Premiere Pro CC 2017 Tutorial Round Up

Editing and Effects Tutorials for Premiere Pro CC 2017

Colour Grading in Premiere Pro CC 2017

5.1 Surround Sound Audio in Premiere Pro CC 2017

The bug fix update for Premiere Pro CC 2017 is now out, so if you’ve been waiting for that to safely update then now is the time to dive into all the great new features.

In this post I’ve brought together some of the best tutorials I’ve seen on the new features as well as some other useful resources too. This post is a bit of a catch up for me so there’s quite a bit in here!

If you are very new to editing there are some great tutorials in this round up just for you, such as the ones on White Balancing, Sequence Versioning and creating Fast Forward and Camera Movement effects.

If you’re after even more Premiere Pro related resources then PremiereBro.com should be bookmarked for a weekly review.

As should Paul Murphy’s ThePremierePro.com, which is excellent but updated much less often.

New Features in Premiere Pro CC 2017

Josh from ReTooled.net is back with another one of his fantastic ‘new feature’ videos, covering many of the subtle new features in Premiere Pro CC 2017, that haven’t been covered by other sites.

Josh covers:

Project Locking

Captioning Updates

After Effects Text Templates with Capsule Files

Creating Sequence Presets from Already Created Sequences

The New Keyboard Shortcut Editor

Global FX Mute Switch

Often the write-ups from editors who have been working in the software for a while provide the best reading, instead of just the banner headlines, as they uncover extra insights that make all the difference.

In these two posts you get that kind of knowledge from editor Scott Simmons on Pro Video Coalition and from the blogger on Mysterybox.us.

The new Global FX Mute is handy. It will “temporarily disable all non-intrinsic effects in a sequence.” That means things like Scale, Position, Rotation remain while filters will be disabled. You have to add this button from the Program monitor Button Editor or via keyboard shortcut. Note that this fx disable DOES NOT stick on output. All effects will export. – Scott

The writer from Mysterybox also does a great job of critiquing the HDR tools in Premiere and whether or not they’re truly ready for a professional workflow.

My biggest concern here is that while someone like me, who’s been working with HDR for a while now, can tell that these will hurt my workflow, Premiere is an accessible editing platform for everyone from amateurs to professionals. And anyone looking to get into HDR video may try to use these tools as their way in, and their results are going to be terrible. God awful. And that hurts everyone – why would we want to adopt HDR when ‘most of what people can do’ (meaning the amateurs and prosumers who don’t know any better) looks bad? So basically, if Premiere is part of your HDR workflow, don’t even think about using their new ‘tools’.

For further reading on this, there are 6 other posts on working in HDR over on the Mysterybox blog that you might want to look into too!

Ryan Connolly from Film Riot talks through, in rapid succession, some of the new features in Premiere Pro, interspersed with all their usual ‘gags’/coupon codes.

Ryan gets into the new audio plugins that are inherited from Adobe Audition and using the improved secondaries functionality among other things. I’m not sure why this episode it title ‘Advanced Grading’ when they don’t really cover it that much.

Editing Tutorials in Premiere Pro CC 2017

Ben Gill is back with a follow up to his popular tutorial on creating ‘Fincher-style’ split screen effects to speed up performances, fix errors and even get better sound. It’s well worth a watch!

In this tutorial Ben walks through using this split screen on footage sourced from 35mm film, and why you need to track that, to restore continuity across several takes.

I included Ben’s original tutorial in this post rounding up Premiere Pro tutorials.

Colin Smith from VideoRevealed (more from him in a bit) posted this interesting video discussing the ‘Angus Wall’ feature in Premiere Pro. It’s a pretty good demonstration of the power of using nested and sub-sequences in Premiere Pro.

Colin has a HUGE YouTube channel, packed with excellent tutorials that come out each week, that is well worth subscribing to.

If you’re a new editor and you’re not used to creating incremental versions of your edit, managing your sequences nor automatically backing them up to your Creative Cloud, then this tutorial is for you.

TV editor D.L. Watson shares an interesting technique for cutting down an episode to specific deliverable length. Useful if you’re trying to track this kind of thing over a long piece of content.

Also as a side note, whenever you’re given timecoded notes to work through, always work from the bottom of the list up. That way the timecodes on the paper will match the timecodes on the timeline.

One of the best new features in Premiere Pro CC 2017 is the visual keyboard shortcut editor. Dylan Osborn demonstrates how to make changes and offers a few expert tips. All in 3 minutes.

If you’re still using the mouse a lot to navigate and control the layout of your timeline then you’re editing slower than you need to. In this tutorial Dylan walks through how to adjust both track heights and source assignments with custom keyboard shortcuts as well as creating useful presets to jump to, in an instant.

Colour Grading in Premiere Pro CC 2017

In another tutorial from Colin you can learn how to use the ‘Auto’ white balance control in Premiere Pro to quickly correct your footage into a grade ready state.

While we’re on the topic of colour grading, one of my most recent posts covers three different colour grading plugins, two of which you can use in Premiere Pro, which you might want to also check out here.

If you prefer to read your way through a helpful post about colour grading in Premiere Pro, then Nick Harauz’s ‘Exploration of the Lumetri Panel – Part 1‘ on Screenlight.tv, is where you should go.

Nick breaks down everything you need to know about the panel to get started and offers some insightful tips along the way.

In this tip from editor D.L. Watson you can learn about the Master vs Clip effects and how he uses them to save time colour grading a TV episode.

I would however, suggest that rather than using the keyframes as D.L. suggests in the second part of the tutorial that you just use a second instance of Lumetri on that specific clip (rather than the master) to fix any exposure problems.

Casey Faris share a helpful tip on why you might want to use multiple instances of the Lumetri colour correction effect, in order to be able to re-order the stack of various elements in your look. Although I wonder what it does for your render times?

In Casey’s first tutorial he mentions pulling an HSL secondary on the skin and references a second tutorial. You can get that below.

Creating Simple Effects in Premiere Pro CC 2017

Sean Mullen from Rampant Design guides you through a few different ways to add an RGB split effect to your footage and text titles in Premiere Pro, without any third-party effects.

Christian Mate Grab reveals how he creates a simple fast-forward effect in Premiere Pro to ramp his footage forward in time, just like you see in all those promos.

In this tutorial that’s ideal for new editors Christian shows you how to add simple push ins, slides and twirls to your shots in post. You’ll obviously need footage that higher resolution than your sequence for some of this.

Audio Mixing Tutorials in Premiere Pro CC 2017

Colin Smith of VideoRevealed has three audio related tutorials I wanted to pick out for this post, that are all worth watching!

First of all, Colin dissects the new audio effects that have made their way from Adobe Audition into Premiere and how to make the most of them.

Another post that is well worth checking out is Rocketstock.com’s round up of tips for improving the sound of your audio in Premiere.

In these last two tutorials Colin walks through a Dolby Digital 5.1 Surround Sound workflow in Premiere Pro CC 2017. The total running time for these two is about 30 minutes!