Adobe Premiere Pro: Next Level Effects | Jeff Napolitano | Skillshare

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Adobe Premiere Pro: Next Level Effects

teacher avatar Jeff Napolitano, Video Editor

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

16 Lessons (1h 49m)
    • 1. Premiere Pro Advanced Class Intro

    • 2. Matte Layers

    • 3. Transitions with Graphics

    • 4. Grunge Texture Layers

    • 5. Place Titles Behind a Subject

    • 6. Make an HBO TV Series Intro

    • 7. Audio Techniques

    • 8. Masking Cutouts

    • 9. Layering Photos and Video for TV Series

    • 10. How to Use Motion Graphics

    • 11. 4 Videos on Screen Effect

    • 12. Google Commercial Title Tips

    • 13. Groupon Key FX

    • 14. Jeep Commercial FX

    • 15. Chili's Commercial Text and Audio FX

    • 16. Greenscreen Yourself into an Airplane Cockpit

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About This Class

These are some advanced lessons if you've used Premiere Pro before, yet also not too difficult to do.

15 Lessons:

1. Animate Titles Behind a Subject

2. Discover Audio Tracks in Reality TV - The Bachelor

3. Make Paintbrush Swipe Effects Behind Titles 

4. Creative Title Effects 

5. Layering and Motion in HBO's True Detective Series Introduction

6. ABC TV Intro Layers with Photos and Stock Video Graphics - Deception

7. Cutting Out Video Subjects from Video - MLB

8. Making a Chase Scene by Yourself

9. Teleport Cloning with Cropping

10. Matte Layer Effects

11. Color and Scale 4 Videos on Screen at Once

12. Add in Texture Layers - Old Navy Retail Stores

13. Make Glowing Titles Work Like Stranger Things

14. Creative Transition FX

15. Place Yourself Inside an Airplane





The idea behind these lessons are to get you thinking creatively about things you can possibly do and how to accomplish what you need to get done. Meaning, you may not use a cutout effect for ESPN, but you may need to cut out video for an educational presentation. That's the basic idea here. 





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Jeff Napolitano

Video Editor


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1. Premiere Pro Advanced Class Intro: So I wanted to offer a class with some advanced lessons. They're short and to the point, but give you some ideas on how you can use some of these skills and strategies for your own videos. The first lesson I have shows you how to place titles behind a subject. So I give you this New York City, can download that. Now the second lesson is an HBO series for True Detective. I show you how they layer some of those things and add titles and use motion. The third lesson is Matt layers and I give you some of these transition effects. The next lesson is a grunge lesson for Old Navy. So sometimes you go into these retail stores and you see these texture layers. We also examined some audio techniques with the Bachelor. And I give you the principles and what's really happening with audio. The next lesson is I use graphics and transitions and show you how you can get some of these simple things inside Premiere using the essential graphics panel. If you're into sports, there's a masking cut out and shows you how to separate a subject in video and replaced. I also talk about how to layer different photos for a TV series, which was on ABC. We look at motion graphics and how those are used in creating. Also look at how to get four videos on the screen at one time. We look at a Google commercial and modify the text as it goes from left to right. Using the cropping tool, we look at a group on commercial and I use green to key out part of the video and make a title appear from the center. There's a couple of other things like a Jeep commercial, Achilles commercial. And the final project is how I put myself in a plane using some crazy cut out effects. All right, thanks for checking it out and let me know if you have any questions and I'll get back to you. 2. Matte Layers: So if you've ever heard the term map before, MAT t, These are some video files that I created and they're just black and white images and mostly squares and they animate from left to right or come onto the screen and disappear. And what you do is you place it over the video and then you key out the white really quickly. And you can change the color if you want to. It's just a quick way to add an effect or a transition to your video to just bring it to life. This is a real basic Matt. I'm just giving you this as an idea so you know what they are. To make this real quick, I'm going to grab some video footage here and scale it up. And I'm going to grab one of these mats. This one here is just a set of rectangles that go from left to right. So if I drag it over the video clip, then what I can do is I'll take out the white and you can trim off the bottom of the video so it matches. And then click on the mat and go to Effect Controls. And right under here, under the opacity, if you just select Multiply, it automatically takes out the white for you. And now as you roll from left to right, you can see that it adds a pretty cool effect. So I'm going to grab this compilation here of a lot of different squares. Then what I can do is if I place it over the video, maybe it's taking a little bit too long so I can increase the speed on it and use the bottom video to match the same length. Now what I want it to do is start from black and then the video will appear on the screen. So once I get the right speed and I can go to Effect Controls and apply that filter, multiply. And now we see it come on to the screen or come off the screen so you can reverse it if you want it reversed or leave it the way it is and it will do what it's doing. Let's say you don't like that black color in the background. So what you can do is grab color, replace, and select your target color and your replace color in for this all add the pink and then select solid colors in that box. Now we've added some color over the video and then also in between each square. So it's an interesting transition. And then if you wanted to scale that up, you could buy just going to scale and bringing it all the way up and off the screen. So if you want to change it to blue, you can just go back and select the replace color. And now it's blue. Now let's look at the other clip where we have two videos. We have one on the bottom and one on the top. And I just use the cropping effect to take off the top and bottom. So once we have those videos cropped halfway, we can place that Matt right above it and it gives us that in and out effect for each. Now I use something similar and I added pink to it for her YouTube channel. And what I did was it goes from left to right and I add the pink where I replaced the black. Now there is a little bit of a texture on there, so the pink doesn't come out all the way completely. But if you are going to create your own map than you'd be able to take out the solid colors. But still, It's a pretty interesting way to segue from one scene to the next. And then I have a title that follows the map. So these are some pretty cool mats that I've included in the class. And you can grab them as video files, drag them over your video, and just take out the white with that multiply effect. 3. Transitions with Graphics: Alright, so Adobe has some pretty cool transitions. They have their basic ones that are on the left side where the filters are. But there's another set of transitions that are a little more updated, that are sort of hidden because they're not on the default editing layout. So you have to go up here to Window and check Essential Graphics. And I've worked on Premiere for a long time and never even saw these two that didn't click the window. But so you have two options, My Templates and Adobe Stock. So I found these visual trends, they call it. And if you select this download cloud, it'll highlight that blue checkmark. And once that happens, you can drag it into the timeline. Now, it won't show up if you don't have your sequence timeline ready. So just drag a couple of videos in there and then it will easily lie on top of the other videos that you have. So what you can do is you see where these two videos come together. You have your cut there. All you do is place it so it's over both videos. So you want that transition to line up evenly right in the middle. So let me move my sequence timeline over just a bit to give me some more room and you can zoom in closer to get a little more control. But basically what you wanna do is if you go to the middle, you see all of the graphics should be covering both videos and that's where the transition takes place. So you want your cut from video one to video 2. You want it to happen right when all of those graphics are on the screen. Now the next thing you can do is if you roll over to Edit on the right side, you'll be able to change the colors so you have three basic colors there, and you can pick whatever color you want. And if you just roll over it, you can use that same transition with a lot of different colors and it will easily dress up your video and it's a little more creative and more updated to go along with what's trending right now. You also have some other transitions. This one is visual trends, silence and solitude is what it's called. And it gives you the option to make a title and make some adjustments and change the background and that kinda thing. So again, I'll remove the other one and if I just place it over the two videos, so you want those graphics to be on the screen and no video to be shown when they're fully on there and just place it. So it's half on 1.5 on the other. And that's another cool little transition that happens quickly. If you go over here to the text box, you can just highlight that and change it. That's not how you spell balloon, but it wasn't paying attention. So and then I'll just type in escape here. So hot air, Boulogne and escape. And then you can zoom in or out. You can change the position of it. And whether it's vertical or horizontal. And you can change the thickness on the misspelled type that I have there. Now something else that's pretty cool is you can take this transition and get several different looks with it by changing the colors. So let me put all of it on the screen here so I can see it. Now if you go to texture color to pick something darker and see it really brings out contrast out in the background. And I'll pick a different orange gold than even purple, violet. And really changes the look. So you can play around with it and check the different colors. And it's a nice transition that brings your video to life. 4. Grunge Texture Layers: All right. So if you've ever been to an Old Navy store, it's like a skate surf store and they have screens and their monitors that we'll be showing videos. So looking at these clips over here, you've got four or five main images. And then I have this texture file. If you ever type in texture on like a royalty free site, you'll get some really cool images. So there's either pictures of textures or there might be some video clips of different textures. So I have one here. And then I also have these dots that I'll show you. You can add a texture to your video clip. So you see here there's sort of this layer of haze, like looks like eight pieces that make a checkerboard. Then what I did was I exported that video and added a couple more effects. Then I use the Old Navy logo and keyed out the white and place that over the video. So looking at the different layers here, the top layers, remember, the camera's always looking from the top layer down. So whatever's on the top will block whatever is underneath it. So if I toggle that, I will take all of those off. And now you're looking at my main footage of my guy here on the red hat. And then I added this texture, which is a bunch of dots. And then I can scale it in or out, change the colors on it, and key out the white. And that's what I did here. So I added a color key to this top layer. First, let me show you what it is. So if I scale it up, you can see that it's just a bunch of dots. And you can add that scaling effect to make the dots bigger. I liked it smaller, so I replicated this eight times. But you can see even if you just do like a half screen, it's something that's pretty cool and I didn't make this up, I just copied it from somebody else who's doing it. And it's a way to dress up your video and do something that maybe other people don't know how to do. So under King and the effect filters, I just grab that color key filter and dragged it over to that layer. And then I use the Eyedropper and I took out the white and it allowed me to see through it. And if you take that color tolerance all the way up to 255, it'll take the white out. And let me blow it up here so you can see what I did. So if I just use the Eyedropper, hit the white and add that effect I had at toggled off. You can see that it will take out the white so you can see through it and then you can scale it down or scale it up. Now I did this to each individual layer. I use the scaling and motion, and I just copied it and pasted it and moved it over to make checker board effect with all eight layers. And I rotated a couple so the pattern had a variation. But you can scale in or out in this Uniform Scale button if you wanted to stretch it without it being a square, you'd have individual controls over the width and height. And so if you uncheck that box, you can stretch it. I kept the proportion the same, but that's what that does. And then the very top layer is the Old Navy logo. And I added a color key affect their same filter, the color key filter. And I just use the eyedropper tool and put it over the white and took out the color tolerance to take out the white. And so we're able to see through that. And if you wanted to take out the blue, then you would use the eyedropper to select the blue, take out the color tolerance for blue and you could invert it like that if you'd like that. Now, zooming in a little bit closer, if you take that slider and zoom in, what I did was I added a lot of jump cuts, so it's not continuous. I took out pieces of footage. So there's this jump. And so it's not one continuous video. So you see how those videos are cut into smaller pieces. It adds a little bit jumpy effect to it. Then another filter I added was the brightness and contrast. I push the contrast up. And then I also added this arithmetic filter. It's one of my favorite filters. So if you've watched any of the other classes, you see that I'm using it quite a bit. It's just a quick way to add some color without using like the color wheels and the Lumetri effects, you can get a little more flavor quickly. So you see here, I have this green and orange and pink. Look with this XOR operator, it's called, so the operation is XOR. There are other effects on their like, and you can add the red value, green value, and blue value to it. But as you move those values up or down, you can play around with it to get funky look. And I just, you know, use those and made that look there. So the other thing you can do is you can actually change the color while the video is playing if you add keyframes, so, you know about 1 second in, I have, you know, those values for red, green, and blue, but then I want to change them a second later. And when the video goes back to play, it will make the colors appear the way I program them at that point in time so you can have the colors changing. So I basically do this affect all the way through. So I have my jump cuts. The other thing I'll do is I'll take one individual section and I'll just use scaling and scale it up. So not only is it jumping because it's missing pieces of video in between, but it's also blowing it up for just a second. And it's just one more creative way to take existing video and get a little bit more out of it. The last thing I did was I wanted more control. And you can compress the video and flatten it as one final piece and bring it back into your projects so you can go to File Export Media and then just have that box checked so it'll bring it into your project bin. And then this second clip here in the timeline, I just grab it with all of those effects and it also when your computer starts to bog down, sometimes if you know you're finished, you can just compress that video file with all of the effects in there already and then start again, and it's a lot easier. Now what I did was I brought this paint grunge read motion. I, it's a texture file that I downloaded from a royalty free site. And I can bring that in over the video and bring the opacity handled down about halfway. And so now you have this motion and it's jumping around over the effects that I've already added. So the other thing you can do is bring it down or up and then use that XOR filter to change it to purple or blue or whatever color you like. And then when you watch the final video, you can see all of the effects there. So basically there's a handful of effects. I use the razor blade to jump cut. I use the XOR, which is the arithmetic filter. And then I added that dot layer and added some scaling. And that's pretty much it. 5. Place Titles Behind a Subject: All right, so we see a lot of these titles that are placed in the video that go behind a subject. And I have two video clips here. One is the deadlines and then the second one is traffic. And then also show you how to skew that title. So if you want to try this, I've attached the taxi cab footage and just go ahead and download that and see if you can create the same lesson that I did here. So if you drag in the New York City and then if you hold option down and then take the left button down on the mouse and just drag that video clip up two layers. You'll put the title in between. So then go to File New Legacy Title. There are other ways to make titles, but this is what I like. And you can stretch this window open. And once you do that, if you click this icon up above, it'll toggle back and forth between showing the video in the background. And if you type in traffic. For this, I'll just pick one of the defaults down below, scale it up, so it's a little bit bigger. And then use the pointer over here in position and read around the car or the tax again. Once you save it as traffic, you'll see it show up over here in your project bin. Grab that title and place it in between. And then what you'll do is click the top layer and grab this pen tool and outline around the taxicab. And you'll see how it cuts out the top video. Now it's difficult to see what that is because it has been duplicated. But what it's doing is it's cutting out the top layer video and the second layer is the title and that shows through. And remember the cameras looking from the top down. So like Photoshop for the programs, you have the layers in their stack from top to bottom. Then what you do is you can get a little bit more precise and follow the edge around the taxi cab. Now if I check the eye, I can toggle that base video out so I can see what I'm doing. And then zoom in to 200 percent and you can add a few more dots around that outline to get more precise around the contrast between the yellow and the black. Now there's also a feathering tool. And if you take out all of the feathering and just make it 0, then you get that hard edge. Sometimes it will be more useful to have the feathering, especially like on somebody's body where you don't see like the fabric is little bit more fuzzy and that can help you. But for here, it helps a little bit to just go down to 0 so you can see what the contrast is and then zoom in. Now the other tricky part of this video is you have cars that are moving. So the other video that I initially showed you with the girl, she's not moving much. But that's a lot easier to mask because she's not moving in this, you have to cut out the mask that you need to make keyframes for when the taxi moves. And so you have this. Mask, that's got a move. And you see, when I select the mask path, it will start adding keyframes for me. When I grab the Mask and then let go there, put a keyframe there for me, can manually do it. If you select the stopwatch right next to mask path. So now when we back up, if you want to get rid of that look of the mask path, just click on like something else, like opacity or something, and then it will disappear for the moment. But as long as we are selecting the mask path, then we'll see the blue outline. So now you get the idea of what's happening with the traffic title. Now something else I initially did was I made the traffic parallel park basically. And I used an effect which was based and 3D under the perspective folder. And you can swing it on the axis, forward or back, or tilted, left or right with the swivel tool. And you can also help it along by using the position and move the x, y coordinates to make it move faster from left to right. So first we'll add this swivel effect and we'll decide where that's going to be based on that marker, that vertical blue line. And you can move those keyframes if you want it to turn in a different spot. And that's really make the adjustment. And you can see where that mask layer is as I turn this. And so there will need to be an adjustment there, which we will go to in a sec here. So there's a gap there. And that's because the taxi is moving and we need to adjust that mask. So now we can move it at that point in the video, which you will create another keyframe for me. So see I have 123456 different keyframes. And you can spend a lot of time on this and you can get really close to the taxi cab and zoom in and put more dots around and play with the feathering until you think it's pretty close to perfect. A lot of the times when people see it for the first time, they won't notice all of the errors. But you definitely want to get as close as you can in. It just takes a little bit of patients. And you can go frame by frame where you can go 10 frames at a time when add in. Where do you think that mask should be at that time? So if you want to try this, I've attached the taxicab footage and just go ahead and download that and see if you can create the same lesson that I did here. 6. Make an HBO TV Series Intro: So this is the new introduction for True Detective, The one that just came out on HBO. And I was looking at this and I was noticing the different layers that they have. They have a texture layer. They also have title and another layer there with the crow and an image of the actress. So I created something similar. And there are 12345 different layers here you have the CRO, you have the girl in the foreground and a girl in the background. Now if I open this up, you'll be able to see each layer. And then in my project, then over here you can see all the different files that I used. So the first one on the top is the title. The second one is this grunge film look. Third one down is the crows. And fourth one is the image of the close-up of the girl. And the last one is a girl on the dock over the water. So to do this, I'll uncheck the top four layers. Remember the camera's always looking from the top down. If the opacity isn't see-through, then it's not going to show the ones underneath. So on my first video clip, what I did was I just added brightness and contrast, which is a filter you can find down below all those filter folders there. And then I change the scale a bit. So I added two key frames. One is it starts off at a 100 percent and then I take it up about nine more. Then I also adjust the brightness and contrast. You can add keyframes while you're watching this video so you can constantly change the color as it's moving. So for instance, I can grab the brightness and take it all the way up. And then in the same video clip it comes down so you can play with different effects there. Alright, so I'll remove those. You can always hit Command Z to go back and take those out. Now, unchecking this I in the second layer, let's look at the girl here now. I added black and white. So I went over here to Image control and I just grab that filter. I felt like there was too much color in that. So they have this washed outlook and so I added black and white. Now if I use this slider, I can open it up a little bit more on both the side and down below to lengthen it. And I added these keyframes. And so if the keyframe is all the way up to the top, then that means the entire video would be shown. And if it's down at the bottom, that means nothing will be shown. And looking at the third layer with the crows. Same thing. If the opacity layer is all the way down, then you won't be able to see any of that video. And if it's all the way up, then you would see all of it. So you can add those keyframes and play with the opacity levels to get the desired look. Now for this, this is a texture file. And what I did was I have a stock video clip of a film look. And I just downloaded that from a stock royalty-free stock site. Now I can export just one frame because I just want the picture. I don't want it moving. And now I've got this texture. So I can bring that in as the top layer and bring the opacity down about halfway. So I just get a little bit of that. So they have this glass texture in there clip. And I'm using something similar. Then if you come over here to perspective and add this 3D filter, you can turn it sideways. I'm going to scale it up a bit so that way it doesn't move off the screen. And then adds some three-dimension to the entire sequence. So I can add a key frame at the beginning, and then as I swivel it, I can increase that and add another keyframe at the end of the video. So you see it move just slightly. If there's too much texture, then you can grab that entire opacity layer handle and bring it down. And I haven't added any, I haven't added any keyframes yet, but now I'll add a couple. And I can increase the one in the middle so I get a variation of it's on the screen and it's off the screen. And I'll lengthen it so it matches the other clips. And I can add as many key frames as I want and have it go in and out as much as I want to. Again, the higher the key frame, the more that video would be shown. And the lower the keyframe, the more it would not be visible. Now I added some scaling to it. So you see it start and then move forward just a bit, usually 5%. So if I start at a 100, I might only take it up to a 105. And that would be enough just to show a little bit of movement. Now for this last one, I added this title. And you can also add this 3D perspective, basic 3D filter. And you can add a keyframe on that swivel portion and decide how much you want to swivel it. So they do it just a little bit, just barely, like maybe 10 percent or less. And it shows just a little bit of movement that's different than just a flat image. Now something else they did, they added spacing in between the letters. So what you can do is this font normally didn't have that space. So you can click in between each letter and hit the space bar once. The other thing you can do is if you don't like a full letter space, you can highlight the area between the two letters and you can pick your own space size by just adjusting the font. Alright, so that's pretty much the basics. And you can use this layering effect in any of your videos to make it a little more advanced. 7. Audio Techniques: So this is a clip of the reality show, The Bachelor, and you basically have three audio tracks. So what I've done here is I've named each one. So you have your main footage, that's your audio track 1, and then you have the interview footage which comes in off and on. And then you have audio track 3, which is the music track. So of the three tracks, I use this red circle just to let you know which one is the loudest and the other to come in and go out simultaneously. So let's watch this and I'll identify what's happening. And then when you watch it back, you can hopefully pay attention to the different audio layers and how many there are and what's coming in as the loudest and the quietest. Kaelyn and I just have this really good chemistry and I have this energy and this excitement that I can't contain Lopez, IDA. What we built today. I hope that we can carry it over into tonight. I'm looking forward to it and I think it's kinda be lazy. You get ready for a day or longer, forget. She said pretty again, imagine her being more glam. I know I am. I'm going to be like all go home now. Yeah. So the main track that you're hearing right now is the interview track. And you still have the main footage track and the music track. So now the main footage is taking precedence, but then it cuts back into the interview. So as you're listening to these audio tracks and if you were editing this, you would be going back and forth and using keyframes to fade them up or out. Now just the music track is playing. So the audio track 1 has the main footage and that is playing while you're looking at something else. Within this main footage, you have the girls talking and there may be different audio layers just in that footage. But for this, I'm just going to identify it as one track. Can even walk. She's like, Hey guys, it's like a ridiculous amount of bags. Again, never seen so many shopping bags in my life. Like, I don't even get them in your presence like on Christmas. Oh, my God. She's there with the bags a glowing like she's that we can't even stop laughing because she's just like so happy. And Murali. Wonderful. Yeah, I was like, I just did not feel real. We have a guy like pick us up in this Bentley and we went to this Singaporean designer. He was like whatever you want. So let me close it quickly. Where it's like, Oh my God, those are amazing. Now the interview truck comes in, but we still don't see the interview. Now we see the interview and the main footage shock is gone, but now the main footage shot comes back in and the interview track has gone. So right now there's two tracks on and the main footage just not on anymore. Someone that I'm dating now doing that someone knows, work. Fine. I am, I am so happy for helium. And then the music track will come in. The interview traffic slowly fades out. Alright, so now I want to show you how you can build this real quick with the three pieces that were mentioned before. So you've got your main footage and then you have an interview track, and then you also have a music track. So I grabbed a piece from the Bachelor show, which is one of the pieces that we were looking at in this, didn't have any music on it. So it was just the girls and they were talking and it didn't have an interview track either. First thing you wanna do is if you come over here to the keyframes, you can take the audio down on this. So it's just that we want to be able to hear the noise of the girls talking, but you won't be able to make out what they're saying. So if you grab the keyframe handle, you can add that keyframe for the second position. You can also see the decibel level. So the next thing I did is I grabbed this interview from the Bachelor and he's talking to other girls and he's outside. And what I'm gonna do is I'm going to unlink the video and audio. So if I right-click, then I can unlink it. And that will allow me to cut out sections of the video, but keep that interview in tact. So I'm going to cut out two sections and if I just use the razor blade and then take that section out, get ready for a day. I'll never forget. I know love is a two-way street. So I'm hoping we could use today, especially before hometowns, to be sure that if you are going to introduce me to your family, that you feel confident and where we're at. And then the last thing I'll do is I'll describe some dramatic music that I have and I'll add that into the third layer. So you see my three audio layers there. Get ready for Day or never forget. Know, love is a two-way street. So I'm hoping we could use today, especially before hometowns, to be sure that if you are going to introduce material family, that you feel confident and where we're at. And you can make some fine adjustments with the audio. And here's the final clip. Day and never forget, know love is a two-way street. So I'm hoping we could use today, especially before hometowns, to be sure that if you are going to introduce mature family, that you feel confident and where we're at. 8. Masking Cutouts: All right, so let's see what else we can do with these images. All right, I'm gonna go ahead and replace this color around the outside. I want to make it red and match the team color. So I'm gonna go to Image control over here and effects. And I'm going to select Color replace. I'm going to bring that filter over the image. All right, and then I'm going to select the target color, which is that green. And then I'm going to select the replacement color, which is red. And then if I select solid colors, I can use the similarity tool and bring it up to about 18. If I go back to the mask, I can adjust the expansion. If I want more red, I can expand it. All right, so let's do something else. Let's go to the beginning of the video. And I did something where he crashes into the wall and then I use reverse speed to make him come back right after he hits the wall. All right, So now he hits the wall and we're going to do that reverse effect. So I'm gonna go ahead and hit the razor blade tool where he hits the wall. Right? So I'm going to select video track two. I'm gonna go ahead and hit Command C to copy it, and then Command V to paste it on video track two. And then I'm going to right-click and select speed and then hit Reverse Speed. And then you see how he backs up. And so it's going in reverse. And I'm going to trim off the end a little bit by rolling over it. All right, so that's a quick way to do speed and reverse. Alright, now I'm going to apply the same principle. And I'm going to cut out a section of the video and I'm going to do reverse speed here. It's just a weird little effect that chops up the video and gives it a little more edge. And so I'm going to cut out just maybe a few frames, select it, and then reverse the speed. Alright, now let's go down a little bit and select another section of the video. Just cut out the beginning and the end. So we're just working on maybe 1 second here. And I want to change the color. So go to effects and the channel folder. There'll be a filter called arithmetic, and you can drag it over. And then select and, and use the red value to bring it up to 254, 255. All right, and I'm going to cut out another section of the video down a second or two. So I have the razor blade at the beginning and then go down a few frames and razor-blade at the end. And for this one I want to replicate the image. So I'm gonna go to the stylized folder and select the replicate filter. And now I can choose how many images I want on the screen. So I'm going to select two. So it's replicating it twice, which would give us four images. And I'm going to cut out another section a little ways down. And I'm going to replicate it, you know, a lot more. And you can see as you roll that number, you can. Have tons of images on the screen. So when it happens pretty quickly, It's interesting. All right, so for this, I want to, I'm going to take this last part of the video and I want to make it red. So I'm gonna go ahead and copy the other part of the video where we added red. And then I'm going to paste that attribute. So if I right-click and hit Copy, if I right-click and hit Paste Attributes, then I can select the attribute that I want to paste in there. And for this it's just the arithmetic, so I just check that box. Now what I wanna do is there's, this affects it almost looks like an old film. You take out every other frame. So to do that, you've got to zoom in all the way. And then we're just going to use the razor blade tool and take out every other frame. Now, once I've done that about ten times, I can highlight those frames, copy them. Select video track two over here, the blue toggle. And I can paste them in another part of the video. So that gives it a crazy look because you've got this one image on top that doesn't have a complete stream of video because it has the frames cut out. And then you have the other video underneath. And so if you do that, and it's a quick way to add a little chaos. Now something else that we see quite often. I think MTV was one of the first to use this, maybe 20 years ago, is this flash to white. So if you go back and grab that background that we created, just the BG title and bring it into the sequence, preferably where two videos meet or there's a, a razor blade line, place it there, and then use the opacity handles. You can fade in and fade out. If you have three opacity keyframes in there. And then that's a good way to add a flash. Once you have it the way you want it, then you can copy it and you can start pasting it. Parts of the video where two videos meat. And so it's a good transition and you see how it works. Alright, so now we're starting to see a lot of different effects that we've applied to this video. All right, let's see if we can add something else here to this part of the video. So highlight this section. And we're going to see if we can play around with the color and the back and the color of him. So grab this color pass tool under Image control. So you've got the image control folder and grab color pass and drag that over. And if you select the color red on his jersey and then roll over the similarity, you can see that it will block everything out except the red. Now something else you can do is if you select the green and bring the similarity up to about 15 or so, He's black and white over the color. It doesn't take out every single color. You could play with that a little bit more about when it happens quickly. It's pretty cool effect. And again, if you want it to be perfect on this, you could keep identifying the colors that are not being replaced and you can keep working on that by adding in that same effect over and over again until all of those colors are gone. But for the most part, that gets most of it. So I hope those were some interesting effects that you can use if you like those. Let's go ahead and move on to the next lesson. 9. Layering Photos and Video for TV Series: All right, let's take a look at deception. It's a new series out on ABC this week. And you can take the resolution down to half instead of full if it's already set that way. There are quite a few commands in this project file. So let's take a look at each layer, and basically this has several layers in it. So we'll toggle out on each one so we can see what's going on here. So the first one is Sundays at 1009 central than the ABC logo, than the playing card. The deception title, we have two layers of smoke, and then we have our main character, and then we have the white background title. All right, so let's go ahead and I will recreate this again in the same sequence timeline. Normally you would start a new sequence timeline, but I'm just going to do it right next to the original project. So the first one is the background and that is a white bg is what I titled it. And so if you were to recreate that, you would grab this square in the toddler and make that square and then just X out and then drag it over into your projects sequence timeline. Alright, now the next one is the blue smoke. So you should have been able to download that. It's just blew smoke. It's a stock clip. And I'll drag that over and cut off the end. And then what I wanna do is take out the background, the black color. So if I go over to effects, and then I find the folder under King, and then just grab color key. If I drag that to filter over. And then I go to Effect Controls. If I use that eyedropper and select that black color, it'll take the color out. Now you can toggle the color tolerance out and then feather out the edge until most of the black is gone. Now the next layer I want to bring in is my main character. Now this is a Photoshop file. It already has the background taken out for you. So if you drag that in, now there's nothing behind them already because it was done in Photoshop. All right, Now the next layer is the blue smoke again, but instead of just dragging it over and doing the commands all over again, I'm going to copy what I've already done and then I will paste it where the marker is. If I select video track for and uncheck video track 1, then I can place it there again. Now what I wanna do is I'll just scale it down and bring it down. And notice there are those hard edges there because the smoke runs off the frame. So if you go to Uniform Scale and uncheck that box, you can start playing with the perspective. And so what I'll do is I'll widen it a bit and lengthen the top and try to make it look a little bit different than what's in the back. So you can select what you want that to be. Now if you stretch it all the way out, you can get rid of those lines. But if you can't, what you can do is if you come over here to the Effect Controls under the Transform folder, you can grab crop. And if you select the top part, you can come down a bit to get rid of that line. And then if you go to edge feather, it will allow you to feather out the edge. Now since the smoke looks exactly like it does in the back because we duplicated it. I'm going to trim off the front part and trim off the back and move it over just because I don't want it to be exactly the same as the back, so you have enough footage there to do that. All right. Now the next thing I did was I created a title with the Adobe Tyler. I selected the dark metal font that was already in there because it was closely related to the ABC title. It's not exactly the same, but I added that and it gave me an option for linear gradient. So for this, I'll choose a different color just so we can see something different. But I selected the linear gradient and then I selected white and gray. And it's spread the two colors across the title. Now if I X out, it'll change that original title and put it back in the project bin and then I can drag it over. All right, the next layer I want to add is the playing card. So if you drag that over, you can place it on top on the next layer. And that had the background taken out as well in Photoshop. So you don't need to worry about keying out anything. And then I'll place the ABC logo on top. And I'll use position to place the logo over in the right-hand corner right now under Effect Controls just to get that out of the way. And my last title is Sundays at 1009 central. And that will be my last layer. Remember the camera's always looking from the top down. So the layer on top is going to be placed over everything underneath it. And if you don't like that title, you can choose a couple others in that title window. So here are the basics for putting it together. And on the next lesson we'll look at how to animate each peak. Now let's click on the deception title. And I want to use the x and y coordinates to bring it onto the screen. So the very beginning, I have that keyframe where I have it off the screen. And then the last part I want is I want it to slow down a little bit. So I have three keyframes and I can position them close or far away from my initial keyframe. And that tells me how fast or how slow it will come on the screen. So you can see there as I move that middle keyframe back, do we want it to come on quickly and then slow down, or do we want it to come on slowly? The next thing I wanna do is I want to crop out the letters as they arrive on the screen. So I'm going to add this cropping filter. So if I drag it over onto the title and then go to Effect Controls and move the play head into about the center. I'm going to toggle that stopwatch at 0 for the right. But when it comes in, I want it to be cropped out all the way. So I'm going to crop it all the way out to 81% or so. And now as it moves from 81 all the way back to 0, meaning 0 is no cropping at all. Now it crops each letter. Now let's go ahead and scale and animate this playing card. So let's scale it down to about 23 percent or so. And at the very beginning I'll add a keyframe there for the position and also the scale. And by the time it gets to about the middle of the video, I want it to be closer to the foreground. So I'll go ahead and scale it up. And then by the time the video ends, it goes back towards his hand. And if I want it to stay in the foreground for a little bit longer than I'll hold those positions and extended. So keep the same position and the same scaling. Now for a pretty cool effect, if you go over here, under effects into the Distort folder. You can grab a corner pin if you place that filter over the playing card. The next thing you can do is if you go to upper left, you can adjust the corner pin to go left or right. And what that does is it skews the perspective, which makes it more three-dimensional. So now we see it bend a little bit. And as we make our adjustments for each, it will add the keyframe for us. Or we can make our own keyframes by toggling in that key frame point. All right, and for the next one, what I wanna do is I want my actor to just fade away in the background a little bit. So I'll start him at a higher scale and then scale him down just a little bit. And I'll put that key frame at the end of the video. So he's constantly moving the entire time and we don't want to move it too much, we just want a slow, steady pace. And if you wanted to add one more piece of animation there, you could do it to the ABC logo. And what you would do is just lock in the scale and position where it is right now. And also the rotation keyframe. Now if I drag it off the screen by placing a key frame towards the beginning of the video. I'm going to use the rotation tool to just rotate it around a couple times. So I'll use the rotation number and I'll keep it at 0. But then at the very beginning I'll rotate it around twice and it puts the keyframe in there for me. But now as it comes into the screen, it rolls. And now as we watch it again, we can see it has each animation layer programmed. And there we have it. Now I hope you were able to learn from this and I'll see you in the next one. 10. How to Use Motion Graphics: So for this motion graphic, you can take out the green. It was motion graphics circles green. And if you drag that over your video clip, you can go over to effects and go to keying, and then just take the color key tool and go to Effect Controls and use the eyedropper and select that green color. And then if you take out the tolerance, it will show the video in the back. And as you play this motion graphic, it's sort of a cool and fun way to transition from one scene to the next. That's a way to use this as a transition. So I wanted to show you how I made a new title and place it over one of the motion backgrounds. So these motion backgrounds are pretty abstract and do their thing, but they really are advantageous when you add a title over the top. So for this, I just want to New Legacy Title and I created a couple of circles there and then type the title in the middle. And if I drag that over, I can also add some animation. If I cut it into three pieces and then scale it down or for each piece. And so that's what I did here. And so this is a great way to segue from one video clip to the next in your YouTube channel. And then you can add like a 5 second audio clip with some music or something. So, all right, so that's how we do that. And then now let's go into the actual creation of the motion graphics in case you wanted to change them or see how I made them from scratch. All right, so I wanted to show you how I created these motion graphics from scratch. And the way I did it was I used the legacy Tyler. So if you go to File New Legacy Title, you can see created. So let's look at the layers for this first one that I have. So if I toggle out each layer, you can see I've got the background there, then I have the rectangle and then the lines, and another rectangle and other set of lines. And I just moved them from right to left. So here's the rectangle and you can see I just drag that and it has a linear gradient look to it. So it has a couple of different colors there. And I did the same thing with the white rectangle. And then what I did is I just added these keyframes and program the motion with the x and y-coordinates. So they just move from left to right. And then once I added all of the motions with the keyframes, what I did was I exported this as a video clip. So I went to File Export Media and then for this I just titled this one motion graphics sample. And then I exported it. And then once I export this as a video clip, I can do more things to it. So this is where I was able to add other filters and other motion and things like that. So I've got my basic rectangles, which are just a few layers there. So now that I've compressed that file, I bring it over and it's in my sequence timeline. And now I can add some other things to it. So what I wanna do is add this filter, which is the arithmetic filter under channel. And I can change the color of it now. And if I have this setting XOR, it adds a little more vibrancy to the colors. And so this is where you can take the basic rectangles and turn it into something crazy. So if I bring in the red value or the blue value or green value, you see how it changes dramatically. And then I would just export that as another video clip. Now something else I did is I grabbed this Color Emboss filter under the stylized folder. And if I start moving these numbers around for direction and relief, it starts adding some crazy effects to it. And then the other thing I did was I used scaling and positioning to rotate it and zoom in on it. And so that gives me some different looks. And the last thing I did is once I had those motion graphics, I was able to use the cropping tool. And I trimmed off the left and right and placed it over a white background. And that gave me another interesting look. So if you grab the crop filter, you can take off the left and right and decide how wide you want these to be. And then I used motion to move them left or right. And the last thing I did was I placed a title in there and I placed it right behind these. So as these move left and right, they reveal the title behind it. So that's another creative way to dress up your videos. 11. 4 Videos on Screen Effect: For this lesson, I wanted to be able to show you how to take four video clips, change the color, you scale in motion to put them all on the screen at the same time. And then take a title and use motion to have that come in over the center. So you have four video clips. You've got Radio City Hall, you have Subway outside, you have the interior subway. And then the girl walking down the escalator. So I have 1, 2, 3, 4, 5 different layers. So remember the cameras looking from the top down. So whatever's on the top will show first. And so my title on the top there is the New York City. Now, let's untangle those. So I'll select the eye and just cross that out. So that way I can only see the base layer and that's the girl on the escalator. And what I did was I scaled that down to 56 and I used motion to bring it over to the right-hand corner. The other thing I did was I used this arithmetic filter. So if you're in Effects, you can go to Channel and then grab the first one, which is arithmetic. This is a quick way to change the color. And you have that operator up there which is selected as and. And you can increase the red value, green value, blue value individually or altogether to get the color that you want. So it's a really quick weighted. Change the color. If you wanted to get a little more crazy, you could change it to XOR and change the values and it does it to each individual piece, which gives you some really crazy looks. But for this, I'll take the blue value at 255 or 250 and the green at 255 to get that TO look. Now moving on to the next layer, I've got the subway, their interior shot. I want to change that to black and white. It's a really cool looking shot and has different colors there. But just for the sake of the lesson, I'm going to make it black and white. So again, I go to Effects. Image control is the folder and I grab the black and white filter and drag it over. Now for this, I'll scale it down using motion. So I bring it down to 55. Now moving on to my next video. In the next layer up, I've got Radio City. And I can use scale in motion to move it right or left. And I'll scale it down to about 27 or so. And my last video is the subway. I'll move that over to the right. And you do have some other color correction options. For this one, I added Lumetri just to give you another option for changing the color. This one takes a little bit longer, but may give you a little more control. You can highlight the shadows, the mid tones, work with the highlights and pick the colors that you want for each color wheel. Now my last layer is my title. So if you wanted to make a title, you would just go File New Legacy Title. And I created a rectangle and colored it gray. And if I wanted to match the color, I would use the eyedropper. And then I select the T and type in New York City. The font that I selected for this was a body. And if I grab the selection tool, I can bring it down. And I can change the color if I want to make a difference to. So you can see something else. And you have two layers there in the title. So one is in the front, ones behind, and you can arrange those front-to-back if you had different layers that you want it to move. Now for centering, you could center it right and left or vertically. And that's how I did that for this. We'll take those off and I'll leave the title that was already created. And I'll use motion to bring it onto the screen. So what I do is it's already centered. So I'll start and work backwards. So I like where it is. Then I'll use my key frame for my destination and then I'll work backwards and pull it off the screen. And I'll use that keyframe and bring it all the way at the beginning. And now, when it's done, it finishes where it's supposed to be. If it moves too fast, then I can take that second keyframe and extended out. So it lands a little bit later on. Now this is something that's a little beneficial, is right over here. You see it says fit. If you select that, you can zoom in. Really get precise where these videos end up with their edges and corners and things. So I'm at 200 percent. Then you can also use this slider on the right and left to position your canvas. Now, you'll look like those videos were appropriately placed, but they were off a little bit. So by zooming in, I can go back to my sequence timeline and select each video, and then go to the scaling and motion and either zoom in or out or move to the right and left x and y coordinates until I get the video exactly where I want it to be. So now I've got my design of my videos and they have different colors, and I've got my title up at the top. So one last thing is notice the position of when the video starts. So I have these all come on the screen at different times. So you see it's staggered almost like a staircase. So the first one comes on and then the second one comes on and maybe a second later. And I do that and I repeat it. So it gives you a little more interesting look. Now to wrap up the video, I'll pull each clip off. So I'll select each one and use the motion to pull it off. And it will create a second keyframe for me. And I'll pull 1234. And then now when I use the marker, you can see how each one comes off and you can play with the timing. Maybe you want them to come off at different times. For this, I selected the same marker time for each. And I'll use the motion for the title. Take it up vertically this time instead of coming in from left to right. And there you have it. 12. Google Commercial Title Tips: All right, so let's go ahead and look at this Google commercial. And we're just going to work on this tidal effect that they have in their search bar. And there's one particular spot in the video that is the most complicated. So we'll do that. It starts right here. How to be a strong woman? Now if we go back and look at this frame by frame, it'll give us a better idea what's happening. So you can see the cursor. And the first three words get typed and then it goes letter by letter here as TRO and G, woman. And then the cursor blinks. Now to do that, I am going to take a still frame of this Google search bar. So go ahead and hit this camera icon and type in Google Window. And then if you select this import into project, it'll export that frame and put it right in your project window. All right, so now we have that image and go ahead and drag it over into your sequence timeline. Alright, let's go back to the sample here. Now I've already created these titles to save a little time. Also you can toggle and down here at the bottom if you want to see the images are just go line by line. But here's my title that I created. And I use Arial for the font. It's pretty close if you want to type it in again. So I'll drag that title over that you'll need to create. And it's how to be a strong woman. It's right inside the search box. Okay. And then the other title that I created was just a straight line. And that's right on your keyboard up at the top, just under the delete button. Now I can bring that in right above the how to be a strong woman title and I can toggle it off. Now what I want to do is I'm going to bring in this cropping tool that will give us the effect. I'm going to go over to effects and choose the Transform folder and select the crop tool. And just drag that over into the how to be a strong woman title. All right, now what I wanna do is now that I have this cropping tool. All right, so if I go to Effect Controls and I see my crop filter that I've added. I'm going to go to the right. I'm going to go to the right side. And I'm going to crop out everything except the word how? So I'll stop right there at about 83%. And then at that point in the video, I'm going to add a keyframe. Now as I move the marker up, about every few frames or so, I'm going to start cropping out each letter. All right, so I'm going to go with two and it puts a keyframe right there at 79%. All right, I'll move it forward a little bit more. And then now I want to take it at 69% right after the word bee. And I'll move the marker forward again a few frames and then crop that back to 65 percent. Now this strong word will go letter by letter because that's what they did. So take that at 61. Now notice it's right in between S and T. So I've gotta get really specific. So I'm going to type in 60.7. I'm going to try to guess here. 61.2. All right, that'll do it right in between. And then we move the marker a little bit further. And right after the T and type in 59 and a 59.55 and add a keyframe there. And for the R 57.7 and move the marker a little bit further after the G, 48.7. And then after a woman will do 23.7. So now when we watch it back, we can see how they did it, right? And you can zoom in here. If you want to adjust these keyframes. Now let's see if we can make the adjustment on the cursor. So I'm going to use position and I'm going to bring it over right after the w. I'm at 847, 533 for the x and y-coordinate. Now, what we'll need to do is take out some of the video because it blinks. Alright? So you can see that if it's not there, then it's blinking. All right, so let's move to the position of the cursor. As we're typing. We're just going to follow the letters. All right, so we want to be in front of it. So I'll put it at 1957. As we move down the video, we'll just position it in front of the letters and then add that keyframe. All right? So as long as we stay in front of it, notice as I move each position, it will add a keyframe for me. All right, so we'll add a keyframe for each letter and get to the end of woman. And then now when we watch it back in real time, we can see that the effect has been placed. 13. Groupon Key FX: All right, so this was a group on commercial that just played in the recent Super Bowl. And we're just going to look at the title to see how it comes in. And then we're going to look at this green graphic that starts behind the title and then comes in and over the last part of the video. So we'll use a clip from the video that's right before this in the background. But what you're going to do is you're going to create this other file which uses a green layer in the title window. And then we'll create the font. And this green layer acts as a mask. And we'll need to create a compressed file using these two tidal pieces, the green layer and also the Groupon title. And then what we'll do is we'll bring that in and we'll key out the green and the black as it's created in the compressed file. And then for this last part, this green square comes in behind the title. And then we adjust the opacity level so we can see through it. And then we'll blur out the background using an effect. 14. Jeep Commercial FX: So let's go ahead and get started now. I'm just going to bring this video clip, the last four seconds or so into my timeline. So if you use the marker in point, it'll highlight that area grain. You can drag it in here. So let's slow it down a little bit and look to see what they did. So we've got the Jeep logo and then the next frame, it moves closer and closer than they cut it off. And then there's a couple logos, one on top of the other and then it duplicates itself and that kinda thing, and there's a little color added. Now I'm not gonna go through every single image. I'm going to go through maybe four or five steps. And with that, you'll get the hang of it. And I'll add another filter effect that I thought was pretty cool that they didn't use. Now, what's cool about this is if you go over to this camera icon, you can click it and it will export wherever the marker is in your sequence timeline, it will export that as an image. So we're going to do that with this Jeep logo. So if you're all the marker over this Jeep logo and then hit this camera, you can rename your file and it will export it for you. And once you export it, you can drag it in and now have this image. So I labeled it Jeep pick. And so if you drag that in, now will be able to cut this picture up. And the reason we have it as a pictures because the videos constantly moving, we just need that logo so we can start adding effects to it. So what we're gonna do with this Jeep pictures, I want to use the razor blade tool, want to cut it into maybe ten sections. So just take the razor blade tool and about every 20 or 30 frames or so, go ahead and make a cut. And what that does is it allows us to access each part of that picture so we can add an effect to it. Now click over to the second clip and then go over to Effect Controls. And you'll be able to adjust where it is. So there's our first effect. All they did was just zoom in a little bit and move it down. So we've got our first second frames right there. So that's the original video. First, second, first, second. And let's go back to see what we did. So we have our first second. So it's not going to be exactly the same, but you get the idea. So all they did was have two images there, 1212. All right. Now let's go to our third image and see if we can add an effect there. So they have 123. So the third image is over to the right, and that GB is a registered trademark, is now flipped up to the top. And it looks like they added a little color there. So I'm going to use Effect Controls again, I'm going to use motion, and I'm going to use scaling to make it a little bit bigger. And also the position is going to be, I have this at 938611. So I move it down. Now. I'm going to add this effect. So you're gonna go to effects and then channel and arithmetic and grab that over. And then it gives you some options here you can play around with this. For this I selected and, and now I can adjust the red, green, and blue value until I get that color that I like. All right, so I've got roughly 163 on red and 255 on green and blue. And that gives me something similar to what they had. All right, so I've got 1, 2, and 3. Now the next thing I wanna do is I want to copy this, the one I just created and I want to paste it again on the next video track. So I can toggle video track 3. So to copy and paste, you can just use the keyboard and hit Control C or Command C, and then select the track where you want to place it with that blue toggle and then hit control V and then paste it on video track three. And now I've got this second image, which is the same over the first image that we've already altered. So I want it to look like this with GPS, a registered trademark. And so I've got this second image there. All right, so I'm going to copy and paste a third image. So hit Command C and then Command V. And the video will be pasted into the layer that's identified. And it will show up where the marker is. And I'm going to go over here to Video Effects and transform and crop, and bring the crop tool over to the top. I'm going to make it a different color just so I can see the difference between image one and image two because they're exactly the same. And then I'm going to bring it down and then make a different color. And now I can see I'm going to roll over this. I'm going to crop out the bottom and crop out the top, and crop out the left, and crop out the right. So now we have that small e, and then I can place that e in there. We'll take a little bit more off and then change the color back closer to blue. And I'm going to add this other little effect here which is caution blur. And I can blur this just a little bit. It's kind of a nice effect. I don't know if they had blurry, but I'm just giving you some options. All right, so we have 1, 2, and 3. And we go back to the original and they have 123. Now, number 4, they've cut off the last letter. And let's see what we can do. So let's scale it up. Now. How can we take off the last letter? We're gonna go to effects and transform and grab that crop tool, drag it over, and we're going to crop out the right side. All right, so there we have it. Now I'm going to add that channel arithmetic filter. And I'm going to select, and I'm going to change the color. All right, So it has fainted blue in there. So you can see how it starts to come together here. So that's basically what they did is they just had several images and they cropped it out and added color and positioned it, or had them overlap. And then compress the file. Let's go to our fifth image. So we can see they have two images here, and it's a lot larger. So let's go ahead and scale it way up. And we need a second image. So I'm going to right-click and copy, and then I'm going to paste it by checking that V3. So hit Command C and then Command V. And the video will be pasted into the layer that's identified and it will show up where the marker is. I'm going to move it over so I can see the two because I've got two of the exact same images. So I need to move one over. And now if I crop the top, by adding that cropping tool, I can crop it. And then now I can scale it in or out. And now we have something similar to what they had. And let's go to Channel and then arithmetic. Drag that over and let's see if we can change the color. So I'm going to select and, and adjust the color again. So it gives you some options on how to change colors. And if you don't like the color that they selected, you can also pick something else. Alright, so that's pretty close. Like I said, it wasn't going to be exact. I was just trying to give you an idea. 15. Chili's Commercial Text and Audio FX: All right, so let's take a look at this. Just bring in the Chile's folder. And it's going to ask if you want to merge all the layers, just hit Okay, on every single one of them. And the reason is because there are some Photoshop files and they have different layers there. All right, So this commercial has been stripped out for you, so you'll be able to create the whole thing. But before we do that, let's go ahead and take a look at what we're going to make. So you have mostly titles and images of the different dishes. And this can be a really time-consuming project, but I'm going to consolidate everything and show you how they do, what they do. And we'll go through maybe three portions of the video and then the rest of it. You'll have all the skills that you need and you can complete this for your demo reel if you want to. But I'm not gonna go through every single detail all the way through because it repeats itself. So the first thing that we're going to do is we're just going to break it up by section. So go ahead and bring in the Chile's yellow layer. So they use three different colors, the yellow, the green, and the red. Alright, so go ahead and bring that in and looking at this original commercial, they have that first yellow layer come in for 1 second 8 frames. So I'm gonna go ahead and trim that back to 1 second 8 frames. Then they have the Chile's logo. So we'll bring that in. Just drag that chilies logo PSD file onto the next track above. And then we will scale it down and we're not going to worry about the details right now. I just want to put this whole thing together. Alright, so let's click to the next section in the commercial, and that's at 1 second, 9 frames to two seconds, 13 frames roughly. And I want to go ahead and bring in the green layer. So I'll bring that in and then we'll trim that down to size right at two seconds and 13 frames. And now we have Section 1 and Section 2. Now for this one, go ahead and bring in platter one for Hikida as a PSD Photoshop file, and place it above. And it's a little large, so let's scale it down so you can go to Effect Controls and scale it down to about 69 or so. All right, and let's go to the next color. And so we're looking at two seconds, 14 frames to three seconds, nine frames. And I'll use my in and out point just to mark it on my source clip. And go ahead and bring in the Chili's Red layer. And then we'll trim off the edge to three seconds, nine frames, and bring in platter to chicken and steak. And bring that in on the video track above. And scale that down. It's a little big, so maybe 67. And looking at the next section, they're going back to yellow. So they have this pattern here. So bring in the Chile's yellow layer again and trim that off to four seconds 15 frames. And moving forward to four seconds, 16 frames on the source, we've got green again and then red. So you can kinda see how this pattern is being put together. Alright, and we'll trim that back to 5 second 16 frames. And then we'll bring in the platter three less. Now what they do is they cut from the platter 32 platter for and platter for has more food on it. And so it goes from one to the next. We will have to make some adjustments here because the image is off a little bit. So we'll use scale and position to do that. But again, I'm not going to get into the fine, fine details. I just want to basically put the whole thing together as a rough cut. But to get it pretty close, we can use Effect Controls. Scale it down to about 67. And to get a little bit closer, if you want to bring up the platter for more above the platter, three will be able to see them over each other and you can use position and scale to get them really close. So basically there's less food and the plate and then more food on the plate. They need to be in the exact same spot in order to show that animation working. All right, let's go to the next clip, which is going to be our red background. And that goes all the way up to six seconds, 17 frames. And we'll bring in red. And we'll turn off the edge to the same time code, six seconds, 17 frames. Now the next clip is going to be green. So we bring that in seven seconds, 14 frames, and use the mark in tool to highlight the next area. I'm gonna go 715 all the way to 821. Bring in Chile's yellow layer, trim that off to 820. And Mark in in the Chile's green layer. I'll take it down to 11, 24. And let's look at the next one. Chile's yellow, bringing the Chile's yellow layer for the last clip. So the entire commercial is 15 seconds long. So I'm going to put this right at 15. I have it at 15 seconds in one frame. So that gives us an idea of how long the commercial is. Now let's go ahead and place the food on the green layer. So we have platter 5 all. So you can bring that over and use Effect Controls and scale it down to about 70. And for the last one they use the same image. So grab platter for more and place that there. And the last thing we wanna do is add that chilies logo and we'll position it using Effect Controls. So scale it down to 41 and use the x and y coordinates to just put it over on the right, right now, we'll get to the fine details in the end here. Alright, so we have our rough commercial and then we'll start working on the titles on the next lesson. 16. Greenscreen Yourself into an Airplane Cockpit: There are a lot of different layers in here. So you have this original shot, which was just the interior of an airplane. And then I cut apart the two seats, and then these are individual green screen files. And then this back here is ah, video layer. Just stock footage of an airplane on a runway. No, Billy, make sure it's a neutral and in turn, the key. I know. Gosh, all these lights, every single one of them, they only need something I know. What's that do over there? See if there to steering? Well, there. But if you look to left that probably that might do something. The wheels or the wing. I told you, no, get out of there. So let's grab this layer to okay and bring it into the sequence. Okay? And right here I have this selected as fit. It will fit it onto the screen. If you have it selected on 50 or 75 or 25 you might think about changing it over to fit, just so you could see what's what's going on. And it matches what I have. All right. Now, um, I'm gonna lengthen this out a little bit. Okay, so I have more room to work. So I just rolled over the edge and grabbed it and lengthened it. Teoh about 26 to 30 seconds or so. Ok, now let's grab the character on the left. All right, so DSC 0 38 and let's see if we can grab him. Okay, so it starts about right here. So we're at 26 seconds. So let's have our mark in point. And then let's take him out about 10 seconds or so. Mark out point and grab him and place him on. The timeline will position him on the right track asses. We build this out. All right, So what we want to do is we want to take the green out. So let's go to effects and let's go to video effects. And then we're gonna key out the green. So let's go to key and then color key. All right, So grab color key, bring it over. And then now let's go To effect controls, make sure this is highlighted and grab the eyedropper tool and grab some green, preferably in this area right here. And start taking out the green with the color tolerance. Okay, so we do as much as we can until it starts taking away from the subject. All right, so the green is decent, but there's a couple shades there, so we may have to apply another color to get the rest of that out. OK, but that gives us an idea of what we're doing here, so that that gets most of it. I'm at 96 now. I want to add one more color key because I want to get this green now. My arm casted a shadow, cast a shadow on the green, so it's a little bit darker in there. So let's grab the color key one more time and take the eyedropper tool and just grab that dark green part and take out the color tolerance. Notice the difference in the two colors. It's hard to see that when you're looking at the complete canvas, but when you're looking here, you can see the difference in the two colors. So I've got that selected. Let's take out the tolerance, and it should get most of it starts taken away from the feet, so what I'm gonna have to do is probably take one more. So let's go up to 30 on that and do one more color key to get the darkest green out. Okay, grab the eye dropper. Grab this other color of green. So see, there's three different. Actually, this is the darkest, but let's let's grab that last one. Take out the tolerance and now we've got we've got it. It's starting to take a little bit off the underwear so we can figure out where that came out, like the original 1 97 So maybe back to 88 now. Something else you can do to get those fine edge is cleared up is you can thin out the edge so you can see here takes that one last piece of green. So I take it toe one, and then you can feather it if needed just a little bit. All right, so that looks pretty good. I'm pretty happy with that. And then you can also, when we add the black and white, it's going to take out any imperfections. But for the most part, I think we got most of the green out with three color keys, a little bit of thinning and feathering, and we didn't have to do anything on the other colors. All right, Now we need to scale him, so he's in the right position. So I want to go to motion, and I want to scale him down just a little bit. All right? So maybe about right there, and we're gonna put him in this front seat, so let's move him over. So grab that X coordinate. Roll over that. I'm at 9 60 right now. But if we go all the way over okay, then we can put him right there. Now what I did was I wanted him to line up with the buttons on the cockpit area. So I That's what I used for my reference. Okay, so there. Now he is in the cockpit. Now, let's see if we can cover this part up with seat. So let's go back to the project down here. Airplane interior. All right. And let's see which one was the seat. OK, so we have layer three. I'm gonna grab layer three. I'm gonna put it over this guy. Remember, the viewer is going to always look from the top down. OK, so there we've placed him in, so we've got this layer on the seat. He's underneath. And you have this in the background so you can see that on your timeline. 12 and three. So it's viewing in this in that order, so I'm going to extend this out because I want them all to be the same, and I'm gonna extend this out, All right? So just a little bit cleaner on my timeline. Okay? Now, let's see if we can add this other character, which, in the movie that I made it was he was the life coach. So let's see which one that is. That is, uh, looks like DSC 0041 Okay, so and then he's sitting down in here. So I have been pointing and talking, So I'm gonna grab him about 11 seconds or so. Maybe about 10 seconds or so and hit my outpoints. I've got my in marker out marker, and then it tells me that I'm gonna grab this section from the video. Now. I don't want to need the audio, so it gives me that choice. I could grab the whole thing, and it brings an audio track. Or it could grab the video or the audio, but I just want the video. So when you roll over it, it will tell you dragged video only. Yes, that's what I want. All right. So I'm gonna put him here, and I'm gonna actually bring him all the way out, and I make the adjustments later. I just like that clean look right now, and I've done this before, so that's probably why I'm doing it now. Okay. So let's see if we can take the green out. No, something I could do it. Since I've already done the green effect on another one, I could copy those and paste those attributes and then make the modifications to help speed it up a little bit. So I hit copy, and then I'm going to pace the attributes. So it's going to paste three of those green screen filters. So color, key, color, key, color key. I check all three of them. It's not. I don't know how close it's going to be, but let's give it a shot. All right? And not bad. Okay? Actually, it's pretty good. So the other thing I want to do is now that that's already done, I can make my fine adjustments. A little bit later, I'm gonna go to effect controls and see it brought the same exact color king components that were with this guy. Okay. All right. So let's scale him. So he's at the right body size, okay? And then I'm gonna have to bring him down a little bit. So I'm using that. Why coordinate? And I've got to bring him down a little bit more to match him in that seat. And then now I'm going to move him over using the X coordinate and rolling to the right and about right there. So I'm going to take this panel and put that over his leg, and I'm gonna take this seat and place it over his back. Okay? So let's find out where those are in plain cockpit. I have other layers. So here's the seat that I've cut apart already from the original image. Let's place that over him and then lengthen it out. So it matches. Now we've got our seat. And then now we need this last piece. So layer five, grab the video and place it over this guy. And there we have it. All right. So there's our plane. And now we just need to put this. Now we just need to put the plane on the runway through the window and let me see where that is. Airplane turning onto runway. All right, so double click on that. There's no sound on this. I'm gonna talk with this out. Okay, so there's my petes. I'm gonna raise this up, because remember, it's reading from the top down, So this is the last layer should be on the bottom, so I'm gonna bring that in on the bottom, okay? And I'm gonna see if I can lengthen it out. Actually, the clip This was a clip that I got from video blocks, their stock footage. Now, it's not as long as I need it to be. So what I'm going to do is I'm going to lengthen this clip, so right, click on it, and I'm gonna go to speed and duration. Now, you can pick the duration that you want, or you can pick the speed. I know if I slow it down, it's going to make it longer. So let's go like maybe 30%. All right, That's maybe a little too long, so I can adjust it to maybe 35. OK, All right. That's good enough right there. And let's see if we roll over this. We can't see the plane. Okay, there. You can see it in the window here, but it's not high enough. All right? Also real quickly. Um, I'm viewing my work footage at 1/4 of full resolution. So this is the playback resolution while you're in your work file. Now, if you're at full, it's going to look better while you're, uh, viewing it. But your computer is going to slow way down. So especially with a file like this, with all of these different effects in layers, you want to make sure that you're at 1/4 of the full resolution on both your project been area and also your out flow. OK, so we can't see the plane. So what we have to do is we've got to use motion to bring it up. So I'm I've selected the airplane turning onto the runway. It knows it's highlighted white, and now I want to raise it up. So let's use that. Why coordinate? And I'm just grabbing it with the mouse holding left on the mouse and I'm going to the left and it's going up. All right, so there it is. Now it's on the runway and let's see how that looks. So let's go to the beginning. Now, if I want preview this, I'm holding the left button down on the mouse. And what it does is it processes everything for me, frame by frame. Okay? And there it is. So you can see color actually looks a little bit better than the black and white. But I had to match it to the rest of the movie. And so that's why I went black and white with this. Okay, so that's the gist of it. Now, if you wanted to turn it to black and white, you could highlight all of it. Then you can go to effects and let's get rid of the king. Let's go to image control and grab the black and white and place it over all of it. And there we go, black and white. I also darkened it up a little bit, so that's what I did. So I wanted to add some lights on to this panel, and so there is a stock clip of horizontal lights. Let's see if we can add this in there. So I'm gonna just grab maybe 10 seconds or so. Okay, so there's my end point. My outpoint doesn't matter so much where that is, and I'm gonna grab it. I'm gonna place it over the last piece. Actually, I'm gonna lengthen it as far as it will go, OK? And I may have Teoh, uh, duplicate that to match the length of mice seen. So I can't see anything underneath because it's taking up the whole canvas. So I'm gonna go to effects effect, controls motion, and I want to scale it down. Okay, skill all the way down. All right. And there's a couple things you can do here. Um, you could leave it like that or you could crop out the top. Let me move it to the right position where I want to to be okay. And I'm going to rotate it just a little bit. So go down to rotation and maybe just crank it over one or two. Maybe right there. Okay. And let's add the cropping tool. So let's go to a fax and get rid of image control and go to transform and go to crop. This will allow you to take some of it off and also feather out the edges. Okay, so I'm gonna take off a little bit of the top. Okay, So I wanted to look like that now I wanted to blend in a little bit more. So let me see if I can feather the edge a little bit. So there it feathers the top edge. Because I've added that effect. If I wanted to feather some of the other edges, you could add maybe 1% here. All right? And so that's something you can do. And if I wanted to have that duplicate itself, I could hit command. See? Come over here, it command be and just put two of those in there. So it just continues on. All right? Now, everything is black and white, so I can add the black and white effect to this, or take the black and white off so it matches, and then we will position it cause notice it needs to be underneath hiss hands. So let me add the black and white real quick. So image control black and white to both of these clips. Okay? and then I want them to be. I want those lights to be under hiss hand. So I think he was number 38. So let's put him under that. And now yeah, so his hand is here and this piece is in the background. And what I did in the other one is I rotated this vertically, so I wanted the lights going this way. And there's another file that was a black rectangle, and I notched out holes in it, and I just place the black rectangle over this, and it allowed for the buttons to light up. But I don't know how many people recognize that. So this is pretty good and may grab people's attention because it's a little bit bigger, so you can make those adjustments. You can make it a smaller as big as you want. OK, so that's the gist of it. Now. I wanted that airport arm. Sorry, I wanted the interior sound, so that sort of claustrophobic ah clouded sound of the interior. So I found the interior sound on another site called Audio Blocks, which is connected to video blocks. And that is this a B F 0316 Okay. And there was a captain speaking on this. So after he speaks, uh, select the in point and then the out point and grab the audio and bring it down into this area. And now we play it. You hear somebody fastening their seat belt. Now you have another one, which is a car seat belt warning. Uh, if you click on that, it will show you the the noises as it relates to the audio waveform so you can grab the whole thing. And when this character's name is Billy, when he pushes the button right about here, you can have him hit that seatbelt sign. So see where it was right about here. All right, let's bring that back. And then there was one last piece, which was the life coach and his voice over. So in here, I'm gonna grab that. And I actually did the voice for both characters so you can bring that in, bring it down here, and then what we're gonna do is we're gonna have to render this at this point because I've got so many layers and so many effects going on. So to render it go appear to sequence. Render effects into out and give it a couple minutes here and it will render it. And then you can watch it back in real time. Gosh, all these lights, every single one of them, they only need something. What's that do over there? See if they're to steer and well there. But if you look to left that probably that might do something with the wheels or the wing Even I know. I know, I know.