the video; a 30-second clip typically exports very quickly.

  
  
  
  

Batch Processing with Adobe Media Encoder

If you have multiple sequences to export at once, Adobe Media Encoder is the more efficient tool.

• Syncing Versions: Ensure you are using the same version of Media Encoder as your Premiere Pro software (e.g., both 2025 or 2026) to avoid compatibility issues.

  
  

• The Queue System: You can add your Premiere Pro project file directly to the Media Encoder queue, select the sequences you want to export, and assign them presets like H.264.

  
  

• Multiple Outputs: You can assign multiple formats to a single sequence. For example, you might export a high-quality H.264 version for archival use and a WebM version—which can be half the file size—for website use.

  
  

• Automated Exporting: Once your queue is set, hit the Play button. Media Encoder will run through each file sequentially, allowing you to walk away while it finishes the work