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Adobe Premiere Pro CC (2016)
13. Adding Video Effects
Lesson overview
In this lesson, you'll learn about the following:
• Working with fixed effects
• Browsing effects with the Effects panel
• Applying and removing effects
• Using effect presets
• Using keyframing effects
• Exploring frequently used effects
This lesson will take approximately 90 minutes.
Adobe Premiere Pro CC features more than 100 video effects. Most effects come with an array of parameters, all of which you can animate (have them change over time) by using precise keyframe controls.
Getting started
You might use video effects for many reasons. They can solve problems with image quality, such as exposure or color balance. They can create complex visual effects through compositing with techniques such as chromakey. They can also help solve a number of production problems, such as camera shake and rolling shutter.
Effects can also serve stylistic purposes. You can alter the color or distort footage, and you can animate the size and position of a clip within the frame. The challenge is to know when to use effects and when to keep it simple.
Standard effects can be constrained to elliptical or polygon masks, and these masks can automatically track your footage. For example, you might blur someone's face to hide their identity and have the blur follow them as they move through the shot.
Working with effects
Adobe Premiere Pro makes working with effects easy. You can drag an effect onto a clip, or you can select the clip and double-click the effect in the Effects panel. In fact, you already know how to apply effects and change their settings. You can combine as many effects as you want on a single clip, which can produce surprising results. Moreover, you can use an adjustment layer to add the same effects to a collection of clips.
When it comes to deciding which video effects to use, the number of choices in Premiere Pro can be a bit overwhelming. Many additional effects are also available from third-party manufacturers for sale or free download.
While the range of effects and their controls can be complex, applying, adjusting, and removing effects is always straightforward.
Fixed effects
Once you add a clip to a sequence, it will automatically have a few effects applied. These effects are called fixed effects, or intrinsic effects, and you can think of them as controls for the usual geometric, opacity, speed, and audio properties that every clip should have. You can modify all fixed effects using the Effect Controls panel.
1. Open Lesson 13.prproj.
2. Open the sequence 01 Fixed Effects.
3. Click to select the first clip in the Timeline.
4. Switch to the Effects workspace by clicking Effects on the Workspaces panel or by choosing Window > Workspaces > Effects.
5. Then reset the workspace by clicking the Effects menu on the Workspace panel and choosing Reset to Saved Layout or by choosing Window > Workspaces > Reset to Saved Layout.
6. In the Effect Controls panel, look at the fixed effects applied to this clip.
Fixed effects are automatically applied to every clip in a sequence, but they don't change anything until you modify the settings.
7. Click the disclosure triangle next to each control to show its properties.
• Motion: The Motion effect allows you to animate, rotate, and scale a clip. You can also use the Anti-flicker Filter control to decrease shimmering edges for an animated object. This comes in handy when you scale a high-resolution source and Premiere Pro must resample the image.
• Opacity: The Opacity effect lets you control how opaque or transparent a clip is. You can also access special blend modes to create visual effects from multiple layers of video. You'll explore this more in Lesson 15, "Exploring Compositing Techniques."
• Time Remapping: This effect lets you slow down, speed up, or reverse playback, and it even lets you freeze a frame. You learned about time remapping in Lesson 8, "Advanced Editing Techniques."
• Audio Effects: If a clip has audio, Premiere Pro displays its Volume, Channel Volume, and Panner controls. You learned about these in Lesson 11, "Editing and Mixing Audio."
8. Click to select the second clip in the Timeline, and look at the Effect Controls panel.
These effects have keyframes, meaning that their settings change over time. In this case, a small Scale and Pan were applied to the clip to create a digital zoom that didn't exist before and to recompose the shot.
You'll explore keyframes later in this lesson.
9. Press Play to watch the current sequence and compare the two shots.
The Effects panel
In addition to the fixed video effects, Premiere Pro has standard effects, which change a clip's appearance. Because there are so many to choose from, effects are organized into 16 categories. If you install third-party effects, you may have more choices.
Effects are grouped into functions, including Distort, Keying, and Time, to make it easier to navigate them.
Each category has its own bin in the Effects panel.
1. Open the sequence 02 Browse.
2. Click to select the clip on the Timeline.
3. Open the Effects panel. You can use the keyboard shortcut Shift+7 to select it.
4. In the Effects panel, expand Video Effects.
5. Click the New Custom Bin button () at the bottom of the panel.
The new custom bin appears in the Effects panel below Lumetri Looks (you may need to scroll down to see it). Let's rename it.
6. Click once to select the bin.
7. Click once more, directly on the bin's name (Custom Bin 01), to highlight it and change it.
8. Change its name to something like Favorite Effects.
9. Open any Video Effects folder, and drag a few effects into your custom bin. You may need to resize the panel to make it easier to drag and drop effects. Choose any effects that sound interesting to you. You can add or remove effects from a custom bin whenever you like.
When you add effects to a custom bin in the Effects panel, you're making a copy. Effects also remain in their original folder. You can use custom bins to create effect categories to suit your work style.
As you browse the video effects, you'll notice icons next to many of the effect names. Understanding these icons might influence your choices when working with effects.
With so many Video Effect subfolders, it's sometimes tricky to locate the effect you want. If you know part or all of an effect's name, start typing it in the Find box at the top of the Effects panel. Premiere Pro will display all effects and transitions that contain that letter combination, narrowing the search as you type.
Accelerated effects
The Accelerated effect icon () indicates that the effect can be accelerated by your graphics processing unit (GPU). The GPU (often called the video card or graphics card) can greatly enhance the performance of Premiere Pro. The range of cards supported by the Mercury Playback Engine is broad, and with the right card installed, these effects often offer accelerated or even real-time performance and need rendering only on final export. You'll find a list of recommended cards on the Premiere Pro product page.
32-bit color (high-bit-depth) effects
Effects with the 32-bit color support icon () can process in a 32-bits-per-channel mode, which is also called high-bit-depth or float processing.
When using any 32-bit effects on a clip, try to use only combinations of 32-bit effects for maximum quality. If you mix and match effects, the non-32-bit effects switch processing back to 8-bit space.
You should use high-bit-depth effects in the following situations:
• When you're working with video shot with 10- or 12-bits-per-channel codecs, such as RED, ARRIRAW, or AVC-Intra 100, or 10-bit DNxHD, ProRes, or GoPro CineForm
• When you want to maintain greater image fidelity after applying multiple effects to any footage
Also, 16-bit photos or Adobe After Effects files rendered in 16- or 32-bits-per-channel color space can take advantage of high-bit-depth effects.
If you are editing without GPU acceleration, in Software mode, take advantage of high-bit-depth effects by making sure your sequence has the Maximum Bit Depth video-rendering option selected. You'll also find this choice on the Video tab of the Export Settings dialog.
YUV effects
Effects with the YUV icon () process color in YUV. This is important if you're adjusting clip color. Effects without the YUV icon process in the computer's native RGB space, which can make adjusting exposure and color less accurate.
To learn more about YUV effects, be sure to read the article at http://bit.ly/yuvexplained.
YUV effects break down the video into a Y (or luminance) channel and two channels for color information, which is how most video footage is structured natively. These filters make it easy to adjust contrast and exposure without shifting color.
Applying effects
Virtually all the video effect settings are accessible in the Effect Controls panel. You can add keyframes to nearly every setting, making it easy to apply changes over time (just look for settings with a stopwatch icon). In addition, you can use Bézier curves to adjust the velocity and acceleration of those changes.
1. Continue working with the sequence 02 Browse.
2. Type white into the Effects panel Find box to narrow the results. Locate the Black & White video effect.
3. Drag the Black & White video effect onto the Leaping_Frog clip in the Timeline.
This effect immediately converts your full-color footage to black and white or, more accurately, grayscale.
4. Make sure the Leaping_Frog clip is selected in the Timeline panel, and open the Effect Controls panel.
5. Toggle the Black & White effect off and on by clicking the "fx" button () next to the effect name in the Effect Controls panel. Be sure the playhead is on this footage clip to view the effect.
Toggling an effect on and off is a good way to see how it works with other effects.
6. Make sure the clip is selected so its settings are displayed in the Effect Controls panel. Click the Black & White effect heading to select it, and press the Delete key.
This removes the effect.
7. Type direction into the Effects panel search box to locate the Directional Blur video effect.
8. In the Effects panel, double-click the Directional Blur effect to apply it to the selected clip.
You won't always use visual effects to create dramatic results. Sometimes effects are intended to look like in-camera results.
9. In the Effect Controls panel, expand the Directional Blur effect's controls. This effect has settings: Direction, Blur Length, and a stopwatch next to each option (the stopwatch icon activates keyframing).
10. Set Direction to 90.0 degrees and Blur Length to 4.
11. Click the disclosure triangle to expand the Blur Length control, and move the slider.
Fixed effects in Premiere Pro are processed in a particular order, which can lead to unwanted scaling or resizing. You can't reorder fixed effects, but you can bypass them and use other, similar effects. For example, you can use the Transform effect instead of the Motion fixed effect, or you can use the Alpha Adjust effect instead of the Opacity fixed effect. These effects are not identical, but they're a close match and behave similarly and can be placed in any order you choose.
As you change the setting, the result is displayed in the Program Monitor.
12. Click the panel menu for the Effect Controls panel, and choose Remove Effects.
13. Click OK in the dialog that pops up asking which effects you want to remove. You want to remove them all.
This is an easy way to start fresh.
Other ways to apply effects
To make working with effects more flexible, there are three ways to reuse an effect you have already configured.
• You can select an effect from the Effect Controls panel, choose Edit > Copy, select a destination clip (or several clips), and choose Edit > Paste.
• You can copy all the effects from one clip so you can paste them onto another clip, select the clip in the Timeline and choose Edit > Copy, select the destination clip (or clips), and choose Edit > Paste Attributes.
• You can create an effect preset to store a particular effect (or multiple effects) with settings for reuse later. You'll learn about this technique later in this lesson.
Using adjustment layers
Sometimes you'll want to apply an effect to multiple clips. One easy way to do this is to use an adjustment layer. The concept is simple: Create an adjustment layer clip that can hold effects, and position it above other clips on the Timeline. Everything beneath the adjustment layer clip is viewed through it, receiving any effects it has.
You can easily adjust the duration and opacity of an adjustment layer clip, like you would adjust any graphics clip, making it easy to control which other clips are seen through it. Adjustment layers make it faster to work with effects because you can change the settings on it (a single item) to influence the appearance of several other clips.
Let's add an adjustment layer to a sequence that's already been edited.
1. Open the sequence 03 Multiple Effects.
2. At the bottom of the Project panel, click the New Item button and choose Adjustment Layer.
3. Click OK to create an adjustment layer that matches the dimensions of the current sequence.
Premiere Pro adds a new adjustment layer to the Project panel.
4. Drag the adjustment layer to the beginning of the Video 2 track in the current Timeline.
5. Drag to trim the right edge of the adjustment layer so it extends to the end of the sequence.
The adjustment layer should look like this:
Let's create a more nuanced look by using effects and then modifying the opacity of the adjustment layer.
6. In the Effects panel, search for and locate the Gaussian Blur effect.
7. Drag the effect onto the adjustment layer.
8. Move the playhead position to 27:00 to have a good close-up shot to use when designing the effect.
9. In the Effect Controls panel, set Blurriness to a heavy value, like 25.0 pixels. Be sure to select the Repeat Edge Pixels check box to apply the effect evenly.
Let's blend the adjustment layer with the clips beneath it using a blend mode to create the film look. Blend modes let you mix two layers together based on their brightness and color values. You'll learn more about them in Lesson 15.
10. Click the disclosure triangle next to the Opacity control in the Effect Controls panel.
11. Change the blend mode to Soft Light to create a gentle blend with the footage.
12. Set Opacity to 75% to reduce the effect.
You can click the visibility icon of the adjustment layer (the eyeball for Video 2) in the Timeline panel to see the before and after states of the effect.
Before the adjustment layer is applied
With the adjustment layer and blend mode
Sending a clip to Adobe After Effects
If you're working with a computer that also has Adobe After Effects installed, you can easily send clips back and forth between Premiere Pro and After Effects. Thanks to the close relationship between Premiere Pro and After Effects, you can seamlessly integrate the two applications more easily than on any other editing platform. This is a useful way to significantly extend the effects capabilities of your editing workflow.
The process you'll use to share clips is called Dynamic Link. With Dynamic Link you can seamlessly exchange clips with no unnecessary rendering.
Let's try this.
1. Open the sequence 04 Dynamic Link.
2. Right-click the clip and choose Replace With After Effects Composition.
3. If it's not running already, After Effects launches. If the After Effects Save As dialog appears, enter a name and location for the After Effects project. Name the project Lesson 13-01.aep and save it to the Lessons folder.
After Effects creates a new composition, which inherits the sequence settings from Premiere Pro. The new composition is named based on the Premiere Pro project name, followed by "Linked Comp."
After Effects compositions are analogous to Premiere Pro sequences.
4. If the composition isn't already open, look for it in the After Effects project panel, and double-click to load it. It should be called Lesson 13 Linked Comp 01.
Clips become layers in After Effects compositions to make it easier to work with advanced controls on the Timeline.
There are lots of ways to apply effects with After Effects. To keep things simple, let's work with animation presets. For more on effects workflows, see Adobe After Effects CC Classroom in a Book.
5. Locate the Effects & Presets panel. Click the disclosure triangle to expand the Animation Presets category.
The animation presets in After Effects use standard built-in effects to achieve impressive results. They are an excellent shortcut to producing a professional finish for your work.
6. Expand the Image – Creative folder. You may need to resize the panel a little to read the full preset names.
7. Double-click the "Contrast – saturation" preset to apply it to the selected layer.
8. Select the clip on the Timeline, and press the E key to see the applied effects. You can click the disclosure triangles for each effect to see the controls.
9. Now look at the Effect Controls panel. The same effects are displayed here.
Just like Premiere Pro, After Effects lists all panels in the Window menu. If you can't find a panel, look for it there.
10. In the Preview panel, click the Play/Stop button () to preview the effect. After the frames are cached, the file will play back in real time.
The effect is subtle but gives richer color saturation and stronger contrast to a shot that would otherwise be a little flat.
11. Choose File > Save to capture your changes.
12. Switch back to Premiere Pro and play the sequence to view the results.
The original clip on the Timeline in Premiere Pro has been replaced with the dynamically linked After Effects composition.
The frames are processed in the background and handed off from After Effects to Premiere Pro. You can also select the clip in the Timeline and choose Sequence > Render Effects In To Out.
Master clip effects
While all the effects work you have performed so far has been applied to clips on the Timeline, Premiere Pro also allows you to apply effects to master clips in the Project panel. You use the same visual effects and work with them in the same way, but with master clips, any instance of a clip you add to a sequence will inherit the effects you have applied.
For example, you could add a color adjustment to a clip in the Project panel so that it matches other camera angles in a scene. Each time you use that clip or part of that clip in a sequence, the effect will already be applied.
To add, adjust, and remove a master clip effect, do the following:
1. Continue working with the 04 Dynamic Link sequence.
2. Locate the clip Laura_03.mp4 in the Project panel. Edit this clip into the sequence, after the existing clip. Position the Timeline playhead over the clip so you can see it in the Program Monitor.
3. In the Project panel, double-click the Laura_03.mp4 clip to view it in the Source Monitor. Don't double-click the clip in the sequence because this will open the wrong instance for master clip effects.
You now have the same clip open in the Source Monitor and displayed in the Program Monitor, so you can see the changes as you apply them in both monitors.
4. In the Effects panel, locate the Fast Color Corrector effect.
5. Drag the Fast Color Corrector effect into the Source Monitor, adding it to the master clip. Click the Source Monitor to make sure it's the active panel.
6. Go to the Effect Controls panel to see the Fast Color Corrector controls.
7. Drag the color wheel puck from the center toward the red edge.
You made the adjustment to the clip in the Source Monitor. That means it was applied to the Project panel master clip, not to the copy of the clip on the Timeline. Still, the results of the effect can be seen in the Program Monitor.
From now on, anytime you use this clip, or part of it, in a sequence, Premiere Pro will apply the same effect.
It's important to be clear about the distinction between clips on the Timeline and clips in the Project panel.
8. Click the clip on the Timeline and look in the Effect Controls panel, which shows no Fast Color Corrector effect.
At the top of the Effect Controls panel there are two tabs. The tab on the left shows the name of the master clip. The tab on the right shows the name of the sequence followed by the name of the clip.
Because you selected the clip in the sequence, the tab on the right is highlighted in blue, showing that you're working on that instance of the clip.
There's no Fast Color Corrector effect displayed because you haven't applied the effect to the Timeline instance of the clip.
9. In the Effect Controls panel, click the tab at the top that shows the clip name.
You'll see the effect again.
If you want to open the Project panel instance of a clip you are viewing on the Timeline, position the playhead over the clip, select it, and press the F key. This is the keyboard shortcut for Match Frame, which opens the original master clip in the Source Monitor.
10. Select the name of the Fast Color Corrector effect in the Effect Controls panel and press Delete. The effect is removed, and the Program Monitor updates to reflect this change.
Working with master clips is a powerful way to manage effects in Premiere Pro. You may need to experiment a little to make the most of them. You use the same visual effects as you would use on the Timeline, so the techniques you're learning in this book will work the same way, but the planning is a little different. You can tell a master clip effect is applied to a clip because the "fx" badge has a red highlight ().
Masking and tracking visual effects
All standard visual effects can be constrained to elliptical, polygon, or custom masks, which you can manually animate using keyframes. Premiere Pro can also motion-track your shots to animate the position of the masks you create, following the action with the constrained special effect.
Masking and tracking effects is a great way to hide a detail like a face or logo behind a blur. You can also use the technique to apply subtle creative effects or modify the lighting in a shot.
1. Continue working with the 04 Dynamic Link sequence.
2. In the Project panel, locate the clip Laura_07.mp4. Edit this clip into the sequence after the last clip.
This clip looks good, but it would benefit from a natural-looking highlight on the subject.
3. Search the Effects panel for the Fast Color Corrector effect. Apply this effect to the Laura_07.mp4 clip on the Timeline. Then, make sure the clip is selected.
4. In the Effect Controls panel, scroll down to the Input Levels controls. Set Input Black Level to 25 and Input Gray Level to 2.
You can set these levels by clicking the blue numbers above the slider, by using the slider controls, or by clicking the named blue numbers under the slider control.
This effect changes the entire picture. You're going to constrain the effect to just one area of the plant life.
5. Just under the name of the Fast Color Corrector effect in the Effect Controls panel, you'll see three buttons that allow you to add a mask to the effect. Click the first button to add an elliptical mask.
Immediately, the effect is constrained to the mask you just created. You can add multiple masks to an effect. If you select a mask in the Effect Controls panel, you can click and modify the shape in the Program Monitor.
6. Position the playhead at the start of the clip, and use the mask handles to reposition the mask so it covers the subject's face, overlapping the bushes in the background.
7. Feathering softens the edge of the mask. Set Mask Feather to about 240.
If you deselect the mask in the Effect Controls panel, you'll see that you have lifted the area around the subject's face, with a natural return to regular lighting toward the edges of the picture. Now you just need to track the picture.
8. Make sure the playhead is still on the first frame of the clip. Click the Track Selected Mask Forward button () in the Effect Controls panel, just under the mask name, Mask (1).
9. Play the sequence to view the result.
Premiere Pro can also track backward, so you can select an item partway through a clip and then track in both directions to create a natural path for the mask to follow.
Keyframing effects
When you add keyframes to an effect, you're setting particular values at that moment in time. One keyframe will keep information for one setting. If, for example, you were intending to keyframe Position, Scale, and Rotation, you would need three separate keyframes.
Set keyframes at precise moments where you need a particular setting and let Premiere Pro work out how to animate the controls between them.
Be sure to move the playhead over the clip you're working with when applying effects so you can view your changes as you work. Selecting the clip alone will not make it visible in the Program Monitor.
Adding keyframes
You can change almost all parameters for all video effects over time using keyframes. For example, you can have a clip gradually change out of focus, change color, or lengthen its shadow.
1. Open the sequence 05 Keyframes.
2. View the sequence to get familiar with the footage, and then position the Timeline playhead over the first frame of the clip.
3. In the Effects panel, locate the Lens Flare effect and apply it to the video layer in the sequence.
4. Position the playhead at the start of the clip.
5. In the Effect Controls panel, select the Lens Flare effect heading. With the effect selected, the Program Monitor displays a small control handle. Use the handle to reposition the lens flare as in the following figure, so the center of the effect is at the top of the waterfall.
You might need to toggle the Lens Flare effect off and on to see the control handle because it's quite small.
6. Make sure the Effect Controls panel Timeline is visible. If it isn't, click the Show/Hide Timeline View button () at the top right of the panel to toggle the display.
7. Click the stopwatch icons to toggle animation for the Flare Center and Flare Brightness properties.
Clicking the Stopwatch icon enables keyframing and adds a keyframe at the current location with the current settings.
8. Move the playhead to the end of the clip.
You can drag the playhead directly in the Effect Controls panel. Make sure you see the last frame of video and not black.
9. Adjust Flare Center and Flare Brightness so the flare drifts across the screen with the camera pan and gets brighter. Use the following figure for guidance.
Be sure to use the Next Keyframe and Previous Keyframe buttons to move between keyframes efficiently. This will keep you from adding unwanted keyframes.
10. Play the sequence to watch the effect animate over time.
Adding keyframe interpolation and velocity
Keyframe interpolation changes the behavior of an effect setting as it moves between keyframes with different settings. The default behavior you've seen so far is linear; in other words, you have a constant change between keyframes. What generally works better is something that mirrors your experience or exaggerates it, such as a gradual acceleration or deceleration.
Premiere Pro offers a way to control those changes: keyframe interpolation and the Velocity graph. Keyframe interpolation is easy (two clicks), whereas tweaking the Velocity graph can be challenging. Getting a handle on this feature will take some time and practice.
1. Open the sequence 06 Interpolation.
2. Position the playhead at the beginning of the clip.
A Lens Flare effect has already been applied to this clip and is currently animated. However, the movement begins before the camera, which isn't very natural-looking.
3. Toggle the Lens Flare effect off and on by clicking the "fx" button () next to the effect name in the Effect Controls panel so you can see the subtle result.
4. In the Timeline view of the Effect Controls panel, right-click the first keyframe for the Flare Center property.
5. Choose the Temporal Interpolation > Ease Out method to create a gentle transition into the move from the keyframe.
When working with position-related parameters, the context menu for a keyframe will offer two types of interpolation: spatial (related to location) and temporal (related to time). You can make spatial adjustments in the Program Monitor as well as in the Effect Controls panel if you select the effect. You can make temporal adjustments on the clip in the Timeline and in the Effect Controls panel. These motion-related topics are covered in Lesson 9.
6. Right-click the second keyframe for the Flare Center property and choose Temporal Interpolation > Ease In. This creates a gentle transition from the stationary position of the last keyframe.
Let's modify the Flare Brightness property.
7. Click the first keyframe for Flare Brightness and then hold down the Shift key and click the second keyframe so both are active.
8. Right-click either Flare Brightness keyframe and choose Auto Bezier to create a gentle animation between the two properties.
9. Play back the animation to watch the changes you've made.
Let's further refine the keyframes with the Velocity graph.
10. Hover the mouse cursor over the Effect Controls panel and then, if your keyboard has the key, press ` (grave) to maximize the panel full-screen; or, click the panel menu and choose Panel Group Settings > Maximize Panel Group. This will give you a clearer view of the keyframe controls.
11. If necessary, click the disclosure triangles next to the Flare Center and Flare Brightness properties to show the adjustable properties.
The Velocity graph shows the velocity between keyframes. The sudden drops or jumps represent sudden changes in acceleration—jerks, in physics parlance. The farther the point or line is from the center, the greater the velocity.
12. Select a keyframe and then adjust its handle to change the steepness of the velocity curve.
13. Press the ` (grave) key, or use the panel menu to restore the Effect Controls panel.
14. Play back your sequence to see the impact of your changes. Experiment some more until you have the hang of keyframes and interpolation.
Understanding interpolation methods
Here's a rundown of the keyframe interpolation methods available in Premiere Pro:
• Linear: This is the default behavior and creates a uniform rate of change between keyframes.
• Bezier: This lets you manually adjust the shape of the graph on either side of a keyframe. Béziers allow for sudden or smooth acceleration into or out of a keyframe.
• Continuous Bezier: This method creates a smooth rate of change through a keyframe. Unlike Bezier keyframes, if you adjust one handle of a Continuous Bezier keyframe, the handle on the other side moves equally, to maintain a smooth transition through the keyframe.
• Auto Bezier: This method creates a smooth rate of change through a keyframe even if you change the keyframe value. If you choose to manually adjust the keyframe's handles, it changes to a Continuous Bezier point, retaining the smooth transition through the keyframe. The Auto Bezier option can occasionally produce unwanted motion, so try one of the other options first.
• Hold: This method changes a property value without a gradual transition (a sudden effect change). The graph following a keyframe with the Hold interpolation applied appears as a horizontal straight line.
• Ease In: This method slows down the value changes entering a keyframe and converts it to a Bezier keyframe.
• Ease Out: This method gradually accelerates the value changes leaving a keyframe, converting it to a Bezier keyframe.
Effect presets
To save time on repeated tasks, Premiere Pro supports effect presets. You'll find that there are several presets included for specific tasks already, but their true power lies in creating your own presets to solve repetitive tasks. When you create an effect preset, it can store more than one effect and can even include keyframes for animation.
Using built-in presets
You can use one of the effect presets included with Premiere Pro. These are useful for tasks such as beveling, picture-in-picture effects, and stylized transitions.
1. Open the sequence 07 Presets.
This sequence has a simple title graphic. Let's use a preset to animate the arrival of the title.
2. In the Effects panel, browse inside the Presets category and expand the Solarizes category to find the Solarize In preset.
3. Drag the Solarize In preset onto the New_York.psd clip on V2.
4. Play back the sequence to watch the logo animate onto the screen.
5. Click the New_York.psd clip on V2, and view its controls in the Effect Controls panel.
6. Experiment with adjusting the position of the second keyframe in the Effect Controls panel to customize the effect.
Saving effect presets
Although there are several built-in effect presets to choose from, creating your own is also easy. You can also import and export presets to share them between editing systems.
1. Open the sequence 08 Creating Presets.
This Timeline has two clips, each with an adjustment layer, and two instances of an opening title.
2. Play the sequence to watch the initial animation.
3. Select the first instance of the "Laura in the snow" clip on V3.
4. Click in the Effect Controls panel to make it active, and choose Edit > Select All to select all the effects applied to the clip.
You can also select individual effects if you want to include only some of them in the preset.
5. Right-click any of the selected effects in the Effect Controls panel, and choose Save Preset.
6. In the Save Preset dialog, name the effect Logo Animation.
7. Choose one of the following preset types to specify how Premiere Pro should handle keyframes in a preset:
• Scale: Proportionally scales the source keyframes to the length of the target clip. Any existing keyframes on the original clip are deleted.
• Anchor to In Point: Preserves the position of the first keyframe as well as the relationship of other keyframes in a clip. Other keyframes are added to the clip relative to its In point. Use this option for this exercise.
• Anchor to Out Point: Preserves the position of the last keyframe as well as the relationship of other keyframes in a clip. Other keyframes are added to the clip relative to its Out point.
8. Click OK to store the effects and keyframes as a new preset.
9. In the Effects panel, locate the Presets category.
10. Locate the newly created Logo Animation preset.
11. Drag the Logo Animation preset onto the second instance of the "Laura in the snow" clip in the Timeline.
12. Watch the sequence play back to see the newly applied title animation.
Using multiple GPUs
If you'd like to speed up the rendering of effects or export of clips, consider adding an additional GPU card. If you're using a tower or workstation, you may have an additional slot that can support a second graphics card. Premiere Pro takes full advantage of computers with multiple GPU cards to significantly accelerate export times. You can find additional details about supported cards on the Adobe website.
Frequently used effects
Throughout this lesson you've explored several effects. Although it's beyond the scope of this book to explore all the options, I'll cover a few additional effects that are useful in many editing situations. By looking at the possibilities, you'll have a better appreciation for the options that lie ahead.
Image stabilization and rolling shutter reduction
The Warp Stabilizer effect can remove jitter caused by camera movement (which is more and more common with today's lightweight cameras). The effect is useful because it can remove unstable parallax-type movements (where images appear to shift on planes).
Let's explore the effect.
1. Open the sequence 09 Warp Stabilizer.
2. Play the first clip in the sequence to see the wobbly shot.
3. In the Effects panel, locate the Warp Stabilizer effect and apply it to the shot.
The clip is analyzed.
If you notice that some of the details in the shot appear to wobble, you may be able to improve the overall effect. In the Advanced section, choose Detailed Analysis. This makes the Analysis phase do extra work to find elements to track. You can also use the Enhanced Reduction option from the Rolling Shutter Ripple option under the Advanced category. These options are slower to calculate but produce superior results.
The analysis is in two stages. A banner across the footage lets you know you'll need to wait before working with the effect. There's also a detailed progress indicator in the Effect Controls panel. The analysis takes place in the background, so you can carry on working on your sequence while waiting for it to complete.
4. Once the analysis has completed, you can adjust settings in the Effect Controls panel to improve results by choosing options that better suit the shot.
• Result: You can choose Smooth Motion to retain the general camera movement (albeit stabilized), or you can choose No Motion to attempt to remove all camera movement. For this exercise, choose Smooth Motion.
• Method: You can use the four methods available. The two most powerful, because they warp and process the image more heavily, are Perspective and Subspace Warp. If either method creates too much distortion, you can try switching to Position, Scale, Rotation or just to Position.
• Smoothness: This option specifies how much of the original camera movement should be retained for Smooth Motion. Use a higher value to smooth out the shot the most. Experiment with this shot until you're happy with its stability.
5. Play back the clip.
6. Repeat the process for the second clip in the sequence. This time, set the Warp Stabilizer Result menu to No Motion.
This is a common example of a shot that was intended to be static but, being handheld, has a little wobble. The Warp Stabilizer is effective at locking these kinds of shots in position.
Timecode and Clip Name
If you need to send a review copy of a sequence to a client or colleague, the Timecode and Clip Name effects are useful. You can apply the Timecode effect to an adjustment layer and have it generate a visible timecode for the entire sequence. You can enable a similar Timecode overlay when exporting media, but the effect has more options.
This is helpful because it allows others to make specific feedback based on a unique point in time. You can control the display of position, size, opacity, the timecode itself, and its format and source. The Clip Name effect needs to be applied to each clip.
If you work with multiple sequences with different settings in a single project, it's worth naming adjustment layers to make it easier to identify their resolution.
1. Open the sequence 10 Timecode Burn-In.
2. In the Project panel, click the New Item menu, and choose Adjustment Layer. Click OK.
A new adjustment layer is added to the Project panel, with settings that match your current sequence.
3. Drag the adjustment layer to the beginning of track V2 in the current sequence.
4. Drag the right edge of the new adjustment layer to the right to trim it to the end of the sequence. The adjustment layer should cover all three clips.
5. In the Effects panel, locate the Timecode effect. Drag it onto the adjustment layer to apply it.
6. In the Effect Controls panel, set Time Display to 24 to match the frame rate of the sequence.
7. Choose a timecode source. In this case, use the Generate option and set the Starting Timecode option to 01:00:00:00 to match the sequence, and deselect the Field Symbol option (this footage is progressive, so it does not have fields).
8. Adjust the Position and Size options for the effect.
It's a good idea to move the timecode window so it's not blocking critical action in the scene or obscuring any graphics. If you plan to post the video to the web for review, be sure to size the timecode burn-in so it's easy to read.
Now let's apply an effect that will display the name of each clip in the exported movie. This will make it easier to get specific feedback from a client or collaborator.
9. The first two clips in the sequence already have the Clip Name effect applied. Select the last clip in the sequence on track V1.
10. In the Effects panel, search for the Clip Name effect.
11. Double-click the Clip Name effect to apply it to the selected clip. You can use this workflow to apply an effect or preset to multiple selected clips in a single step.
12. Adjust the effect properties to taste to ensure that both the Timecode and Clip Name effects are readable.
13. Clear the Effects panel search box.
The Shadow/Highlight effect is useful for quickly adjusting the contrast issues in a clip. It can brighten a subject in dark shadows. It can also darken areas that are slightly overexposed. The effect makes relatively isolated adjustments based on surrounding pixels. The default settings are for fixing images with backlighting problems, but you can modify the settings as needed.
Let's try the effect.
1. Open the sequence 11 Shadow/Highlight.
2. Play the sequence to evaluate the shot. It's a little dark.
3. Select the clip in the Timeline panel.
4. In the Effects panel, locate the Shadow/Highlight effect. Apply it to the shot.
5. Play the sequence to see the results of the effect.
By default, the effect uses Auto Amounts mode. This option deactivates most of the controls but often gives usable results.
6. Deselect the Auto Amounts check box in the Effect Controls panel.
7. Use the disclosure triangle to expand the controls for More Options to refine the effect.
Let's adjust the definition of what's a shadow and what's a highlight and then refine the exposure of each.
8. Adjust the following properties to taste (or use the figure for guidance):
• Shadow Amount: Use this adjustment to control how much shadows are lightened.
• Highlight Amount: Use this control to darken the highlights in the image.
• Shadow Tonal Width and Highlight Tonal Width: Use the range to define what is considered a highlight or shadow. Use a higher value to expand the range and a narrower value to limit it. These controls are useful for isolating regions that you need to adjust.
• Shadow Radius and Highlight Radius: Adjust the radius controls to blend the selected and unselected pixels. This can create a smoother blend of the effect. Avoid values that are too high or an unwanted glow may appear.
• Color Correction: As you adjust exposure, the color in an image may become washed out. Use this slider to restore a natural look to the adjusted areas of the footage.
• Midtone Contrast: Use this control to add more contrast to the midtone areas. This can be useful if you need the middle of the image to better match the adjusted shadow and highlight regions.
Lens distortion removal
Action and POV cameras such as the GoPro and DJI Phantom are increasingly popular, especially with the advent of affordable aerial camera mounts. While the results can be amazing, the popular wide-angle lenses can introduce a lot of unwanted distortion.
The Lens Distortion effect can be used to introduce the appearance of lens distortion as a creative look. It can also be used to correct lens distortion. In fact, Premiere Pro has a number of built-in presets intended to correct distortion from popular cameras. You'll find the presets in the Effects panel, under Lens Distortion Removal.
Remember, you can make a preset from any effect, so if you are working with a camera that has no existing preset, you can always create your own.
Render all sequences
If you have several sequences with effects you want to render, you can render them all as a batch, without opening each sequence to render it individually.
Simply select the sequences you would like to render in the Project panel and choose Sequence > Render Effects In to Out.
All effects that need to render in the selected sequences will be rendered.
Review questions
1. What are two ways to apply an effect to a clip?
2. List three ways to add a keyframe.
3. Dragging an effect onto a clip turns on its parameters in the Effect Controls panel, but you don't see the effect in the Program Monitor. Why not?
4. Describe how you can apply one effect to a range of clips.
5. Describe how to save multiple effects to a custom preset.
Review answers
1. Drag the effect to the clip or select the clip and double-click the effect in the Effects panel.
2. Move the playhead in the Effect Controls panel to where you want a keyframe and activate keyframing by clicking the "Toggle animation" button; move the playhead and click the Add/Remove Keyframe button; and with keyframing activated, move the playhead to a position and change a parameter.
3. You need to move the Timeline playhead to the selected clip to see it in the Program Monitor. Selecting a clip does not move the playhead to that clip.
4. Select the clips you would like to apply the effect to and then drag the effect onto the group. You can also add an adjustment layer above the clips you want to affect. You can then apply an effect that will modify all the clips below the layer.
5. You can click the Effect Controls panel and choose Edit > Select All. You can also Control-click (Windows) or Command-click (Mac OS) multiple effects in the Effect Controls panel. Once the effects are selected, choose the Save Preset command from the Effect Controls panel menu.


text:
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subset: commoncrawl


text:
Roger Strong
Brethren Christian High Cypress, CA Class of 1965
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The term "data-driven" is becoming increasingly ubiquitous across industries, and with good reason. All marketing should be data-driven. Creating targeted messages that reflect and anticipate the needs of your customers is crucial. As we've said before, when contact is frequent, as it is with invoicing, the messages must be timely and relevant. A newer ... Read More
Knowledge Center
Three Simple Branding Check-Ups That Make a Big Difference
While the Big Branding Things at a company get done, it's the Little Branding Things—the ones that seem too obvious to mention—that can slip through the cracks. It happens. Here are three quick check-ups to ensure your company branding is in tip-top shape. 1. Sincerely, All of Us. Anything that leaves your office is your office, which is why consistent ... Read More
It's Time to Refresh Your Marketing Materials
When's the last time you did a full marketing materials review? Lifecycle marketing campaign review? Are all of your collateral pieces up to date? Do you have any outdated information on your website? Are your graphic standards and writing guides current? If you can't remember the last time you updated or reviewed any of these, this is a great time to do ... Read More
The (Important) Difference Between Multichannel and Omnichannel Communication
Any marketing initiative has buzzwords, and sometimes those words can seem at best vague and at worst empty. Multichannel and omnichannel are two common terms you'll hear floating around in discussions on customer communications. To cut to the chase: There is a difference, and the difference is more important than you might think. Multichannel ... Read More
Contingency Plan? Yes, You Need One
Wouldn't it be great to live in a magical world where nothing ever went wrong? Snow wouldn't disrupt work, people wouldn't get sick, and everything could continue to function normally. Unfortunately, we do not, and as such it is important to remember one thing: always have a Plan B. And, if necessary, Plans C and D. Don't have one yet? Don't worry, now is ... Read More
Are the Bills and Invoices You Send Readable? (Spoiler: They Might Not Be)
There's a reason major companies like UPS and DirectTV devote pages on their website to topics like "A Simple Guide to Understanding Your Bill" or "How to Read Your Bill." They're anticipating an all-too-common issue: Bills are hard to read. In fact, the most common cause of late payments is that people have trouble reading their bills. Poor organization ... Read More


text:
71° North 2013
71 ° North is a Norwegian reality drama series that has been shown annually on TV Norway since the fall of 1999. The series is produced by SBS Discovery. This involves a responsibility of about 60 people over 42 days from Lindesnes to the North Cape.
This year was the 15th anniversary and was celebrated with some extra efforts from the Nordic Film TV AS, SBS Discovery and Storm Adventures AS. We were on tour for six weeks which is almost a week longer than the usual production time. Production this year was demanding with many more elements per episode and more complex activities. The highlight was at Hardangervidda, where the contestants parachuted into the mountains by themselves in a static jump. All of them passed the training jump exam, after only 10 hours of training. This season is the most spectacular in the history of 71° North… so far!
Terms of Use - Copyright Storm Adventures AS 2019


text:
Contact Us
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It has also become remarkably difficult to distinguish direct competitors from indirect threats - and when you do, you find competition often comes from surprising places. In fact, competition in the SaaS and tech industries is increasingly coming from indirect competitors, whose core technology enables them to invade adjacent verticals and industries.
The final and most important metric is conversion. Make sure that you set up your conversion goals within your analytics. That way you can see which keywords are not only driving traffic but out of that traffic what percentage is converting. That is how you can measure keyword success. If you're not doing this, then it becomes more difficult to identify your highest performing keywords.
You'll often find your hottest leads among people who have already encountered your business once. Depending on your industry, it may be unlikely for people to purchase your product the first time they visit. If you're an e-commerce operation selling lower-ticket items, you may be able to send people directly to a sales page with excellent results. But if you're like the dishwasher store we invented above, visiting your PPC landing page may be one step in a larger research process for your customers.
It's quite likely that no prospect or customer reads your press releases as carefully as your competitors do. Press releases are helpful in understanding a company's strategic focus. Sometimes PRs show your competitors' customer count. The About section in a press release shows your competitor's strategic messaging. These two to five sentences are how your competitor wants their customers and prospects to perceive the company and its products.
There are various platforms available for PPC ads like Google, Yahoo, Bing and social media channels like Facebook. Choose wisely your platform and plan your ad campaign strategy, according to it. Google is the most effective and famous platform for PPC campaigns. Google Adwords is an advertising interface provided by Google, which is used to plan and publish Google ads. Similarly, Bing ads and Facebook ads provide all required interfaces for an effective PPC campaign.
1. More Powerful Personalization, Targeting and Campaign Analysis Capabilities: The capability for ever-more-specific PPC ad personalization and targeting (plus re-targeting) is available, but underused. You can, of course, target demographics and persona characteristics like age or income, customer type or purchase history/level (existing, repeat, prospect), sales funnel position, company role (for B2B ads) and more. Beyond these basics, you can now map the customer journey, learn how the visitor came to you and/or see much of the path taken to buy. This "attribution" insight can significantly improve the ROI of your 2018 campaigns; you'll see what's working and what isn't, for better PPC strategies.
Of course you don't have to achieve all of these things in the headline of the ad! In fact, in the case of sitelinks and ad extensions, that's not possible by definition. There are many parts to an ad that allow you to achieve all the above tips and still be highly relevant to what the person is searching for (the keyword!). Let's break down sections of ad copy that you can use to show off your small business and attract leads from PPC. These are the basic components of your ad copy in AdWords according to Google's length limits.
It's wonderful to deal with keywords that have 5,000 searches a day, or even 500 searches a day, but in reality, these popular search terms actually make up less than 30% of the searches performed on the web. The remaining 70% lie in what's called the "long tail" of search. The long tail contains hundreds of millions of unique searches that might be conducted a few times in any given day, but, when taken together, comprise the majority of the world's search volume.
People are no longer shocked to find elements of personalization embedded into various aspects of advertising, and in fact, have even come to expect it. Think about it this way: When it comes to marketing emails, which are you more likely to open and read—the one addressed to "Dear Customer" featuring generic copy on topics that aren't relevant to you? Or are you more likely to engage with the email addressed to your name that includes links to blog posts relevant to the industry you work in, as well as items you might like based on your previous purchases? That's right—you're going to open and read the email that's tailored to you.
Reason: When a visitor sticks around on your site for a minute or less, you can consider their stay to be negligible. When a visit exceeds that amount of time, the visitor has more potential for becoming a client and an increased chance of converting on your calls-to-action. If a visitor spends a considerable amount of time on your website, they are likely to come back or to take action on conversion areas you have included in your site (call-to-actions, downloads, contact forms, etc.).
More specifically, who gets to appear on the page is based on and advertiser's Ad Rank, a metric calculated by multiplying two key factors – CPC Bid (the highest amount an advertiser is willing to spend) and Quality Score (a value that takes into account your click-through rate, relevance, and landing page quality). This system allows winning advertisers to reach potential customers at a cost that fits their budget. It's essentially a kind of auction. The below infographic illustrates how this auction system works.
An effective GTM strategy requires a deep understanding of your ideal customer, market and competition, product offering and pricing, and channels necessary to reach your customers. Competitive analysis helps you understand market dynamics so you can find an optimal way to reach your target customers. Analyzing your market and competition also helps you determine how your company and your product fits in the current environment.
Yes, that sounds like it would be awesome. Another great update would be to add a script that populates the spreadsheet automatically from a file structure containing the downloads (organic KWs and Links) to save copying and pasting everything. I'm going to have a chat with a friend in the Analytics space to see if he can help. Will share any successful output.
This chapter discusses how to establish goals to measure the success of our campaign. These should be directly tied to the stated objectives, as well as being measureable and achievable. It is important to track as many actions, goals, and engagement data as possible. This is what really drives understanding and insight from your analytics data and will allow you to assess which campaigns are delivering the goods.
Strategy is more than a bundle of cultivated tactics. When we onboard a new client, we have a whole arsenal of tools to use and reports to run that help us understand the account better. It is easy for us to pat ourselves on the back and say "this is a good strategy for learning the account!" Pardon my language when I say: That ain't no heckin' strategy.
Still in the early phase of rollout, Store Visits is being added to the Adwords Estimated Conversion tool in order to track in-store visits directly from your AdWords account. According to a recent Google study, 32% of offline customers said that location-based search ads led them to visit a store or make a purchase. For businesses with physical stores, this tool could really help to show how your PPC ads are affecting your overall bottom line and marketing initiatives. To be eligible for the feature you must meet the following criteria:
Knowing your business' target audience and matching it up with where they live or work helps you find those who might be most interested in your product or service. For example, a ticket broker might want to advertise NCAA basketball tickets in the state of Kentucky and might think of using Kentucky basketball in its messaging. However, Louisville basketball would be preferable for any advertising within 50 miles of the city on the Kentucky side of the border and 70 miles into Indiana due to the strength of Louisville's fan base in those areas.
If you have and use a smartphone, it's possible for you to set location-based reminders for yourself, right now. You can, for example, tell your phone to alert you when you're within range of the frame shop, so that new piece of art doesn't become a six-month fixture in your trunk. Or, if you've attended a concert lately, and the band sends you a push notification to buy some gear while you're in the venue, they've likely used geofencing.
It's important to remember that online shoppers are humans, and to treat them as such. The examples below show two versions of the same ad for a fake cyber security business. While version A does provide potential customers with information about the company and the services it offers, it fails to address them as people or speak to the challenges or pain points they might be experiencing.
WebSite Auditor scans pages for code errors, duplicate content and other structure-related issues they may have. Other than that, there is this on-page optimization module, which allows determining the ideal keyword placement and researches page elements that can be optimized. In WebSite Auditor you can also analyze competitor's pages to compare of to improve own on-page strategy. There are actually more features, I just won't be listing all of them here. But this is the best solution with regard to on-page optimization I found so far.
However, if "cheap renters insurance" doesn't match your brand, then don't use a phrase with higher search volume just to get more traffic. You want to attract more qualified leads not just more traffic. If your page more accurately matches a searcher's intent, lower search volume could actually provide a higher number of qualified leads even though it may not generate as much overall traffic. In other words, if a keyword or search term doesn't match your brand standards, don't optimize for it, no matter how much traffic it could potentially drive.
If you're feeling overwhelmed, I've got some good news for you: you don't have to spend countless hours manually creating custom landing pages for every ad group. Instead, use dynamic text replacement. Dynamic text replacement allows you to replace certain areas of text with with specific keywords. For example, you could use dynamic text replacement to change the heading and CTA of a landing page to the specific keyword that a user searched for. That way, when they visit your landing page, it appears to be a completely personalized experience.
Finally, since the competitive environment is dynamic, the competitor's ability to react swiftly to change should be evaluated. Some firms have heavy momentum and may continue for many years in the same direction before adapting. Others are able to mobilize and adapt very quickly. Factors that slow a company down include low cash reserves, large investments in fixed assets, and an organizational structure that hinders quick action.
Then how can someone afford to pay $54.20 per click if it does not generate profit? The answer is simple: they are spending that money to build a brand and they are not focused on the profitability on that individual click; they are focused on profitability over time and they most likely have a budget assigned to building that brand. Not having to focus on achieving profit for individual click puts a company at a tremendous advantage for displaying their brand prominently in search results. It also makes it harder for profitability based marketers to compete.
Again, keyword strategy does not mean randomly sprinkling certain words throughout your website. In actuality, B2B marketing and SEO need a focused strategy to make a difference. The first step is identifying your optimization intent and tailoring it for B2B marketing and SEO. Next, create a keyword theme with specified long tail keywords and research them.
Pick your battles. Sometimes a keyword is so competitive, it's best to let it go. Focus on keywords where you have the most opportunity to move up in the ranks. Moving up from a ranking of 60 to 50 won't have much of an impact, but moving from a ranking of 15 to 8 pushes you from Page 2 to Page 1 of Google's search results, where you'll have a much better chance of being found.
Exhaustive – Your keyword research should include not only the most popular and frequently searched terms in your niche, but also to the long tail of search. Long-tail keywords are more specific and less common, but they add up to account for the majority of search-driven traffic. In addition, they are less competitive, and therefore less expensive.
Twitter is also a great place to get guidance about what's popular as it relates to your search terms. Just type a word or phrase into the search bar and see what trending topics come up. You can also use social media monitoring tools like Hootsuite, which allows you to create a stream based on a particular phrase and monitor mentions of it, or TweetReach, which gives you a similar quick analysis.
PPC-Strategies' expertise and knowledge of the search engine landscape can help you attract more qualified customers to your website...guaranteed. Whether you are new to online marketing or have already tried pay per click and other forms of promotion, our precision-crafted advertising strategies will improve your online visibility and customer engagement.
But consider this: only a lead who is in the early stages of researching a product or solution (aka not ready to convert) uses such general keywords in their search engine research, simply because they aren't yet educated enough about what they're looking for. Similar to a negative keyword strategy, bottom-of-the-funnel (BOFU) keywords can help you reach avoid the wrong leads. These keywords are ones that are more pricing and service-oriented, which will bring in consumers who have a higher potential of converting as a result of your PPC ads.
No matter how marketing-savvy your company may be, you can always learn more about your customers, especially when it comes to personalizing your advertising. That's where geotargeting can again be beneficial. The information received from geolocation can help a brand determine where a consumer is looking so it can better tailor events, products, and services to those consumer interests in the near future.
No matter how marketing-savvy your company may be, you can always learn more about your customers, especially when it comes to personalizing your advertising. That's where geotargeting can again be beneficial. The information received from geolocation can help a brand determine where a consumer is looking so it can better tailor events, products, and services to those consumer interests in the near future.
Tertiary Competition: This category includes businesses that are tangentially related to yours, and really comes in handy when you're looking to expand your product catalog. These could be related products and services that are trending, as well as businesses that may be beneficial to partner with further down the line. For instance, if you sell jewelry, a tertiary competitor may sell gems and stones.
Your CompetitorsYou probably see the owner of a rival organization at trade shows, association meetings, and perhaps even socially. You can garner a great deal of information through a simple, friendly conversation. People like to talk about themselves and share their success stories and concerns with business associates. Assign someone to check the competitions' Web sites regularly for pertinent changes and news. (And take a good look at your own: Do you say anything there that you'd just as soon not have your competitors see?)
Retargeting is a great way to close sales that you otherwise might've missed. A variety of ad platforms offer retargeting services, including Google and social media networks such as Facebook and LinkedIn (we previously wrote about LinkedIn's retargeting platform Lead Accelerator.) To learn more about retargeting and remarketing, read our post, Retargeting for Rookies: Your Guide to What it is and How to Use it.
Sales BrochuresSales brochures provide a wealth of product information. You can learn how your competitor is positioning their product and company and what features and benefits they're using to sell their product. Try to obtain all new sales brochures and literature your competitor publishes. Significant changes in the content will indicate that new strategies are being employed.
IT is more cost-effective to target already existing demand to increase your market share for more qualified leads. For more tips on how to prioritize your keyword strategy and your comprehensive search campaigns, check out Directive's Complete Guide to B2B Marketing and Demand Generation. And be sure to subscribe to our blog for weekly updates on the most innovative industry-leading tactics!
Your keyword strategy should make clear which "keyword groups" you focus on. It doesn't have to be a long list of keywords (though it doesn't hurt to have one). Your keyword strategy should be a definition of a group of keywords that you're tackling. Every time you're writing new content you can have a quick look at those groups and pick a new keyword that falls in line with the strategy.
Quality of linking root domains. Here is where we get to the quality of each site's LRDs. Using the same LRD data you exported from either Moz's OSE or Ahrefs, you can bucket each brand's LRDs by domain authority and count the total LRDs by DA. Log these into this third sheet, and you'll have a graph that illustrates their overall LRD quality (and will help you grade each domain).


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4 Ways to Find a Personal Gym Trainer
Hiring a personal gym trainer in Parkland can help you hit your fitness targets. Here are a few reminders to help you find the right one.
Make a list of your goal
What do you want to achieve? Do you want to lose weight? Or are you exercising because of doctor's orders? Do you have a medical condition? The right personal gym trainer in Parkland is someone who can help you achieve your goals. That means you need to identify those goals first before anything else, the Men's Health says.
Check credentials
Look at a trainer's credentials and experience. Do those qualifications check out? Do they inspire confidence in your trainer's ability to help you achieve your goals? Find someone who can provide you with the support you need. If you want to lift weights, find someone who's had experience in that area.
Think about your budget
Your gym affiliation, the location, and type of training you want to go for can affect the charges. Those with a long track record of proven results will also cost you more. But they may be an excellent option if you want to see results.
Look for a match
Still, while credentials, a track record and a big following are all good qualities to look for, there's always one thing you need to look for: is it a good match? Does your personality mesh well with your trainer's teaching style? Do you want someone who's going to go drill sergeant on you or someone who's like a friend? Which one do you think will be more effective on you, will drive you harder or succeed in motivating you to do more?
Take steps to work towards your health and fitness goals. Hire a professional trainer and get your fitness journey off to a terrific start.


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Monday, 29 January 2018
Dino Classic Track Meet Results
DINO CLASSIC TRACK MEET The Dino Classic was hosted by the University of Calgary on January 28th. Passtrak was well represented by 14 athletes who participated in 36 events during the one day competition. They produced 11 life time best performances, set 3 new Passtrak club records and earned 1 second and 4 third place finishes. Finley Wilmot and Carson Hay competed in the 10 and younger boys age group. Finley ran the 60 metres in 13.39 seconds for 25th place. Carson had 3 events. His 60 metre time was 13.02 seconds for 23rd place. He then ran the 150 metres in 33.83 seconds to finish in 17th. His final event was the 1000m. He crushed his previous best time by running 4:40.51 for 5th place. That was a 18 second personal improvement and it also broke the previous club record for his age group by 27 seconds. Devon MacGregor represented the club in the 11 year old girls events. She ran the fastest 60 metres of her life in 10.35 seconds for 6th place then completed the 150 metres in 26.11 seconds also for 6th place. Her final event was the 600 metres where her time of 2:16.58 earned her a 3rd place finish. Passtrak had 4 girls in the 12 year old division. Clara Websdale ran the 60 metres in 11.14 seconds for 16th and ran the 150 metres in 29.15 seconds for 18th. Her 3rd event was her best. She clipped 4 seconds off her previous best by clocking 2:31.59 in 6th place. Summer Musschoot ran her fastest 60 metres ever in 9.58 seconds for 4th place. Her 150 metre time was also a personal best of 23.96 seconds for 6th place. Her 3rd event was the 1000m where she finished in 3rd spot in 3:58.99. Avaya Ellis duplicated Summer's efforts. She ran a life time best of 9.78 seconds in the 60 metres for 7th then another life time best in the 150 metres for 7th place in 24.25 seconds. She finished the day in 5th place in the 1000 metres in a time of 4:09.64. Hayley Whidden ran the 60 metre and 150 metre races as well. She finished the 60 metres in 14th in 10.67 seconds and in 17th in the 150 metres by timing 27.91 seconds. These 4 girls then teamed up for the 4 x 200 metre relay where they placed 4th and carved 8 seconds from the previous Passtrak club record by finishing the race in 2:26.50. Sawyer Sawatzky and Edison Wilmot were in the 12 year old boys age group. In the 60 metres Edison finished 9th in 11.48 seconds and Sawyer was 5th in 10.27 seconds. In the 150 metres Edison ran 29.44 seconds for 7th while Sawyer clocked 25.98 for 4th. The 3rd event was the 1000m where Edison earned a 3rd place finish in 5:24.75 and Sawyer grabbed second place in 4:27.31. Jack Bailey was Passtrak's only 13 year old boy. His 60 metre time was 10.38 seconds for 15th. His 150 metre time was 26.83 seconds for 5th. In his 600 metres he chopped a whopping 18 seconds off his previous best time by finishing in 3rd place in 2:15.28. Two 14 year old girls were on Passtrak's list for this meet. Payton Bauer ran a personal best of 9.22 seconds in the 60 metres for 8th place. She then ran the 300 metres for the first time ever, finishing 10th in 54.41 seconds. Libbey Wilmot also ran a life time best in the 60 metres. She recorded 9.56 seconds for 10th. Next she ran the 60 metre hurdles for the first time ever in 12.07 seconds for 5th place. Carter Whidden ran 2 events in the 14 year old boys division. His 60 metre time was 9.04 seconds for 7th and his 300 metre time of 49.84 seconds placed him 5th. Craig Hay ran 1 event in the Masters 35 - 39 age group. He ran the fastest 60 metres of his life in 8.79 seconds which set a new Passtrak club record for his age group and placed him 6th in the event. Jack, Edison, Carson and Sawyer teamed up to run the 4 x 200 metre relay in The bantam boys event. They placed 5th in 2:34.51.
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Former Colombian minister to be arrested over scandal
16:41, July 22, 2011
Email | Print | Subscribe | Comments | Forum
Evidence showed that the former minister was using a governmental agriculture program as a source of funding for his presidential campaign.
Colombian Attorney General Viviane Morales announced the arrest, saying it was necessary to detain Arias to avoid an obstruction during the investigation. Reports showed that the former minister had already visited other suspects believed to be involved in the scandal in prison, trying to change their testimonies.
The attorney general barred Arias Tuesday from holding public office for 16 years.
The agriculture program, proposed and executed by Arias, was aimed at subsidizing poor farmers. However, a Colombian magazine reported that the subsidies went to the wealthiest families in the country instead.
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Death of FARC military commander increases Colombian president's approval rating
Colombian presidential election heads to second round on June 20
Tibet poised to embrace even brighter future, 60 years after peaceful liberation
Chinese official calls for more language, culture exchanges with foreign countries
Senior Chinese leader calls for efforts to develop new energy
Central gov't delegation arrives in Lhasa for Tibet Peaceful Liberation Celebrations
China Southern Airlines sends charter flight carrying peacekeepers to Liberia


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Marvel Welcomes Friendly Neighborhood Spider-Man
Spider-Man joins Marvel Studios as of February 9, 2015
February 10, 2015
Filed under Entertainment
Hang on for a minute...we're trying to find some more stories you might like.
Email This Story
Rumors have spread ever since the Sony emails leak about Spider-Man joining Marvel studios. Now, with a long term deal Marvel and Sony have agreed to let Marvel Studios make Spider-Man movies and include Spider-Man in (possibly) The Avengers and other Marvel movies.
However, Marvel will not use Andrew Garfield as Spider-Man and will instead use a different actor that has not been named yet. So far, Spider-Man has been confirmed to appear in Captain America: Civil War and Marvel has also shifted their release schedule to fit in a standalone Spider-Man movie. The new movies will still be creatively controlled by Sony Pictures but Marvel will now be able to use Spider-Man in the Marvel Cinematic Universe (MCU).
Sony will release its next installment of Spider-Man on July 28, 2017 while Captain America: Civil War is set to release on May 6, 2016. Nothing has been said on how Spider-Man will appear in the film but many Marvel and superhero fans are excited to see Spider-Man join Marvel Studios. It has not been confirmed if Spider-Man will join The Avengers films yet. Marvel will now be able to welcome their friendly neighborhood Spider-Man.
Hello, my name is Jack Densmore. If I had the ability to be Liam Neeson for a day I would. Not only has he trained Obi-Wan Kenobi, but also Batman. Also...


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In Need of Math Help
New member
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- Sep 19, 2006
- Messages
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My niece just sent me this problem and it is difficult for me to understand. Please show you work if you are able to help me because I must tell my niece how I got to this answer and show her how to do it. The question is-
Thank you so much for your help.The story goes that a young man away at college needed some extra cash. He sent his mother this plea. He wanted her to send the amont indicated by the following sum: SEND + MORE = MONEY Each letter stands for a different digit, 0 through 9. No two letters stand for the same digit. How much money did the young man want.


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Heads-up racing competitions at the Raptor Rally take place, and winners are awarded prizes, and more important, bragging
rights. Shown here is a well-built turbo Raptor.
Over 500 "mostly Raptor" riders from all over the country enjoy three days of dune riding, poker runs and beach rides. Men
and woman are seen here enjoying the event during one of the beach rides.


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Photoshop, Zweet en Passie. Bloemlezing uit werk van cursisten
composities, oefeningen en vrij werk van cursisten.
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Map & directions
11am to 4pm
Closed Mondays
What's On — Exhibitions
Connecting Threads
Fri 26 Apr – Sun 26 May
An exhibition by seven artists living and working in Argyll
The Royal Society of Painters in Watercolour - Exhibition launch
Sat 1 Jun
The Royal Society of Painters in Watercolour - 8th Summer Exhibition - Exhibition launch
RSW 8th Summer Exhibition
Sun 2 Jun – Sun 14 Jul
An exhibition by the Royal Scottish Society of Painters in Watercolours.
A Contested Land by Document Scotland - Exhibition launch
Thu 18 Jul
A contested Land - Exhibition launch
What's On — Music
Cowal Choral Club presents
Fri 31 May – Sat 1 JunTickets £10 (£1 for accompanied children) - available from the Burgh Hall Cafe.
An evening of choral music for the whole family.
Dunoon Scottish Music Workshop — 19th, 20th and 21st July 2019
Fri 19 JulWorkshop Places - £135.00
The Cowal Fiddle Workshop hosts this multi instrument workshop over three days.
What's Happening
Get the latest updates from Dunoon Burgh Hall on Facebook, Twitter, Instagram and YouTube.


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