Building a Video Course from Start to Finish | Mansur Omar | Skillshare

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Building a Video Course from Start to Finish

teacher avatar Mansur Omar, Video Producer

Watch this class and thousands more

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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

17 Lessons (1h 44m)
    • 1. Course Intro

      1:28
    • 2. Section Intro

      0:46
    • 3. Content

      3:55
    • 4. Equipment

      6:49
    • 5. Location

      6:02
    • 6. Course Style

      3:47
    • 7. My Recording Set Up

      4:33
    • 8. Recording Checklist

      4:03
    • 9. Camera Presence

      6:18
    • 10. Recording in bulk

      5:07
    • 11. Section Intro

      0:30
    • 12. Preparing Files

      8:56
    • 13. Syncing Audio

      13:08
    • 14. Editing Footage

      15:53
    • 15. Color Correction

      16:03
    • 16. Rendering

      5:29
    • 17. Course Outro Notes

      1:12
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About This Class

Are you excited about creating an online video course, but unsure how to get started? Do you want to ensure the course you're creating will appeal to students? Then you found the right place to get begin.

In this course we will help you set the foundation for your online course. I will walk you through every step I've taken to create the course you're watching. You'll also be shown practical examples of creating on a decent to low budget.

This Comprehensive Course

  • Change the game once you learn how to properly convey information in a course format

  • Use tricks to gain clarity when creating your course

  • Walk away with a strong understanding of the process of creating online material

What you’ll learn

  • Everyone should come away from this course with a solid foundation.

  • You will have the knowledge needed to build an online course.

  • How to use the basic equipment you have access to.

Are there any course requirements or prerequisites?

  • Understand the English language with a strong willingness to learn.

Who this course is for:

  • Future content creators and producers.

  • Videographers and photographers

Meet Your Teacher

Teacher Profile Image

Mansur Omar

Video Producer

Teacher

I am young video production professional with a wealth of experience producing video content. A bulk of my previous work involved; video courses, Interviews, and advertising material. The amount of knowledge and experience gathered has allowed me to develop a non-destructive and seamless integrated editing workflow. Your unedited footage will be made into professional video under our collaboration. I love to share what I know and build a little community here.

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In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

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Transcripts

1. Course Intro: What's up, everyone? My name, phone sore. And in this course I'm going to be walking you through the process of creating a course. Now I'm not going to be using the highest quality gear. And whenever we use it in some cheap lights that I got off Amazon and we're going to be using a lapel mic that's around, you know, maybe thirty-five dollars. Now this course is not going to be extremely in-depth, but it is going to be pretty solid As far as information. I'm going to try to pack it. And if you want, you know, a dedicated course, I have a lighting course out. So if you want to go check that out, you can learn a little bit about lighting, the fundamentals of lighting and everything that surrounds debt. Now I am going to run through some of the lighting set-ups I have. I'm going to run through some of the, you know, the environment, you know, adjustments I had to make in order to make this course possible. I'm gonna run over someone whose names you need to do in order to prepare for your course. So this course is going to be broken up into three sections. The first section is going to be more of the preparation stage. The second section is going to be actually recording on-camera presence and a couple of things you need to keep in mind we are recording. Then the third part of this course is going to be about editing and finalizing your course. So if you are at all interested in creating yourself, of course, or coming along with me as I create this course, then go ahead and sign up or do whatever it is you need to do in order to get started on this program. So I'll see you around. 2. Section Intro: What's up, everyone, and welcome to my course building course. Basically, I wanted to take you along with me as I create the course you're watching here. I know it's kinda meta that you kinda get to watch how I made the course that you're watching. But I hope you'll enjoy, I hope you're able to pull some value from this course. And let's sit down and let's talk about what you need to do in order to prepare for your course. You know, like equipment, you know, things you need to look out for and all of these different things that come with, you know, preparing to make your course. And then we're going to go into filming or course, which is actually filling of course. And then at the end we're going to go into editing your course and just finalizing everything. So without further ado, I sit down and let's talk about it. 3. Content: So in this video, we're going to be talking about your content. And this is the most important part of your course. And of course for good reason because you do want your audience to come away from the course with an understanding of what it was you were teaching them. And there should be some type of role map. When you are creating your course, you want to take them from 1 to another point and they should be able to see this transformation. And so when you're going into your content, you should be doing a lot of research. And I'm sure that if you're trying to teach something you know a lot about it, maybe looking at different ideas on how to present this so that other people can watch it and learn from what you have. So if you are teaching, say, a video production course, you should kind of take them behind the scenes and show them what it is you did in order to create the course. So show them the lighting set-ups that cameras you're using. The, you know, the background, how your set all this stuff because it kind of feeds into the course and it really add some value to the course that you're making. So for me I like to write everything down and then work off of bullet points. I don't write too much because it might overwhelm me. But I write just enough so that I could take a glance at it and know what I was going for when our wrote this stuff down. So that's just kind of my way of going about writing stuff down, recording my content. Some people just like to speak from the dome. Other people like to have everything scripted and read off of the teleprompter. But it's really about what you wanna do. But the most important thing when creating a course is the content and the information you are going to be providing this course here is a video production type course. So my content is going to be heavily reliant on the quality of the video that you're seeing. That does play a role, whether consciously or subconsciously in how you view the quality of the information. Now, of course, there are many circumstances that keeps this from looking incredible, but it's acceptable and I'm sure it's easy enough for everybody else who's watching this to be able to replicate this setup here. And if you need help with say a course outline, there'll be really helpful to look at some books, especially books on the topic that you're about to explore when you are teaching. And you can look at some of the bullet points there and see what it is at dead on in order to deliver the information. Because if something has worked a lot, then it will probably work for you. So pin down a video style if you have to just, you know, something to start with, some type of guide, there are many, many ways you can go about putting down your information. So use whatever means you have available to you or whatever you know, in order to be able to record this information affectively. Content is king. Whatever it is that you're trying to teach, that is going to be the most important part of your course. That the way it looks, not the way it sounds. All those are important, you know, the way it looks in a way that sounds. But what's more important than that is the information. So some of the best videos, that best-performing videos, some of the best performing courses don't have the highest quality audio, Don't have the highest quality video, but they work because people who watch them benefit from them. So you do need to keep that in mind when you are recording videos and when you are preparing to put together a course makes sure that the information overlaps all of the aesthetic things, you know, the lighting, the video, the audio on ADA. Even though those work more as like things that you need and you have to have in order for it to be to meet the standard for the viewers. But what's more important is, again, the content. 4. Equipment: Now in this video we're going to be talking about equipment, what I'm using, which you should use, which you can use. And we're just going to dive into that. So as far as which you could use, you can use a phone and a microphone, and you can be offset. But of course, this takes a higher level of skill in order to get this done right and have a look extremely professional. But what I'm using here is a DSLR camera at a 50 millimeter, with a 50 millimeter lens and too many lights. It then I've got myself a lapel mic so that I can't quality audio because I'm standing pretty far from the camera and I don't have a shotgun mic. So that's pretty much what I'm using. I have a laptop, that's a prop, and I'm using my phone in order to record the audio. And this course here was recorded in some pretty strange time. So I had to have everything shipped over to Amazon and, you know what, I had to wait for some packages and audit, so I didn't know what I was gonna get when it finally arrived. But thank goodness to the microphone and the lights, I joined their jobs. So it can be pretty helpful to have a, you know, extra light so you can just flip on so that you can record under different conditions. Because of course, the sunlight isn't always going to be reliable, especially when you have different times of day, different seasons, all this. So it would be pretty beneficial to get yourself an extra like an extra set of lights, you know, maybe one or two. I got myself to, you know, one for just the hair light. And then of course I got one in front of the camera and an amusing ambient light to, you know, as the basic key light. And if you want to know more about lighting and have a lightened course up on Udemy. So if you want to go check that one out. So that's just a brief rundown at my setup. So as far as the camera, you're using, most cameras these days, you know, on smartphones are pretty high quality, so you don't need to really shop around in order to get something as acceptable. But if you want something exceptional and all this, you need to know a little bit about cameras because a really good camera King can produce a pretty bad image if you don't know how to use this camera, I don't know how to focus, don't know how to like to see in all this. So you do need to do a little bit of research if you do want to get, you know, a camera beyond your cell phone camera or beyond the standard point and shoot maybe a camcorder or, you know, something that really easy to use. So that's what cameras or microphones, I think this is where your biggest investment should go is to a microphone. Because microphone a people can forgive bad video. A lot of people can forgive bad video, but they can't forgive bad audio because bad audio just says a, you don't know what you're doing even if there's bad audio with pristine visuals because it's just, it's just something, I guess people can just forgive it. So in this video, we are going to be talking about recording and sets. And this doesn't necessarily mean record 50 videos in one go and then see what happens later. So I think the biggest investment should go to the audio. And if you don't have much money to invest in the audio equipment August, you can get yourself a lapel micro above $50. It should do you some good, you know, especially if you know how to use it, right? So if you keep it close, if you keep it from touching many things and you should be fine using a $50 Mike. And you know, you can disregard everything else because a microphone is the most important thing. So I'd say the biggest investments should be microphone than Lights, than camera because Cameron keys your phone. If you want to use, you know, like a dedicated camera, then that should be the last thing is spinning or money on, especially since the camera is the, by far the most expensive piece of any real ceta. So I'll say microphone, lights, camera. And then those other three can really focus on so that you can know that you can make pretty high quality videos using nice three things. And then everything else kind of goes without saying like a laptop for edits, maybe a laptop or desktop. You know, a mobile phone. If you want to have a secondary camera or you want to record audio. And then on top of that, like my audio setup can be moved around a little. Like I can put my microphone connected to my laptop in and I can record that way. So it really all depends on what you're willing to do and what hoops are you willing to jump through in order to get your content made? So I'd say that's pretty much it as far as equipment. It's pretty basic is not really that difficult, but it can be if you don't know anything about it or you want to get a really premium setup and you wanna know all it intersect kisses, you know, in order to maximize the quality of your content, we're going to go into editing and finalizing course and audit stuff. You know, once we get deeper into the course. And because right now it's about recording your course. And, and even before this, we need to prepare to record your course. So if you're preparing to record your course, make sure you have the basics. You have a camera, your lights and your microphone, the, the edits and all this stuff right here that can be done by someone else if you have to. But for right now, just focus on recording your content because if you're going to be the one in front of your camera, you're going to need to make sure it gets done. And then somebody, anybody can go ahead and edit. Of course you need somebody with some skill, but anybody can edit and you won't know, is something that can be done behind the scenes and nobody would know about it. Unless of course they put their, their tags and all this stuff in the video. Now one more thing before I close out this video about equipment, it is very important that you have, say, SD cards if you're going to be used in a camera or micro SD cards, if you're going to be using a cell phone, because recording a lot of video is gonna take a lot of storage. So keep that in mind when you do decide to create your course is going to take upwards of ten to 20 gigabytes. So you need something that kinda hold that information. And sometimes you can spend even more time recording and that just adds onto the storage. So it can be a 100 gigabytes if you let it. So keep that in mind. So SD cards, flash drive, all of these little accessories. These are very important when you do sit down and prepare to buy your equipment and invest in your equipment in order to create your course. 5. Location: So in this video, we're going to be talking about location and film. And location is really important, especially when your whole course is going to be set in one or two places. So let's get into my film and location because I'm taking you along with me as I create this course that you're watching here. So as far as my film and location, I decided to have two locations. One in the living room, and that's photo filming portion of this course. And then the second location is my bedroom, and it's a very tight space. But I'm gonna try to maximize, you know, what I have here. So those are the two locations that have a mindset on and all of the conditions surrounding these two locations meet my standard. So one of the main things I look for when I do pick a place to start filming is a quiet location and you know, a controllable location. So if we're out in a park, just makes sure that nobody's going to bother me. Make sure that, you know, everybody around me understands what's going on so that I can focus on filming. So a controller ball location and a quiet location. So one of the major benefits of having a control space is that you can really benefit from being able to control your likes. You can move them around. You can really work on your set preparing and all this. And this gives you the time to really focus in on how you want your shot to look. Well, lights, you want to use the color of your lights where they're gonna be placed. Different effects you want to have on your overall image. You know, different things there that you can't really do in a, you know, open environment like say the streets or whatever. You're going to have to depend on the ambient light in. And also of course, somebody can be walking around carrying a reflector or something so that they can make sure that the light stays nice and pristine. But you have very limited control when you do that. Now if you have a control space, that's when you can really get creative, moved things around. So that's what I look for when I set out to pick up place to shoe and others. So that really is something that you're going to need to pay attention to when you decide to pick a location. And I'm sure most videographers slash filmmakers all agree on this because it is something that you're going to need in order to create your content in delivery in a pretty professional way, unless of course, is part of your program and just have people walking around and have a lot of chaos and, you know, have things just go as they happen. You know what I mean? So we're gonna go into this control space idea. We're gonna go a little deeper into it. And we're going to talk about the other things that you're gonna need to control in order for you to maximize. You know, the advantages that come with recording in a control space for one is to lighting, because you can take advantage of ambient light. And you can also take advantage of studio lighting. So you can set your life up with you where you need them to be. You can position yourself next to Windows. You can really control what you do in this space. Now of course, the space itself might limit you because let's say you're in a room with no windows, or you're in a room where the windows are facing the opposite direction of the sun. You know, all of this stuff plays a role. And also setting up your camera, setting up your audio equipment, setting up your background, your set, and all this. So a control space is probably the most important part when it comes to creating a talking head type course where you're addressing the audience directly and they can focus in on what it is you're talking about. And they can get a better understanding of the information that's coming to them through the camera. And that's something that you'll notice when you watch a lot of video production YouTubers, a lot of times it will have these LEDs all over the place. They would be next to their computer. That computer has a really nice lighting situation going. They have, you know, keyboards that light up a Mao sake that lights up and all this. These are aesthetics and you can really explore this when you have a control of space, Nobody's bothering you. You can move stuff how you want. You can lead the setup B, and you're not going to have to deal with, you know, just issues of why you filming in this place. You know, what you're doing, why is the camera pointing here or what, you know, you don't have to do any of that stuff if you're filming in your own SAE house or studio. So these are some of the advantages that you get from having a control space, and this is something that I recommend. I recommend that you film your course a control space. Because when you film your course in a control space, many thing, you don't really have that many, that much room for error. And also you have to remember that you're going to be recording for at least two hours. And the other thing I briefly mentioned what to place this quiet. It needs to be quiet enough so that when the person, the subject of the video was talking, he needs to be heard so it can't be too loud. Even though you do have videos where people record in the bustling streets of New York and there's plenty of noise around him, but you also hear what he's saying. But they had to make so many different adjustments in order for that to be possible. Say they have more than one microphone Ana, they have the highest quality mikes on him so that he can basically all of the information can be picked up from him alone. And then, you know, all the background on all this stuff kinda work as background noise. They might keep the camera rather close up to on so that you can know who the subject of the video is. There are many different things you're going to have to work in to two very loud environment. So you need to set up this consistent that's high-quality and that's reliable. So that's pretty much it for locations picking a place to film your course. And now that we've covered that, let's move on to the next lesson. 6. Course Style: So in this video, we're going to be talking about your course delivery. And of course there are many names for this, but I'm gonna go with that one. And this is basically going to be the way you're going to be addressing or audience. You know, how you're going to be conveying this information that you have. And of course, there are many different styles you can get into. Now of course you have talking head, you came dressed the camera directly and kind of just spill information onto them. You have other ways where you have demonstrations. So let's say you have like a boxing channel or a jujitsu channel and you kinda need to show them what you're doing. Of course, you are going to be talking to the audience, but you also wanna be showing technique. So you and I need to show more of the body. You're going to need to probably have a partner in the video. All of this stuff is really important when it comes to what it is you're going to be teaching. Sometimes you don't need to be in a video at all. And you need to just show people stuff like arts and crafts and different things like that. You might need to have a camera on top and just show what it is you're going on the table. So all of this stuff does play a role in how you're going to be creating a course. Those were just a couple of examples of different formats. May be, you might have like a webinar style or, you know, a screencast where you, you kinda need to walk them through the program and all this. So you're going to be on your computer, my niece and record yourself, or you might do is record your screen. But I suggest recording yourself and a screen so that, you know, there can be some interactivity there and people can kind of relate to the video because they see a human, they hear human and they're following along. So you kinda take them along with you. It's different than having it just be the screen on his own and you just, you know, speaking over the microphone. And then we're gonna touch on it briefly because this is kind of a quake decision. And that is the language you're going to be using in order to talk to the audience. And I'm not talking about the style you, if you're going to be as a slang and Addis, I'm saying, are you going to be speaking to them in English or in German or an Arabic, you know? And this is important for people who have, who speak more than one language. They might want to make two versions of that. Of course, they might wanna speak Arabic on one version of the course in and speak English, or have the course be recorded in English but has subtitles that you know. So people from other countries and different regions of the work and understand. So this is just something that you might need to think about if you are say, bilingual. So in order to wrap all this stuff up, we're gonna be talking about how I'm choosing to deliver the information onto you. And that is just through directly addressed an audience. And that is the style that I know because when I was recording videos for YouTube, this was just the best format and I can understand, and the one I like the most Also when I created my last course, it was more of the same except I was standing up. So I'm doing what's familiar and what works for me. It you can be doing the same thing. And you should also look at the space that you're in, you know, whatever genre, all this, and focus in on what they do in order to help people better understand what it is that they're teaching. And one thing that really helps is to put things on the screen. If you have like a very focused video and you wanna put like bullet points and Addis. It will really help to have a graphic on the side of your screen so that you can show them a, B, C, D, and they can follow it that way. Then of course, there's depends on what they're doing when they're watching your video, audio going to be taken notes. Are they just going to be listening in and, you know, just reinforcing the information that they already have. This all depends on the type of continent you're going to be recording. So that's pretty much all I got to say about your course delivery. Now, let's move on to the next lesson. 7. My Recording Set Up: Okay. So I'm recorder now. Let me put this phone away. Okay, so what's gonna happen here? I'm using my iPhone to record the audio, and I'm using my Samsung Galaxy S8 to record the video. Okay, so the first thing we're gonna do, I'm gonna be filming here, okay? And this is where the camera's gonna be pointed and said it's a camera is on a 55 millimeters and you see that there is all 55 millimeters. That means I have to stand pretty far away from the camera. Ok? So the first thing I'm gonna do is I'm going to open the blinds so I can get some light in this room. And okay. So this I'm going to be looking as our record. Now, right now. What's going to be happening with these lights? This light here it's gonna go. And this light here it's going to go on top of the TV. But I have to finagle with it a little bit in order to get it up there. Okay? And this light here is going to go into back. This light here is really bright. Now, I'm going to need to bring it up a little higher. So give me a second. So BAM, there we go. We got ourselves a light, Stan. Okay. Now the light is going to be pointing. Now, move this BAM light is going to be pointing network. Okay? This picture here says I want to be standing slab dab in the middle and wanted to be taken this picture down. Boom. So that's going to be the backdrop. Alright. Now, to get this light, to get this light up on top of the TV. So I have to oh yeah, I need this here. This here is going to help me balance it on a TV. Now. Give me a second. Okay, there we go. It took a long minute to get that done. And then this chord here, this court hears gonna go behind the TV. Okay. I don't have to turn the lights on because we kind of know what's, what's gonna be happening. But that's the light. Now, the struggle is the camera, not as camera here I have auto-focus enabled, but this autofocus isn't the best. So what I have to do is you have to kind of check like basic distance, you know. So I got to turn my camera on. Okay. And I had to check the distance and what it focuses on or whatever. Okay. But this is a lengthy process where right now is focused on where I needed it to be focused. Now I need to stand this up, right? So let me move this here. Boom. There we go. Okay. Not as tripod here. Opens up so I can, I can twist it. So that's the camera. So this is how to set up is Bam camera light. Light in and of course the blinds are open, so light. Okay. I hope you guys are able to benefit from the short video. And then of course, that's the backdrop. Alright, that's the backdrop. And all this. Get on this in order to just get this backdrop. But you have to make moves and you have to find solutions to problems. And this camera here treated less go to what it sees where we're using. Desktop backdrop 9, the camera load, BAM, Of course, this kind of rough, but yet us, that's pretty much it as far as the backdrop. And then of course, when I stand in front of it, You guys know what that looks like. So let me put this down here and let me put this camera away so that I can actually get to some recording. So hope you guys are able to benefit from this. And I'll see you guys in the next lesson. 8. Recording Checklist: So in this video, we're going to be talking about creating a video checklists now or video production checklist. And of course, this is really important because you're going to need to make sure that you're all set up so that when you do start recording and when you finish everything, you bring it into your computer, everything is straight. You don't have to rerecord anything and you can expect a certain result. And of course this comes with just checking a few things so that you don't be surprised when you're finally putting everything together. So one of the first things I do is check the mirror, make sure I don't have anything on my shoulders or anything like that or checked a microphone placement. And that's just about it for that not as quick a step. And then the next thing to do is to go ahead and check your framing or your camera, shake your camera position, make sure everything is aligned. And for me, since I have my autofocus on this camera doesn't work or I haven't been able to figure out how to make it work. What I do is focus on a particular area in there, not today. Mark my spot and just work within, you know, the limitation is that I'm given so I can't move too far back. I can't move too far forward because I will go out of focus and I don't want to record a course where I'm completely out of focus. So of course this makes sense. So that's one of the first things that, or one of the major things that I check is camera position. And, you know, am I unfocused? Because if I'm not in focus and I'm going to have to re-record everything. Another limitation that I have is that my camera doesn't have a flip screen, so I don't really know where I am in a frame. So that's why I'm marking the spot is of utmost importance in my case. So you can keep that in mind. Now of course, other people might have solutions to these issues. Like you might have a flip screen. You can tell where you are in a frame. Your camera might have a really good autofocus feature. You might not have to worry too much about focus. You know, there are solutions to these problems. But of course, if you don't have the necessary equipment or to gear and all this stuff, then you're going to have to get a little creative with how you decide to go about these things. The next thing I check is the microphone now spoken earlier about the importance of audio. And audio is the most important piece of the production pipeline. So I make sure that the audio Dan I'm recording is coming out the way down. I expect it to come out, you know, run run a couple of tests, make sure that the phone and I'm recording that I'm using to record the audio width is working. Make sure everything is set up so that when I do recall my audio, I can expect something pretty nice. Okay. The next thing I do is check the lights. So I just quick glance at the lights and all this. And, you know, that's like the quickest one because all it really takes it for you to remember that you need to turn all your lights and about it. So the light's just make sure they're on because sometimes you can straight up Record and they're off. And if they're off, you know, you're probably going to be either underexposed or out-of-focus depending on, of course, your camera set up and all this. Now before I start really, I usually just clap, you know, just so that I can be able to start the video. And then when I bring it in and post, I can of course, synchronize the audio with the video because I might want to use external audio as opposed to what comes out of my camera or cameras. Because you might be used in more than one camera. And if you are using more than one camera, it does help too. Do you not remember to check your second camera because you're saving a camera might not be recording and it might mess up everything you have with the first shot and all of this. Now of course, you can always work around your second camera not working, but, you know, if you are depending on that, to work out for you and then make sure that you check it. So that's pretty much it for the recording checklist. And I'll be seeing you guys in the next lesson. 9. Camera Presence: Okay, in this video, we're going to be talking about camera presence. Now, this is something that can be a, you know, a skill that just comes naturally. And for some people, you have to kinda build this skill up. And this, of course, is important to keep your audience engaged in your course. And you can't really be speaking in a really monotone King Wu. You can't really speak that way because you're going to need to have, you know, or at least bring your audience along with you and have them be excited to be watching your course. And of course, if you're enthusiastic about the, about the subject, and they're going to be enthusiastic about the subject as well. So, you know, try to bring out some enthusiasm when you are recording. You know, may speak in a louder register. Make sure that you're speaking to them as if you're speaking to a crowd or audience. You know, there are different things you can do to get this effect. Now if you need practice with it, you know, it's not the hardest thing in the world to just set up your camera and just speak in front of it for a long period of time so that you can kind of build up this charisma and this camera presence. Now it is a very crucial part of recording, especially recording a course, because you are going to be in front of a camera for a pretty long time. Now, of course, for me personally, I used to edit around different issues I used to have in front of a camera. And that was sort of a crutch because that was what I specialized in. I use judges sit behind a camera or a sit behind a computer and edit other people's footage. But then it got to a point where I needed to record my own content. So I'd say this is a very important thing to focus on. And if you need to build this up before you decide to record your course, then that's something you need to do and I highly recommend doing it. You also get experienced with things going wrong. Your light's falling, not having lights, you know, having horrible audio, having horrible video. This just comes with just recording, recording, recording. And eventually you'll get used to the idea of standing in front of a camera and saying what you need to say. Speak with some, you know, some presence and even the best expert in the world, you know, he would he would look like an amateur if he didn't know how to convey, convey his knowledge to his audience. So keep that in mind. And you see this all the time when you have people who don't know what they're talking about, standing, standing in front of a camera with, you know, all this booming charisma and Audis. But then you really look at the information that they're giving you. And you can, especially if you know about the topic at hand or the subject at hand, you start to look at, I mean, you wonder like he doesn't know what he's talking about, but he knows how to keep you engaged. He knows how to really, you know, bring that energy to the shot. So it's a very important skill to build. And if you back it up with actual knowledge, then, you know, you can go a long way with that. And another thing as far as camera presence is, you know, show some related ability. So if you can crack some jokes, you know, try to speak in a more ethnic way, but You can do different things in order to be a little bit a little bit more relatable to your audience. So that does help as well. And to be honest, that's something I'm working on as well. So, you know, it's gonna take a little bit more practice in order to kind of get this across. Now when you are addressing an audience and you are speaking directly to the camera, make sure you look into the lens. They'll look away from the lens or sideways or at the flip screen if you have one. Because just looking slightly off, you know, people can tell, people can notice if you're looking this way, even though I'm looking right next to the lens, I'm not. You can still tell that I was looking off the off the you know, off the place and I'm supposed to be looking at. So if you are addressing anybody, look directly at the camera lens and, you know, it's okay to blink is okay to move is okay to look away. But look at the camera as if it's a person, you know, and then speak as if you're speaking to a group. So that's, that's kind of a good reference, are good thing to work off of. Speak as if you're speaking to a group because normally you wouldn't really address somebody with this much, you know, loudness and all of this. But when you're looking at them, looked directly at the camera and then went to viewers are watching, it's like you're addressing them personally. And the next thing of course, is like clothing choices and oddest, because people do judge you based on what you wear and how you appear to them. And if all they see from you is, you know, a cap with whatever you have on. And let's say that this person here, and let's say that this person here is like a doctor. A really doesn't, you know, those worlds don't really come together that will even know a doctor can dress, however he wants a dress. And people can understand this as well. But if he is going to be talking about, you know, his field and in different medicines and all this. He should wear like a lab coat or something so that it can kind of, you know, help the audience kind of understand that this guy right here is a doctor. And then of course remember that mistakes can be taken out. Mistakes can be taken out. You looking at your notes or you forgetting something or, you know, something falls and you have to readjust it and come back and all this stuff. Just remember that this isn't live. So you can always take that stuff out and nobody really knows what's happening behind the scenes unless you let them see what's happening behind the scenes and you're not editing your footage is letting them see what's happening behind the scenes. So inaction, I guess is action in that case. But, you know, you can always take that stuff out. You can always take the mistakes out. You can take little fumbles and all this stuff. You can take all that stuff out and just give the information how you wanna give it. So whatever you allow them to see is what they're going to see. So that's pretty much it as far as camera presence and just recording in front of a camera. And let's move on to the next lesson. Oh, and one more thing. Make sure that you're comfortable. Because if you're not comfortable, people can see it. 10. Recording in bulk: So in this video we're going to be talking about recording in sets. And this doesn't necessarily mean record, you know, 50 videos in one go and then see what happens later. No, you can record video after video after video after video. Just make sure that you are recording into same setting with the same atmosphere and with the same energy so that P1 people are watching, you know, they can see some consistency. Also, you need to kind of eliminate all of things that can go wrong when you are recording. And this isn't about being a lazy, because when you have everything perfectly set up, a lot of things are less likely to go wrong if you make sure that you nail the first one, you record an x1 and an excellent and an exon, and the next one, just take advantage of your setup because even people with a lot of experience, they can still run into issues as far as filming, as far as the, you know, the audio, as far as different things. So if everything is on point, go ahead and record as many videos as you need to record and you can keep that same energy, that same atmosphere, and everything will run a lot smoother. And I know this from experience because some days when I record, I can be feeling a little sluggish and bubble of y and it really translate on camera. And then other times I can be energized and all this. So, you know, when you record at different times, people can kinda tell the difference if they pay close enough attention. And that was the case with my other course when my lighting course, I recorded in like two or three sessions. So there was like wardrobe changes and different audio changes. Of course, there were some quality control because I still recorded in a studio. But as far as just managing my, my recording and all of this, I could have done a lot of things better. You know, I could have recorded different sections of a course if I wanted to break it up, maybe recourse section a and B in one place at one time, record sections, you know, c and d at a different time. You know, I could have done a lot of things better. So that's something that you can pay attention to. So we are recording, you know, your course, just try to record and bulk. It really does help with the process of making it indeed can also scheduled days, you know, maybe three days. I'm going to record my course in three days. So day one on one to section two, section one, day two, I'm going to do Section two, day three, I'm going to do Section three. That's how I set up my course because that was very easy for me to wrap my head around and just prepare because preparation is everything. So if you're able to prepare for it, you go ahead, you shoot what you need to show and then you finish. You will be, you know, in a lot better shape to, you know, go ahead and move on to the next section the following day and keep that energy. And when you focus on a particular part of your course, it can become very easy for you to kinda dive deeper, give some personal experience. You know, you can do a little bit more with this as opposed to just, you know, recording everything in the same day or recording them in very different, you know, times like you recall one video Sunday, you record another video Monday, you record another video Tuesday. You kinda, you know, disconnect and reconnect, disconnect, reconnect to whatever the subject is. And of course, each section kind of is like a paragraph where, you know, all of the thoughts and ideas they kinda work together if they were recorded or written in this same time period when you had the same thoughts going through your mind. So that's how I like to look at it. Of course. You can look at it however you want to look at it. But that's how I like to look at it so that I can keep my notes pretty solid. I can dive in if I need to. I can give personal accounts. I can show you behind the scenes. There are many different ways you can kinda take this. And another thing too is control space. And we spoke about control space just briefly in the previous section of this course. But I want to talk about it just a little bit more. When you have a control space, you can record a lot more. You can record a lot better, higher quality videos. And you can batch record now. And that comes with, of course, just knowing your environment, knowing what times you can record. And of course, knowing what's going on in your environment so that you don't have to deal with certain issues that might come up. So that's about it for recording and sets or recording and bulk. And I'm pretty sure that you can kind of understand the benefits of doing so. And if you're not able to do so, then of course you're going to have to work your way around it. And it does help to kind of have a ritual or something. If you are going to record videos at very different times, a ritual like maybe, you know, get up, set this upset this upset this up, drink your coffee, record, you know, different rituals really kind of get you into the same spirit. So a lot of YouTubers or people who create content regularly really have, you know, some type of rituals so that they don't come on camera and they're not really themselves. So I'd say that's about it. So Meet me in the next lesson. 11. Section Intro: So now that we're finished with the recording side of things, we're gonna sit down and we're going to go over editing your course. So buckle up and prepare to stare at your screen because I'm gonna be clicking through a lot of different things and I'm gonna be using software, so I hope you're ready for that. And I'm going to just be going over the highlights, not necessarily every single step off taken because that would be ridiculous and discourse would be incredibly long. So let's get into it. 12. Preparing Files: Okay, welcome back. And in this section of the course, I'm going to be going over organizing your files. Now. I have my notes here and I'm going to be looking at them just, you know, every once in a while, but we are going to be talking about, you know, organizing your files and sequences. So I'm going to open up my program. Which Premier Pro. Now, I don't know what program you guys are going to be using as far as editing your videos. But you are going to need a program in order to be able to finalize your project and everything. This kind of goes without saying if you know what you're doing. But I know some people might not know that they need, you know, a piece of software and am I go ahead and just shoot everything and put it out as it is. And that's not the best way to go about anything because you do need to clean up some things, you know, take some things out, short and different clips in and do some work to it. So right now, I'm just going to go over my files on my computer. I'm gonna go over them briefly. And then I'm going to, we're going to start working with the first with the videos from the first leg of the project, which is the preparation part of it. And I'm going to, I'm not really going to go through step-by-step and really have you follow along as I edit it because it's gonna take forever, you know, maybe ten hours. But I kind of brushed over what I did and just kinda take you along and show you what I have here. So right now I'm on my computer and now we have courses. Okay, we got, of course, this is a course on recorded the final section here, this folder here's empty. And the reason why is empty is because I've yet to record the end of this course because you're watching it. I know this is really meadow, but you're watching what I should be editing here. So once I've finished recording, what you see here, that's when the rest of this course will be in this folder here. But since we didn't get to that stage yet, where going to be going over these other files and I'm just going to be walking you through what I have here. Now. Intro, intro is just introducing the course to people who don't know anything about your course, who might buy it, whatever, whatever this is. Of course, the format that I like that I went with. Okay. And it's about five gigabytes and it's only two files. But, you know, we have these files here. Now. The audio file is missing. And the reason why is because it's up on Google Drive, so it isn't missing, but I've recorded it with a different phone. And since I recorded it with a different phone, an iPhone, I can't really take the files straight off the iPhone, put it onto my laptop and bubble Well, unless they get iTunes in, it was just a lot of extra work. So I just uploaded it sort of cloud. So the files I hear they exist, you know, there's nothing wrong. Now. There's other folder preparation. This is what we're going to be working with and I'm going to bring this onto the timeline. And we're going to, you know, get started on this here. So we got content, equipment location, location 123. Now of course these names are still, they're probably going to change by the time you watch this course. Well, for right now, these are the names that I've gone with. And We're going to bring them into Premier. And then I'm going to show you how it organizes stuff, how a separate this stuff up. But this is what we are going to be working with and we have one audio file. Now the reason why we have one audio file was because I let it run. I just let it run as I went through and recorded these videos. Now I recorded these videos, you know, because of course no. There are so many caveats and there's so much information that I don't want to just throw everything at you because you might get confused. But my camera or DSLR cameras, Usually they shoot around for around 13 minutes and then it cut-off as to really how they run. So what I did was I recorded my video and it's entirely in its entirety one video. So it might run around ten minutes, 11 minutes, and then I would end the video. Then I would record again for the second video on therapy and just rinse and repeat o and let me tell you beforehand. I don't like to put it here. I don't like to put it on much. And there is I can record it again, but that's extra work for no reason. But you know, this is good enough, right? So I'm gonna keep it. So let us open up Premier and we're going to bring all the files in. Okay. So I have Premier opened his computers pretty fast so, you know, I can show you what I'm doing. I could show you my process effectively. Now of course, I don't have my mouse on my keyboard right now, but I'm going to try to take you along with me, okay? So no project, I want to make a new project. And what I like to do is make a project for every section of the course. Now this is just my workflow. But I found that this was the easiest way to go about it because it keeps you focused in it. It keeps everything separated and organized. So for preparation, our changed this to just edit because it's the only edit file in the entire section of the course to just chain to edit. And if you want to know what Edit does it belong to, it tells you up here. It says appear in it says active projects, cores, preparation, edit. It gives you the location of this stuff so you don't have to kind of guess like, oh, what's it edit for this one or this one. Usually I just name all of my projects edit, you know, and in eight inches goes now whatever corresponding Folder and needs to be in. So all this stuff within order. So we have content equipment, all of this stuff. I recorded it in order. And since I recorded in order, is going to be very easy for me to sort and I can name it however I needed to name it. Because working off, of course, you know, my notes here. So I have notes. And then a notes. Make it easy for me to proceed here. And it also makes it easy to record also because you can record them in order, you know, where everything is and all that. So I'll import all my files here, my video files. Here's my audio file. Now, down here is loading because of course, I haven't brought them into the project just for the first time they've been brought in. So of course they're going to need to kind of process. Now I'm using Premier Pro and I'm sure, you know, this is probably the most popular software to use. So if you don't have a software of choice, you should look into Premier Pro and just kind of get the hang of it because it is linked to a lot of different pieces, a lot of different software packages like aftereffects or audition. I usually, I usually use Premier and audition in tandem. Now everything she'll come in and order on the timeline, but sometimes it doesn't. And then are just first down to just molten E2 okay. Location okay. For audit stuff is an order. Great. Okay. Now let's bring the audio underneath. Bam. Alright, now allow life to do. For every video I like to color-code them. So let me just select this here. And basically color-code the first thing as purple, second blue, maybe the third one. Now the third one. Remember how I said that location? Location, location, location A3 eighties auto same video. And they're the same video. I'll put occasion one. Let me go back to the folder. Location one oh, one. Location 1.5, location two. It was because of video just was a little long and I had to just record pieces of it at a time. So that's why it's the way it is. Now. What I'm gonna do, I'm gonna sit like all three of these and give them one separate color. Let's make them orange. And then I'm going to, oh, I have shortcut By the way, that's why there's just quick like that, but I'm going to color code the recipes the normal way. I'm just going to right-click and let me see. You go up to label in a selective color. Let me make it yellow. And then this last part which is finishing, this is going to be less, give it a purple. Okay. I don't like that purple because it kind of hides the name, but let me, let me click something a little lighter. Maybe courts, and there we go. So that just about wraps this lesson and I'll see you guys in the next one. 13. Syncing Audio: I just want to be a slightly lengthy lesson in comparison to the rest of them. But, you know, just hanging there. Now it's not about thinking exactly, at least for now. For right now it's not about because there are different things that need to be moved around before we can do all this stuff. And you don't want the audio. You don't want any of the video to overlap any of the other video because I also message with the sink. And K Like I can tell that this right here and easily pushed up, linked on all the way. And one more thing is, I paused a couple of these videos, pause a pause the audio. In. Got to remember if you did that, because if you pause the audio, then what's going to happen is that your audio is going to be not quite as long as you would expect it to be. Ok if you pause audio. And I believe I pause audio for some time. And that's why the beginning here shorter. So right now bam. So that's about lined up. And I can just look at the waveforms and I can tell audio goes where today's finish now I can tell this one was probably paused by no matter it wasn't positive now, so nothing's going to overlap. There we go. Those are lined up. And then now of course you got plug-ins and stuff for this. You have plugins that make things easier. You can just auto sync and honest, honest stuff, but it is good to know the, you know, the manual way to go about it because we know the manual way then you can get this stuff done in any program and, and just have no problems really. So k synchronous up. Bam. Okay, now let's move on to the next clip. These are center. Now is to beginning. Now the beginning needs to be cinco. Okay? And now this is where I would press control a, and this is where our push everything forward because I don't want to have to delete from the front without his giving myself some room. So basically, I just pushed clip a little forward so that I can have some room to move the top clip back so that I can actually sync it up. There we go. Okay. Not just elite as extra space. So now this is where you listen in and you make sure you make audio adjustments. And then you just make these minor adjustments to the audio. Maybe 0.1 decimal. Okay. That sounds about right. Okay. And then basically you can mutate Yeah. You can mute it in and see if does the audio that you expect to hear and the quality that you expect. So, so what I like to do, I just cut all of this to delete it and now keep the, keep the clamps in because I don't wanna do any row edits right now. It's not about the edits because I always want, I might want to make a couple of adjustments right now or later, at least. So right now, I just okay. Make sure the videos in separate everything. So right now it's about basically separating everything and making sure that you have different sections. Okay. So it was all separated. Let me see it. These are sync to actually even clap. I don't think I'll clap on this one. A, of course you can get around sinking it by just saying content with the words and making sure everything is nice that way. But it does make a world of difference. If you do clap and let it be known that you are about to start recording whatever. At least let it be known to wherever the editing because and I remember there was the issue with the audio on this section here. It was like there was this weird buzzing noise. Noses were buzzing noise. And I'm going to have to get to later or I can get to it now and just replace the audio. But, you know, this is these are just adjustments that have to make to miss for mistakes and I'm making, you know, let me see if the clouds are appropriately st. Oh, okay. I did clap at the end, so that didn't help. Ok. Now in this part here, I can tell that the camera did cutoff on me. And since the camera could offer me, I'm not going to be the Camera de cut off for me. And, okay, and now I'm going to be the ligand or this, delete this as well, and make sure the clamps are st here. Now you always move the footage. You can actually you know what I should lock position of? No, actually, I kinda like it because when you cut you wanted to still cut through the audio as well. So I want to unlock it. But yeah, I'll move the video. The audio. I don't move the audio to the video because remember it's one audio clip. And if there's one audio clip, if I move one audio or if I moved the one audio across like that without making all the cuts. Then all that's going to happen is at one part of the video might be sink, but the rest of it is not going to be saying. So this is stuff you had to kind of keep in mind when you do that. Okay. No. I don't want you guys to be CMI mistakes right now, but yeah, since I somehow sync Dub, i'm going to zoom in and just delete this extra piece right there. Insula, everything's perfectly lined up. So they are singing the cloud sourcing. Everything is fine air. And then take this one to the end. Okay. So I cut it there. The camera actually cut off on me. So there we go. Now with these. Once I have everything perfectly lined, I'm gonna slap them together, all the orange ones I want to bring them together. And a reason for this, of course, is because they are all part of the same video. You know, they're all part of the same video, so I'll just bring them together once I finish it. But I don't got much time at all. Okay. So now that I've done that OK. And usually is sync up when you really look at it, you know, okay, it's probably saved up. And I like to have a pretty non-destructive workflow because if my workflow is non-destructive, then I can make my changes or whatever and then come back later and say I'll allow alike are changed or I like that change and just make the adjustment. And is now going to be the worst thing, an aura or the hardest thing in order to do. Okay, this needs to be moved up. So when I move this, just delete all of this stuff here. And it's kind of rinse and repeat you counting all the information you need from this. Now, let me, let me push in a little bit. Can kinda see ended at so cut. And now I'm going to adjust this one. And I just ease. Now once I'd just this last one here. Okay? And I make my cut right before the claps. I delete all this stuff. Bam. Okay, so now the orange ones and separate. So what I'll do is select the space in between delete to like the space in between delete. So these three are together. And then we got this, we got this one here. Oh, turns out I did move to the last one is a saint, but it doesn't really matter. Okay. Okay. Not a desk finished. I make sure that the cloud sank at the end. Yeah, they do. Because sometimes what can happen is that if the videos too long, the claps might sink in the beginning, but they don't sink at the end. Now I can make a full editing course on his own because that's just what I do all the time. You know, I'm not talking about recording courses, but edit for a good portion of like my working life so I can make it dedicated editing course. But for right now I'm just going to kind of quickly walk you through what I needed to do. So right now I'm just sinking up the audio. And this is very important because when you're finished, of course you're going to replace the audio with the video, the audio, and then you're just going to move from there. So if you do this right, you're going to benefit later. Alright? Actually, you're going to get what you expect later if you do this wrong, that you are going to hurt later and you are going to have to make a lot of fixes and all of this stuff to footage that should have been done right in the first place. I mean, footage and audio, you know, the sinking and honest though. Now let me sink. There's a smooth it just a little bit. Alright? Now, okay, now that we have that, ok, that's all st dot TH2. Boom. Okay, we have everything we need and we go to the end of this. We have everything we need. Deleted. Bam. Okay, we have everything that we need. So here's what we do. If your computer's fast, you can calibrate this stuff and you can get the look that you want already. But I wanted to do that because it's just not a smart part of the process because are you going to do is slow down your footage and slow down your your playback and honor stuff. Now of course you can turn off effects and audit stuff, but, you know, let's not do that right now. So that just about covers this very long lesson. Now I can assure you that the next one is not going to be as long as this one. But I hope you are able to benefit from this one. And let's move on to the next one. 14. Editing Footage : Welcome back everybody. Remember the footage we had? Okay, so in this lesson here, I'm gonna make my edits. Okay? Now, what I'm going to be doing first, the parts where I'm looking at the screen. This is just a general rule, but when I'm looking at the screen, I have myself in this little window here. And when I'm looking directly at the audience or when I'm addressing you guys, I'm gonna be looking at, I'm going to basically have taken up the full screen unless of course, you know, I have to be the other way or whatever. So it's really up to up to you on how you want to do that, but that's what I'm going to start with. That's going to be my base. So right now let me turn this layer on. Bam. You see that's the layer. I'm going to have, this main layer covering the entire screen RI. That's what we're gonna be working with. And we're going to be working with this little window here. And we're going to be working with the screencasts back here. So as I introduced the course, welcome back. Welcome back, yada, yada, yada. And I'm telling you what we're going to be known, whether they go on or not cloud. Now I don't know what program there. Okay. So So with all this here, you know what I'm gonna do here? I'm going to make sure that I take up a majority of the screen. And then I'm going to zoom in here and shorten and wanted to be shortening this first layer here. I mean the second layer. The second layer, you know what, I'm going to give it a different color. Now I'm gonna get the first one, a different color. Let's say I'm a good I'll make it this color here. Yeah. So basically I'm gonna take this orange layer, and this is the bottom layer, right? So I'm gonna take this, I'm gonna shorten it. So right now it's just me. And so I'm gonna take this top layer here. I'm gonna take the top layer and I'm going to shore in it. Now it's linked to the audio, which is which can be a problem. Which can be a problem. But you know, what does it really matter? Because I'm not using that audio. So it doesn't matter all that much. You know what, you know what? We're just going to delete the audio. That's what we're gonna do. We're gonna delete the audio. And this is, you know, let's just get to it. Let's delete the audio right now. I had its soloed, So I was just kind of under the impression that that was the only audio track. But now we've got the audio that we want. Okay. Let me move this up here. Bam. And then on mute right now because I have solo, but go with this kind of goes without saying We got the audio that we want. Okay? So it has to beginning. Now, we got three different video layers, ok, since we got one audio track, enemy. Ok, we got three video tracks. Bam. So now let's watch this over. Welcome back. In course one, going to have an unstable case. So the blue one is the small screen. So preparation part of a bunk and really preferable idea. They just want to take a longitudinal Adder. Ok, So since I started look in down test1, ten hour, what I want to kind of brush over what I did. And just time it will take you along and show you what I have here. So what I'm gonna do is I'm going to leave a cut and may turn these on. So when I'm gonna do is leave a cut here. And whatever I take this next extends, I'm going to be looking at my screen. When I start addressing you guys. That's one, I flip back. So other files and I'm just going to be walking into these other files. Okay. And since I looked out, test1, no way. Okay. So that's what's going to happen. I'm going to solo these. And we're gonna be working like bodybuilder basically in this folder here. But since we didn't get to that stage yet, but we're gonna be going over it leads other files and I'm just going to walk you through. And now you can use this technique to hide cuts as well. Because let's say that I want to take a half some outtakes or whatever. You can hide cuts using this method here because this kind of Trixie eyes, and for all you know, this could have been a cut or it could have been by essentially looking at the timeline is not It's not a cut where I've taken something out right now. I'm just cutting between two different two different clips that are basically the same files. Then I'm just going to be walking you through what I have here. Now is just totally whoever this is. Okay, now, and actually this, this little section here where it's kind of unnecessary. So I'm looking at the screen the entire time. So what I need to do is I'm going to bring this back here and let me go to this tool. And I'm just going to move this your say here. Ok. So since I'm not directly so since I'm not really stepping away from my laptop, then, you know, I don't really need to k here, so I can kinda just guide you through without any of that extra intro, intro it. Oh, and another thing about the screencast. Another thing about the Screencast. I should have mentioned this before when we make in general and video adjustments. But I'm gonna be making them here right now. And you see how the top and bottom and let me solo There. You see how the top and bottom were cropped off, right? That is beneficial when you open up a program, but not so much when you are showing your home screen. Okay? So until premier opens up, let's say opens up. I'm gonna, I'm gonna find it. So this part here, this is when you make the cut. Bam, and then now you just reset everything. Okay. So we're just going through my personal computer so it is fitting that there's the windows, icons and audit stuff there. You know, it's fine. So potent preparation. Okay, so what we're going to be working with, this is fine. Now I'm going to turn his back on. And I'm gonna see whenever. There's other photo preparation, this is what we're going to be working with and I'm going to bring this onto the timeline. And we're going to get started on this here. So we've got content, equipment, location, location one to a great. Okay. So I'm going to cut it. I'm going to bring your right here. Equipment location, location one to agree. Now of course these names are still probably they're probably going to change by the time you okay. Well, for right now, these other names that I've gone with, we're going to bring them into command. And then I'm going to show you how it organizes stuff, how to separate this stuff. But this is what was working. Okay. Now when I say now we have one audio file, then I should go back to the screen today you can see this one audio file I'm talking about. So when you do make any references, anything on your screen, and then it does help to show on the screen just a general rule. Stuff how to separate this stuff up. But this is what we're going to be working with that we have one audio. Okay. Panchen, now I'm just gonna go ahead and do is edit this and the UK kinda just follow along if you are at all interested in this, in a different steps that I'm taking n our repeating. Another reason why we have now I'm going to be repeating a lot of techniques and different things. If something new comes up, I'm going to just slow things down and just explain it to you. But for right now, I'm just going to continue on my edit. Alright? This is what we're gonna be working with and we have one on top and we wanted that we're not quite using different coming up. Okay. Okay. Now this here. Yeah, I can I can bring this full screen again. So later in the video, you don't really need this full screen thing. You can kinda does explain things from your little window. People are kind of are gonna be accustomed to it. But you gotta kinda ease them into you shown on your screen and bubble. So that's something I'd like to do. And you like to take your audience Along with you. So right now, there's, there's a big chunk right here and then there's me, and then there's just a small piece here. And then there's me. And I'm sure it's going to go right back. Well, next time it goes back to me in a little window, it's going to probably be there all the way till the end of the video. So that's how it's probably going to end up being really how they run. Tactic 1D mountain entity record again. Okay, now I made direct reference to my strain. Now made a direct reference to my Spain. So now you can see where the cut shipped and is ready to repeat. And in this image here with location, location, location, location, till Is that okay? That's audio. So audio issue. So now that we recorded it here with location, might have been around 8910. Alright, so, alright, so, okay. So right now I'm going to do a general hard like slice for all these clips here. And then I'm gonna take this whole section out. Bam, out today. I'm just going to continue. All right. Oh, and let me tell you before. And it's too cuz I guess is to single. Ok. Notice par here. I'm going to speed it up. Now I had to Glass I'm a home where they can go to record everything into work work here for my favorite ok. And then the Marco's going into pretty facile. Okay. One more thing is that when you start taking things out, the markers a stay exactly where they used to be. So that is something to keep in mind. Ok, so I have two mirror plane this computer. So I'll cut this whole slice here. So I'll put this whole thing here. So let us open up from there and we go to break off positive. When I delete. Okay, now I just deleted the footage. And the reason for this is because when I speed things up, I'm going to have an overlap. A part of, you know, just the footage on me. So it's going to basically be acting in the background. So let me speed this up by maybe 400. Open up, come here, and we're going to bring all the files. Okay? So when I say, let's open up from where I'm gonna delete. This is good enough, right? So I'm going to keep it open up from where we are going to bring on poverty. Okay. Now let me see what I say here. Glad Sam, iPhone. Okay, that's garbage. So there we go. And then what I'm going to use, I'm going to take everything here. I'm just moving as up and out the way because I know exactly where it belongs. So I'm gonna take this again. My thing, my cursor's, I've shrunk the mind. We want to keep it open up from here and we're going to bring on positive. Now the thing about screencasts footage is that it can always overlap. It can overlap, no problem. And we're going to bring all the files within this Computer's pretty fast. So what I'm gonna do is have this here, remove this here. So let's open up career and we're going to bring all the files. Okay. So that's what I'm showing you guys get the gist of what I've been doing. A lot of it is just repeating techniques over and over and over. And if you want to build up your editing skills and it just comes with practice, practice, practice, practice. You get confidence, and then you can move from ne'er. So I'll see you guys in the next lesson where we begin into common correction. 15. Color Correction: Welcome back everybody. In this section of the lesson. Now, in this lesson we're going to be going into color correction. So I finished what I was doing in the previous lesson. Of course, with the edits. The only, the only real change I made was over here, was no, over here where I kinda put myself on this part of the screen. And only reason why I did that was because I was talking about the timeline, so I didn't want to obstruct the view of what you're seeing on a timeline. So I'll put myself here, but that's just a minor change. Now let's get into color correction. Ok. Now, I don't know what level a lot of you are at, but let us get into the color and let's just start. Okay? So based off of what I see here, what I see in the luma tree skulls and what I see here believed this is called the the parade. That's when it, now this is a vector scope and this is a parade that luminary sculpt this adjust, uh, basically the color correction. The color correction, things, you know, the dials and stuff. Anyways, it's really hard to remember. I need names, but what's important is that you know how to use this stuff. Okay? So here are my basic adjustments. My basic adjustments right now, I know that I don't really have many highlights and I'm a little I wanted to say underexposed, but, you know, the exposure can be done a little better, right? So I'm gonna bring up highlights. Let me bring him up just, just enough. Let me bring the highlights up to this point here. So 35, 5%, ok, that's what I'm gonna do for highlights. The contrast and obliged to all that stuff is down here is correct. So everything is looking good there. One thing I can be messing with the temperature, one to just adjust the temperature. I'm not sure. Actually, you know what? About the temperature? I'm going to ignore the temperature, the dial here, and I'm going to mess with my white balance and it's going to grab something that's like okay. Not asked to correct. Overture. Okay. Okay. And it made our auto adjustment for me. But let me bring this to five because I don't like what they what they had for me. Okay. Now let me go turn the effect on and off. Now it looks a little green. Ok, it looks a little grain, but I think that's good. It gives us some character. I like to add some purple phone can do that afterwards. Shadows. I can bring out the shadows just a little bit, maybe 15. Ok. Now you see everything changed in here. Okay? What I'm gonna do, the blacks are perfectly fine. I'm going to bring up the whites just a little bit. Maybe about eight. Okay. Turn us on and off. It's really good to see what you had before and which you have afterwards. Okay? So this looks better exposed right? Now. What else am I going to be doing now? I'm not going to be miscellany lots or anything like that because first off, I don't have any except for the default stuff that comes with the program. And another thing is that I don't really like to send you off somewhere and have you buy a lot and come back and other stuff. So for right now, we're not going to be used in loves. I'm gonna bring up the saturation by national or should I do here, or should I do it later? Surgeons? Let me let me bring this up here. Maybe oh, 5105. I mean, I guess this saturation is fine, I guess. But then again, I'll just leave this alone. I'll leave the basic corrections because everything seems to be fine here. Alright. Now, color wheels. This is where you can mess with the midtone, mid tones, the highlights, an honest up. So for my shadow, I like to give it a bluish, purpley type of look. Okay. And amassing what my my shadows. And then I'd like to bring this all the way down. So there we go. Now we have an interesting look to it. Okay, now this is kind of going into color grading. So now nothing here is correct exactly. You know, there's no real correct way to collect a right. I mean, to color great. Now you can color correct. Which was what we did earlier, which was this. And this I guess is correct. You have to make sure all your your your colors are corrected. But then afterwards when you are going for look, you know, you can go as extreme as you want to bring something all the way up like this or something, or you can go light. So it's really up to your tastes. So like for my mid tones, like to go down here, I like to go to this core seen type color. Okay. And then for my highlights, I like to go nice and warm. Alright. So that's my color grade, I guess. Okay. And then if I wanted to do a little bit more to the background, maybe add a little bit more blue or whatever. I'm going to go into HSL secondary and I'm going to highlight my skin. And solo this, make sure that my skin is fully selected. Ok, I only want my skin and I'm gonna get to a later, But you can grab other things, kinda share the same tone as your skin, but for the most part, try to get only your skin. Let me bring this up. Okay. But right now it's all about the skin, okay? And it may push this here. Boom. And then I'm going to denoise it because there's a lot of noise and then I'm going to blur it slightly. Okay, now that I got my skin, I'm going to invert this. And you see everything but my skin. And I just turned to us also that I don't really see it. And then now I'm going to add some glue to the background. So you can add a lot of blue, which you can add a little bit. What I'm gonna do is add a little bit more blue to the background so I can make it, I can give it a more interesting look. You know, I'm going to blow this up a little bit more because it's not really, it's not really gone. Really. Dominant blur. There's a little bit more de-noise. This a little bit. Maybe not go too hard and a blue AB 15. Ok, saturation of the background. Now this is saturation of whatever I have selected. So right now my saturation of my background, I'm going to desaturate it just a little bit. I want me to be saturated and everything but the background can be a little desaturating. And this blue is a little intense. Okay, let me go back to select my colors. Now one thing you can do is you can add as well. So I can add here and maybe add what I have up here. But now I'm really are struggling tanks. So I'm gonna take away from this. And then I'm just going to add a little bit of my scanner. Okay. Nevermind, I'm gonna take away from all this stuff here. Templar. Mr. I guess if I blurred enough, nobody's going to notice, right? But then you go to full screen here. I see this, which I'm not sure. I was there already. I know some people might not know that I guess is a lighting thing. I don't know what that is. Let me turn off all effects. Yeah, they gotta be something with the light. This frame here is crazy, but I guess there's something with a live so I shouldn't worry too much about it. I just don't like the next spill. It doesn't look natural. Doesn't look natural at all. It doesn't look natural. So and I'm gonna do is maybe bring down a blue to life. 510. Mac is ASL secondary is colored by that. Regulates our, the color wheels. It's a color wheel. Momentum. Smart mid tones. Okay, that was a low to yellow it and are here. My white balance. Maybe bringing this up. Alright, so there's a lot that can be done to this thing here. Alright? Alright, now, I don't wanna go too crazy on the color correction. So I'm going to, so I secondary, whatever. Maybe I should make it a war. I like blue. Blue is a very, it's a very nice color. Okay. I'm a row of five and we see what we have. Okay, that looks about right now. I like looking at my skulls because you get to see exactly what you're working with. And there's, there's not enough color outside of what saturated. Saturated is like the high ColorPoints, but then you have lower color points. I hope I'm, I'm teaching this stuff right, but okay, now vibrance, I'm gonna bring up my vibrate so that I can bring it out the other colors, the colors in the mid tones. So I'll bring up my vibrance to save 40%. Boom, that already solved a lot of issues. Ok. I just don't like this yellow. This yellow at all. Yeah. Maybe I can bring up the temperature here and then go down to SLI secondary and then bringing this out to negative five. So I'm going to make this cold, alright? And then let's say my blue color, we'll bring it out, so on. Okay, that's just a piece of software and it might go ahead and just shoot everything and put it out. And I like to click in and out of my affects just so that I can see if the effect is on. Okay. And don't worry too much about these other clips because they don't have the correction has done to them. But I just need to get the look that I need. Alright. Okay, now that I've got the look, Let's say I'm extremely happy with this, right? All the levels are, are pretty good to me. Mess with the highlights just a little bit more. And bring up the lights, maybe 2-15, boom. And contrast them. Bring them to contrast to 15. Ok, now, the wheels, the color wheels. I think the blues are in a dark hair. Actually moving closer towards supply. Okay, here we go. Let me bring up the highlights a little bit more. And a good way to get some practice is to bring somebody else's, somebody who has really nice looking color grades, like let's say Peter MacKinnon or somebody, you bring a screenshot of theirs into the program and you can kinda look at their basic they're color values and audit stuff and, you know, you can copy them. There's no harm in doing that. And you can learn that way. It's a pretty good, a pretty good way to to learn how to grade your footage. Okay, but this look, I like this look first with the videos from I mean, it looks like I did nothing to it, but yeah, I like this look. Now what I'm gonna do about this luminary sculpture, luminary color. Now in order for me to apply it to the whole all this footage here could apply to every single clip. I can do that. Now if I use an adjustment layer, I'm going to have to nest it. And if I nest it, I'm not going to see my edit right on the main timeline, so I don't want to do that and I wanted to see it on top of my screen casts. So what I would do, one of the ways is to just apply to every clip that will solve that problem. Or you can take this here. And since all of this is pretty much under the same file, you can just control x, paste it onto the massa layer. Bam. Now it's applied to all of these. And you can see it what this little red thing underneath. Okay. And then we'll use, oh man, this last clip here. It's not part of the main file, so I will just apply it to this one on its own. So BAM, there we go. So now we have saw that. And I don't want to add it to this master layer because this master layer is attached to a bunch of other footage. So I wanted to do that. Well, for right now, this is what we have. Welcome back. Okay. In this section of the course, I'm going to be going, oh, you guys are able to benefit from this video. Let me call it that row equate. I hope you guys were able to benefit from this video and I'll be seeing you guys in the next lesson. 16. Rendering: Okay, so we're approaching the end of the course. And right now all that's left to do is render this. Now, if you use premiere, you know how to render this stuff here, you just control m or go up to sequence. And where do I go? I forgot because I just use the shortcut, but you go up to clip or sequence. Wow, I really forgot. Minutes later. You've got to export. But you see, you see, you see this here is Export Media Control M. So that's a shortcut and that's all I've been using since live five years. Okay. Man, I just press it again. It just habit but you gotta X4, you export media bubble bar. Okay. This last kids an actual lesson here, right? We're exploiting your files. I like to export at a higher bit rate and a high bit rate. And a reason for this is so that the file can be bigger than I needed to be, or just slightly bigger than I needed to be so that it can retain all the quality. So I usually go with maybe 50 megabits. You know, that's the target bit rate I usually like to shoot for. And this is of course, when YouTube or any other site you really upload two is going to compress it a lot. And if you upload to vimeo, let's say you have a website, you upload it to. Vimeo, is still gonna do some compression. So, SO I shoot for 50 megabyte and 50 megabits per second. Some people shoot for something way, way, way, way higher. But this already is three gigabytes then or 3.2 gigabytes. And that's a big file just for one lesson. So, you know, I want to go any higher than this. So everything is here. Everything is color corrected on above. Well, now, Now another thing too is that I render. Let me go up here. Render at maximum, maximum depth. And I use maximum render quality and that is when you resize stuff, it really helpful to Anaconda tells me here it says give better quality scaling but increases the ankle time. Now if you have all the time in the world to go render or you have a powerful computer, then darkness is not going to be that big of an issue for you. And that's just about it in a format that I used as H dot TH2 64. And my preset, usually I'll build a preset. But this right here, let me just, let me create a preset just because so let me just call it course render, right? Of course render and then undo, say OK. And what I like to do is I would I'll put this into Q. So I say I finished 50 lessons, right? All of them in my Adobe Media Encoder Q. And then everything would just render out. So let me just do that now. It's a different application all together. But if you add the Adobe suite in USA, have Media Encoder and audition after effects and of course Premier. So my encoder is loading. But this is a right here. When encoder opens up, an encoder opens up. You see here's the file bam, with all the settings that you have. So when you, when you press Play, it just renders everything out. Now, let's say I added another render to it, right? So I went to File Export Media. And then let me say I added this UQ. Now I've got two videos in the queue, right? And then when I press play both of them videos, they're just going to render after each other. And this is just a, an efficiency thing is not necessarily something that you have to do. It does it really add or subtract from your actual videos? But it does help you render your stuff out so that you don't have to just wait for one to finish it then go ahead and render the next one way for that to finish in red. So repeat. So this right here, is that a good solution to that? You can just stack all your videos here and just render it out. Now so far only finished one video. So since I only was able to finish one video, this is only video I was able to put here. So I'm not going to necessarily render out of Media Encoder. So that's just about it for rendering your project. You're just gonna do this over and over and over and over again. And eventually the practice and auto stuff will come in and you'll just get faster and faster as you go along. Now, you can use a lot more advanced techniques. You can use, you can add a lot more or subtract or whatever. But this is kind of like the basic, basic basics, you know, to preparing good course, especially on the editing side of things. Now, I'm going to leave you with a final video. This is after this one here. So I guess be ready for that is going to be like a little conclude into everything you were able to learn or everything I hope you were able to pick up from this course. And I'll be seeing you there. Have a good one. 17. Course Outro Notes: Now of course there's gonna be a lot left on the cutting room floor because this course will end up being maybe 3040, maybe even 60 hour course if I recorded everything that I was doing, but I just kinda took you along and recorded all of the major points autumn maintains that I did in order to get you the course that you see here. So we're going to talk briefly about rerecording lessons. Now, there was, throughout the process of making this course, I had to rerecord a couple lessons. There were quite a few that I had to leave in there because rerecorded in them would just be too much of a hassle. The rest of them, even the ones that I didn't quite like as much as I would like to like them. Those ones right there, I was able to just fix the issues they had, which was the clicking and audio. There was some heavy clicking and in a few lessons in the beginning and about one or two later on, I had to just deal with some muffled sound. And I'm in the process of making more material, more content to go up on the interwebs. So be on the lookout for that and have a great one.