-as of [17 AUGUST 2026]-
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-STEP 1-
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-CREATE A [SONG] PROJECT-
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*LOCAL FILEPATH* —>
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-PROJECTS-/–MUSIC VIDEOS–/-STOP MOTION-‘
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*FINDER LEFT SIDEBAR* —>
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-MOVE PREVIOUS “PROJECT VERSIONS” TO THE “ARCHIVES” FOLDER-
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*BACK UP [PROJECT FILE] TO [GOOGLE DRIVE]* —>
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-MUSIC VIDEOS-/-STOP MOTION-/-PROJECTS-/-STOP MOTION- [2].prproj’
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*FINDER LEFT SIDEBAR* —>
(located above its “local counterpart”)
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*CREATE “REFERENCE TEXT” OF “CLOUD FILEPATH” BACK TO “LOCAL FILEPATH”* —>
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-OPEN [PREMIERE PRO] VIA [SPOTLIGHT]-
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*OPEN [PROJECT]* —>
-[COMMAND] + [ o ]-
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*TO IMPORT A [SEQUENCE] FROM ANOTHER [PROJECT]* —>
-[COMMAND] + [ i ]-
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*FINDER LEFT SIDEBAR* —>
“Project Templates”
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“IMPORT SELECTED SEQUENCES”
“CREATE FOLDER FOR IMPORTED ITEMS”
“ALLOW IMPORTING DUPLICATE MEDIA”
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-HIT [RETURN]-
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*SELECT THE [SEQUENCES] + HIT [RETURN]* —>
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*GLOBAL SEQUENCES* —>
(ROOTED IN [TEMPLATE PROJECTS])
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*CREATE A “DAILY BIN” + MOVE THE “SOLO AKUSTIKA” SEQUENCES INTO THE BIN* —>
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*MOVE THE “IMPORTED SEQUENCE” BIN (WHICH IS NAMED AFTER THE “PROJECT” FROM WHICH THE “SEQUENCES” WERE IMPORTED) INTO THE “DAILY BIN”* —>
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-RENAME THAT BIN “BOOKENDS”-
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-THIS BIN INCLUDES THE [SEQUENCE] + ITS [ASSETS] IN THE [BINS] THEY WERE LOCATED IN THE ORIGINAL [PROJECT]-
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-PROJECT PANEL-
-GO FULL SCREEN-
-EXPAND ALL BINS-
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-CREATE 2 NEW [BINS] FOR “BOOKEND ASSETS” + “BOOKEND SEQUENCE”-
-MOVE IMPORTED ITEMS TO THE APPROPRIATE BIN-
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-OPEN “BOOKENED SEQUENCE” IN [TIMELINE]-
-NOTE ITS [TIME DURATION]-
([5 SECONDS] / [22 FRAMES])
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-OPEN [[MASTER] “SOLO AKUSTIKA” SEQUENCE] IN [TIMELINE]-
-SELECT EITHER THE [VIDEO/AUDIO] PORTION OF THE CLIP-
*REVEAL IT IN [PROJECT PANEL]* —>
-[COMMAND] + [OPTION] + [CONTROL] + [ r ]-
-OPEN THE [CLIP] IN [SOURCE MONITOR]-
-LOOP PLAYBACK-
-MONITOR “AUDIO METERS” + “AUDIO CLIP MIXER”-
-“RED SQUARES” @ TOP OF METERS INDICATE “CLIPPING”-
-CLICK THE “RED SQUARES” TO RESET THEM-
-OPEN “AUDIO GAIN” IN [SOURCE MONITOR]-
-“PEAK AMPLITUDE” OF [0.0 dB] INDICATES “CLLPPING”-
(THE “DECIBEL CEILING” IS 0)
-YOU CAN MAKE ADJUSTMENTS IN INCREMENTS OF [0.1 dB]-
*NORMALIZE MAX PEAK TO* —>
-[-0.1] dB-
-HIT [RETURN]-
*WHEN YOU [RE-OPEN] THE “AUDIO GAIIN” WINDOW, YOUR “SET AUDIO GAIN” SHOULD DISPLAY [-0.1 db]* —>
-[RE-PLAY] ENTIRE CLIP TO MONITOR FOR “CLIPPING”-
-REPEAT “MAX PEAK NORMALIZATION” ADJUSTMENTS UNTIL THE [AUDIO METERS] NO LONGER “CLIP”-
-[-6 dB] AS BASELINE REDUCTION-
“PEAK HEADROOM”
(THE [DECI-BEL VALUE] OF THE DIFFERENCE BETWEEN THE SYSTEM’S “MAXIMUM CLIPPING UNIT” (SET AT 0 dB) AND YOUR AUDIO TRACK’S [PEAK VOLUME])
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*INTEGRATED LUFS* —>
-[-2.3]-
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*dbTP* —>
-[4.8]-
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-REDUCE [GAIN] OF [AUDIO CLIP] SO THAT IT MATCHES “PEAK HEADROOM”-
-SO WE REDUCE BY [10.8] dB-
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*DUPLICATE THE [SEQUENCE]* —>
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-OPEN [SEQUENCE] IN [TIMELINE]-
-CLICK [CLIP] TO SELECT IT-
-PRESS [ g ] TO ADJUST GAIN-
-SET [GAIN] TO [-10.8]-
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*CLICK THIS [BUTTON] TO RESET YOUR “LOUDNESS METER”* —>
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-[RE-TEST] THE TRACK-
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-“TRUE PEAK” NOW READS [-6 dBTP] TO MATCH “PEAK HEADROOM”-
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GAIN-STAGED MASTER → LISTEN FOR DYNAMIC PROBLEMS
Play the whole SA performance once at this new level and listen specifically for whether:
individual sung words suddenly jump forward
hard strums jump much farther forward than the rest
quieter lyrics disappear relative to the guitar
the vocal/guitar balance changes dramatically during the performance
If none of those happen, we mark:
DYNAMICS = PASS / NO COMPRESSION REQUIRED
For your SA dynamics check, these are the visual clues I’d watch for:
isolated giant spikes →
likely hard strum, consonant, shout, or other transient that may jump out audibly
whole sections suddenly much thicker/taller →
likely a passage noticeably louder than surrounding passages
whole sections suddenly very thin →
possible lyrics/guitar disappearing or becoming comparatively weak
very dense, consistently fat waveform with almost no variation →
may indicate already-heavy compression/limiting, though you cannot prove that from the waveform alone
flat/squared-off tops repeatedly hitting the same ceiling →
strong visual warning of actual clipping/limiting; clipped audio can show truncated waveform peaks.
Adobe treats clipping repair separately with its DeClipper tool in Audition.
expand A1 vertically →
zoom to full sequence →
scan waveform for abnormal spikes/thick/thin regions →
only audition those suspicious regions first →
then do one full listen
Premiere now also has a much better Source Monitor waveform view: as of the April 2026 update, you can display the audio waveform underneath the video in the Source Monitor. That’s excellent for inspecting raw source media, setting In/Out points, and locating exact transients. But because your current audio work belongs to the sequence instance, I’d keep this dynamics check in the Timeline.
I’d set up the Timeline like this:
make A1 tall enough that the waveform has real vertical resolution
zoom horizontally so the whole SA performance is visible for the first scan
turn on View → Dynamic Audio Waveforms if it isn’t already enabled
visually scan for unusually tall spikes or sections that suddenly become much denser/thinner
zoom into anything suspicious and audition it
Dynamic Audio Waveforms are particularly useful here because Premiere redraws them to reflect Audio Gain and other volume adjustments, so what you see represents the gain-staged version you’re actually working with.
You can also enable Rectified Audio Waveforms from the Timeline panel menu.
That makes the waveform easier to read as magnitude rather than positive/negative excursions around a centerline; for the kind of “where are the big peaks?” scan we’re doing, I actually prefer rectified display.
So I’d use:
Timeline waveform = primary SA assembly-line monitor
Loudness Meter = numerical monitor
ears = final dynamics judgment
The Source Monitor waveform becomes your tool when you’re deliberately examining the raw/reviewed source, rather than this processed master-sequence incarnation.
There isn’t really a separate Premiere “waveform scope” panel that I’d add to your workspace for this. Your existing Timeline + Loudness Meter combination is the cleanest setup for this stage.
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*TOGGLE “DYNAMIC AUDIO WAVEFORMS”* —>
-[COMMAND] + [OPTION] + [CONTROL] + [F12]-
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*TO CHECK IF IT IS ENABLED* —>
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*TOGGLE “RECTIFIED AUDIO WAVEFORMS”* —>
-[COMMAND] + [OPTION] + [CONTROL] + [F11]-
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*TO CHECK IF “RECTIFIED AUDIO WAVEFORMS” ARE ENABLED, OPEN THE “HAMBURGER MENU” IN THE [TIMELINE]* —>
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yes —
this is exactly the Timeline view I’d use for the visual dynamics pass.
You’ve enlarged A1 enough that the waveform is actually diagnostic, while still keeping the whole performance visible.
From this screenshot, I’d call the waveform generally healthy-looking and fairly consistent.
I do not see obvious repeated flat-topped/squared-off clipping, and there’s plenty of visible variation rather than a solid “brick” of audio.
The L/R channels also appear to track one another very closely.
The places I’d audition first are the conspicuously deeper transient clusters around roughly 0:29–0:31, 0:52–1:00, and especially 1:09–1:12.
Those aren’t automatically problems —
they may simply be louder strums, vocal attacks, or intentional accents.
They’re just the spots the waveform tells us are worth checking first.
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So the efficient assembly-line move now is:
whole-sequence waveform scan →
identify visually exceptional peaks →
loop/audition only those regions →
decide whether any actually sound objectionable
If those louder-looking moments sound natural and nothing suddenly jumps out of the mix, I would not add compression merely to make the waveform look more uniform.
Your previous 3.2 LU loudness range already suggested this performance isn’t wildly dynamic.
Also, the huge track height you have here is about ideal. I wouldn’t bother opening another panel for waveform inspection.
Once you’ve finished this pass, you can collapse A1 again and reclaim the workspace.
The biggest visual candidate in this screenshot is the cluster around ~1:10. I’d
start there, loop maybe 2–3 seconds around it, and compare it with a typical section around ~0:35–0:45.
If it doesn’t perceptually leap out, that’s a strong sign we can mark DYNAMICS: PASS and move on..
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For your assembly line, I’d make it:
GAIN-STAGING
-13.1 LUFS / -6.0 dBTP ✓
→ DYNAMIX CHECK
waveform scan + suspicious-region audition + full listen
PASS — no compression required ✓
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→ NOISE / RUMBLE CHECK ← NEXT
For this check, don’t change clip gain.
Turn your headphone/monitor output up if necessary and audition the quiet passages.
That lets you hear the noise floor without disturbing the gain-staged master.
If you hear nothing objectionable, write:
CLEANUP: PASS — NO DENOISE / REPAIR REQUIRED
That is actually the preferred result.
Noise reduction can remove unwanted hum/hiss/background noise, but it is processing the signal, so we don’t want it in the standardized chain just for the sake of having another step.
If that passes, then we go to tonal/EQ assessment —
listening for boominess, muddiness, nasal/honky frequencies, harshness, excessive brightness, etc.
And again, the rule will be EQ only when there’s something identifiable to correct, especially because this SA recording contains both your voice and acoustic guitar in the same recording.
So right now:
find the quietest 2–3 spots →
loop them →
listen for the noise floor.
If they sound clean, we’re already through another assembly-line gate without adding an effect
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good — mark CLEANUP: PASS / NO DENOISE.
The next step is tonal balance / EQ assessment.
Don’t apply EQ automatically. Adobe’s Parametric Equalizer is specifically for changing selected frequency ranges, so first we decide whether anything actually needs correcting.
For this pass, listen to a representative section where you’re singing and strumming normally, then check for four things:
boomy / overly bass-heavy
muddy or boxy
harsh / piercing
too dull or too bright
Because your vocal and acoustic guitar are baked into the same recording, I’d be conservative:
an EQ move intended to “fix” the voice also changes the guitar.
If it already sounds natural, clear, and balanced, the correct result is:
EQ: PASS — NO EQ REQUIRED
That would mean we’ve gotten pretty far with zero corrective effects:
gain staging ✓ → dynamics ✓ → noise/cleanup ✓ → tonal balance ← NOW
And if EQ also passes, the next stage becomes final loudness/true-peak finishing, where we turn that clean -13.1 LUFS / -6.0 dBTP working master into the standardized level you want all Solo Akustika clips to hit.
Adobe notes that EQ can alter overall level, which is why it makes sense to settle tonal processing before final loudness.
So for now: listen for tonal problems only;
don’t touch anything unless one is actually apparent.
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yes — EQ passes, so the corrective-processing stage is finished.
At this point I would not add another effect just because there is another slot available.
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Your SA master currently has a very clean checkpoint
Integrated: -13.1 LUFS
True Peak: -6.0 dBTP
LRA: 3.2 LU
Dynamics: PASS
Noise/cleanup: PASS
EQ: PASS
The next step is level matching in context with the bookends,
not further processing of the isolated SA clip.
next step: build/listen to the complete sequence
Put this approved SA sequence between the intro + outro and listen across the transitions:
INTRO → SOLO AKUSTIKA → OUTRO
What you’re testing now is perceived loudness continuity:
does SA suddenly sound much louder/quieter when the intro ends?
does the outro suddenly jump or collapse in volume?
do the spoken/music bookends feel like they belong to the same finished piece?
Adobe’s Auto-Match feature is specifically intended for making different clips consistent in perceived loudness, while the Loudness Meter can measure the resulting complete sequence.
But don’t Auto-Match anything yet.
First listen.
As with compression/EQ, we want to determine whether there’s actually a mismatch before altering it.
One important point with your current numbers:
do not raise SA by 5 dB just because True Peak is -6 dBTP.
A true-peak value such as -1 dBTP is normally treated as a ceiling, not a target that every recording should reach.
Your integrated loudness is already around -13 LUFS; forcing the peaks upward would simply make the whole performance unnecessarily louder.
The Loudness Meter separates integrated program loudness from true-peak measurement for exactly this reason
So I’d put this into the assembly line as:
SOURCE AUDIO REVIEW
→ gain stage ✓
→ dynamics ✓
→ noise ✓
→ EQ ✓
→ SOURCE AUDIO APPROVED
then:
ASSEMBLE INTRO + SA + OUTRO
→ LISTEN FOR LOUDNESS MATCH ← NEXT
→ adjust only the component that sounds mismatched
→ measure the complete finished sequence with Loudness Meter
→ final output/true-peak check
That also means your current -13.1 LUFS / -6.0 dBTP SA version is worth preserving as the clean approved master before you start balancing it against the bookends
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*[EDITING] WORKSPACE* —>
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*SELECT THE “BOOKENDS” SEQUENCE* —>
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*OPEN SELECTED [SEQUENCE] IN [TIMELINE]* —>
-[OPTION] + [ t ]-
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-MOVE [PLAYHEAD] TO BEGINNING OF [TIMELINE]-
-ZOOM TO [SEQUENCE]-
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-PRESS [DOWN ARROW] TO MOVE [PLAYHEAD] TO THE [EDIT POINT] BETWEEN [INTRO SEQUENCE] + [OUTRO SEQUENCE]-
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*NAVIGATE TO [PROJECT PANEL]* –>
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*PRESS [DOWN ARROW] TO SELECT YOUR [TOP BIN]* —>
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*GO [FULL SCREEN]* —>
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*USE [ARROW KEYS] TO NAVIGATE/SELECT YOUR TARGET [SOLO AKUSTIKA] NESTED SEQUENCE* —>
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*EXIT [FULL SCREEN]* —>
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*OPEN SELECTED “SEQUENCE” IN [SOURCE MONITOR]* —>
-[SHIFT] + [ o ]-
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*INSERT [NESTED SEQUENCE] INTO CURRENTLY LOADED [SEQUENCE] IN [TIMELINE]* –>
-[ , ]-
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-NAVIGATE TO [TIMELINE]-
-MOVE [PLAYHEAD] TO BEGINNING OF [SEQUENCE]-
-GO [FULL SCREEN]-
-ZOOM TO [SEQUENCE]-
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*MAXIMIZE [A1] TRACK HEIGHT* —>
-[COMMAND] + [CONTROL] + [F12]-
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yes — exactly.
once INTRO → SA → OUTRO sounds reasonably even to your ears, run the Loudness Meter on the master sequence’s Mix track, not just on A1.
Adobe specifically recommends placing Loudness Meter on the Mix Track when you want to measure the complete final mix.
so:
assemble full master sequence
INTRO → SA → OUTRO
listen first
if none of the three sections feels like it suddenly jumps or drops in loudness, leave their relative levels alone
Audio Track Mixer → Mix track → Special → Loudness Meter
reset the Loudness Meter
play the entire master sequence from beginning to end
record:
Integrated LUFS
True Peak dBTP
Loudness Range
that reading is different from the -13.1 LUFS / -6.0 dBTP measurement we made on SA alone: this one tells us what the actual finished program is doing after the bookends are included.
then we use that full-master reading to decide whether the entire sequence needs one final loudness/limiting operation — rather than continuing to fiddle independently with SA, intro, and outro after they already sound balanced.
so yes: ears establish the internal balance first → Loudness Meter measures the complete master second
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-RUN [LOUDNESS] METER] ON [MASTER TRACK]-
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*SHORT TERM* —>
-[-16.3 LUFS]-
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*INTEGRATED* —>
-[-13.2 LUFS]-
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*LOUDNESS RANGE* —>
-[3.7 LU]-
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When using the Loudness Radar or the Loudness Meter on your master track in Adobe Premiere Pro, these variables help you measure human perception of volume (measured in LUFS or LKFS) rather than raw electronic signals. [1, 2]
| Variable | What It Measures | Time Window | Why It Matters |
|---|---|---|---|
| Short Term | Current localized loudness | 3 seconds | Helps you spot specific scenes or sections that feel too loud or too quiet. |
| Integrated | Average loudness of the entire timeline | Cumulative (Start to Finish) | The main number streaming platforms and broadcasters use to check if your audio meets their submission standards. |
| Loudness Range (LRA) | Statistical distribution of volume changes | Overall track | Tells you how dynamic your mix is by calculating the difference between your loudest and quietest sustained parts. |
| True Peak | Absolute maximum voltage peak | Instantaneous | Detects inter-sample peaks to guarantee your audio will not distort or clip when converted to digital formats like MP3. |
Detailed Breakdown
⏱️ Short Term Loudness
- What it means: This displays the perceived loudness averaged over a moving 3-second window.
- How to use it: It gives you a real-time, rolling feel of your current scene’s volume. If a character is speaking and the short-term loudness suddenly spikes or drops significantly, it tells you that specific sentence or moment needs manual leveling. [1, 2]
📊 Integrated Loudness (or Program Loudness)
- What it means: This is the total average loudness calculated across your entire sequence from start to finish. It uses a “gating” system to ignore long moments of pure silence so they don’t artificially lower your score. [1, 2, 3, 4, 5]
- How to use it: This is the single most important number for delivery compliance. For example, YouTube and Spotify target -14 LUFS, while broadcast television usually targets -24 LUFS. You want to play your entire video through to get an accurate final reading for this number. [1, 2, 3, 4, 5]
📈 Loudness Range (LRA)
- What it means: Measured in LU (Loudness Units), this represents the variance between the quietest and loudest parts of your program. It ignores the extreme top 5% and bottom 10% of the audio to prevent a single random explosion or whisper from skewing the stats. [1, 2, 3, 4]
- How to use it: A low LRA (e.g., 3 to 5 LU) means your track is highly compressed and consistent, which is great for podcasts or social media videos watched on phones. A high LRA (e.g., 10 to 15 LU) means there is a massive theatrical contrast between quiet dialogue and heavy action scenes. [1, 2, 3]
⚡ True Peak
- What it means: Measured in dBTP (Decibels True Peak), this is the actual maximum level of your audio signal. Traditional sample peak meters only measure the digital digital points, but True Peak calculates the hidden data between those points that occurs during digital-to-analog conversion.
- How to use it: To prevent digital distortion and clipping on cheap speakers or headphones, most platforms demand a True Peak safety ceiling of -1.0 dBTP or -2.0 dBTP. [1, 2, 3, 4, 5]
Are you mastering this audio for a specific platform (like YouTube, television, or film)? If you share your target, I can give you the exact target numbers you should aim for!
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*LOWER THE [MIX FADER] TO [-1 dB]* –>
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*[RIGHT-CLICK] THE “LOUDNESS METER” SLOT + SELECT “POST-FADER”* —>
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-[RE-RUN] THE “LOUDNESS METER” ANAYLYSIS-
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-EXPORT MODE-
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*SELECT THIS [PRE-SET]* —>
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“SOCIAL MEDIA”
(1080 x 1920)
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yep. since this is now your finished master, I’d make the export stage a QC export first — preserving the mix you just approved rather than letting Export modify it.
In Export mode:
- Format → H.264
- Preset → your existing social/high-quality preset if it already matches this sequence. Otherwise Adobe recommends Match Source – Adaptive High Bitrate for a high-quality online export.
- Confirm:
- 1080 × 1920
- 29.97 fps
- Progressive
- Square Pixels [1.0]
- Rec.709
- Under Video, if you’re using the custom preset we established earlier, keep your High profile / ~12 Mbps setup. There’s no reason to rebuild that part just because we finished the audio.
- Under Audio, confirm:
- AAC
- Stereo
- 48,000 Hz
- Very important for this particular export: make sure you are NOT applying Loudness Normalization in Export/Effects. We already manually finished the mix at
-14.2 LUFS / -1.1 dBTP; export-time loudness normalization would deliberately alter that result. Adobe’s loudness-normalization export effect changes loudness and can apply true-peak limiting. - Set Source Range → Entire Sequence unless you intentionally have an In/Out export region.
- Give it the final filename/location and hit Export. Adobe supports exporting directly from Premiere or sending to Media Encoder; for this short QC pass I’d just export directly.
Then comes the really important final assembly-line step:
open the exported MP4 outside Premiere and watch/listen to the whole thing once.
You’re checking for:
first frame → intro transition → SA → outro transition → final frame, plus obvious sync, caption, visual, and audio problems.
If that passes, then I would regard this as the FINAL CUT, move the finished sequence into your XXX - FINAL CUTS - XXX structure, and only after that worry about any archival ProRes/master export you want to keep.
So once you enter Export mode, the first thing I’d check is that your preset hasn’t enabled any export-time Loudness Normalization.
That’s the one setting most capable of undoing the audio work we just finished
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*EXPORT TO YOUR [SYNC FOLDER] IN [GOOGLE DRIVE]* —>
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-SYNC-/-FINAL CUTS-‘
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*FINDER LEFT SIDEBAR* —>
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-“INSTAGRAM STORIES” MUST BE UNDER [1 MINUTE]-
-MEANING YOUR “SOLO AKUSTIKA” CLIP MUST BE UNDER [[54 SECONDS] / [8 FRAMES]]-
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-ADD [1-MINUTE] MARKER TO THE ORIGINAL [BOOKEND SEQUENCE]-
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-IF YOUR MASTER “SOLO AKUSTIKA” IS LONGER THAN THIS, YOU MUST CREATE [DUPLICATES] FROM THE [MASTER]-
-THEN OPEN THEM IN [SOURCE MONITOR] + SET [IN/OUT POINTS] TO BE SHORTER THAN [[54 SECONDS] / [8 FRAMES]-
-IF THE SEQUENCE IS SHORTER THAN [[108 SECONDS] / [16 FRAMES]], CREATE 2 [DUPLICATES]-
-[[1 MINUTE] / [48 SECONDS] / [16 FRAMES]]-
-LABEL THEM “PART 1” + “PART 2”-
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XXX
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-CREATE [SONG PROJECT] FROM [LIBRETTO TEMPLATE]-
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*OPEN “BOOKEND SEQUENCE” IN [TIMELINE]* —>
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*OPEN “BASE LIBRETTO SEQUENCE” IN [SOURCE MONITOR]* —>
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*NAVIGATE TO [TIMELINE] + MOVE PLAYHEAD TO “BOOKEND INTERSECTION”* —>
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*[CLIP MASTER] VARIATIONS* —>
-[FX MASTER] SEQUENCE-
-[ASPECT RATIO] SEQUENCE-
-EXPORTED [VIDEO FILE]-
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*TO CREATE “ASPECT RATIO” MASTER CLIP VARIATIONS* —>
-“FINAL CUT” DIRECTORY-
-DUPLICATE [MASTER SEQUENCE]-
-RENAME “MASTER SEQUENCE” TO INDICATE ITS TARGET “RESOLUTION”-
-ADD IT TO ITS [“MASTER SEQUENCE” BIN] ASSIGNED TO YOUR TARGET “RESOLUTION”-
-OPEN THE [SEQUENCE]-
-IN “SEQUENCE SETTINGS”. UPDATE THE SEQUENCE’S “RESOLUTION” TO YOUR TARGET “RESOLUTION”-
-CLICK “OK”-
-SELECT ALL [CLIPS] IN [TIMELINE]-
“FIT TO FRAME”
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-iPHONE 14-
-CAMERA APP-
-VIDEO-
-RECORD-
-STOP-
-PHOTOS APP-
-AIRDROP-
-DOWNLOADS-
-RAW MATERIALS-
-PREMIERE PRO-
(LOCAL EDITS)
-[FX CONTROLS] WORKSPACE-
-RESET TO [SAVED LAYOUT]-
-PROJECT PANEL-
-ASSETS-
-VIDEO ASSETS-
-INTROS-
“INTRO NAME”
-TEMPLATE DIRECTORY-
-RAW CLIP-
*CLOUD STORAGE* —>
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-INTROS-/-KING OF THE CATS-/-RAW CLIP-/-KING OF THE CATS-.mp4’
*DOWNLOAD TO “LOCAL STORAGE”* —>
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-TEMPLATES-/-INTROS-/-KING OF THE CATS-/-RAW CLIP-/-KING OF THE CATS-.mp4’
-IMPORT INTO “RAW CLIP” BIN-
-CREATE A “TRIMMED CLIPS” BIN-
-CREATE A “CROSSFADE TRIM” BIN-
-DUPLICATE “RAW CLIP” + INSERT INTO “BIN”-
-NOTE THE CLIP’S “FRAME RATE” + “VIDEO DURATION”-
-[29.97] FPS-
(ROUND TO [30])
-1 [SECOND] = 30 [FRAMES]-
-IF YOU SET YOUR “DEFAULT CROSSFADE DURATION” TO [1 SECOND] (30 FRAMES), YOU MUST HAVE [1/2 SECOND] / [15 FRAME] “CLIP HANDLES” AT [BEGINNING/END] OF [RAW CLIP]-
-OPEN DUPLICATED CLIP IN “SOURCE MONITOR”-
-ADD [IN/OUT] POINTS 15 FRAMES [IN/OUT]-
-USE THIS [TRIMMED CLIP] TO INSERT INTO [SEQUENCES]-
-NOTE [DISPLAY RESOLUTION] OF CLIP IN [PROJECT PANEL]-
-OPEN [RAW CLIP] IN [SOURCE MONITOR]-
-EXPORT MODE-
*SELECT THE “PRORES 422” [PRE-SET]* —>
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*EXPORT SETTINGS* —>
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*EXPORT [ENTIRE SOURCE]* —>
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*EXPORT TO THIS [FILE-PATH]* —>
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-‘
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-[12 MINUTES] / [15 SECONDS]-
-[735 SECONDS]-
*RAW INPUT* —> [67.3 MB]-
-[0.09] MB / SECOND]-
-[90] KB / SECOND]-
-[5.4] MB / MINUTE]-
*RAW OUTPUT* —> -[1.83 GB]-
-.[1,830] MB-
-.[1,830] MB-
(OVER 27x LARGER THAN INPUTTED “RAW CLIP”)
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*VIDEO OUT* —> -[1.69 GB]-
*AUDIO OUT* —> -[142.3 MB]-
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.-KEEP A RECORD IN THE CLIP’S [WORDPRESS ENTRY]-
-[CLIP INDEX] TO YOUR [LOCAL EDITS]-
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-OPEN THE “RAW CLIP” IN [SOURCE MONITOR]-
-ADD “TIMESTAMP MARKERS” TO THE CLIP-
-[DOUBLE-CLICK] THE MARKERS TO ADD “NAME / COMMENTS”-
-HOVER POINTER OVER MARKERS TO DISPLAY “NAME / COMMENTS”-
-NAVIGATE THE [SOURCE CLIP] VIA “MARKERS PANEL”-
-TO “ZOOM TO DURATION”, DOUBLE-CLICK THE BOTTOM “SCROLL BAR-
-SET [IN/OUT] POINTS-
-CREATE [SUB-CLIP]-
*MOVE [SUBCLIP] TO THIS BIN* —>
“ASSETS” —> “VIDEO ASSETS” —> “INTROS” —-> “INTRO NAME” —> “TRIMMED CLIPS” —> “TRIM 1”-
-CLEAR ALL [CLIPS] FROM [SOURCE MONITOR]-
-DUPLICATE THE “INPUT” RAW CLIP IN [PROJECT PANEL]-
-MARK THIS CLIP AS YOUR “EXPORT”-
-OPEN CLIP IN “SOURCE MONITOR”-
-SUBTRACT [15 FRAMES] FROM [IN POINT]-
-ADD [15 FRAMES] TO [OUT POINT]-
-MARK [TIMESTAMPS] IN THE INTRO CLIP’S [WP ENTRY]-
-CREATE ANOTHER [SUBCLIP] FROM THIS [IN/OUT] POINT-
-MOVE THE [SUBCLIP] TO YOUR “TRIM 1” BIN-
-CLEAR ALL [CLIPS] FROM [SOURCE MONITOR]-
-OPEN THE NEW [SUBCLIP] IN [SOURCE MONITOR]-
*EXPORT TO THIS [FILEPATH]* —>
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-INTROS-/-KING OF THE CATS-/-TRIMMED EXPORTS-/-NATIVE-/-[VIDEO-AUDIO]-‘
-EXPORT “VIDEO ONLY” VERSION-
-EXPORT “AUDIO ONLY” VERSION-
.
*CREATE [SEQUENCE] FROM YOUR [TRIMMED CLIP]* —>
“ASSETS” —> “VIDEO ASSETS” —> “INTROS” —> “INTRO NAME” —> “TRIMMED CLIPS” —> “TRIM 1”
“SEQUENCE CLIP”
*MOVE [SEQUENCE] TO THIS [BIN]* —>
“SEQUENCES” —> “INTRO SEQUENCES” —> “INTRO NAME” —> “NATIVE AR”
—DOUBLE-CLICK THE SEQUENCE TO OPEN IT IN [TIMELINE]-
-CLICK ANY EMPTY PART OF THE [TIMELINE] TO [DE-SELECT] CLIP-
-GO FULL SCREEN-
-OPTION-CLICK THE [AUDIO TRACK] TO SELECT IT-
-PRESS ]DELETE] TO DELETE THE SELECTED [AUDIO TRACK]-
.-MOVE [PLAYHEAD] TO BEGINNING OF [TIMELINE]-
-ZOOM TO SEQUENCE-
-EXIT [FULL SCREEN]-
-IMPORT AN [AUDIO FILE] INTO [PROJECT PANEL]-
“ASSETS” —> “AUDIO ASSETS” —> “SOUNDCLOUDS” —> “SOUNDCLOUD NAME” —> “RAW CLIP”
-CREATE A [DUPLICATE] AUDIO-
-NAME THEM “RAW IN” + “IN/OUT”-
OPEN “IN/OUT” IN [SOURCE MONITOR]-
-MOVE [PLAYHEAD] TO BEGINNING OF [SOURCE MONITOR] + [TIMELINE]-
-OVERWRITE THE AUDIO INTO THE [TIMELINE]-
-SO THAT IT IS PLACED DIRECTLY UNDER YOUR “VIDEO CLIP”-
-CLOSE THE “AUDIO TRACK” IN [SOURCE MONITOR]-
-CLOSE THE “SOURCE MONITOR”–
-UNLOCK THE “VIDEO TRAX”-
“SELECT ALL”
-LINK “VIDEO/AUDIO”-
*EXPORT TO THIS “CLOUD FILEPATH”* —>
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-INTROS-/-ROLLER COASTERS-/-TRIMMED EXPORTS-/-NATIVE-/-[VIDEO-AUDIO]-/-ROLLER COASTERS- (2020).mov’
.
-CREATE A [SEQUENCE PRE-SET] FOR THIS [DISPLAY RESOLUTION]-
“SEQUENCES” —> “BASE SEQUENCES”
-FOR UNORTHODOX “ASPECT RATIOS”, CREATE [SEQUENCE] FROM [CLIP]-
*MOVE [SEQUENCE] TO THIS [BIN FILE-PATH]* —>
“SEQUENCES” —> “INTRO SEQUENCES”
.
.
.
.
*OPEN [PROJECT]* —>
-[COMMAND] + [ o ]-
*OPEN THE [LIBRETTO] TEMPLATE* —>
“PROJECT TEMPLATES”
‘/Users/joga/Documents/Adobe/Common/Assets/Project Templates/-[LIBRETTO] TEMPLATE-.prproj’
*FINDER TAG* —>
“PP TEMPLATE PROJECTS”
.
-CREATE A “PROJECT PROFILE” WORDPRESS DATABASE-
.
*USE [12-BIN] OUTLINE TO BUILD YOUR “TEMPLATE PROJECTS”* —>
.
*CREATE “9-BIN” FINDER DIRECTORIES* —>
.
*[EFFECT CONTROLS] WORKSPACE* —>
-[SHIFT] + [OPTION] + [ 4 ]-
*RESET TO “SAVED LAYOUT”* —>
-[SHIFT] + [OPTION] + [ 0 ]-
-PROJECT PANEL-
-FILL SCREEN-
“SEQUENCES” —> “BASE SEQUENCES” —> -[1080] x [1920]-
-OPEN [SEQUENCE] IN [TIMELINE]-
-RETURN TO “PROJECT PANEL”-
“ASSETS” —> “VIDEO ASSETS” —> “INTROS”
-DOWNLOAD “RAW CLIP” FROM [“CLOUD” —> “DEVICE”]-
*CLOUD FILEPATH* —>
“RAW MATERIALS”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-INTROS-‘
*LOCAL FILEPATH* —>
“LOCAL EDITS”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-TEMPLATES-/-INTROS-‘
.
-[PREMIERE PRO] PROJECT-
-[BIN] FILE-PATH-
-SEQUENCE-
.
-PROJECT PANEL-
“LIST VIEW”
“FILL SCREEN”
-CLICK THE TOP “RIGHT ARROW” TO DISPLAY ALL [BINS / ITEMS] IN THE [PROJECT DIRECTORY]-
“ASSETS” —> “VIDEO ASSETS” —> “INTROS”
-CREATE A “TEMPLATE DIRECTORY” BIN-
-ASSIGN A BIN TO ITS “INTRO BIN”-
-COPY/PASTE THE “TEMPLATE DIRECTORY” INTO THAT [BIN]-
-OPEN THE “RAW CLIP” BIN-
-IMPORT THE “RAW CLIP”-
*NAME THE “RAW CLIP”* —>
“KING OF THE CATS” (RAW MP4)
*OPEN [SELECTED CLIP] IN [SOURCE MONITOR]* —>
-[SHIFT] + [ o ]-
-FILL SCREEN-
-MOVE [PLAYHEAD] TO [BEGINNING] OF [TIMELINE]-
-ADD [MARKER]-
-MOVE [PLAYHEAD] TO [END] OF [TIMELINE]-
-ADD [MARKER]-
-MOVE [PLAYHEAD] TO [BEGINNING] OF [TIMELINE]-
-CLOSE ALL [CLIPS/SEQUEBCES] IN [SOURCE MONITOR]* —>
-[SHIFT] + [ c ]-
*RESET TO “SAVED LAYOUT”-
*NAVIGATE TO [PROJECT PANEL]* —>
-[ ! ] –
*NAVIGATE BACK TO “RAW CLIP” BIN* —>
“ASSETS” —> “VIDEO ASSETS” —> “INTROS”
.
-DUPLICATE THE “RAW CLIP”-
-MOVE THE “DUPLICATED CLIP” TO THE “CROSSFADE TRIM” BIN-
*RE-NAME THE “DUPLICATED CLIP”* —>
“KING OF THE CATS” (CROSSFADE TRIM)
-CLICK THE “CROSSFADE TRIM” CLIP TO SELECT IT-
*OPEN [SELECTED CLIP] IN [SOURCE MONITOR]* —>
-[SHIFT] + [ o ]-
-FILL SCREEN-
-MOVE [PLAYHEAD] TO [BEGINNING] OF [TIMELINE]-
-ZOOM ALL THE WAY IN-
*PLAYBACK PREFERENCES* —>
*MOVE [PLAYHEAD] [BACK/FORWARD] 5 FRAMES* —>
-[SHIFT] + [LEFT/RIGHT ARROW]-
“TIMELINE PREFERENCES* —>
*VIDEO TRANSITION DEFAULT DURATION* —>
-[30] FRAMES-
(OR [1-SECOND] FOR [30 FPS] FRAME RATES)
-APPLIES TO [FADE IN/OUT] + [CROSS FADES]-
-RETURN TO [PROJECT PANEL]-
-HOVER [POINTER] OVER THE [CROSSFADE TRIM] CLIP TO VIEW ITS [FRAME RATE]* —>
-[29.97] FPS-
(~ 30 FPS)
-RETURN TO [SOURCE MONITOR]-
-MOVE [PLAYHEAD] TO [BEGINNING] OF [TIMELINE]-
*FOR [30 FPS] FRAME RATE* —>
*MOVE [PLAYHEAD] FORWARD [15 FRAMES]-
-HIT [SHIFT] + [RIGHT ARROW]-
(x 3)
-ADD [MARKER]-
-ADD [IN POINT]-
-MOVE [PLAYHEAD] TO [END] OF [TIMELINE]-
*MOVE [PLAYHEAD] BACKWARD [15 FRAMES]-
-HIT [SHIFT] + [LEFT ARROW]-
(x 3)
-ADD [MARKER]-
-ADD [IN POINT]-
-MOVE [PLAYHEAD] TO [BEGINNING] OF [TIMELINE]-
-RETURN TO [PROJECT PANEL]-
.
-NAVIGATE TO [TIMELINE PANEL]
-THE [TIMELINE PANEL] HOSTS OPEN “SEQUENCES”-
-DISPLAYED AS “TABS” WHEN MULTIPLE “SEQUENCES” ARE OPENED-
.
*WHEN NO “SEQUENCE” IS OPENED* —>
.
*TO CREATE A [SEQUENCE] FROM THE “TIMELINE PANEL”* —>
-[COMMAND] + [ n ]-
.
.
*CREATE A [SEQUENCE] FROM YOUR [1080 x 1920] SEQUENCE [PRE-SET]* —>
.
*TO REVEAL OPENED [SEQUENCE] IN “PROJECT PANEL”* —>
-[COMMAND] + [CONTROL] + [ r ]-
.
-RETURN TO [TIMELINE PANEL]-
.
*TO CLOSE [OPENED SEQUENCE] IN [TIMELINE PANEL]* —>
-[COMMAND] + [ w ]-
.
-NAVIGATE BACK TO [PROJECT PANEL]-
*FILL SCREEN-
-EXPAND ALL BINS-
.
*SET PROJECT PANEL TO “CUSTOM VIEW” [PRE-SET]* —>
-[SHIFT] + [COMMAND] + [ p ]-
.
.
-CLICK THE “LEFTMOST METADATA COLUMN” TO SORT ITEMS BY “LABEL”-
(AKA “TYPE”)
.
-ADD [SEQUENCE PROFILE] TO THIS [WORDPRESS ENTRY]* —>
.
*TO [RE-OPEN] A SEQUENCE* —>
-NAVIGATE TO [PROJECT PANEL]-
.
-[PROJECT PANEL] VIEW [PRE-SETS]-
.
*DELETE [EMPTY TRACKS]* —>
-[COMMAND] + [CONTROL] + [DELETE]-
-WHEN YOU USE THIS FUNCTION, YOU ARE LEFT WITH 1 [VIDEO TRACK] + 1 [AUDIO TRACK]-
.
.
*TO DELETE TRACKS* —>
-[COMMAND] + [DELETE]-
.
.
*TO ADD [CLIP] TO [SEQUENCE]* —>
-NAVIGATE TO [PROJECT PANEL]-
“SEARCH BINS” —> “ASSET TYPES” —> “VIDEO/AUDIO”
-CLICK [CLIP] TO SELECT IT-
-OPEN [CLIP] IN [SOURCE MONITOR]-
-INSERT [CLIP] INTO [TIMELINE]-
*[CLIP REVIEW] WORKSPACE* —>
-[SHIFT] + [OPTION] + [ 3 ]-
*ZOOM TO FILL TIMELINE* —>
-[ \ ]-
.
*HOVER POINTER OVER CLIP TO VIEW “CLIP INFO”* —>
.
-CLICK CLIP TO SELECT IT-
-PRESS [ESCAPE] TO [DE-SELECT] IT-
.
*TOGGLE “LINKED SELECTION”* —>
-[OPTION] + [ l ]-
.
*WHEN VIDEO/AUDIO TRACK IS LINKED, CLICKING 1 SELECTS THEM BOTH* —>
.
*TO LINK/UNLINK SELECTION* —>
-[COMMAND] + [ l ]-
.
*TO DELETE SELECTED TRAX* —>
-[DELETE]-
.
*TO [UN-DO]* —>
-[COMMAND] + [ z ]-
.
*TO [RE-DO]* —>
-[SHIFT] + [COMMAND] + [ z ]-
.
-IF YOU HAVE TRIMMED THE BEGINNING OF A CLIP IN A [TIMELINE SEQUENCE]. MOVE PLAYHEAD TO BEGINNING OF CLIP IN [TIMELINE] + PRESS [ f ] TO OPEN THE ORIGINAL RAW CLIP IN [SOURCE MONITOR]-
-YOUR [SOURCE MONITOR] PLAYHEAD WILL BE POSITIONED AT THE FRAME WHERE YOU MADE THE ORIGINAL TRIM-
*NOTE THE TIMESTAMP + LOG IT IN YOUR “CLIP WP ENTRY”* —>
-[2 MINUTES / 31 SECONDS / 21 FRAMES]-
-FOR [30 FPS], [21 FRAMES] IS [0.7 SECOND]-
.
*MOVIE* —>
([VIDEO/AUDIO] LINKED CLIP)
-IRIS-
*VIDEO CLIP* —>
-VIOLET-
.
.
*LOCK ALL [AUDIO/VIDEO] TRAX* —>
.
.
.
.
.
.
.
.
.
.
.
.
*COPY/PASTE THE “LIBRETTO TEMPLATE” TO THIS [CLOUD FILEPATH]* —>
“RAW MATERIALS”
“MACBOOK PRO”
“PREMIERE PRO”
“TEMPLATES”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-‘
.
.
-iPHONE 14-
-CAMERA APP-
-VIDEO-
-[PHOTOS] iOS APP-
-[LIBRARY] TAB-
“SELECT”
“SHARE”
-“MACBOOK 2” AIRDROP-
*DOWNLOADS* —>
/Users/joga/Downloads
-HIDE ALL “FILE EXTENSIONS”-
*SORT BY KIND* —>
-[COMMAND] + [OPTION] + [CONTROL] + [ k ]-
*USE GROUPS* —>
-[COMMAND] + [CONTROL] + [ 0 ]
*MOVE [IMAGES] TO THIS FOLDER* —>
“RAW MATERIALS”
~/Library/Mobile Documents/com~apple~CloudDocs/-RAW MATERIIALS-/-PIX-/ZZZ – SCATTERSHOTS – ZZZ
*MOVE “VIDEOS” TO THIS “SYNC FOLDER”* —>
“SYNC”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-SYNC-/-CLIPS-‘
*REVIEW “CLIPS” VIA [iPHONE / iPAD]-
-CONNECT [AIRPODS] TO [DEVICE]-
-DOCUMENTS APP-
“MY FILES”
“SYNCED FOLDERS”
“CLIPS”
*FOR “SOLO AKUSTIKA” CLIPS* —>
-TAKE HANDWRITTEN NOTES-
(“DURATION” / “TITLES” / “TIMESTAMPS” / “COMMENTS”)
*PHOTOGRAPH THE NOTES + UPLOAD THEM TO THIS [WORDPRESS ENTRY]* —>
*RENAME THE FILES IN THIS FORMAT* —>
“SONG TITLE” (5m 30s) [2026-1-30] (FRONT / REAR / DOUBLETAKE) [MOBILE / STATIC]
*MOVE ALL OTHER [CLIPS] TO THIS [DIRECTORY]* —>
“REVIEWED CLIPS”
“SCATTTERSHOTS”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-REVIEWED CLIPS-/-SCATTERSHOTS-‘
*CREATE “CLIP CATEGORIES”* —>
(INTRO / OUTRO / LINX / ETC)
*BACK UP THE “SOLO AKUSTIKA” RAW CLIP TO ITS “SONG FOLDER” ON [GOOGLE DRIVE]* —>
“THE LONG RUN”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-FINAL CUTS-/-TRAX-/-SOUNDCLOUDS-/-THE LONG RUN-/-STOP MOTION-/-SOLO AKUSTIKA-/-RAW MATERIALS-/-[2026 29 6]- -STOP MOTION [2|27]- (FRONT).mov’
*INDEX THE “RAW CLIP” TO THIS “LOCAL FOLDER”* —>
“LOCAL EDITS”
“PREMIERE PRO”
“PROJECTS”
“MUSIC VIDEOS”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-PROJECTS-/–MUSIC VIDEOS–/-STOP MOTION-/-CLIPS-/-SOLO AKUSTIKA-/-RAW MATERIALS-/-[2026 29 6]- -STOP MOTION [2|27]- (FRONT).mov’
-OPEN [PREMIERE PRO]-
“CREATE NEW [PROJECT]”
*USE THE [LIBRETTO] TEMPLATE* —>
‘/Users/joga/Documents/Adobe/Common/Assets/Project Templates/-[LIBRETTO] TEMPLATE-.prproj’
*COPY/PASTE THE “LIBRETTO TEMPLATE” TO THIS [CLOUD FILEPATH]* —>
“RAW MATERIALS”
“MACBOOK PRO”
“PREMIERE PRO”
“TEMPLATES”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-‘
*SAVE [PROJECT] TO THIS LOCAL [FILE PATH]* —>
“LOCAL EDITS”
“PREMIERE PRO”
“PROJECTS”
“MUSIC VIDEOS”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-PROJECTS-/–MUSIC VIDEOS–/-STOP MOTION-/–PROJECT FILES–/-STOP MOTION- [1].prproj’
*AFTER EVERY [EDITING SESSION], [COPY/PASTE] THE [PROJECT FILE] TO THIS [CLOUD FILEPATH]* —>
“THE LONG RUN”
“SOURCE CODE”
“PREMIERE PRO”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-FINAL CUTS-/-TRAX-/-SOUNDCLOUDS-/-THE LONG RUN-/-STOP MOTION-/-SOURCE CODE-/-PREMIERE PRO-‘
*NAVIGATE TO THE “CLOUD FILEPATH” CONTAINING THE “RAW CLIP”* —>
“THE LONG RUN”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-FINAL CUTS-/-TRAX-/-SOUNDCLOUDS-/-THE LONG RUN-/-STOP MOTION-/-SOLO AKUSTIKA-/-RAW MATERIALS-/-[2026 29 6]- -STOP MOTION [2|27]- (FRONT).mov’
*COPY/PASTE “RAW CLIP” TO THIS [LOCAL FILEPATH]* —>
“LOCAL EDITS”
“PREMIERE PRO”
“PROJECTS”
“MUSIC VIDEOS”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-PROJECTS-/–MUSIC VIDEOS–/-STOP MOTION-/-CLIPS-/-SOLO AKUSTIKA-/-RAW MATERIALS-/-[2026 29 6]- -STOP MOTION [2|27]- (FRONT).mov’
-INTRO-
*SAVE [INTROS] TO THIS [CLOUD FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-INTROS-‘
*INDEX TO THIS [LOCAL FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-TEMPLATES-/-INTROS-‘
-OUTRO-
*SAVE [OUTROS] TO THIS [CLOUD FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-OUTROS-‘
*INDEX TO THIS [LOCAL FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-TEMPLATES-/-OUTROS-‘
-BACKDROPS-
*SAVE [BACKDROPS] TO THIS [CLOUD FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-BACKDROPS-‘
*INDEX TO THIS [LOCAL FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-TEMPLATES-/-BACKDROPS-‘
-CALLING CARDS-
*SAVE OUTROS TO THIS [CLOUD FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-CALLING CARDS-‘
*INDEX TO THIS [LOCAL FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-TEMPLATES-/-CALLING CARDS-‘
-HEADSHOTS-
*SAVE [HEADSHOTS] TO THIS [CLOUD FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-HEADSHOTS-‘
*INDEX TO THIS [LOCAL FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-TEMPLATES-/-HEADSHOTS-‘
-LOGOS-
*SAVE [LOGOS] TO THIS [CLOUD FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Library/CloudStorage/GoogleDrive-josephjgatti@gmail.com/My Drive/-RAW MATERIALS-/-MACBOOK PRO-/-PREMIERE PRO-/-TEMPLATES-/-LOGOS-‘
*INDEX TO THIS [LOCAL FILEPATH]* —>
“TEMPLATES”
‘/Users/joga/Desktop/-LOCAL EDITS-/-PREMIERE PRO-/-TEMPLATES-/-LOGOS-‘
-PROJECT PANEL-
*2 BINS* —>
-ASSETS-
-SEQUENCES-
.
“ASSETS” BIN* —>
-IMAGE-
-AUDIO-
-VIDEO-
.
*”VIDEO ASSETS” BIN* —>
-INTROS-
-RAW SOLO AKUSTIKA-
-OUTROS-
.
*”INTROS” BIN* —>
“KING OF THE CATS”
.
“PROJECT PANEL”
“FILL SCREEN”
“LIST VIEW”
-[OPTION-CLICK] THE [TOP “RIGHT ARROW”] TO REVEAL ALL [BIN ITEMS]-
-MANUALLY DRAG THE [COLUMN BOUNDARY] SO THAT ALL “NAMES” ARE FULLY DISPLAYED-
-CLICK YOUR [TARGET BIN] TO SELECT IT-
-IMPORT [MP4]-
-CREATE [SEQUENCE] FROM [CLIP]-
-[DRAG/DROP] SEQUENCE INTO THE “INTRO SEQUENCE” BIN-
-APPEND “BASE SEQUENCE” TO THE “SEQUENCE NAME”-
-DUPLICATE THE SEQUENCE-
-APPEND THE DUPLICATED SEQUENCES WITH “PART #”-
-SELECT THE [[1920 x 1080] [PRE-SET]]-
.
-FOR “INSTAGRAM STORIES”, OPEN YOUR “RAW” [9:16] SEQUENCE TEMPLATE-
-PROJECT PANEL-
“SEQUENCES” —> “TRIMMED SEQUENCES”
-CLICK THE “RAW SEQUENCE” TO SELECT IT-
(OR USE “ARROW KEYS”)
-[DOUBLE-CLICK] THE “RAW SEQUENCE” TO OPEN IT IN [TIMELINE]-
(OR PRESS [OPTION] + [ t ] )
-SELECT YOUR [[9:16] INTRO SEQUENCE] IN [PROJECT PANEL]-
“SEQUENCES” —> “INTRO SEQUENCES” —> “INTRO NAME” —> -[9:16]-
*TO OPEN IN “SOURCE MONITOR”* —>
-[SHIFT] + [ o ]-
*IN [TIMELINE]. TURN OFF “NESTS” WITH THIS BUTTON* —>
*DESELECT ALL “TRAX” IN THE LEFTMOST COLUMN* —>
-OUR INTRO SEQUENCE CONTAINS 1 [VIDEO TRACK] + 1 [AUDIO TRACK]-
-NAVIGATE TO [SOURCE MONITOR] + INSERT THE “INTRO SEQUENCE” INTO [TIMELINE]-
[ , ]
-IF NO “SOURCE PATCHES” ARE SELECTED, THE [SEQUENCE] IS NOT INSERTED-
*WHEN “V1” IS SELECTED, THE SEQUENCE’S “VIDEO TRACK” IS INSERTED* —>
.
-IF ONLY “V2” IS SELECTED, THE [SEQUENCE] WILL NOT BE INSERTED-
(THE EXACT “TRACK NUMBERS” MUST MATCH BETWEEN “CHILD SEQUENCE” + “PARENT SEQUENCE”)
.
-IF “A1” IS SELECTED, ONLY THE “AUDIO TRACK” IS INSERTED-
.
*SELECT BOTH “V1” + “A1” FOR A PROPER “NESTED SEQUENCE INSERT” CONSISTING OF “INDIVDUAL CLIPS”* —>
.
*INSERT “NESTED SEQUENCES” AS “NESTS”* —>
.
-WHEN THIS SETTING IS “ON”, YOU CAN ONLY SELECT A SINGLE “VIDEO TRACK” TO INSERT THE “NEST” INTO-
(THE NEST WILL CONTAIN BOTH YOUR “VIDEO TRACK” + “AUDIO TRACK”)
(THE AUDIO PLAYS BACK EVEN THOUGH ALL “AUDIO TRACKS” IN [TIMELINE] ARE EMPTY)
(IF YOU DON’T SELECT ANY TRACKS, THE “SEQUENCE” WILL NOT BE INSERTED)
.
-[29.97] FRAME RATE-
-[INTRO] + [OUTRO] = [5 SECONDS] / [19 FRAMES]-
-[19 FRAMES] = [0.634 SECOND]-
-[5.634] SECONDS-
-SO THE “INSTAGRAM STORY” BODY MUST BE SHORTER THAN [54.66] SECONDS-
.
.
-CREATE “DAILY DIRECTORIES” IN YOUR [“DAILY IMPORTS” [LOCAL] DIRECTORY]-
-CREATE “DAILY DIRECTORIES” IN YOUR [“RAW MATERIALS” [GOOGLE DRIVE] DIRECTORY]-
-TRANSFER [CLIP] FROM [iPHONE] TO [MACBOOK PRO]-
-TRANSFER [CLIP] FROM [MACBOOK PRO] TO [GOOGLE DRIVE]-
-CREATE A [CLIP PROFILE] WORDPRESS ENTRY-
.
.
-TOP-
.
XXX
.
.
-SECTION 1-
-SECTION 2-
-SECTION 3-
.
.
-section1start-
-SECTION 1-
X
.
-section2start-
-SECTION 2-
X
.
-section3start-
-SECTION 3-
X
.
-groundzero-
.
X
-SECTION 3-
-section3end-
.
X
-SECTION 2-
-section2end-
.
X
-SECTION 1-
-section1end-
.
.
XXX
.
-BOTTOM-
.
-SF1 TOP-
(TEMPLATE)
-SF1 BOTTOM-
(TEMPLATE)
.
.
-DAILY NOTES-
XXX
-“STOP MOTION” PROJECT-
.
*”DAILY SEQUENCE IMPORT” BIN* —>
.
.
.
.
.
.
XXX
.
.
.
.
*👨🔬🕵️♀️🙇♀️*SKETCHES*🙇♂️👩🔬🕵️♂️*
.
.
.
.
💕💝💖💓🖤💙🖤💙🖤💙🖤❤️💚💛🧡❣️💞💔💘❣️🧡💛💚❤️🖤💜🖤💙🖤💙🖤💗💖💝💘
.
.
*🌈✨ *TABLE OF CONTENTS* ✨🌷*
.
.
🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥
X
X