Creative Video: "Intrigue-Editing" in Premiere Pro | Yahir Smith | Skillshare

Creative Video: "Intrigue-Editing" in Premiere Pro

Yahir Smith, Digital Media Specialist

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9 Lessons (1h 26m)
    • 1. Course Introduction

    • 2. Creative Theoretics #1

    • 3. Creative Theoretics #2

    • 4. Storyboarding

    • 5. Choosing The Right Audio

    • 6. Premiere Pro: Workspace & Editing

    • 7. Creative Video Editing Process

    • 8. Exporting Your Files

    • 9. Closing Thoughts


About This Class

In this course, I'll walk you through some of the best practices for creating a visually interesting video right from your own inspiration! It's always fun creating things that visually inspire us and in this lesson you will  not only learn the technical skills of video editing, but also the theoretics that go into producing an awesome video!


1. Course Introduction: welcome to my lesson on creative video editing and Premiere Pro. And that's that's what I'm going to be showing you, that the techniques that I've picked up along the way have helped me tremendously in streamline in my workflow efficiency and just getting a better video production results. And the thing I like about video editing is that it's such a magical part of the production process because this is the part where a lot of the ideas and creative juices start flowing . And it could just be very exciting to, you know, just kind of get different inspirations and different ideas while you're editing off course , a super important to know the sort of video that you want to create beforehand. Video editing specifically created video editing. It's so fun because you get so much inspiration and get some of shipping ideas, and you can, you know, play around and experiment and see what works and what doesn't work. So in this lesson, in addition to the technical aspects of video editing, I'm also going to be showing you I'm explaining to you more theoretic so the diuretics that you can apply so you can get the most streamlined production process. And you could also have efficient videos this fall to you want a new production process to not be too long, not too complicated. You kind of want to just know what you want, get in there and spend the majority of the time having fun, actually editing the video and not worrying too much about the actual technical aspects of it. So super excited that you decided to take this course on the doctor that do, Let's get started. 2. Creative Theoretics #1: what makes a video look cinematic or creative, no matter the skull. Oh, there are a lot of different factors that come into play when deciding what makes a video looks cinematic or creative on one of the main ones would be framing principles as well a shock from position and back on music. Now, before you get too technical into, you know, worried about these things. Keep in mind that these are factors, and they're not definite source that make the video looks cinematic. There are a lot of factors that go into it, such as the type of music that you choose, the energy and pacing of your shots and footage and, most importantly, the story boarding process. Now I think the story boarding process is one of the most important process off the video editing or whatever creative endeavor you're doing. Because with story boarding, it's allowing you to kind of flesh everything out and just get everything down on paper. Ideally, now it doesn't have to be pending paper. You can use different tools, such as a Nextel spreadsheet, or you could even, you know, just pull up an illustrator file. If you're good with illustrator and just start, you know, creating a storyboard there or there are dozens of all nine templates and you can use the storyboard. But I find that pen and paper. There's something just so genius about pen and paper is actually saying that goes somewhere along the lines of geniuses found with pen and paper. So basically, what that means is that when you write something down, when you when you actually have a pen or pencil in your hand and your writing something down on paper, it allows the ideas and just flow out more naturally. And don't get me wrong. I am a huge, huge advocate, the digital media. I love digital media. Okay, like I am obsessed with digital media but at the same time a super important to acknowledge that, you know there's no there's no greater flexibility or creative electability where you get your best ideas, and can you kind of just like flow? They're just putting something down in pen and paper, so I would suggest you just grab an 8.5 by 11 paper, any sort of paper you have lying around, get a paper or get a pencil or pen and just start sketching and you just start sketching anything. But ideally, he wants to start with a sketching rectangle. Since we are working with video here, you want to just go ahead and sketch some like rectangles you could even do. Rounded or square, it's up to you but sketched in rectangles and you can also on put you can also number those rectangles below below the rectangles. You can number them. And in addition, you also are going to be riding down this shock type. Don't worry about this. We're gonna be going over this shortly and I'll be able to explain a little bit more in detail. But just know that it's super important toe have some sort of story board because this is the part that you're going to be allowing your ideas to be fleshed out fully. And it will just make the pressure process so much easier because you won't have to worry about, you know, thinking everything through and, you know, not really knowing where your production is gonna go and how the end result in the video editing process is gonna work. You can rest assured the story boarding is going to help you tremendously. 3. Creative Theoretics #2: have a clear objective off your video. Look by story morning. So again, just at the reminder. Storyboard storyboards, storyboard. You want to make sure that you have a clear objective and you will know exactly how you want your video to look like before you actually start editing it on before you actually start shooting it. Because remember the story boarding and the pre production process is there. So we can help you streamline any sort of confusion or any sort of lack that you may come across when you're actually shooting or creating your production. So my first tip and reminder would be against a storyboard intensively, ideally with pen and paper but a force you can use the plethora of different online tools that we have nowadays. They're gonna help you with the story boarding process, cutting clips too small. Another thing I really want. Teoh Touch home one. This is something that I personally have experienced a lot, and I 100% understand this. Don't do not cut your clips. Two short, and this is something that I'm honestly again. I say I've had a lot of experience and because when I first started creating videos just as a hobby. And just because I liked doing it, ah, lot of the cliffs I would choose would be clips that either shot or you know, if it's, you know, footage that I found that I was able to use. I would cut it so short that I would have to keep editing. I'm just a fill in the gap, and it just it was just a necessary amount of time. And it took so much long on the usual to finish the project because it has so many little different types of clips off. For example, I was doing out of music video montage clips at the time, and I would clip that I would clip the clips so tiny and source some so tiny that it took me forever to kind of fill out my timeline because the clips were so tiny and even the clips I was shooting myself, I wouldn't shoot for long enough. So my suggestion would be if you're shooting a shot, even if it's a beautiful shot, please make it at least 10 seconds. Make the shot at least 10 seconds. So you have some sort of variety, and you have some sort of clip lengthen you could reference from because of you, don't you would just be on clipping really short tips together and trying to recycle different clips in a means to kind of fit something into your timelines so you can just get the video together as a whole. So that would be my next up theoretic suggestion to make sure your clips are actually long enough to many footage options. Another attempt, I would suggest to you, is to actually limit yourself, and it is going to be a practice and self discipline because you don't want too many different clips. So let's say, for example, you have an inspiration to shoot something. Let's say, for example, you are inspired to go into your city and just start shooting like the buildings that are all around you, your city. It's great to go out and get us much shots as possible. You know, I've done this myself because again you do want the variety, but you don't want to over complicate things because trust me when you have too much options and just takes a much longer time deciding what you want to use with your clips and your production. It is much more easier to honestly just kind of streamlining and Jews like a top 5 to 7 like, you know, and even seven, maybe a little bit too much, which is in the top five tips that you really want to incorporate into your into your production that really are visually represented. The best I feel like it will help you so much, because again too many options is just going to delay the production process. And, of course, there's no hard and fast rules. You're gonna go ahead and shoot as many Clinton you want and have us much. What's what I'm looking for have as much diversity as you want, but just keep in mind it is going to put it in a bit of a hanker on your production time, and you may find yourself I'm staying in the editing suite a little longer than usual because you're trying to decide what video and what footage you want to incorporate footage with different aspect ratios. Now, this is also another lesson that I've learned the hard way myself, and that is incorporating different aspect ratios into the same timeline. I can tell you guys, this is one of the most frustrating things you could do to yourself. And it will really just delay your production process, because with this, your we're basically combining a lot of different aspect ratios. So let's say, for example, you have an aspect ratio of four by three, which is a lot of kind of like the standard aspect ratios of, like, TV and movies in the nineties and even before then. And of course, you know, since you know the me in the new millennium, we have switched to 16 by nine, which is more of the standard. So you have different clips that are 16 by nine and four by three. When you put those in the same time line, they're going to look a little awkward because search certain clips, we're gonna have the back bar, specifically the four by three aspect ratios. They're gonna have this black bars. You mix that with the arm standard. Why dimensions of 16 by nine and you're gonna get a very jarring effect. The audience of the person is viewing your video. It's going toe one second, see awfully ah frame that fully fits the screen on the next minute, they're going to be seeing an image that has black bars on the side of it. And trust me, guys, that could be super jarring, and it can be hard to kind of justifying post production. So that's why we're seeing make sure that your aspect ratios matched to the best of your abilities unless you are purposely purpose e. Doing that for creative effect than by no means go ahead and do that. But just know that if you don't have that intention of doing that, you may want to just choose one aspect ratio and stick to that. So your video has a cohesive, creative and narrative easy to follow narrative. 4. Storyboarding : So now we're at the story boarding process, and we're going to start story morning storyboard in the super simple. It's not anything to be too complicated about. There's just some things that you want to keep in mind. You want to make sure that they just come clearly communicating what it is that you want your shots to portrayed. And if you're working in the team is always best to make sure you read, you add the right notes, so everything just looks more cohesive and makes visual sense. When someone is looking at it for this example, we're just gonna be using the storyboard for ours on our needs. So we don't have to worry about anything looking too pretty or looking to ledge abril. We just want to make sure that even for yourself, you're making this process as clear and straightforward as possible. The first thing I'm going to do is I'm going to go ahead and just draw. I'm just gonna strike storyboard and top right here, just so we know that in the story board on the first thing when it was just draw one rectangle and this is going to be basically the this is gonna be the the kind of, like, overall thing that we're gonna be using for the story forces going my first time rectangle right here. One drawing number one over here. Just number if and I'm also going to do draw. What type of shot this is gonna be is optional? This is not necessarily. You don't have to include the shop types of numbers, but personally, for me, just eso makes more visual and cohesive sent through me. Just gonna go ahead and just right. Ah, medium close up, which would also be abbreviated as m c new. So this is going to be on my medium close up shot in this shot right here. I just want to have a shot of basically of me, and it's just gonna be a shot up of me. Medium close ups tend to have at least the shoulders included, and I know for this shot this is going to be a footage that I'm going to be using from my video that I've taken That includes a medium close up of me. And that's why I included this shot right here, too. Again, nothing super create creative or super you know, on super elaborate is just going to be a very straightforward on market. So now in the next rectangle, it's gonna number it aga tangle to And then this is gonna be a medium close ups medium close up, shot again. But this time is going to be a medium close up of me again. But for this shot, I want toe, make sure that I communicate that I'm going to do a sort of overlay effect. So basically, what I want to do is I want tohave me, the medium close up, close up of myself. And then I want overlay effect off landscape. So let's say, for example, you like a city landscape, So I'm just gonna draw like some buildings and then I'm basically going to miss may shine. Ricans scare. It's possible. And then I'm going to make sure that I also include some sort of symbol that recognizes gonna be over. They ah, popular symbol would be to just go ahead and just kind of do like an extra here. Yes, to me, like my overland and I can also just kind of make a little arrow here and just kind of like draw their esque X out again. I'm just gonna link to this initial X I couldn't even write overlay right here. Just with clearly communicated, it's gonna be all over. Lay shot. Okay, so now we have a next rectangle. And again, this is pretty basic. This is not anything crazy. Don't have to be a advanced artist for this kind of stuff. You know, they do have storyboard storyboard artists, people that actually specify in story boarding. But this is just, you know, for us. You know, we're just kind of trying to make this a simple it's possible on do number three right here on. I'm gonna do a wide angle shot. W s for short, and this is going to be on the foot of China that I've taken off downtown landscape, so kind of like, Okay, that's right here. And the idea is that the overlay goes from this kind of the overly effect goes from this from me, a medium closer shop. Sorry. A medium close up shot of me. So then the city, because now it overlay completely. It's a city. And now we're also going to just make sure that we communicate. It's gonna be a pad effect. So he was gonna go ahead and pan that and you could just drawn arrow. Just so I'm signified that this is a pattern that could also right. Tad, just get always, always write us for two. And this is really good. Could last you to flesh out what it is that you're exactly going to shoot. And it makes sense because a lot of the times when we have an idea in their mind, it's always good to, even though we have in our mind is always going to put it down on a piece of paper, I tend to get, like, very like, detailed sort of images that I know I want to recreate on video, but it always have to put something down on paper. So when I'm editing, I have something to reference to. And, of course, while I'm actually shooting, I can remember look at the storyboard and be like, Hey, I know exactly the kind of shots that I want to shoot. That's what's important. You just kind of storyboard. And then we're gonna go right back here, and then this is going to be a, um, me another shot of me. But this time we're actually gonna have almost a full body shot. So it's not gonna be a cold. So I'm just gonna name this medium shot That's right in the before medium shot and s for short. And this is going to be a close sorry, medium shot of kind of just like me standing again. We're not looking for anything too specific, and it's gonna be a window behind me. So the idea is that that shot kind of pans left to right, And then you see the next shot, it's gonna be like me by the window. So kind of insight. The shot kind of just panned in from this shot to this shop and what I'm actually thinking . If we can do another overlay, actually, which is not a bad idea. So I can go ahead and actually do another overlay as well to just make sure I make that legend clear that it's overlay. And if you're not sure what overlay means just basically means the blending of two images, that's where overlay means so percent, another overlay shot. And I'm actually just going toe link. Um, this to this, I can actually write overlay here instead because it makes more sense a heavy here. I'm just going to a faint drawing off the background again. This is not anything crazy. Just so we know, make sure everything is cohesive. I want everything to kind of look like you have to sing sort of visual. Wait, and that's it. It's really simple, straightforward, nothing too crazy. Just want to make sure that you communicate clearly visually what it is that you're trying to do and how you want the shots you consist to play up. 5. Choosing The Right Audio: on this Nothing. I want to go over choosing the right music music. It's such an important part of the video and audio editing process, because with music you're really tugging at the emotional heartstrings of your audience, and it can be even be background music and could be a little chime here and there. It could just be anything that has some audio to it, but you'll be surprised how much are more Production value goes up when you incorporate good audio and good background music into your productions. Of course, it depends on what you're trying to dio. If you're trying to do a music video, obviously music is going to be the main focus of your video. Of course you know you're shooting a band, you're going to use their music. Or if you're using some of your own music, you're going toe to choose. The music that you feel best reflects the visuals that you want to show in your video, and I think I super important, and I just want to go over that again because audio and video go hand it hand and you could have amazing song or soundtrack. But if it doesn't go with. The idea of your video is not going toe look good. It's not going to flow. That's going to be something off about it. That's why I suggest that when you're of course, choosing the best song to go with the video. Keep in mind, and this is why we're story boarding in this process. While too, keep in mind the type of video that you want to accompany this audio. Make sure they complement each other because it may be something that you don't think about . But trust me, it affects the audience's perception on again. We're trying to talk at their emotional heartstrings. Were trying to incite interest in our videos. We want people to be engaged with our videos. We want people to pay attention, and we don't want people to sort of drift or not understand on the message that we're trying to a showcase with our videos. So that's why I think the super important to truth to write audio and there are a bunch of different resource is and you can go through online. One of my favorite free resource is is a YouTube audio music library. It just helps a lot because you can kind of choose different background music. You can choose different things that you different theme music that you feel will go with your video. And it's just a really good resource. Another good resource eyes suggest it's a freestone dot work, and again, this is a another free resource and they're good library. They have a ton of sort of from audio samples to choose from. But keep in mind, we do have a lot, so it can be a little overwhelming. So my suggestion would be to really understand the kind of direction that you want your video to go to and to sort of write down anywhere from like 3 to 5 keywords. So you feel best for position videos. Once you get a feel of those words, you know, ideally, five words. Then enter those words into the search far, and he'd be ableto for the most part find, find a sort of final sort of ah, word that matches closely toe the audio that you lived for. So let's say, for example, your your your video has a very breezy feel to it. Let's say, for example, the song or the sound sounds very coastal south. Very breezy. You could already imagine the video is going to be somewhere step by the water, so we're super relaxing that would breezy. It's perfect, judge, so you can just go ahead and write that down. We just enter in the search bar. Breezy. More, more like most likely more than that, you'll find the audio corresponds. Their best matches that word. So that's all this lesson for music and choosing the best audio. We're going to go ahead and dive into the actual editing process in the next lesson. 6. Premiere Pro: Workspace & Editing : Okay, so we're back for the editing portion of the class now, And this is going to be the desktop view of Adobe Premiere Pro. That is the editing program that I'm using. Teoh edit my video. And when you open a premiere Pro, generally speaking, you're going to see a desktop interface that looks something like this you're going to see you're sort of ah, work panel station right here. Also gonna be seeing the main program window. I'm sequence right here. You also going to be seen the timeline, the bottom here, you're gonna be seeing the tools so you can use and you also going to be seeing your files and the sort of different I'm far import options you have down here. You're basically gonna be seeing that over here. So this is a pretty straightforward look of Adobe Premiere pro. And again, it depends on what editing software you're using. A lot of them differ and they're different. But generally speaking, when you do open a premiere pro for the most part, your desktop is going to look like this and what I've learned to actually in recent times, this and you can actually change how you're workspace looks. So, for example, you don't always have to automatically go with the with the default way that the desktop looks. So, for example, let's say this has happened to me a lot of times, by the way. But let's say, for example, I go ahead and I move this down here and I sort of moved this timeline kind of like down here is well to what it just doesn't look like. You know, the way that I like it to look, let's say, for example, even toolbar. I kind of took it out their by accident. And trust me, these things happen all the time for your editing. Things get missed, smashed and moved around a lot. This is not like this is not feasible for me to work in, and it's not easy from its working. And I don't like the layoff so we can simply do a Skoda window workspaces and you couldn't go ahead and reset to save layout and then automatically goes back to the way it waas but actually wasn't like this before. We actually had it different, so so you would go to window workspaces and you would go to resent to save layout. And the cool thing is also that you can actually save layout. So you prefer. So let's say, for example, I have, you know, my sort of program window like this. I want my effects control, which I'm just clicking, literally holding and dragging. Let's say, for example, I want the at one this looked like this. I want the effects controls to be at the top. I want the audio to be here is while two in the program panel. And this is how I wanted to look I could literally go to window workspaces and that I could go to save a new workspace when they could just title this everything. Anything like feel share press, okay. And this is going to be a state toe workspace. So I'm just gonna goto work space editing gonna bring me back to the default space. And as you can see, right here we have the works, the arm skill share workspace, demo that we saved at. I'm just gonna go back to editing because I want to be in editing mode, and I just prefer this look, But I am going to make some differences so me personally, I like to have this big program windows to be a little bigger because I want to see my full footage. I like everything down here is fine. I tend to like the made A data, the metadata. I'd like to bring it down here from this is just so I could have quick references to files and I need to put up or if I need to really get the information on file types and make sure that everything is making sense from a I guess from a data standpoint that I have to make a data down here. It's not something I frequently reference. I'm just gonna move it down here. You just click and drag and move it down here. And then I have my tools here, which I prefer was gonna open this up again. I have my tools to which I prefer that I have my timeline down here, and then I have my first controls appear. This is high. I prefer my work space to bees when it's gonna go ahead and actually goto window workspaces and save as new workspace. And I'm gonna name this your here's work space. Okay? and now this has did. Now I'm under your here's workspace, and it's going to mended my default more space. So it's just a little thing, something to keep in mind when you're working in Premiere Pro. Make sure that you have the program custom tailored for how you like things to show, as trust me is going to make a work full so much easier because you won't be like looking for things and kind of like, you know, you know, scrambling for things that will make things so much more easier. So some starting with our project right here I have the footage been I have the audio been and then I have my affects meant I'm actually going to do is so you actually created each of these bins on what I did. I literally just clicked just right, clicked. I press and you been, and then I just type the number. I'm sorry, I just type the name of the bin, and that's what I did. Just gonna go ahead and delete this clear, and these are bins. I 100% suggests that you can forget really organized with your projects because even if you're doing creative work. You want to be as organized as possible, but with anything you're doing, you want to be organized that you don't want to sort of just like you have everything lying around crazy because trust me is going to make your work full so much harder if you don't organize things properly. So he's gonna go ahead and go to footage, right? Click import. And then I had the footage is right here. I'm going to use. I'm going to use some finished I shot of myself and then I'm going to import. Okay, so I have all my footage imported now, as you can see, I have footage of myself here is kind of in my room. And then I also have ah footage of thestreet escape that I want to incorporate into the video. We're just gonna go ahead and just two o'clock. Quick playback. It's kind of see what we're working with. Its put them bottom done a little bit. Yeah, I would like to do it quickly, scrub through of the video and is looking pretty good. And then we just have me right here, kind of just like posing in front of the camera for this creative video. So the first thing you want to do the first you want to make sure is that you have your footage correctly imported and that when you important footage to the timeline, you want your timeline to match the foot of sequence. So let's say, for example, I low right here. I have this and I go ahead and I import this footage into my sequence. The footage is not been imported into my sequence, and my secrets has adjusted itself automatically to fit the footages specifications. And I can confirm that because I go to my footage, I right Click Properties receiver here that we have image size of 1920 by 10 80 on we have a frame re of 2030.81 And if I go to my sequence tab, if I click on sequins sequence test settings, we see that 1 1920 by 10 80 which is correct. But we're seeing that the sequence medicine not 100% match correctly because it's at 10 frames that smashed that too 20 were 23. I am going to just go ahead and 23.976 frames per second as to the standard one and is the closest to what we have. So we always want to match the sequence as close to the original properties as possible. Press okay, and as you can see, that yellow bar turn to read because it's not rendered because it was a 10 seconds and now it's been updated to 23.976 though it has to be rendered over here, we have our tool settings right here. We have the direct selection. So which is shortcut V? We have the track flick for forward. So wish to be honest, I don't really use I say the main. The majority of the tools I use over here just gonna expand this are direct selection for the hand went all the text tool, which I'm applying text to the footage and the razor. The razor tool. This one is super important because actually allows you to cut the clips and kind of adjusted within your timeline. So that's basically that, and it's pretty straightforward. It's pretty easy, I would say Those are the majority and I tend to like them kind of looking vertical as opposed to looking horizontal and literally. All I'm doing is just clicking, waiting until I see this little two arrows going in opposite directions and I'm just left clicking on that's harm adjusting that. Okay, then we have our motion controls right here. And, you know, this is what is going to allow this to kind of affect the properties of a clip. So if I pressed the clip, I get the properties right here. So now I'm going to just go ahead and select the footage and I want to start editing and I want to go ahead and start putting my footage together. And I just want to go ahead and go refer to the storyboard process as you remember, because we were story boarding earlier, and we wanted to see how to basically get, you know, the look of the video that we want. That's where the story boarded. And as you recall, my first scene was actually a medium close up of myself, which I have right here. So now with this shot, I'm just gonna go ahead and left click. I'm only gonna drag the video only because I don't want the audio. I don't. You know, there's nothing that I want audio wise to be imported to the timelines. Just gonna go ahead and just important to the timeline here. And remember, this was our first shot in the storyboards. I'm actually going to take this and moving back. Just going to beat the audio from this is full, too. Take this, Move it back. Yeah, You just bring this to the front and kind of looking a little weird there, but okay, I basically wanted to be like this right now, so I'm just gonna go ahead and and, of course, you can do this on many number of ways, but I'm going to press C, which is gonna be for the rays. It'll see I'm going to left click, and that's going to spices and half. And let's say, for example, I do want to say this for NATO is gonna drag this in the end, what I like to do, like the color coded things that just makes you know, the creative process so much better, because it helps you organize a right click Richards label. And I'm just gonna give this kind of any sort of color, are given a role is kind of right now, this lets me know that this is going to be a footage that I'm going to go back to not going to use just as yet, but I'm going to go back to it. And that's exactly why I just color coded it and made it. That color was gonna move this to the front here. And this is what we want to work with right here. He's gonna go ahead, play this for a second and again, the whole idea of this video. The whole idea of this video was just kind of doing a creative video off me. Just kind of, you know, being inspired by the city that I live in and just feeling like it inspires me visually and that I may not be able to go out as much as I want to at the moment, because we are during were in the middle of shooting this video. We are in the midst of the Corona Kogan 19 outbreak. So this video is really going to be sort of just me, like visually explaining, visually showcasing how I am inspired by the city in which I live in. But I'm not really able to go out as much as I would like to because of the current circumstances. So you can see right here. It's kind of like chilling right here on just kind of looking into the camera, looking a little bored, I guess you would say, And just kind of, like, restless. And I'm gonna go ahead and problem play that until see you just gonna play that some more. Play that until right here. And it's just like that. See? Again, Quick present veto. Always go back to the selection tool, Move the sober And let's actually go ahead and important. The other footage that we were talking about earlier. So what we're talking about the second on the second rectangle of our storyboard We were talking about importing a cityscape. Look into the image and we want to do overlay process. Just gonna go ahead and click video scrub through this. This is just kind of like, you know, the the outside view. I'm just scrubbing through and actually like this. I like this a lot, so I kind of like the way that starts right here. So it's gonna select. I select you scrub a little bit more. Select. All right here. And I have my in and out points right here. Want to select drag video only and then drag it over here. So I want to see how that's gonna work. Okay, so we have those two clips together, and remember, we wanted to do the overlay process. So the orderly process, I'm literally just going to go to my effects tab right here. I'm gonna enter a cross dissolve. That isn't even the effect. Too early images crosses off. I'm gonna select that effect left, click and then paste it right in one of those two images. And if you can see that, clearly, just go ahead right here to the bottom of the slider have clicked the slider dragged down toe. Make your viewer bigger, and you'll be able to see this effect, and you can left click on the effect. Wait until you see this thes little red arrows on the side, and then you can just go ahead and drag them to your liking. Let's just go ahead and play that again. That's pretty cause you can see we have that kind of that cross effect. But I want this to be a little like, I want this to be a little a little, a little more like corrupt. And I'm thinking I can even on take this down. I'm noticing, like this right here. Actually, kind of don't want this. And this is gonna happen in the creative process all the time. You're gonna think you really want certain images, but then you kind of look them the look at them through the timeline, and you realize that whom they probably perhaps don't work the best. So I'm gonna actually just we left quick drags down, actually only want this on. Also press the space bar to press plays well to you. Don't press play here. A press. The space bar. I don't want to zoom in a little bit more. I wanted to look a little bit more like a medium close up shots. I can actually just left click go to my effects controls, goes to my scale. I just kind of like up the scale little bit here. I've always changed a rotation. The position is well, too, and I just kind of I want myself dead in the center, as you can see it kind of went from like me looking toe like, you know, the theme, the cityscape that basically the cityscape pants Remember in our storyboard, you mentioned how we wanted to kind of pan to rights, and it's kind of doing that right here. And this kind of looking at the scenery and the architecture and doing that, always make sure that you save command as to save, and that's a pretty good first sequence. Not too bad. And looking back in our storyboard, as we remember, we mentioned that we wanted to also have the on sort of the next shop. And I can actually scrub through this and see what I like. What I don't like remember, the goal is that you always want to keep the narrative in mind. You don't want shots to kind of like delay too long. You don't want to like be dead shots. You want to keep the pacing and energy going. For example, I like this from Academy Awards. Close does lead the name of this building. I like this look, but I'm not necessarily crazy about this cycle. Long pants and means just kind of like dead energy, and I feel like it's kind of a waste of energy, so I may use a later. I mean, recycle it for right now. This left quick, and it's just cut that out. President, to switch back to your selection tool. Take this and this to the same thing. We We want to recycle those. We probably want to use this for later. Let's just go ahead and right click so we can color code. And we know what we wanted to look like. And again, you don't have to color code. I'm just a very visual person. And it helps me to visually organize things when I color. Correct. Um, it's gonna go ahead and select Mango again, and he's going to be my safe. Laters. Okay, okay, that's pretty cool, too. So let's see. Yeah, just kind of like the dead shot. This is pretty good. Okay, so the end of this clip, I actually want to revert back to my storyboard and know that for now, I want this clip tickle back to me. But this time I want myself. I want that I want the footage of myself by the window is gonna go back to my footage panel I'm going to select this clip right here. This is me by my window. I was just group through really fast and just I want it about here. I kind of just, like, want the shot of my arms raising to be incorporated into the next clip. So I'm just gonna select high, and then I just take it out right here, remember, just select the video on Lee Draghi here. And then, as you can see, that shackles from this to this and we're gonna do another overly effect again to remember . We gotta effects, just type and cross this all for the overly effect. Make sure you're five. This effect in between two images kind of zoom back in there and just that and I m injection, not liking that weird thing I'm doing with my hand at the beginning. I'm just simply going to click on it on the clip. But I want to adjust. Bring that in a little bit in time and just make sure that it fully goes to the shot of both my arms going up at the same time. Move this closer. If I the effects, it's crosses off, and then it just kind of an image of me just kind of putting my hands up and actually actually even play around with it. And I actually may see how the this part and this is the super important part of creative video editing play around. There are no hard and fast rules here were literally playing around. We're seeing what works and what doesn't. So let's say, for example, I have I have it initially with my arms going up here. But I'm curious. I want to know how it's going to look with my arms going down so I could just cut this kind of just, like, move this over, use this one instead, applied across this all effect and this is gonna be the one shot of me with my arms going down instead. And again, there is no hard and fast rule. This is literally this is literally like, based on intuition and were feels right to you. But I feel like I like the other one better. So I'm just going to command Z and just kind of yeah, used that one because I like that when it's better. So as you can see, there are a lot of ways approaches, but the general rule of thumb is that you want to be organized. You want to color correct things, label them accordingly. As I have right here, I'm just gonna zoom back out and you want to make sure that you're utilizing this in a very intuitive process. Remember, there are no hard and fast rules. There's nothing this saying that you can do something with creative video editing because that is the whole point. We are. We are just creating videos that inspire us visually. And no matter you know what the end product is, we are a lot of the times I'm going by kind of gut feelings and things that feel right in the editing process. And, of course, this is where the story boarding comes into play because it helps us, the shop, these ideas. But the magic truly happened in the editing process, and the next lesson we're going to continue to edit as well as apply some effects to get a certain look for this video 7. Creative Video Editing Process: Okay, so now in this video, we're going to be focusing on implying the effects to the actual images and kind of playing around and seeing what works. What look works best for our image to do this. A lot of the times I like to do is I like to hang out in the color correction tap as this kind of helps me kind of just overall, you know, kind of just a just a different look and a different color of the footage. And I use it's mainly ass. My sort of like visual from editing when it comes to kind of applying effects. But actually, before we get to that, I want oh, actually go back into editing and I want to apply. Ah, sort of overlay a sort of Ah ah, grunge. Kind of like a vintage old overlay onto this footage. And I actually went ahead and downloaded. Just pull this off from the net, and I got sort of like a film. Great overlay. Gonna double click on it and then just press play so you can just see how the effect is gonna look. And you could you know, Donald, this from online they have a lot of free resource is and getting free, sort of, um, you know, sort of textures and video loops to help you with your effects. That is actually gonna be super easy and simple. I'm literally just going to select a clip. Also, let's say, for example, I am going to go to this quip the initial quipped that I had here. I'm going to select this drag video. Only place is over on a separate video layer on top of the video layers that I want to suggest. It's gonna magnify this a little bit, and I'm actually gonna click on this, go to fix control, make it bigger. So it fills up the whole screen case of fools of the whole screen perfectly. And I'm actually going to go to opacity and kind of just bring the opacity down a bit. I think we want to kind of focus like on this kind of this part right here, because we because we just kind of want to see how that works. And it's a lot of different ways. You can do this. You could even just keep it at 100 opacity. 100. Go to the blending moles right here and then select different blending modes and play around with them. So, for example, screen would give us this effect. This is a little too obvious for me that the effected applied. I think it looks a little fake. I'm just gonna go back and go to its tried darkened. Okay, Don't come. We can't see anything at all. Let's try overlay. It really actually makes our initial image. Super Dogs. We would don't run into that. A lot of it is just playing around. I'm going to go to soft light. I don't like that either. I'll try hard light, kind of a lot lighten. I am. It's actually pretty close to how I wanted to look. It's a little natural, as you can see, but it's a little bit too obvious from me. So that's actually now go to the opacity and bring the opacity down a bit. Is bringing to about 25 looks like Oh, and just be very careful here, because when you're switching with capacity and you're working the effects controls, you're going to be setting up key frames and you want to make sure that you're not unknowingly doing this because it's just going to be setting things over time. So as you can see, it goes from 25 and it goes up and I don't want that. I wanted to be consistent just gonna delete these key frames and I'm going toe uncheck the opacity key frame to make sure that I'm affecting overall capacity and not the A pass ity over time, which is super important to consider. So let's just go back here and it's just shoes change, just like 25 thinking probably a little bit more, probably like 30 or something like that. This is kind of good, and it's kind of like, you know, kind of vintage in classic, and it was pretty good, and we could also continue to further affect this effect by just playing around with some factors. So what? We can do things for further effect the look of this adjustment, and we just want to make it look a little bit more natural, little bit more believable. I'm actually going to go to color. I'm going to go to basic correction going open up my curves. And if this looks a little crazy to you, right now, Don't worry. I'm literally just going to close these panels because we don't have to mess with any of these paddles. And I'm just going to try to make this look as kind of, like, cohesive as possible and not overwhelming. And yet you can just close to any pilots that are open if you know you don't need me to use them. And they're just kind of taking up screen Real estate feel physicals. Um, who's gonna click on curves? Gonna take your own white. I'm just gonna go ahead and make a point here at the top point here at the bottom. I'm gonna drag the white a little bit up, and I'm going to drag the bottom little bit down. And this is gonna create more of a contrast between the images and it's just gonna help the image pop up a little bit more. And I can also go to basic correction here and play with the white bands of the image because at least for this effect, I'm going a little bit more for like, a vintage, a rustic effect for my creative editing and a lot of the times vintage general and film has a certain color to it, and I want to sort of match and replicate that color to the best of my ability. I'm just gonna go ahead and kind of player on, like with the white balance. Okay, so I want was just this image a little bit further on the first thing I'm going to do with actually right click here in my footage section my project section right click and create a new item, and we're going to make an adjustment layer adjustment. Layers are really cool because they allow you to adjust. You know, multiple footage and footage and clips and images, all with one layer. So let's say, for example, I want to change the color and look of this video instead of going to each individual clip and adjusting his color settings in the color tab right here that will be very, very time consuming and trust me from experience. I have done it, and it is not something that I recommend. A 100% faster and easier way would be to right click, go to new item adjustment layer and create an adjustment layer. Make sure that the width and the height matched to sequence 1920 by 10. 80 on. We have the same time base of 23.976 Everything was good press. Okay? And you see, we have our adjustment layer right here. It's What I'm gonna do now is I'm going to take this clip that I have right here, and I am going to actually move it to the side. I'm going to drag the adjustment layer onto the timeline and the good thing about adjustments later so you can scale them up as long or short as possible. Let's just keep it right here. For now. Let's put this adjustment layer above the video film grain, and it's just again shorten this sweet and so everything was cohesive. And this is going to be the adjustment layer that I'm going to be using for on the image. And actually, I'm actually going to put the adjustment layer under the under the film overlay Grady, in effect, because I don't want the color to be affecting this'll right here. Because if I go ahead and make adjustments to this color layer on this adjustment layer, it's going to also effect the colors on the effect. And I don't want to miss Mom with that affect the set looks fine like that. I think it looks pretty good. And I don't want to mess with that. I'm going to be affecting the color directly onto my clips. So if I go ahead and press this toggle cry, I II Conroe here is going to temporarily shut the layer active lier. And I'm just going to not be seeing what is the regular layer right here, which is just me. And this is before any sort of effect has been applied, so you can see just wanna go ahead and talking it off. Talk about offer. Now I'm gonna click the adjustment layer haven't highlighted go to color. And I want to start, you know, just kind of playing around with some things. So I want to go ahead and, you know, sort of just, like play around like the color I want to You just kind of see, like, how the color is going toe work in this image. And at least for me, I'm going for more of a vintage kind of rustic, you know, retro effect for my video. So I want to make sure the colors match. So I'm just going to go white balance right here. And then you start playing around with the white balance and just kind of like, start playing around with the colors and vintage color he was tends to be a little bit more on the sort of, like, cooler side. So you definitely want, like, some blues and there you want, like, a little bit of, like, pink and magenta. I'm just gonna go ahead and leave it like this, and then I'm just gonna go to I'm gonna close this. I'm gonna go to my curves, gonna select the White Channel. I have, you know, the pencil selected. So I'm just going to click on the top point the bottom point, just the top slightly. And it just the bottom slightly. Just so I got some sort of like, you know, I come kind of looking for the bill I could de saturated Look, there we go. Because vintage thing stencil, it really was dis saturated. And I just wanted to saturate the look and the good thing about, you know, working in something like the metric color panel is that you can do so many things to your creative edits that affect the edit. And you would be surprised like the bigs and you can honestly get away with like you don't even need. So, you know, Donald, a bunch of plug ins and presets you can literally like control so much off the creative look of your videos with just the geometric color tap. So I think that's super cool is super awesome because it just makes everything more streamlines easy because you're working literally within the program. So I'm just gonna go ahead and just continue to make these adjustments right here. Something and something we could actually see. My face climbed like my face off. I closed my eyes and close there. So make sure I kind of see myself clearly. And I'm just going for something be saturated. I want something that it's a little bit more vintage. I think that was pretty good right here. I'm gonna go ahead and leave that I'm gonna click on my click back from my curves. Also gonna open being yet because a lot of vintage videos tend to have a kind of like a big net, A big net effect around it. It's gonna go ahead and play around with the big Nets being and yet offense. But of course, we don't want to go overboard. We don't want it to look fake, but we just want to play around. And that's what a lot of creative video editing is. Honesty is just you playing around and seeing what works and what doesn't. You see? I kind of like that's a little dramatic when you see this, you know, that kind of fainting beginning at around the video on a kind of ass of that kind of intentional look, I'm just gonna go back to my effects controls here. I'm just gonna talk along the vintage effect, See how that's applying. That's already looking a little bit better. I'm still not crazy about how the blend mode is being affected. On this right here is it was gonna click on the effect itself may show no key frames are highlighted, the hammock ephram set off, and then it's gonna play around with how strong the effect works. And another important thing to keep in mind is that the Demetri color, while awesome and does take a lot of, um, you know doesn't require a lot of ground for your system. Any time you kind of want to talk back from it, just always click back to the editing and you'll be back to the editing suite. And it won't be. There will be so much lack in between, um, shuffling through different tools and stuff like that. Okay, that's pretty good. I kind of like that. That it's a little bit more natural habit of 16. I'm gonna go ahead and leave it at 16. Talk of this Back off. Okay, so now what I'm gonna do, I'm going to Now that I'm satisfied with how the effect is looking for the most part, would it all go back to color? And I'm just gonna make some, like, basic adjustments in the thief ex right here to and again, I'm actually going to toggle this on now because I want to see how it's going to look cohesively. And I'm just going to play a round exposure and kind of just like, see what's going to give me, like a very like vintage rusted, dis saturated Look, let me just bring the shadows down a little bit more to and make sure Make sure you have the adjustment were selected because that's why I was just making edits and I couldn't see anything because the adjustment layer literally was not selected. Just make sure the active layers always selected. I'm just gonna go ahead and play around with this and I'm just going to kind of hang out here and just make some adjustments and see what gives me sort of like vintage rustic effect. One very useful tip to keep in mind in regards to editing clips. If you're editing multiple Kipps clips are stacked up against each other. So let's say, for example, right here I have the video effect stacked up against the adjustment layer stacked beneath the video file. I want to go ahead and just cut on this because I decided that I don't want, you know, this sort of like stagnate, you know, images just kind of like not doing anything. And I just want the next image to be this kind of zoom in and then me, this kind of zoom in and then me kind of doing like this. So in order to do that, I'm just gonna go ahead and press, see I'm gonna hold down shift. And as you can see, that's going to allow me to cut the whole stack click while still holding shift click on a switchback Savi selection tool. And then I'm just gonna go ahead and select these and delete and then I can just select all of these. And then I have two choices. I could literally click and drag them and make sure that they snap. And you're gonna know that because you're gonna see that little arrow in the middle there. So let's go back and do that again so I can either do like that snap, but to make sure I get and even, like, more appropriate sort of snapping next to each other. And let's say, for example, I still kind of want to, like, find tweet like fine tune The timing Between these frames, I can go ahead and just get as close as possible release and then hit down command and the arrow. And in this instance, I'm going to be selecting the left arrow because I want to move all these clips to the left and literally just hold down command, Hold down the left arrow until it is perfectly aligned in time that I wanted to be next to those of the clips and a resume in, we can just go ahead and see that it is perfectly aligned. This is really good, for when you really want to find tuned to certain timing of frames and things next to each other, I find that it's pretty cool and pretty on accurate and straightforward to do that case. I'm just gonna go ahead and continue and finish this edit. - Okay , guys. So I went ahead and, you know, did the majority of the added for this? I just want to go ahead and play this back and show you what I've come up with so far. Okay, so that's basically the little edit that I was able to come up with. And I just want to point out some things that you may come across when you're editing your footage and especially when you're doing creative editing and certain things may look good on certain clips, but may not necessarily look good on the other ones. So what? What I mean by that is, if you look at this clip, for example, right here, you see that I have thes sentence right here. I have the capacity 100% and have the blend mode at normal. And if you go to the color Tabara here, you'll see that I have my basic color correction set right here. I have the settings. Now, these looked fine for these outside clips, but when I get back to with the shot of me being inside, they did not look the same. So, for example, if I were to just take this out, you know, and actually just copy this adjustment layer that has been applied to this clip copy. Just gonna pace that paced, bring it in here and play. It is having a little bit of a rendering issue, but you can see how this is very blue. And I'm not liking the look of this because this is a little bit too blue. It looks good for outside the outside shot looks perfect. It's perfectly grated toe how I want the cutter to look, but within the shot of me being inside with my arms up by the window, it is too blue. So that's why I had to go into this adjustment layer and actually make changes here to the basic correction because even though the adjustment layer supercool than kind of applying a lot of the same effect, a multitude of clips, you have to be careful of applying them to the wrong clips because different clips have different, you know, exposures and contrast and brightness and saturation, and it may not look good. One effect on adjustment layer may not look good on the other one, and this is a perfect example of that as it's looking a little bit too blue. And I did not want that look. That's why I had to go ahead and play around with these adjustments and I adjusted him toe look like this. I like. This took a little bit more. This looks a little bit more color, natural, export balanced, and I like the look a lot more so that's an example of just needed to kind of just go through your footage and making sure you're looking at each footage and giving it, giving each footage the appropriate attention it deserves because different things that differently, depending on the effect And another thing I want to point out that I did to was when we go back to the If we go back to the effect actual old film affect right here, I'm actually just going to put it up. Pull up the video. It's gonna track this again. Just gonna wait until I see the arrows. Drag this right here. Go to my footage. And once, I didn't go to my graphics. Actually, look at the old film effect right here. So we just play this. That's a pretty good footage. It's pretty consistent for the most part. But if I actually take this and I put it into the timeline on, I tried to extend it. This is a Sfar, as it can go right here. Let me just minimize this. So you guys see what I'm talking about? This is a Sfar, as it can go right here. It can go much farther than this in this length. And if I try to place it on top of on top of my other clips, it can only go so far. So these are the clips will be ignored when it comes to this effect. So this is why what I did was I went ahead and just if I go back and and select this clip. But I did what I had. Teoh clip each. I'm sorry. Cut each clip with by presidency. The razor cut each clip. Kind of just move this over and then copy the cut and then paste of the cut. Course, I'm not gonna pay. Sit down here cause I don't want it to be paste over there. So what I usually do is I usually go ahead and go to the end of my my my footage, and then I just press command V, and then I just start pacing, and this allows me to pay some more total multiple instances of this film grade, and I can just go ahead and apply them to the clips. So it kind of feels out the timeline, and it doesn't just ignore certain clips after a certain time. So that's where you see right here in this RV three layer this video later. You're seeing these multiple cuts because that's me cutting the film over lake effect so I can apply that and spread out all my other clips. The last thing I want to go over and what I did with, um this effect going back to the image of my face. I want to go ahead and just open up the effects controls going to show you what I did. So I was gonna bring this up again, and I want to be able to see the effects controls. And so I'm just gonna select effects controls. And we have fixing strolls right here. Actually added a little bit of emotion to this shop because without the motion, it was a little bit stale and boring. Just going to show you guys what I did. So if I click on scale created a key frame and the way you could create motion key frames and Premier Pro, you go ahead and you select the property that you want in this case of property that that I want to use its a scale property, which makes thinks bigger or smaller in relation to the screen. So I went ahead, impressed that scale key frame at the beginning. And then I went ahead and scrolled all the way to the end of the clip. Right here. This is the end. And then you're going to see the transition to the wide angle shot. I went ahead and as we saw I had the key frame of 1 95 that is adding a second key frame. So we're gonna go back. So the beginning and it's actually just let's go ahead and render this so we can see it zooming in a little bit more and it's looking a little bit more cinematic and interesting as opposed to We're just looking very kind of boring. If I didn't, we just go ahead and just undo this for a second. It kind of just like me staring into the screen and again the renderings kind of having some difficulty. But basically just a shot of me staring into the screen doesn't look as interestings was gonna go ahead and undo that. And the final tip of key frames is you want to make sure that you want to make the motion as smooth as possible. We just select your key frames right click and select busier, and you're going to get the three hour glass icon right here. Just gonna make the transition much more smoother and just play that can. The rendering is giving me some difficulty from that's gonna go ahead and undo and show you how it was looking like before. So this is how it was looking like before, and that's because we had that we have. The busier there we have is it's moving up the motion between those key frames. So that's just, you know, some of the things that I was doing throughout my editing, just to show you guys that these things are really going up the production of your videos and also allow you to have more creative rain, rain and freedom over your choice of options for editing your creative videos. 8. Exporting Your Files: Okay, so now we are going to export this footage, and the first thing you want to do when you're explaining you're footage is you want to make sure that you made a proper selection. So if I just zoom in here, left quick Zuman flight er looking all the way, we just seen that I did make a good selection right here, because in and out points are here. But don't get me wrong. Sometimes I have projects in which is like our here and then I accidentally export this kind of portion. That's why I like to zoom in a lot. And just make sure that the selection is flushed right on the footage. And, you know, because you see those little arrows right there, displayed in the bottom. And I'm just going to make my slider bigger again, goes to the end of the clip, zoom in really close. And just like the other one, this one is perfectly flushed to the edge of the footage. So we are ready to export our footage. So one of the things that I recommend is not only exporting, I mean there Are there certain ways to German export you can simply go to file export media and you just want to pay attention to some options right here for some settings. So we just grow through right here, we see our media and it just rendering. Right now, this is just a preview of the selection that we made. So you just want to make sure that everything kind of looks good and everything looks good . It's exactly what we wanted. And everything looks line. So we just want to make sure that your scale to fit so fits the whole screen. And you also want to make sure you property named the file and that you save it in a proper location. It's gonna go ahead and left click here, and I'm just gonna go ahead and, um, kind of just name this skill share demo skills, your demo, and I'm going to save it in my on projects. The print, the name of the project, which is made in downtown Los Angeles footage undersea right here, actually. So I'm just gonna go ahead and save it right there within that folder. And now we scroll to the bottom which you have different options. We have effects video audio and all that kind of stuff. So remember when we were setting our selection in the beginning of the class? Let's just make sure that it is accurate when 1920 by 10 80 with which is great. 23.976 frames per second, which is perfect. We are in America's reusing and TSC perfect. And you want to switch to the V P. R. One Switch it to two is just gonna give you a better look when you're exporting and everything's gonna look fine. Now it also depends on where you want this video toe live. So, for example, age 20.264 is a dominant video Kodak for sharing video online. But if you want to, like, share this to the YouTube, but you want to make sure that the that the presets are 100% accurate for YouTube, I'm gonna go ahead and select preset right here, scroll down to the bottom and then so, like YouTube 10 80 h day or whatever you to present you prefer. And it's gonna go ahead and automatically saved that Now. Keep in mind that even though it saying that it made its own changes in corrections because I chose the preset instead of the custom that I was doing. And if you see here the V B R changed back toe one, and let's just change that to two. Because when we're exporting, especially toe platform like YouTube, it's already condensing our footage and we're using quality. We want to make sure we get the best. Watari is possible, and that's why we choose its re change it to DBR two paths. Target bit rate for YouTube tends to be 16 16 is the standard to be honest, actually are recommended that I read in a recent blawg that it's recommended that is around 10. But you know, 16 doesn't hurt to have 16 0 higher, so we believe it at 16 and you could actually scrub. This is high or low as possible. So this doesn't really matter. You might as well scrubbed this all the way to the right, so make sure we get the highest quality, and then we use a maximum render quality, and we just go ahead and press cute to export. Now there's some things I also want to go through on this section right here too, Because depending on where you watch your video to live and to be showcased, you're going to want to play around with these specifications. For example, on Instagram, if you want to share this video to Instagram, you're not looking at 1920 by 10 80. Sure, you can do that and it will work with Instagram. But if the Graham works more for like vertical, you know sort of arm layouts. So, for example, Instagram is a huge mobile app, its emphasis arm pictures. And yes, it has a video feature of a picture. The picture layout is like the dominant theme and preference of instagram, so you're not going to necessarily want tohave something a super wide instagrams a max with dimensions tends to be 10 80. Let's change that to 10 80 instead. And now you see that we got these black bars on the top and this is actually how it's going to look on people's phone If you want your creative video to be showcase on instagram now, depending on what you want, you may not mind these black bars. You may actually be like, Hey, you know you may be may prefer them they may be what you're going for, but I don't want these black bars. So I'm gonna go ahead and select scale to fill, and now everything is filled within within this this dimension. And I just want to make sure that everything was good the more you could also play around with different things. For example, they have this stretch to fill, and as you can see, that's not good, because it's making everything super distorted. So that's actually go back. Let's go to scale to fill, scaled to fill and everything is going to be fitting. Now I'll keep in mind you're noticing that we are losing. Some of that actually own over now. So we're actually getting everything inside perfectly. So that's the good thing about the scale to fill option and just making sure that your 10 80 with and you know we have the 10 80 height as well, too, because this is for Instagram So But let's say, for example, you're uploading. It's that YouTube in 1920 would be fine. Sorry. Uh, 1920 would be fine. Same thing for something like Facebook. I believe Facebook does prefer the 1920 s. Well, too. But if you even sharing this the length and let's say, for example, this is, ah, corporate video or just something business like or just something you want to share content that you want to show Arlington late in a similar to Instagram and that it does prefer a on sort of almost a square format with videos as well, too. Now don't get me wrong. You go 100% in 1920 by 10 80 lengthen doesn't step that. I've seen a lot of people's posts on natively Turlington in these dimensions, and the videos work out fine. But Lincoln really suggests that you kind of post things that, um, and it's content tends to favour things that are more square like Instagram. So you could even do the 10 80 10 80 if you like. Or you could also dio the safe 14 40 by 10. 80 is well, too, and this is a very safe dimension because, as you can see, we're not getting something so square. We're getting something a little bit more landscape, but it still fits within those dimensions, and this is pretty good for something like for something like linked in probably on Facebook and may not brought the best because the witness a little longer than 10. 80 c weaken. Kind of like switch this around just to see how it will look. And if we were to post this to lengthen them a little awkward because super like like, tall and like narrow. So you probably just want to do something like we have 14 45 10 80. We're just gonna scale to fill that because I don't want those bars there and same here after just gonna go down gonna make sure dbr two passes that we're gonna make sure that the target bit rate is appropriate and you're 16 is fine. 10 seems to be the standard, but hey, you know, we want to be a little more. We want to go the extra mile. So why not? Let's to 16 and then we're all set to go. You can go ahead and just press export and chilled, and your video will start rendering and getting ready to export. So thank you so much for taking this lesson, guys. And I hope that you learn to something in creative video editing 9. Closing Thoughts: so thank you so much for taking this course skies on creative video editing. I hope that this class pretty inspired you and fired you up to want to go out there and sort of start, you know, putting any video that you have in your mind riding it out, drawing out, shooting it and then editing in any editing program of choice. And just having so much fun with that process after this is body to that, it's well to on. I just wouldn't leave you with some few last tips. Make sure that any I'm sort of footage for Audie that you're using. You have permission to do so and you don't want to just be pulling things from people and not really citing the sources or not having permission to use people's work because that is a very, very serious and important thing. I just want to make sure that you are aware that, you know, you should have a responsibility to off course to ethical creative videos and not do anything that will put you in a very compromising position. In addition, I would also suggest that you check out the resource is that I have attached onto this lesson. The what? Sites such as free sound of or in addition to the YouTube music audio library and even three website audio blocks. It's well, too, so you can get some good audio. Resource is, and you won't have to worry about, you know, running into any sort of copyright problems or anything like that. And I think the final tip I want to leave you guys with is toe, of course, have fun and really feel the edit. And I think that's super important to say, because if you're not feeling the project that you're doing and it's not, you know, igniting you and it's not making you feel like Oh my goodness, I love this. I can't wait to share this with the world the finished product then. It's probably not something that you feel like passionate about, and it's okay to just practice in the beginning, and it's nothing wrong with that. But you really want to make sure that these edits that you're really enjoying them, that they're really engaging to you, that you're like, Oh my goodness, like I cannot wait to, like, you know, share this with the world this is such an inspirational thing that I'm creating right now that just inspires me. Visually. You really want to get that feeling that gut feelings. And when you're editing, when you're actually in the editing process, you want these feelings to also lead us what to you want them to lead you. So, for example, if something doesn't feel right, if you have a certain footage and it's not really flowing with flowing with their sequence , listen to that part of yourself that's like, You know what? Something doesn't feel right. You know, this is this doesn't feel intuitive enough and just kind of keep fine tuning until the edit in the sequence fields right. I'm telling you guys, it's very intuitive, and it works, and it just makes sense. When you are finished with the video, you'll be more proud of it. You feel like okay, this is like, really what I wanted to present to the world, and it will just make the most sense. So again, Thank you so much for taking this lesson, and I hope you enjoy the rest of your day by