Jump Start Course:

Premiere Pro
Whether you are a novice editor or you are moving from another program, this course is
designed to teach you everything you need to feel comfortable using Premiere Pro.

You can download assets for this course and view course videos at ____________________.

HOUR 1: FOUNDATION
LAYOUT AND WINDOWS 5

CREATING BINS & IMPORTING CLIPS 6

ICON/LIST/FREEFORM VIEW 6

LABELS FOR COLOR CODING 7

CREATING SEQUENCES 7

IN/OUT WORKFLOW TO CREATE SELECTS SEQUENCE 8

NAVIGATING THE TIMELINE

INSERT AND OVERWRITE 9

TRACK TARGETING AND SOURCE PATCHING 9

TRACK LOCKING, VISIBILITY, MUTE, AND SOLO 10

HOUR TWO: BUILDING
WORKING WITH CLIPS IN THE TIMELINE

TOOL BAR 11

MOVING EDITS & CLIPS 12-13

14
CREATING MARKERS

15
EDITING WITH MARKERS AND SHORTCUTS

CLOSING GAPS 15

CLIP ADJUSTMENTS

MOTION CONTROLS: ZOOM AND PAN 16

17
WARP STABILIZER DISTORT

RATE STRETCH 18

CORNER PIN 18

GAUSSIAN BLUR 18

HORIZONTAL AND VERTICAL FLIP 18

TIMELINE CUTTING

SYNCHING AUDIO 19-20

TRIMMING AND EXTENDING 21

LOOP PLAYBACK 22
HOUR THREE: REFINEMENT
LUMETRI COLOR OVERVIEW 23-25

APPLY A COLOR GRADE (LOOK) TO A CLIP 26

ADD & REMOVE COLOR GRADES 27

APPLY GRADE TO ADJUSTMENT LAYER 28

ESSENTIAL GRAPHICS

ADD A SUBTITLE 29-30

USE A CUSTOM GRAPHICS TEMPLATE 31

ESSENTIAL SOUND OVERVIEW 32

CHANGE CLIP VOLUME 33

AUTO-DUCK MUSIC UNDER DIALOGUE 34

RENDERING AND EXPORTING

35
Valentina Vee
VALENTINAVEE.COM

@VALENTINA.VEE

@VALENTINAVEE

About Me
I am a Content Director living in Los Angeles, making videos on how to make authentic, well-executed videos for their
for international campaigns and shows all over the world. audiences. My consulting clients include Apple, Adobe, and
My clients include Nike, AT&T, National Geographic, Dell, OWN (The Oprah Winfrey Network).
L’Oreal, MTV, Chevrolet, Mashable, Fujifilm, and Adobe.
My Discovery docuseries focused on youth empowerment,
I have a degree in Design Media Arts from the UCLA School “Gimme Mo,” was nominated for an Emmy in 2018. And in
of Arts and Architecture and a minor in Film from the UCLA 2019, I directed a popular travel show for Flickr/Smugmug,
School of Film, TV, and Digital Media. While at UCLA, I spanning 10 countries across Europe and Asia.
also worked at Paramount Pictures Post Production and
Whalerock Industries. I currently host Aputure’s weekly “4 Minute Film School”
show about cinematic lighting and am an Adobe Max
I have created content for many YouTube channels and Master trainer, teaching Adobe Premiere Pro, After Effects,
creators, including Michelle Phan, Prince EA, Cinefix, and Audition, and Premiere Rush at top industry conventions.
Von Wong. I specialize in creating compelling content with
a positive message as well as consulting with companies I started editing videos when I was 7 years old.
 HOUR 1: FOUNDATION 5

Layout and Windows

THESE ARE THE FOUR BIG WINDOWS YOU SEE WHEN YOU START A PROJECT. THEIR SIZES CAN BE MOVED
AROUND BY HOVERING OVER THE BOUNDARY BETWEEN THEM, CLICKING, AND DRAGGING.

YOU CAN MAKE ANY OF THEM FULL-SCREEN BY SELECTING IT (IT WILL OUTLINE IN BLUE) AND PRESSING
THE “~” KEY ON YOUR KEYBOARD, USUALLY LOCATED IN THE TOP LEFT.

PROJECT PANEL
This is where you will organize your project. Think of this as your Finder (or File Explorer on PC). Here you will create
folders (called Bins), import your clips, view and organize footage, and prepare your clips before going into your
timeline. Any clip deteled or altered here will not delete or alter the original clip on your hard drive.

TIMELINE PANEL:
This is where you will view, create, and organize your sequences. You can have multiple sequences open at the same
time and they will all appear as tabs across the top. The timeline plays from left to right, from zero seconds until the
end of your sequence. As you are playing through, you’ll see the Current Time Indicator as a blue line showing you where
you are in your timeline. You can stack clips on top of each other on different tracks, and whichever clip is on top is the
clip that will be shown.

SOURCE MONITOR:
If you double-click a clip from the Project Panel, it will show up in the Source Monitor, where you can play it. You can
also select just a portion of the clip using in/out points (covered later).

PROGRAM MONITOR:
Plays back the sequence from your Timeline Panel.
 HOUR 1: FOUNDATION 6

Create Bins & Import Clips

WHERE: PROJECT PANEL

CREATE BIN
Click on the folder icon on the bottom right of the Project
Panel (Image 1) to create a new bin. You can rename it right Image 1: Create a New Bin by clicking on the New Bin button
now or rename it later by clicking once on the name.

If you drag a folder into your Project Panel from your

computer (Image 2), bins and sub-bins will automatically be
created to match your folder structure.

IMPORT CLIPS
You can drag clips into the Project Panel from your Finder (or Image 2: You can drag entire folders into the Project Panel
File Explorer on PC). If you drag them on-top of an existing
bin, they’ll be placed into that bin. You can also double-click
in an empty area of the Project Panel and select the clips
you want to import. Or you can go to FILE > IMPORT.

LIST VIEW
Image 3: List View Button Image 4: Bin open in separate tab
Click List View (Image 3) on the bottom left of the Project
Panel to view the files in your Project Panel as a list.

If you double-click on a bin, the items inside the bin will ap-
pear as a new tab in the Project Panel (Image 4).

ICON VIEW
Click Icon View (Image 5) on the bottom left of the Project
Panel to view the files in your Project Panel as thumbnails.
You can change the size or order of the thumbnails with the
options to the right. Image 5: Clips displayed in Icon View

FREEFORM VIEW
When you choose to view your thumbnails in Freeform View
(Image 6), you can move them wherever you like within the
Project Panel.

You can stack, align, group, or change their sizes (RIGHT

CLICK > CLIP SIZE).

Image 6: Clips displayed in Freeform View

 HOUR 1: FOUNDATION 7

Color Code Clips

WHERE: PROJECT PANEL

Before bringing the clips into a sequence, I like to color-

code them. Whether this is by camera, by speaker, by theme
- whatever your color-coding system, it’s easier to label the
clips with colors while they are still in the Project Panel.
Image 1: Bin “CAM A” (labeled yellow) and all the clips inside the CAM A bin
Simply select the clips you’d like to label (hold down (labeled blue) are now being labeled Violet.
SHIFT to select them in a sequence or CMD/CTRL to select
individual clips), RIGHT CLICK, and choose LABEL > select
your label color (Image 1).

Now when you put your clips into your timeline, they will
retain those color labels. You can always change the label
of the clip once it is already in the timeline, but this will not
change the label color of the same clip in the Project Panel.

Create Sequence
WHERE: PROJECT & TIMELINE PANELS
Image 2: Create a new Sequence by dragging the clip to New Item

FROM A CLIP
Drag any clip from the Project Panel onto the “New Item”
button on the bottom of the Project Panel (Image 2). This
will create a new sequence with the same name, dimensions,
and properties as the clip.

You can re-name and re-organize the sequence later inside

the Project Panel.

FROM SCRATCH
Create a new Bin called “Sequences” and select the bin. Image 3: Select the Sequences Bin and choose “Sequence” from New Item menu
Click on the “New Item” button and select “Sequence...”
(Image 3).

In the New Sequence Dialog Box (Image 4), you can choose
from many presets or create your own. The standard settings
for a standard YouTube video are:

Timebase: 23.976 fps (frames per second)

Frame Size: 1920 x 1080 pixels
Pixel Aspect Ratio: Square Pixels (1:0)

Be sure to give your new sequence a name and click “Ok.” Image 4: New Sequence Dialog Box
 HOUR 1: FOUNDATION 8

Hover Scrub
and the In/Out
Workflow
Image 1: The Icon and Freeform view are at the bottom left of the Project Panel.
WHERE: PROJECT PANEL

WHAT: QUICKLY PREVIEW CLIPS

SELECT: ICON VIEW OR FREEFORM VIEW

IN-POINT SHORTCUT: I

OUT-POINT SHORTCUT: O

PRE-EDIT WHILE BROWSING CLIPS

Image 2: The blue line in “C0045.MP4” shows the range selected in the thumbnail.
You don’t have to drag your entire clip into your sequence,
you can pre-trim it beforehand! Make sure you are
viewing your clips in either Icon or Freeform View (Image
1). Without any clips selected (no gray outline around the
clips), hover your mouse left to right over each thumbnail
to scrub through the entire clip.

Once you land on where you want your trim to start, hit
the “I” key on your keyboard, for “In Point.” Keep hovering
until you get to your desired “Out Point” and hit the “O”
key. After you use the “I” and “O” keys to select a portion
of your clip, you should see your selection reflected as a Image 3: If a clip is selected, scrub by holding and dragging this time indicator.
blue line underneath your thumbnail (Image 2).

If a clip is selected (grey outline) you can still scrub

through the clip by holding and dragging the time
indicator underneath the thumbnail (Image 3).

Image 4: Freeform view can be found at the bottom left of the Project Panel.
 HOUR 1: FOUNDATION 9

Insert &
Overwrite
INSERT SHORTCUT: , (COMMA)
Image 1: The playhead is the blue line in-between the blue and purple clips.
OVERWRITE SHORTCUT: . (PERIOD)

BRING IN CLIPS WITHOUT DRAGGING

Put your playhead (blue line) where you’d like your new clip to
go in your sequence (Image 1), then select the clip that you’d
like to add from the Project Panel. Use “,” to insert the new
clip and have all trailing clips ripple to the right (Image 2) or
Image 2: The green clip was inserted and the purple clip jumped back. use “.” to overwrite the new clip on top of your existing ones
(Image 3). The playhead jumps to the end of the new clip, so
you can keep adding to the sequence without re-adjusting the
playhead every time.

Not working? Is “Source Patching” enabled for that track?

Look at the space to the LEFT of your track lock (it should say
say V1, V2, A1, etc) and turn it blue (not gray) by clicking on it.

Image 3: The green clip overwrote the beginning half of the purple clip.

The track on which Source The tracks that have

Patching is turned on is Track Targeting turned
where new clips are dropped on work with basic timeline
in via Insert and Overwrite. shortcuts and copy/paste.
This helps when you’ve got This helps if you want to use
lots of tracks and need to shortcuts on multiple tracks
drop specific clips into a at once, or just work on a
specific track. specific track.

Go to Cut Point Faster Playback

WHERE: TIMELINE WHERE: SOURCE MONITOR OR
PROGRAM MONITOR
SHORTCUT: UP OR DOWN ARROWS
FAST FORWARD SHORTCUT: L

Make your playhead jump directly to the next cut point in REWIND SHORTCUT: J
your sequence by clicking the up or down arrows.
STOP SHORTCUT: K
Not working? You might have turned off “Track
Targeting.” Look at the space to the right of your track Scrub quickly through your footage using the JKL keys.
lock and turn it blue (not gray) by clicking on it. The more times you press J and L, the faster the scrub.
 HOUR 1: FOUNDATION 10

Track Locking
Click the track lock icons to prevent yourself from being able to touch or manipulate anything on those tracks.

Video Track Visibility

Click the eyeball icons to not see those tracks in your timeline.

Audio Track Mute

Click the M icon (it should turn green) to not hear that audio track during your playthrough.

Audio Track Solo

Click the S icon (it should turn yellow) to hear only that track playing. Make sure M is disabled if S is enabled.
 HOUR 2: BUILDING 11

Tools Panel Basics

Some tools have more tools hiding underneath! To access them, CLICK AND HOLD onto the tool until the sub-menu pops up.

SELECTION (V)
Default tool to select clips in the timeline.

TRACK SELECT FORWARD/BACK (A/SHIFT+A)

Select all the clips after or before your cursor.

RIPPLE EDIT (B)

Adjust an edit point and all other clips move to compensate.

ROLLING EDIT (N)

Adjust an edit point between two clips without moving anything
else in the timeline.

RATE STRETCH (R)

Change the duration of the clip while changing the speed.

RAZOR (C)
Cut a clip (or multiple clips) into two.

SLIP (Y)
Move a clip’s in and out points simultaneously, without affecting
any of the other timeline clips.

SLIDE (U)
Slide a clip left and right on the timeline while overriding the
other clips that are on either side of it.

PEN (P)
Create and move anchor points.

HAND (H)
Drag the timeline view side to side.

ZOOM (Z)
Zoom into the timeline to see it in more detail.

TYPE (T)
Type onto the screen (creates Essential Graphic clip)
 HOUR 2: BUILDING 12

Moving Edits
WHERE: TIMELINE

RIPPLE EDIT SHORTCUT: B

ROLLING EDIT SHORTCUT: N

These tools will help you move the edit point (cut point)
between clips, directly in the timeline. You can access
these tools via the Tools Menu (Image 1) or via shortcuts. Image 1: Edit tools in the Tools Menu

RIPPLE EDIT
STEP 1: Press “B” on your keyboard and place your
mouse at the edit point you want to manipulate. You
should see a yellow arrow indicator (Image 2).

STEP 2: Click and drag your edit point left or right to

change the length of your clip in the timeline (Image 3).
Image 2: Ripple Edit cursor hovering over end point of yellow clip

The rest of the clips in the timeline will ripple forward

or back, unlike when you use the regular selection tool
(V) to trim a clip, where none of the other clips in the
timeline move.

Not working? Possible reasons:

1. You are trying to extend a clip, but you are

already at the beginning or end of that clip and Image 3: Extending end point of yellow clip to the right
the edit cannot be extended any more.

2. You are trying to shorten (contract) a clip, but

have other clips on different tracks getting in
the way of the ripple. If you don’t want certain
tracks interfering with the ripple effect (like
for example the music track), you can lock
those tracks with the Track Lock (Image 4). Image 4: Track lock for music track (Green, Track A2) is on.

ROLLING EDIT
STEP 1: Press “N” on your keyboard and place your
mouse at the edit point. The cursor should become four
red arrows and your edit point should turn red (Image 5).

STEP 2: Click and drag your edit point left or right to

extend or contract the length of your clip in the timeline.
The clip immediately on the other side of the edit will
adjust its own duration while not causing any of the
Image 5: Rolling Edit cursor hovering Image 6: The extended yellow clip over-
other clips on the timeline to ripple (Image 6). over the end point of yellow clip. wrote half of the following blue clip.
 HOUR 2: BUILDING 13

WHERE: TIMELINE
Moving Clips
SELECT AFTER CURSOR SHORTCUT: A SELECT ALL AFTER (OR BEFORE) CURSOR

SELECT BEFORE CURSOR SHORTCUT: SHIFT +A To select all clips at and after your mouse, change
your cursor to Track Select Forward Tool (A) and click
SELECT LINKED: OPTION (ALT) + CLICK anywhere in the timeline. SHIFT + A will select everything
before your cursor. Locked tracks will not be affected.
DUPLICATE CLIP: OPTION (ALT) + DRAG SELECT LINKED CLIP WITHOUT UNLINKING

NUDGE CLIP LEFT/RIGHT 1 FRAME: If your Audio and Video are linked in the same clip but
OPTION (ALT) + LEFT/RIGHT ARROWS you want to select just the audio, hold down OPTION
(ALT on PC) and click just the audio.
NUDGE CLIP UP/DOWN TRACKS:
OPTION (ALT) + UP/DOWN ARROWS DUPLICATE AND DRAG
SLIDE CLIP SHORTCUT: U Instead of using copy/paste commands to duplicate a
clip, select the clip while holding down OPTION (ALT on
SLIP CLIP SHORTCUT: Y PC) and drag the duplicated copy to its new location.

NUDGE LEFT/RIGHT
To move a clip one frame left or right, hold down OPTION
(ALT on PC) and click your left or right arrow keys.

NUDGE UP/DOWN
Image 1: To move this yellow clip up a track, hold OPTION (ALT) and press UP To move a clip to the track directly above or below it
(Image 1), hold down OPTION (ALT on PC) and click your
up or down arrow keys. This will over-write anything
already on the target track (Image 2).
SLIDE CLIP
Sliding a clip will not change its duration or contents, it
will just slide the clip left or right on its track while its
neighboring clips elongate or shorten, without rippling.
Image 2: The yellow clip over-wrote the first half of the purple clip above it.
STEP 1: Press “U” and select your clip (Image 3).

STEP 2: Drag your clip left or right to its new position,

changing the length of the neighboring clips (Image 4).
Image 3: Yellow clip selected with the Slide Tool enabled.
SLIP CLIP
Slipping a clip will not change its duration or location
on the timeline. It will change the content within the
segment of the clip itself, as you slip along the contents
Image 4: As yellow clip is slid right, blue clip gets longer & green clip gets shorter of the full original clip.

STEP 1: Press “Y” to activate Slip Tool.

STEP 2: Click and drag left and right over the clip you
want to slip. A new display will appear in the Program
Window (Image 5). The frame at the head end of the
segment will appear on the bottom left, the frame at the
tail end of segment on the bottom right, the last frame
of the previous clip will appear top left, and the first
Image 5: Slip Clip Display in the Program Window frame of the next clip will appear top right.
 HOUR 2: BUILDING 14

Mark The Music Cues

BEFORE YOU ADD MARKERS: MAKE SURE YOU HAVE THE FOLLOWING TWO SETTINGS DESELECTED:

IN THE MARKERS MENU: Uncheck “Ripple Sequence IN THE SEQUENCE MENU: Uncheck “Selection Follows
Markers” - this will make sure your markers are always Playhead” - this will allow you to slice across the entire
connected to their exact place in your sequence and don’t timeline stack without Premiere always selecting the top
move when you ripple clips. clip by default.

STEP 1: Play through your track by pressing the SPACEBAR or the PLAY BUTTON at the bottom of the Program
Window. Every time you hear a beat where you think it would be good to place a cut, press the “M” button on your
keyboard. This will place a marker there. Markers can also be re-arranged and dragged around the timeline.

STEP 2: If you want to place a durational marker to help you indicate a certain segment, you can click on the marker
and hold down OPTION (ALT on PC) to drag it out to your desired length.

STEP 3: To change colors or add notes to a durational marker, double-click on it. Here, I titled it “L’AMOUR” and col-
ored it red to match, because that’s the word that gets repeated during the dance section, and I want to help myself
visually see that. The markers will match their location both in the timeline and in the Program Panel.
 HOUR 2: BUILDING 15

Edit with Markers and Shortcuts

STEP 1 Click SHIFT + M to jump your playhead to the
next maker. Click CMD + K to cut across all your video
layers (Image 1). This will only work if track targeting
is selected across all layers (Page 8, Step 2) and your
music track is locked (Page 7, Step 5).

STEP 2 Insert a cut at each marker (Image 2).

STEP 3 By default, the clip showing is always the top-

most clip. Instead of deleting the clips on top to get to Image 1: An edit is added across all video layers at the first marker.
the clip you want, just disable them by dragging mar-
quee box around the clips you want to disable and using
SHIFT + CMD + E (SHIFT + E on PC) to disable them.

In Image 3, the yellow and pink clips on tracks V4 and

V3, respectively, have been disabled and are greyed-out.
Image 2: All edits have been inserted at all the markers.
In Image 4, all of the tracks under the playhead have
been greyed out, leaving a hole.

SELECT MULTIPLE EDIT POINTS AT ONCE

To manipulate the entire column of edit points, you first
need to select them. Hold down CMD (CTRL on PC) and
draw a marquee box around the edit points you want to
select. They will turn red (Image 5). This can enable you
to copy/paste transitions between multiple edit points
or give you the ability to use the shortcuts on the next Image 3: The yellow and pink clips marquee-selected on V4 and V3 are disabled

page across multiple edit points.

CLOSE GAP

If there is a gap that you’d like to close, you can RIGHT

CLICK on it and select “Ripple Delete.”

Image 4: All of the clips in this column of tracks have been disabled.

Closing all gaps requires you to create a keyboard short-

cut. Go to EDIT > KEYBOARD SHORTCUTS, type in “Gap”
in the search bar and type in a shortcut for Close Gap.

Image 5: Five edit points have been selected by drawing a marquee. Notice the
music track wasn’t selected even though the box is on it - because it is locked.
 HOUR 2: BUILDING 16

Image 2: Effect Controls Window

Image 1: Place your playhead where the movement should start. Image 3: Enable Scale keyframes Image 4: First keyframe is placed

Motion Controls: Zoom and Pan

If you want to add a zooming movement or pan across an
WHERE: TIMELINE AND image or clip, Premiere Pro gives you an easy way to fine-
EFFECT CONTROLS PANEL tune this process, using keyframes.

STEP 1: Select the clip you’d like to pan or zoom (here it is the orange clip on V2) and place your Playhead (blue line,
Image 1) where you’d like the movement to start.

STEP 2: In the Effect Controls Panel (Image 2), enable keyframes by clicking the stopwatch next to the “Scale”
property. The stopwatch should turn blue (Image 3) and the keyframe should appear in the work area (Image 4).

STEP 3: Move your playhead to where you want your scaling movement to end (Image 5) and place a keyframe there
as well by clicking on the keyframe button (Image 6). Keep your playhead at that keyframe.

Image 5: Move your playhead (blue line) to where the movement should end. Image 6: Click to make a new keyframe.

STEP 4: Click on the number that represents the scale and type in a new scale at the new keyframe (Image 7).
STEP 5: Complete this same keyframe process for the “Position” property (Image 8). Instead of typing in each value,
you can also hover your mouse over the number, click, and drag the mouse left to right to change the value (Image 9).

Image 7: Type in a new scale value. Image 8: Keyframes have been added for Position property. Image 9: Hover over number, drag to change.
 HOUR 2: BUILDING 17

Clip Adjustment: Warp Stabilizer

WHERE: EFFECTS PANEL, EFFECT CONTROLS PANEL, AND PROGRAM WINDOW

TO ADD WARP STABILIZER, FIND THE EFFECT IN THE EFFECTS PANEL UNDER VIDEO EFFECTS > DISTORT AND DRAG
IT DIRECTLY ONTO YOUR CLIP OR DOUBLE-CLICK IT WITH YOUR CLIP SELECTED IN THE TIMELINE.
STABILIZATION RESULT
“No Motion” will freeze the motion of your frame in place - making your shot look like a tripod shot. “Smooth Motion” will make
your camera look like it is floating and smooth out the bumps in handheld footage.

METHOD
“Position” will just undo the shake in your clip, not modifying the dimensions. Use this when the camera is generally staying in
one place and pointed in one direction. “Position, Scale, Rotation” will take into account the camera’s movement. You can always
click “Preserve Scale” if you are moving forward or back on a subject and you don’t want the stabilizer to compensate for that.

“Perspective” will move and stretch the corners of your clip to stabilize, while “Subspace Warp” will warp areas within the clip.

Stabilization Result Options in Warp Stabilizer Stabilization Method Options in Warp Stabilizer

FRAMING
Framing is how you want your clip to be treated post-stabilization. By default, the “Stabilize, Crop, Auto-scale” is on, which
uses AI to find the best re-cropping for your clip. This is very useful if you have a larger-sized clip (like 4K) in a smaller-sized
sequence (like 1080).

However, I prefer to select “Stabilize Only” and have the rough edges of my clip show, then scale the clip as I see fit, manually.
If you are stabilizing a clip that is the same pixel dimensions as your sequence and you don’t want to lose resolution by crop-
ping, you can try the “Stabilize, Synthesize Edges” option, which will add additional pixels (fill in the blank space) by analysing
the frames earlier and later in time. To get a more accurate analysis, increase the “Synthesize Input Range” in the Advanced
tab. In order to have a more seamless transition between footage and synthetic edges, use the Edge Feather option and use the
Synthesis Edge Cropping to crop into your footage slightly, giving a less harsh edge.

Border Framing Options in Warp Stabilizer Advanced Tab options for Synthesize Edges in Warp Stabilizer
 HOUR 2: BUILDING 18

More Clip Adjustments

RATE STRETCH
Select the clip you’d like to change the speed of. You can either RIGHT CLICK > SPEED/DURATION and enter a new duration
or type a new speed, or you can change your cursor to the Rate Stretch tool by clicking “R.” Now you can hover over the end
of any clip and drag it shorter or longer, therefore dynamically stretching its duration.

VIDEO EFFECTS
All of the following can be found in the Effects Panel and dragged directly onto any clip in the timeline.
CORNER PIN
Assigns position values to the corners of your clip so you can skew it as needed.

Before Corner Pin After Corner Pin

GAUSSIAN BLUR
Blurs your clip. Select “Repeat Edge Pixels” if you don’t want the edges to feather. Also try Camera Blur or Compound Blur!

Before Gaussian Blur Gaussian Blur - no “Repeat Edge Pixels” Gaussian Blur - with “Repeat Edge Pixels”

HORIZONTAL AND VERTICAL FLIP

Simple way to flip your clip. I use these mostly to maintain consistency of framing or motion.

Original Clip Flip Horizontal Flip Vertical