Video Assets 

This Content is For Educational Purposes  Only .

You should not use the content on this page for any education project that you submit . It may be viewed as plagiarism.

Learn the techniques to use on content you have created yourself if submitting any work to be marked or graded .

MEDIA ASSETS This Content is for educational purposes only

Adobe PREMIERE CC Introduction 

ADOBE PREM INTRO L1 > Click Here <

Organise Files  

Creating a New Project 

User Interface  

Import Media – 

Drag media To Time Line ( Set Picture to Frame size for  images )  

Drag to Clip to Time Line Video only Audio only  Icon                        slide 19 

Creating Bins 

Working with Bins    

Using Source Monitor Controls  

In and Out Points 

Tools –   Razor – Selection 

Adding A Transition.    —    Adding Titles & Credits.   —   Export Frame.—–  Exporting Media 

https://e.pcloud.link/publink/show?code=kZ1xoWZvEsvfdI5On8IkWMWVr9nzks7utdX

Adobe Prem L2 Dance Cut To Beat Effects

Cut To The Beat

Voice Over & Effects

Download Asset Here Cut To Beat & Voice Over

https://u.pcloud.link/publink/show?code=XZw4tHVZh7tNwMBKeMLv63kBS3HOUkEfmOvy

Cut to the Beat Poetry lesson 2

Click Here for assets

Cut To The Beat

  • Editing clips in project window
  • Adding Audio & Markers to Sequence
  • Adding Credits Video channel 2
  • Automate Clips to Sequence
  • Using the slip tool
  • Poetry Corner
  • Working with fixed effects               
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  • Browsing effects with the Effects panel
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  • Applying and removing effects
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  • Using effect presets
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  • Masking and tracking visual effects
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  • Using keyframing effects
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  • Exploring frequently used effects
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  • Adjustment layers

ADOBE PREM L2 A Sport Victory    

   

Glitches , Sound Effects Voice over Sound Ducking

What will be covered

Importing Files

Lesson 2A Sport Victory > Download <

ADOBE PREM L2 Dance 

B Dance Effects & Voice over Sound Ducking Click Here Effects and Sound Effects > Click Here < https://my.pcloud.com/publink/show?code=XZ3PYt7ZlzOaAG9Klok5iuYPDrXgE8bQHiBV Premiere Pro CC Story Boarding Full Old Story Boarding in Premiere , story board example and love box https://www.dropbox.com/s/f3uob79oxcrwsv5/Prem_love%20storyboard%20full.zip?dl=0

ADOBE PREM L3 Colour > Click Here < https://my.pcloud.com/publink/show?code=XZbCYt7ZnMotpYMnNjy6icMgXkzC34QkbINk ADOBE PREM L4 Alpha channels Green Screen ,Comp , Matte Download Here Adobe Prem L4 Adobe Prem L 4 New York Big Apple Tours

 Blend Modes Green Screen Comp , Matte , Motion Graphic Titles

Big Apple Tour Files > Download <

  • Using the alpha channel               
  • Using compositing techniques
  • Working with opacity
  • Working with a greenscreen

Using mattes

Adjustment Layers

Colour Matching Video

Track Matte ( Track Matte on bottom Text ?display image on Top )

https://e.pcloud.link/publink/show?code=XZb20lZucHAMmN0FjmnGmpSt1vmfzvWmIty

Adobe Pre L4 A, B : Sound speech noisy audio Download here Speech Noisy Audio

Adobe Prem L5 Advanced Editing > Click Here < Talking Heads B Roll and Organize media https://www.dropbox.com/s/benaaurmerqec4j/Talking%20head%20broll%20organize%20files%20.zip?dl=0

UHD Clips https://my.pcloud.com/publink/show?code=XZmfXn7Z7fC96uRanOukpwL9WQzTY7i3SzSk

Premiere Pro CC Intro Intermediate Story Boarding in Premiere , story board example and love box Storyboard Effects Color https://www.dropbox.com/s/t82vfl0oe63bhtf/stu_Storyboard%20Effects%20color.zip?dl=0

Adobe Premiere CC 

Premiere Pro Intro Talking Heads video Clips

https://www.dropbox.com/s/etlvwpim2mrbcwj/Talking_heads.zip?dl=0

Real Estate B Roll for Talking Heads https://www.dropbox.com/s/7wikopfkosg81o0/real_Estate_b_Roll_a.zip?dl=0

Premiere Pro CC

Story Boarding Full Old Story Boarding in Premiere , story board example and love box https://www.dropbox.com/s/f3uob79oxcrwsv5/Prem_love%20storyboard%20full.zip?dl=0

Short Ride https://www.dropbox.com/s/1kdexa8s9dfmzin/short%20ride%20.mp4?dl=0

Adjustment Layers Explained Click the full screen icon on video to see more detail https://youtu.be/-d7mSY8-Fy0

Fashion Intro Premiere https://www.dropbox.com/s/kyvrjb5chnhvkb7/Premiere%20Intro_fashion.zip?dl=0

Prem 2017 Titles intro and Inter https://www.dropbox.com/sh/qd5cxoskod1ool2/AAChYhw2zOEEZ60XWs4jxK3qa?dl=0

Prem l1 intro a https://www.dropbox.com/sh/y6jlci6pylgdjiy/AAAs_PCMpYiAO2c7xmow7gMWa?dl=0 http://jmp.sh/F5TpBt7

VIDEO MAKING RESOURCES

Harnessing the Sun RocketJump Film School https://www.youtube.com/watch?time_continue=1&v=6e4uKuxCo4M

How to Use Natural Light in Your Video https://www.youtube.com/watch?v=D5ZanxkGrdM

Video Lighting Tutorial https://www.youtube.com/watch?v=XqeCHzk2RdA Sound BASICS OF SOUND and AUDIO – Everything You Need To Know https://www.youtube.com/watch?v=o6YA8zKY4qQ

This content is for educational perposes only

Multi Camera Edit

Click Here

Premiere Bug Fixes

If your time line is not showing the content and your Program window is black do the following .

From the menu at the top of the screen Choose : File > Project Settings General . When the settings box pop ups , select Mercury Playback Engine Software Only from the drop down list . then click Ok.

Lesson 2 Photograthy Group Selections Masking Colour

Download Files Here

Premiere Pro Lesson Plan: Masking, Selections

Lesson Plan: Masking, Selections, Effects, and Histogram in the Raw Workflow

Duration: 90 minutes

BA Photography students (continuation of prior raw workflow overview)

Learning Objectives

  • Understand how selective adjustments and masks integrate into a raw workflow in Premiere Pro.
  • Apply object/person and landscape selection techniques using manual masks and AI object masks.
  • Use Lumetri Scopes, especially the histogram and parade, to monitor exposure and color while grading.
  • Combine masking with secondary effects, presets, and removal techniques to solve common photographic problems.
  • Export outputs from the raw workflow with correct legal/creative levels and scope‑based verification.

0–10 minutes — Setup and Recap (10 minutes)

  • Objective: Reconnect to the previous lesson’s raw workflow overview and establish session goals.
  • Instructor actions:
    1. Open the same project used in the prior lesson or a supplied starter project containing RAW footage and stills.
    2. Display Sequence settings, Source panel, and Lumetri Scopes layout.
  • Student tasks: Confirm project media loads; note any differences in codec/bit depth.
  • Assessment (mini quiz, 3 questions):
    1. What panel in Premiere displays histogram, waveform, and vectorscope?
    2. Why keep the raw clip in a high bit‑depth timeline during grading?
    3. Name one advantage of working non‑destructively in the raw workflow.
  • Expected answers: Lumetri Scopes; preserves tonal data and headroom; non‑destructive adjustments allow reversion and accurate color grading.

10–30 minutes — Selections: People vs Landscapes (20 minutes)

  • Objective: Differentiate selection strategies for people and landscapes and choose appropriate mask types.
  • Instructor actions:
    1. Demonstrate Object Mask Tool on a clip with a moving person; show automatic selection and tracking.
    2. Demonstrate manual ellipse/pen masks for landscape elements and explain when to prefer manual control.
  • Step‑by‑step (timed):
    1. 10:00–15:00 — Auto object mask: create, refine feather, set tracking, toggle invert.
    2. 15:00–20:00 — Manual pen mask: draw, animate path keyframes, adjust expansion and feather.
    3. 20:00–30:00 — Compare results on same footage; discuss edge handling and motion blur.
  • Student tasks: Recreate both masks on provided clips; export short playblast of masked region.
  • Assessment (mini quiz, 4 questions):
    1. When is the Object Mask preferable to a manual mask?
    2. Which mask parameter controls softening of the mask edge?
    3. How do you animate a manual mask to follow motion?
    4. What is a common artifact when masking fast motion and how to mitigate it?
  • Expected answers: When subject detection/tracking saves time; Feather; set path keyframes or use mask tracking; edge jitter or strobing—use motion blur, increase feather, or refine tracking.

30–50 minutes — Masking Methodology and Best Practices (20 minutes)

  • Objective: Establish a repeatable methodology for mask creation, refinement, and integration into the raw workflow.
  • Instructor actions:
    1. Present a checklist: isolate, feather, expand/contract, track, refine matte, apply secondary correction.
    2. Show mask stacking: multiple masks on one clip and nested sequences for complex composites.
  • Step‑by‑step (timed):
    1. 30:00–35:00 — Create primary mask; set feather and expansion; explain matte cleanup.
    2. 35:00–40:00 — Add secondary mask for localized color correction; demonstrate mask blending modes.
    3. 40:00–50:00 — Use nested sequence to isolate a subject and apply global raw adjustments separately.
  • Student tasks: Apply checklist to a supplied portrait and a landscape clip; document steps in the project notes.
  • Assessment (mini quiz, 3 questions):
    1. List the steps in the mask checklist in order.
    2. Why use nested sequences when combining masks and global raw adjustments?
    3. Name two ways to clean up a matte.
  • Expected answers: Isolate → feather → expand/contract → track → refine → secondary correction; nested sequences preserve non‑destructive order and allow separate processing; increase feather, use matte choker, refine edge, or use garbage matte.

50–70 minutes — Effects, Presets, and Removal Techniques (20 minutes)

  • Objective: Combine masks with effects, apply presets responsibly, and perform basic removal/cleanup within Premiere Pro.
  • Instructor actions:
    1. Demonstrate selective color grading inside a mask using Lumetri Color.
    2. Show preset application: when to use LUTs or user presets and how to adapt them to masked regions.
    3. Demonstrate removal techniques: patching with duplicate layers, content‑aware removal alternatives, and use of Gaussian blur for privacy.
  • Step‑by‑step (timed):
    1. 50:00–55:00 — Apply a LUT globally; then create a mask to reduce LUT effect on skin tones.
    2. 55:00–62:00 — Use duplicate layer and masked patch to hide a small unwanted object; discuss limitations.
    3. 62:00–70:00 — Apply a preset to a landscape, then refine with masks to protect highlights and shadows.
  • Student tasks: Use a provided preset, then refine it with masks on both portrait and landscape clips; attempt a simple object concealment.
  • Assessment (mini quiz, 4 questions):
    1. How do you limit a LUT’s effect to a masked area?
    2. What is a safe workflow for removing a small object in Premiere without After Effects?
    3. Why test presets on a neutral clip before applying to final footage?
    4. Which effect is commonly used to anonymize faces quickly?
  • Expected answers: Apply LUT on an adjustment layer and mask the layer; duplicate layer, mask, and reposition/scale patch or use blur; to avoid unwanted color shifts and clipping; Gaussian blur or mosaic.

70–85 minutes — Histogram, Scopes, and Output Verification (15 minutes)

  • Objective: Use the histogram and other Lumetri Scopes to verify exposure, color balance, and legal levels before export.
  • Instructor actions:
    1. Open Lumetri Scopes and demonstrate Histogram, RGB Parade, and Waveform while toggling masked adjustments.
    2. Show clamp signal and discuss broadcast/legal limits and creative headroom for stills/video outputs.
  • Step‑by‑step (timed):
    1. 70:00–75:00 — Read histogram and parade to identify clipping and color casts.
    2. 75:00–80:00 — Adjust exposure/contrast inside masks and observe scope changes in real time.
    3. 80:00–85:00 — Final verification checklist: no clipping unless intentional, skin tones on vectorscope, consistent levels across shots.
  • Student tasks: Run scope checks on their masked graded clips and record scope screenshots in project notes.
  • Assessment (mini quiz, 3 questions):
    1. What does a spike at the right edge of the histogram indicate?
    2. Which scope helps verify skin tone placement?
    3. When should you enable Clamp Signal?
  • Expected answers: Highlight clipping; vectorscope; when preparing for broadcast or to visualize and prevent out‑of‑range values.

85–90 minutes — Wrap‑up, Deliverables, and Homework (5 minutes)

  • Objective: Consolidate learning, assign practical homework, and define deliverables for assessment.
  • Instructor actions:
    1. Summarize the workflow: raw adjustments → selective masks → effects/presets → scope verification → export.
    2. Assign homework: produce two 10–15 second graded clips (portrait and landscape) demonstrating at least two masks, one preset adaptation, and scope screenshots.
  • Student deliverables: Project file with labeled sequences, a short written log of steps taken, and exported H.264 preview.
  • Final mini quiz (3 questions):
    1. List the five stages of the session workflow.
    2. What evidence must be included in the homework to show scope verification?
    3. Name one limitation of Premiere Pro masking compared with dedicated rotoscoping in After Effects.
  • Expected answers: Raw adjustments, mask creation, effects/presets, scope verification, export; scope screenshots showing histogram/parade/vectorscope; less precise edge refinement and advanced temporal interpolation.

Materials and Setup Checklist

  • Software: Adobe Premiere Pro (latest stable release) with Lumetri Scopes enabled.
  • Media: RAW clips (portrait and landscape), starter project, LUTs/presets, sample object to remove.
  • Hardware: Calibrated monitor or note about calibration limitations; headphones for audio checks.
  • Handouts: Masking checklist, scope interpretation quick reference, homework brief.

Assessment Rubric (brief)

  • Mask accuracy: 30% — edge handling, tracking stability.
  • Scope compliance: 25% — no unintended clipping, correct skin tone placement.
  • Creative use of presets/effects: 20% — adaptation and restraint.
  • Documentation and workflow: 15% — project notes and scope screenshots.
  • Export and presentation: 10% — correct output settings and labelled files.

Instructor Notes and Pedagogical Tips

  • Emphasize methodology over tool fetishism: teach the decision tree for choosing auto vs manual masks.
  • Model scope‑first thinking: always check scopes before and after masked adjustments.
  • Encourage experimentation with feather/expansion and nested sequences to solve edge problems.