Every one of these runs in-house

The whole process, from import to export. Cutting, trimming, audio, basic color, graphics, captions, delivery. You leave able to edit your own films.

For editors who already work fast and want to work faster. Storyboarding, pancake timelines, dynamic trimming, multicam, Productions, audio mixing, and the user errors that quietly cost you hours.

Text-based editing, Enhance Speech, Auto Ducking, Scene Edit Detection, Generative Extend, Auto Reframe, automatic captions. Everything Premiere can now do for you while you do something else.

Scopes, memory colors, primaries and secondaries, shot matching, masks and tracking, LUTs, legalizing, and presets that make grading fast enough to actually do on every job.

How After Effects is put together, and how to build simple animation, motion graphics and effects. Includes building your first Motion Graphics Template for Premiere.

Compositing that holds up: keying, edge and core mattes, light wrap, Content-Aware Fill, 2D and 3D tracking, and putting 3D text and objects into real footage.

For animation that comes out flat, stiff, or just missing something. The animation principles applied to motion graphics, keyframe interpolation and velocity, the Graph Editor, eye trace and where you send the viewer's attention, match cuts — and a motion strategy of your own, so everything the department makes moves the same way.

Day one is expressions with a lot of exercises. Day two is a workshop where you build your own motion graphics project. You leave with a project full of reusable expressions.

The whole path from vector artwork to a tested Lottie file: shape layers, supported features, Bodymovin and LottieFiles, and what silently does not survive the export.

We build your templates — intros, outros, lower thirds, backgrounds, charts — from your own logos, fonts and colors, as MOGRTs anyone in the team can use in Premiere.

How to shoot material that actually cuts together. Getting off auto: manual exposure, white balance, shutter and frame rate, lenses and depth of field, composition, axes and directions — plus microphone choice and placement, which is where most video is lost. We use your own cameras and microphones, because that is the kit you will be holding on Monday.

Light is what separates video that looks expensive from video that does not, and it costs less than a camera upgrade. Key, fill and back light and why those rules exist, hard and soft sources, shaping and negative fill, mixing daylight with your own fixtures, color temperature and how much of it survives the grade, interview setups that work in a cramped office, and lighting people with different skin tones well. We use the lamps you already own — including the ones you think are too cheap to bring.

Camera apps that give you manual control, external microphones, stabilizers and rigs, interview technique, vertical framing, editing on the phone, and captions for social. We use your phones and whatever accessories you already bought.

Planning, the first seconds, sequences, interview technique, B-roll, voice-over writing, and a fast rough cut with AI. Bring two or three of your own clips and get them picked apart.

Ask people what takes the longest and goes wrong most often, and most of them say the interviews. Planning, putting a nervous subject at ease, questions that actually produce answers, sound that survives the room, hiding the microphone, lighting — and then the edit: Frankenbiting, radio edits, anonymizing, mixing voices against music, and cutting short promo clips for social.

Fixing recordings made under real conditions: noise, room, clipping. EQ and compression, voice-over technique, remixing music to length, multitrack templates — and which microphone, in which position, would have stopped the problem before it started.

What the regulations actually require, and how to meet them without doubling your production time. Captions with AI, audio description, speech intelligibility, contrast and safe zones, sign language, publishing.

Shooting and cutting a finished piece on the phone, and moving it to the desktop when it needs finishing.

Archive strategy, moving a team off another editor and onto Premiere, getting a whole department to deliver the same look. If your team needs something that is not on this list, ask — most of the courses here started as somebody's odd request.