Beginner Bites: Super Sexy Slow-Mo Adobe Premiere Pro Tutorial | Jason R. | Skillshare

Beginner Bites: Super Sexy Slow-Mo Adobe Premiere Pro Tutorial

Jason R., Design | Video | Travel | Nerd

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7 Lessons (45m)
    • 1. Super Sexy Slow-Mo in Premiere Pro - Intro

      2:26
    • 2. Frames Per Second & B-Roll

      6:10
    • 3. Organizing & Importing Clips

      6:55
    • 4. Quick Assembly & Editing

      8:42
    • 5. Fine Tuning & Hitting The Beats

      9:43
    • 6. Bonus: Polishing & Mixing Audio

      8:56
    • 7. Our Finished Edit & Project Wrap

      1:58

About This Class

Still avoiding digging in to Slow-Motion in Premiere Pro? Don’t fear my friend, it’s actually quite simple but can make a HUGE difference in your finished product!  I’m going to break down some key shooting, organizational, audio and editing tips to help level up your basic slow motion game quickly!

You should definitely have at least a beginner grasp of the Premiere Pro interface and editing to get the most out of this. Note, these aren’t advanced tips, but they’re the quick win nuggets I wish I had learned back when I first started editing!

Alright. Queue up the Marvin Gaye, cuz it’s about to get sexy up in here...

Transcripts

1. Super Sexy Slow-Mo in Premiere Pro - Intro: about sexy of it. Check this out. What is that, My friend? My name is Jason, and I'm here today to help you level up your Adobe premiere Pro slow motion editing game. This class is perfect for you if you either never touch slow motion or you dabbled in it, but you know if there's some ways to improve that. So if you've been paying attention on YouTube, you've been watching some of those great video creators out there. You see, the slow motion can really up your game. But it's not just about the slow motion. It's also about speeding up that video, talked about hitting the beats on your music and putting in some great audio tracks and combining those things altogether. So that's what you're gonna learn today. We're gonna start with the file types of your shooting, the frame writes that you're using and the speeds that you're in putting into Premiere Pro and what you're looking to get out of Premier Pro. We're gonna look at how you're importing those files and keeping those things organized. There we go. We're going to go to actual editing and showing you how to quickly import and assemble things. Then we're gonna go next level and really start fine tuning that edit and hitting the beats on that music, speeding up some of that video, slowing down a lot of that video and really starting polish that edit. We're even gonna have some bonus material in here where you could really get crafty with kind of combining some audio tracks and really making some unique flows happen with that video and audio. So your projects for this course is going to be a 30 to 62nd video where you're going to speed things up, slow things down at some great audio and then upload that to the course project feed. And I'll give you some feedback on that, hopefully get some feedback from other students. And we're gonna level up that premiere pro slow motion game. So put on some music. I do 2. Frames Per Second & B-Roll: Okay, So before we jump in and start the edit that we're gonna work on for this class, we want to understand frame rates and the speeds that you're capturing with your camera And how those air gonna interpret once we get into Premiere Pro, how much we're gonna be able to slow those down. So, for instance, order cameras would only shoot at 30 frames per second. You can't when you're editing at 30 frames per second in Premier Pro, you're not gonna be able to slow that down because there's not enough information. So once we get up into 60 frames for a 2nd 120 frames per second, shooting speeds on our camera, then we can start to slow those down to two times four times and get those buttery slow. Most so one thing I want you to keep in mind when you're shooting your B roll, which is the footage that you're likely to be slowing down. It's the background footed it. It's the footage that adds to commentary like what you're looking at here and makes it more interesting that your B roll footage probably doesn't need to be very long a mistake that I used to make whenever I was shooting was my B roll would be 15 to 30 seconds long, if not longer. I'd be shooting an image of a tree leaf blowing in the wind, and I take 30 seconds that when in reality, once I bring that into Premiere Pro, I might only be using 2 to 4 seconds if I'm slowing that down. I need less of that actual footage because I'm extending it out when you're shooting your B roll, you want to keep those files small, because if you're bringing in ah 100 B roll clips into your edit and each one of those is 30 seconds long, but you're only going to be using about 2 to 4 seconds of each clip, that's all more footage that you have to go through and weight through in Premiere Pro during your editing. Multiply that by years or hundreds of edits, and you're gonna be wasting a lot of time. So my challenge to you is when you're shooting your B roll and you know you're only going to be using a few seconds of it and you're likely to be slowing it down. Keep those B roll clips between maybe seven seconds and 15 seconds. It's going to save you a lot of time down the road is going to save you a lot of heartache . It's something that I wish I would have realized back at the beginning. You're definitely gonna have some longer clips. But you're gonna know when you're shooting those clips. If it's something really unique that you're gonna stretch out speed up at a lot of layers to that clip. And that's kind of what we're gonna work with right now. Okay? So let's take a look at kind of what I'm talking about here. What I have is a document that I've already set up just so that we can kind of walk through it. And this is a longer clip that we're gonna dice up and play with later when we do our real edit. But what I want to show you is the difference between 30 frames per 2nd 60 frames per second and 120 frames per second shot on your camera. And what we can do with that in Premiere Pro. More importantly, what we can't do with that, so let's take a look at 30 frames per second and slow that down 50% which is gonna give us an output of 15 prints for second comprise. Guess is gonna be a little bit choppy, so Ah, little pro tip here for you when you're in Premiere Pro. If you hit the till B button, it will pop up whatever window you have selected. So if I select this one, it'll open that up. I select this one. It'll open that. So let's take a look at 30 frames per second. Slowed down to 15 frames per sec. This is normal and slow it down looks pretty terrible. That's because we don't have enough content to actually slow it down. So don't shoot a 30 frames per second. You're not gonna be able to use it. Most of the cameras of using nowadays are are not gonna be on Lee able to shoot at 30 frames per second. So let's jump into what a 60 frame per second clip looks like Slow down to half speed. Okay, so that's a lot smoother. It's a little bit more dramatic. That's 60 frames per second. Slow down to 50% speed, which is giving you a 30 frames per second output, which makes that slow mo actually work. So now let's take a look at what 120 frames per second slowed down to 25% speed. So that's essentially extending that clip out four times the length and giving us some really amazing slow down. What I've also done here is at a music track to it, so you can start to see how that drama plays and what happens when you really start to hit the beats on your music and start to play with the interactions between the slow motion and your audio tracks were really going to get into this later when we start editing, right, So let's check this out. Okay, so you can see the drama that was added with that quarter speed, slow motion. One things you might also notice is that it's a lot clearer. There's a lot going on in this graffiti scene, and when you look at it, it true 30 frames per second. It's almost blurry because there's just so much going on. But whenever we slow this down 1/4 speed, we can really look at these details and see what's going on on those walls. Okay, so next module, we're gonna look into organizing outside of Premier Pro, Bringing that into Premiere Pro. This is a very important model is gonna save you a lot of time and heartache in the long run, it's gonna make your that. It's really easy to understand at a glance, looking at your files and what kind of file types you have in file speed. So jumping the next module catch on the flip side. 3. Organizing & Importing Clips: and bring them into premier from Premier Pro. This is my premier froze. Okay, so in this module, we're gonna be taking all over files, organizing them outside of Premier Pro and then bringing them into Premiere Pro and getting ready to assemble them. This is actually a really important model because organization is key. Wicked O C. D. And I've created some pretty good processes that you are totally okay to just steal on, run with them, use them is your foundation and craft them into Ah, workflow. That works for you. Let's jump in. So as you can see, this is this is my typical at its folder. This is where I do all of my editing. A top here I have this project folder template, and inside of that are all of the folders and files that I start from a Z you can see down here. This is the skill share slo mo class folder. So what I did was copy this, duplicated it, renamed it and then I have started that bordered on here. Let's just dive deeper into what this Project folder template has in it. It has my premiere pro audio previews, auto saves captured audio, those air things that Premiere Pro is going to create as you get into working with their files. They're kind of auto created, but what I've created in here is my assets. For inside of that I have movies and I have all of the different cameras that I may use. Uh, that organization is important for me personally, just because I know I do have some different color profiles or what's that all use to color ? Correct for different types of cameras? Your footage off of an iPhone looks very different from your footage off of a Sony or a cannon, So organizing those things outside here is important. If I have any stills, let's say some title images or slides. I'm gonna go and drop those in here. Anything from Photoshopped Premiere Pro after Effects illustrator. Then I have a draft water. If I ever want toe, check a premiere pro export and see what it's looking like halfway through. Go drop some drafts in here, so let's dig in a little bit more into our folder for this class. I've already created this and already have over content in here, so really, the only thing I've added to this folder is my Sony footage took some extra footage, decided I wasn't going to use some of that stuff, so I wanted didn't saved it. And then I do have are clips that we are gonna important in just a second here. Some of the other things that I've added I do have some title images. S O C R. That's my title image for this skill share class. Nothing else in here except some music. So I didn't want to go ahead and pick some music s so that we can bring that in. Okay, so now that you understand this folder structure, this is really easy. Once you get your footage after camera, drop it in here, get everything prepared, and now we're gonna go and bring that into Premiere Pro. So one of the things you need to do whenever you duplicate your your initial project folder over is going to go into that folder and rename that template file. So over here, I'm gonna go ahead and rename this. Let's say skill share slo mo. Bet it. So now that I've renamed that file and again, this is a template file that I've already created in the past. I've added a lot of things to this file so that whenever I jump into an edit, I'm ready. So let's go and open this up and see some of the things that I put in there that are really gonna help Help us understand this file and make it move a lot quicker. Okay, so the first thing you see when you open this up is I have some folders and bins already set up. There's some sequences in here that are already set up 30 frames for a second. This says sequence, one rename with exclamation point. So all right, I'm gonna listen to my own rule and rename this, uh, skill share slo mo sequence. All right, so you can see that updated over here. And let's take a look at some of these other four. So I have my video Rough folder, my audio folder stills, any of those things that I may use on most of my edits inside that video. Rough order. I have different folders for 30 francs for 2nd 61 22 40 plus so really important over here . Not only is the fact that I have these bins, but what they're labeled so you can see this. 30 frames per second is labelled red 60 is yellow, 1 20 green and then to 40 is bright cream. Well, if you're in the If you're in the United States, you know that we have stoplights and red means stop. Yellow means be cautious and green means go. That's why I've labeled these files these colors. Because once I pop them into my timeline, I'm gonna be able to quickly glance and go, OK, That file speed is 60 frames per second. I know that I can go in and slow that down. That foul speed is 1 20 frames per second. I can slow that down to some crazy, buttery, slo mo. So So this is really important file organization. So now let me go ahead and bring in those files and we're gonna quickly organize them. So very simply, select those, grab him and bring them in, and I'm just gonna drop them out in the normal folder, and then we're gonna organize and add them. Okay, so now that they're in there, you can see we have 120 frames per 2nd 60 frames per second, essentially, and they're all kind of jumbled up a little bit. So what I want to do is organized by frame rate, and that gives me all of my 50 frames per second files. Terms are 60 frame per second files. What I'll do is I'll actually go in and label those as such. Go grab my one twenties label those on 20 frames per second video. Let me just back up. If you go up into Premiere Pro Preferences labels, you can rename any of these labels whatever you want to name them. So that's exactly what I've done. I think I took some of the normal labels and change them down here. So now that I brought those in me, drop those in the right folders. Okay, so we're gonna go. And now in the next module, we're actually going to get in and start quickly assembling this and creating a little bit slow, mo. All right, let's go 4. Quick Assembly & Editing: All right. So we have all of our footage in, we're ready to go and let's do some quick assembly. Let's dig in through this together really quickly. We're gonna try and keep this edit under 45 seconds or a minute. So we have to think about that as we're slowing things down or speeding things up. All right, let's go. So, as you can see, uh, we have our folders, just like we left him. Music's in there. One of the nice tricks that I like to use and maybe, if not, trick. But if you double click one of these bins, it will open in another tab up here on the left so we can jump back. That's our full project window. But we can jump over into this. Been. I'm not going to use the 30 frames per second or the to 60 cause we don't have any video, so I'm just gonna go ahead and delete those. So now that I have this nice little Ford auto work from as you can see, I also have my 60 friends for a second used wanting 1 20 French for second use fours. I find that a nice little hack. Once I use a clip, I go him. Drop it in that use folder that I don't have to sort through, Uh, that clip anymore. I don't insert twice that makes life a little bit better over here on our time line. We're all set up. We have the one selected in a one selected. One of the things I like to do is when I'm starting my edits. It's a drop in my commentary points. The talking head videos, stuff like we're looking at here dropped that in where it's going to be generally in my head. So if I have five pieces of commentary throughout the day's worth of shooting good and find this piece of commentary dropped them into my timeline first and then I know whereto toe feed the B roll in and kind of spice that up and spread that in later, create some good markers and bench points inside my head it so I know that I shot 60 frames per second as my commentary. There was no need for me to do 120 frames per second, so if I go and click on that, I can see that This is indeed my commentary, and for the time being, we're just gonna go and drop that entire clip onto our time line. Go fix that. So that dropped into V one a one. So that's my audio channel that I'm likely going to use. And let's get going. Hit the negative or the minus key to zoom out on that timeline. Since I've used this file, I'm gonna go and just drag and drop it. And I know that my last bit of commentary is here, and I'm gonna go do the same thing. So since we want to keep this under a minute, gonna go and drop it in there and hopefully fill in all my B roll around here and keep in mind how much time I want to spend on this. So good. Drop that and used been Okay, so now taking a look at these two bins because I only shot on one camera. All my files should be in numerical alphabetical order. And we do have that once we dropped it into the 60 frames per second or the 120 francs for a second there, all now organized by name, and we could just make sure that they're in. Or so I got 46 47 50 25 27 36. So, more than likely, I want to go and start with these lower numbered files and work through my day because the sun lights gonna change conditions might change. We want to edit in in a normal order. So let's just go ahead and dig in and start dropping in some clips and what we're gonna do along the ways we are going to slow down some of these clips. We might speed up some of these clips, but generally we're gonna get rid of everything we don't want. We're gonna drop everything in there, and then we're going to start to massage that a little bit around the commentary. Okay, so it's just take a look at this and we can quickly scrub, and I kind of want that to be my out point. So I will hit the o button that creates a quick out up here and that'll be my end point. You know, I have my V two in my A to selected I'm gonna go ahead. And you my a two channel on TV to channel selected so that whenever I hit the comma button it's going to insert troops and we want to have our play heads a smart spot. So go ahead and hit the common button and it's gonna insert that in and out. Uh, wherever I'm at on that time. Hello? Another little trick here is if I go ahead and lock these timelines, then nothing's gonna move on those whenever I start uncertain content. So as you can see, this clip is about 2.5 seconds long. Not bad. I'm not gonna slow that one down at all. But now that I don't that clip gonna go and drop it in my 120 frames per second used Take a look at the next clip. I'm sure I want to use that one. I definitely want to use this one. This one is dead sexy. So let's take a look created in point there. Actually, it's moved that in point there, outpoint So I for an end 0.0 for an out point and then hit you, and it was drops that in their force. So that one's 120 frames per second, and that's a pretty sexy piece of artwork. So what I'm gonna do is right. Click on this clip and click speed duration because I know this clip is 120 frames for a second. I can slow that down to about 25% speed. One of things that I've learned is slowing things down to the exact frame rate of your edit . Export gets a little bit choppy, so I tend to slow it down a little bit above that threshold. So let's go ahead and slow this down to about 35% and you can see in our timeline it extended that from a couple seconds out about five or six seconds. So we're probably not even gonna need to use all that. Let's take a look at what it looks like really slow, and there's really no reason for us to slow that down that much. So another trick you can see here this is at 35% speed right now. If I hit the R key, that gives me my rates stretch tool, and I can actually grab this clip and speed it up a little bit. So it's changed our speed to 59.32%. See if that's a little bit more palatable. Okay, so we have a good amount of that clip nicely slowed down and gonna go and drop that and are used. I had another one there. I don't really care for that one. So drop that in my used This was a little companion piece that was next to it. So what's said in point there outpoint and hit the U button and drop that so you can see really quickly. We're already getting up to 25 seconds in our edit, and our goal here is to keep it below a minute. So I'm gonna go in, drop a bunch more pieces of video in there, and then we're going to get into kind of massaging these around the commentary so we can fit into that one minute time threshold and make that commentary a little bit more interesting. So you fast forward through this whole tight. Be right back. Okay, So now I've added all those clips fairly rudimentary. Lee just kind of dropped them in his rudimentary leah word. And in the next module, we're gonna go ahead and massage those with the commentary and kind of start to make those fits. Stretch him out, speed him up and start to fit this into our one minute 5. Fine Tuning & Hitting The Beats: now we're gonna go in and drop in our music and then start hitting the beats. So first things first. If we select our sequence window here and hit the tilde key, that'll bring it up and show us uh, what we have going for us. I'm not going to use any of the sound in that b roll. And so I'm gonna go ahead and just grab. First of all, I could go and lock that video layer and grab all of the audio for that B roll that I'm not going to use and delete it. So what I have left is my top row here, which is my longer clips. I know that I'm going to do something a little bit interesting with those. And I have my V two here, which is my smaller pieces of B roll. And then underneath that my commentary. So, uh, obviously, in Premiere pro these layers there on top, we're gonna cover up these lower layers. So now hit the tilde key. Get us out of there. Remember, one drop in my music. I chose this. I chose this track already. I know kind of how it set up in what kind of beats it has. So one things that I do know is that right where this music starts to get a little bit funky in here. That's probably where I'm gonna want to start hitting my slo mo. Okay, so I really like that beat and how it kind of gets really popping right there. So what I want is on my intro commentary to kind of talk over, uh, talk over that and right when I'm done with my commentary, I wanna launch into R B roll clips and kind of have an exclamation point as we start that nice slow mo in the buttery stuff. So what I'm gonna do is just click on this link, set my timeline right there and hit C, which is my cut tool. So effective, V. And just delete that first part. Throw this back in there so you can see somewhere in there I'm getting pretty close with where I want that to start hitting. Grab my tracks. Election forward tool, which is gonna grab everything de select that and move that out about second to I like to have a little bit of black in front of my it. It's so so let's zoom in on this and get that lined up fairly well. And I could just pull this track back up. So now, as we start off, you'll hear. Okay. Okay. So you see how that intro is gonna work. You see, it's gonna hit that beat right after the intro. What I'm gonna do is turn down my music a little bit and you can watch over here on the right side. I want that to fall right in between 9 to 12. Still a little bit hot. Bump this up a bit, so we'll hit the pen tool. And what we're gonna do is add kind of an exclamation point to when that music comes up a little bit more cool. All right, so now we have something to work with. And I know that our audio track is set up pretty much where we want it to be for the rest of this edit. And all we have to do is start diving in and working on that slow motion and setting it into the beats that we want to set into one of the spots. In this commentary, I talk about how Noda is always changing. So, Carolina, because the mural scene and the graffiti scene is ridiculous. Okay, so I know that this clip right here actually shows somebody we're gonna go and meet that for a second. This clip actually showed somebody working on a mural the day that I was out there. So I'm gonna grab that and actually bring it into my commentary and overwrite that played over it. I love coming down the note I in Charlotte, North Carolina because the mural scene and the graffiti scene is ridiculous. Everything is always okay, so that's pretty cool. Go ahead. And and another quick coming down, No doubt in Charlotte, North Carolina, because mural scene and the graffiti scene is ridiculous. So, like how that works, what I'm gonna do is zoom in. You know, like where that little scratchy part happens, Do is actually just back that track up a little bit. I suspect it up so that we get a little bit of black in there and it adds a dramatic emphasis to winter that music hits. So let's take a look at what that's looking like. Sweet. Okay, so I haven't actually slowed this particular peace down yet, So I'm just gonna go ahead and stretch that out. One of the things that we can do is zoom in on this. You see these beats down here and we know that when those those beats are popping, that's probably a place where we can create a natural Segway between clips. So if you hit the back in the forward key, you can hear where that's popping. So that's actually where I want this clip to stop in the next one to start. So I hit my rate stretch tool. I was gonna stretch that out, and now it's It's 76% like nice little bit slow mo go and just bring these clips in. Maybe shorten that one up a bit, right? Find another spot for that transition on. And so I like that little wu at the end. I use that little. So what you do is I'm gonna cut it, and then I'm going to cut it. Just cut it here towards the end, see, tool. And now we're gonna grab this centrepiece. You're gonna have the great stretch tool, which is our we're gonna bring it back to that beat, right there and pull this piece back in. Now what we're gonna see is we're in a little bit of fun with that slow motion hit the tilde key. See what this looks like? Cool. So just a little bit from there, we can probably tweak some of that speed and movement to make it a little less jostle, Lee. But you get the point. Okay, so now I'm gonna jump in. I'm gonna kind of finish off this edit so that we can dig into a few more of the details and I'll show you how this is getting laid out once I've kind of laid those in on the beats . Okay, So kind of nailed it. We stayed at 55 56 seconds. So let's take a look at what this looks like. All come together and fairly polished. So I love coming down the note I in Charlotte, North Carolina, because mural scene and the graffiti scene is ridiculous. - They go off stuff down here, no doubt. Charlotte, North Carolina has a chance. Come down. What side piece? Okay, so there you go. Fairly well polished. Didn't take that much time. I think we're running it about 20 minutes on this whole video. But stay tuned for the next module because now I have something prepared for you where we're really gonna kind of sex up this last clip that I really didn't touch on on this one . Private. Extend this out another 15 seconds and really add some pretty cool drama to a really long clip that I But I can't say for you. All right, seeing the next one. 6. Bonus: Polishing & Mixing Audio: Okay, so now that we have that, it pretty much finished. We could stop here, but there was a little piece of audio that I really liked on a really long clip that I didn't get to play with on the last the last edit. So what I want to do is go in, modify that audio a little bit, kind of cut it up, merge some of it together, make it flow seamlessly so that the viewer doesn't actually know that we did anything. But it's gonna allow us to play with a little bit more of that video and audio and kind of make this thing really fresh. So let's go and jump in. Check out what we can do here. So if you see the bottom here, where we kind of finish off and exit is right before this kind of interesting part of the audio here. So we don't get to play with much of that. And I have this piece of video here where that's a junk over there. So if you grab this, there's actually a Thanh Mawr video here that we didn't get to play with. This goes all the way around this building, so I have some fun with that. So what I did was I took a look at this audio and I found the part that I want to cut in here. I've created a marker here, which is where I'm actually gonna cut in this new music. And I've created a marker up here, and that's just the M key. You kind of select where you want to be, the M button and add a marker. So I already did this research. I know where I want to cut it at and gonna go in position. My play head there on that marker right before that bomb. So I had it in point there. Just an out point somewhere at the end, And then I'm gonna come down here on R sequence and cut with C tool. That old audio. I was gonna move that out of the way. We might end up using that. We might not. So if I go back up here to this clip and grab this audio drag audio only go to drop that in there, zoom in. And if we've done this right, we shouldn't really notice any disruption. It should sound fairly smooth, a little bit off there, but what we can do is go in and fine tune that. So So now we dio straight into this long piece of video footage, and I know that that's 120 frames per second, so I can slow some of the down super buttery. And then I can speed some of it up to get us to the next part of the video that we really want to see and slow that part down a little bit more. Okay, actually made that audio cut a little bit better. I didn't really like what it was doing. Take a listen a little bit smoother. Not perfect. But you get the point. Okay, So now let's go in there and kind of sex up this video clip and hit some of these new beats that we have. So we're gonna find a beat that we want to hit and then pick our part of the video knowing that we're going to slow down the first part. Then we're going to speed up another part, slow down another part, speed up the next part. So what I wanna do is grab this clip and let's make it 30% speed right off the bat, and then we'll speed it up from there. So let's go 30% That's going to extend that out. And then when we zoom in on this or we're going to do is start dicing it up, speeding up some of those parts. And we already know that we have the parts slow down that we want. Slow down. Let's see. Uh, so we want to speed it up on that part and then slow down on this part because we want people see all that. Goodness probably speeded up in there. So now we can go ahead. So on that one, we're gonna hit our rates stretch tool. Bring that back in and grab these and bring him up. So on this, Okay, on this down note here, we want to speed that up again. Let's go. What are great stretched tool? Actually, it's not good. Great stretch tool. Let's match that up. We only changed the speed on that a little bit, so it's still a 35% instead of 33% or whatever we did earlier. Grab this. Bring it back. Okay, so we actually want to speed that up a little bit more. Doesn't feel fast enough. Let's find another meat to make that work on. Let's do it on that down. All right, so let's do that. It's a great stretch told. Bring that back, See how that feels. Perfect. So on that next one, we're gonna cut it again. And now we're gonna take this video around the corner and speed up and get rid of a bunch of that junk. There's a car in the way. There's some weird doorways in the way. Let's speed this up and move right past and get back to the goods. So slide forward here, see where we want to end up. We want to move past all that get there. So we're going to cut that. Find a good spot on the beef. So now let's grab the rate stretched over a whole clip. Now we're gonna zoom around that corner and get right back to the good stuff that delete that part. And now let's see what are finished. Product is with that nice little slow down. - Okay , so you see what we did there, And then what? I'm gonna go ahead and do is just finish this thing off and add a little bit more polished , and then I'll show you the finished result after the next module. 7. Our Finished Edit & Project Wrap: Okay. There you have it. Appreciate you hanging out. I appreciate your patience. This is actually the first course I've ever put together. So I promise they're gonna get a lot better from here. But I really just hope that you got the core concepts of how you could make slow motion and speeding up that motion and adding really great music. Just take those edits that you're doing to the next level. So do me a favor. Hit that subscribe button, leave some comments, let me know what I could do. Better let me know what you liked. Let me know if you got inspired. Hope you did. And, uh, yeah. Upload your class project again. 45 seconds to 60 seconds. Have some fun in there, and yeah, do me a favor. Check me out over at the nomad experiment dot com. I'm also on YouTube at the nomad experiment. Yeah, let's keep the conversation going. All right. I love coming down nota in Charlotte, North Carolina. Because the mural scene and the graffiti scene is ridiculous. Everything is. - There you go. Awesome stuff down here in no doubt. Charlotte, North Carolina. You ever had a chance? Come down. Do it. Check it out. Get your foot side piece