Editing in Premiere Pro: a 29.97 UHD Sequence, Culling 4.5 Hours to One, the Idaho Assembly, Time Remapping Speed Ramps, Warp Stabilizer (Nest First), Motion Keyframes and the Dolly Zoom, a Zoom-Blur Motion-Blur Workaround, Titles, Seventeen Minutes of Sound Design, and the YouTube 4K Export

New Project, name and location; drag footage from Finder into the Project panel. New Item > Sequence > Sequence Presets > UHD 4K 2160 at the source rate; Settings > 29.97 (60 fps footage cuts onto a 30 timeline cleanly; 30 and 24 mixed will jitter); Working Color Space stays Rec.709 - 'what 99 % of video is delivered in'; Video Previews: QuickTime, codec Apple ProRes 422 Proxy for the smallest cache. Workspace tour: Project, Media Browser, Effects, Source Viewer, Effect Controls, Audio Clip Mixer, Metadata, Program Viewer (frame step, markers, frame export, comparison), the playback-resolution dropdown ('Premiere is pretty laggy... Half or one quarter'), the timeline's enable/lock/mute and tool palette, and the workspace switcher - he uses Editing and Color.

Cull (282 clips, ~4.5 h → ~1 h): sort the bin by Creation Date (right-click a column > Metadata Display > Basic); either I/O in the Source Viewer and comma to append, or everything on the timeline and cut there - B adds an edit, Shift+Delete ripple-deletes, J/K/L scrubs at 2x/4x/8x, right-click > Label colours the best, M marks a frame inside a selected clip, Sequence > Selection Follows Playhead speeds repeated splits; FPV clips arrive as long takes already through Gyroflow. Assemble: duplicate the sorted sequence and rename it 'assembly'; audition tracks on their own audio tracks with Solo; expand the waveform to see beats; keep selects and assembly open and Cmd+C/V between them; longer holds while the music is quiet (6, 4, 4 s), faster as it builds; Apply Default Transition for fades and at music splices; stack candidate clips on separate tracks and delete the losers; uncheck Enable rather than delete; Slip to shift source without moving the clip; Warp Stabilizer and text deferred to later passes; close with a shot like the opener 'to close the loop' and a default transition to black. Music sourcing and splicing repeat the Resolve lesson (same sites and prices) except he says MP3 not WAV here.

Speed/Duration (right-click or Cmd/Ctrl+R): percentage; the link icon - unlinked keeps timeline length and plays more or less of the source, linked keeps the content and changes the length; Reverse Speed to match motion direction; Maintain Audio Pitch (greyed for silent drone clips); Ripple Edit, Shift Trailing Clips to close gaps; Frame Interpolation - Frame Sampling by default, Optical Flow for odd percentages (137 %) or slowing normal-rate footage, never Frame Blending. Rate Stretch (R) drags a clip edge to fit a gap. Ramps: with V active, click the clip's fx badge > Time Remapping > Speed, expand the track, Cmd/Ctrl-click the white line for speed points, drag the segment up (faster) or down (25-30 % for slow motion), pull the grey handles apart for a gradual ramp, click a handle for the blue gizmo that makes an S-curve; Premiere won't preview it - I/O then Sequence > Render In to Out. Four patterns: clip-to-clip (ramp A up 300-1000 %+, cut at peak, start B just before it ramps down, similar motion in both), one clip slow-to-fast, a slow-motion middle on 60/100 fps footage, a sped-up middle - mirror the two ramps.

Effects > Video Effects > Distort > Warp Stabilizer, drag on; a blue 'analyzing in background' bar and a percentage in Effect Controls. A speed change or other effect on the clip blocks it - Nest first. Methods: No Motion (locks the frame - not for drones), Position, Position/Scale/Rotation, Perspective, Subspace Warp (default, 'works well most of the time'). Smoothness often raised to ~150 %, 200-300 % on shaky clips at the cost of crop and warping. Framing: 'Stabilize, Crop, Auto-Scale' almost always - 'Stabilize Only' leaves black bars, 'Synthesize Edges' makes artifacts. The timeline preview can look worse than the result - Render In to Out. In the Idaho pass he nests a duplicate to test it and rejects it on an FPV clip ('no that does not look good at all') even with Perspective.

Effect Controls > Motion: Position, Scale (Uniform Scale checkbox), Rotation; drag the numbers or double-click to type; per-parameter and master resets; the fx toggle for before/after. Reframe: zoom to 125 % and push a castle out of frame; level a horizon by zooming in, rotating (typed -2.5), then zooming back out to just past the black bars. Keyframes: the stopwatch next to a parameter drops a keyframe at the playhead; move and change the value (or click the circle between the arrows) for the next; use the arrows to land exactly on a keyframe. Uses: a zoom during a parallax orbit for another axis, a zoom-out reveal, zoom + position to keep an elk centred, a slow rotation into the frame, a pan from Position alone; subtle 100 → 107 % or 120 % zooms tie adjacent shots with the same motion. Dolly zoom: no tool - Scale at the start, zoom in at the end until the composition matches, Position keyframed to re-centre, jump between the two and fine-tune; reversible; 'a really cool eye-catching effect to use a couple of times.' Multi-keyframe sequences stop abruptly - select all, right-click > Auto Bezier. Works on Anchor Point and Opacity too.

A clip at ~600 % with jittery foreground. Video Effects > Artlist > Blurs > Zoom Blur (from the Artlist Max plug-in bundle, not native); strength to about 10, centre nudged toward the top; Pen-tool mask around the fast ground only (sky and mountains stay sharp), Inverted if the wrong side is selected, Mask Feather to ~400 %, position nudged to take in more ground; Render In to Out to see it. Framed as a Premiere limitation and workaround.

Titles: switch to the Captions and Graphics workspace, tick Free, download a template to My Templates, drag it on; Edit exposes the elements; retype ('Idaho'), font and weight, size 80 → ~150, tracking ('VA'), element colours (yellow dashes to white), Transform to re-centre; the master settings for whole-graphic Opacity (~32 %) and Scale (~110 %); untick Shadow; Apply Default Transition and match its length to the shot transitions; check the underlying clip and nest + Warp Stabilizer if needed. Sound design ('step six'): diegetic effects for what is on screen (car engine, cows, footsteps) and sound-design accents (whooshes on ramps and flythroughs); sources Artlist, a Dennis Barbas pack, Pixabay; search ('distant car', 'car on gravel road', 'Tesla on gravel'), drag to a dedicated audio track, widen the timeline; trim and nudge by ear; Effect Controls > Volume keyframes riding effects at -5 to -30 dB, quiet ones up +10-15; a whoosh sped to 200 % with Maintain Audio Pitch (Cmd+R) to match a ramp; duplicate and reposition effects rather than re-sourcing; a wind/ambience bed under the slower section with default-transition fades.

Export: Option/Alt+I then O clears in/out marks; Export (top-left), name defaults to the sequence; More Presets > search YouTube > 'YouTube 2160p 4K Ultra HD'; frame size = timeline, format H.264 for compatibility (HEVC is better per byte but 'can cause playback problems, especially on Windows'); under More, only Target Bitrate is worth touching; AAC default; Export. Gyroflow (repeated from the Resolve course, with the same numbers): free at gyroflow.xyz; Avata 2 needs RockSteady off and FOV Wide or no gyro data; FOV 1.0, smoothness 0.5, Horizon Lock off, Dynamic zoom; H.265 export at 124-150 Mbps, 4K or the 9:16 tab; '<name> stabilized' beside the source; render queue for batches; standalone because the Resolve plug-in can't play back.