"In-Camera Transitions" How to make your own transitions by camera movement | Kramer Ammons | Skillshare

"In-Camera Transitions" How to make your own transitions by camera movement

Kramer Ammons, If you think you can your right!

"In-Camera Transitions" How to make your own transitions by camera movement

Kramer Ammons, If you think you can your right!

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9 Lessons (28m)
    • 1. Intro to course in camera transition

      1:03
    • 2. How to shoot in camera transitions

      7:50
    • 3. How to get sweet shots while filming

      3:09
    • 4. The most important thing for in camera transitions

      2:09
    • 5. How to edit in-camera transitions

      2:18
    • 6. The little things matter the most

      5:07
    • 7. More advanced In-Camera edits

      2:11
    • 8. Final touches to the edit

      3:28
    • 9. Easy Class Project

      0:49
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About This Class

Do you want to step up your videography to the next level? Use some in-camera transitions!
In this class, we learn how to create in-camera transitions these transitions are unique from the rest because they happened while you were filming your video rather than in the post-editing process. This class starts off by showing you how to film in camera transitions then we talk about some different techniques and different tips to maximize your filming. Then we go into the computer and show you how to edit these clips together to make seamless.

In-camera transitions that are like no one else's. These transitions are unique to yourself because you are making them as you're filming rather than just slapping on a transition in the post-editing process. This will step up your videography and allow you to have a unique look to your films.

Meet Your Teacher

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Kramer Ammons

If you think you can your right!

Teacher

 It is a pleasure to meet you! my name is Kramer Ammons and I am a videographer and filmmaker. I love making very interesting videos combining story with videography and tutorials. I love little tips and tricks on how to make your videos stand out above everybody else. I love to make rememberable videos that impact people and their lives. Everything to do with videography video editing stories and connecting with an audience emotionally is what I am passionate about.


Videos can do something that the written word can't do. And that is, it's much easier and much more impactful to create an emotion in the audience while making videos. This emotional connection is what causes people to move and act in their lives. So if we really want to change the world for the better one o... See full profile

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Transcripts

1. Intro to course in camera transition: What's up, guys? Today we're gonna take a simple DSLR camera, and then we're gonna walk around the house and find shelves and anything to shoot with our camera. But the point of today is to do in camera transitions. We're not going to slap on any transitions and post. We're doing all of this in camera. They look really genuine organic, and they are your own because no one else can create these exact same transitions. And after we put all these transitions together, we're gonna have a sequence that looks like this head on back. Every transition you just saw wasn't in camera transition. I'm gonna show you how to do it every single one of those in camera transition so that you could make transitions that nobody else can. We'll see in the class. 2. How to shoot in camera transitions : Okay, so the first shot was me talking, and I whipped it to the right. We're gonna have a sequence that looks like this blends that looks like this theme. So I came over here and I whipped in from the right, slowly held on it and then whipped off as a whipped off, and I kind of went at an angle. That's where I came in at the same angle onto this railing real gently. And as I followed this great across, I brought the camera down, come down from the down movement that allowed me to come down from the top here on this A. And then I pushed through the center of the A. You can find that there's a theme here, and that is always move in the same direction. You never want to pan to the right, and then the next one be panic directly to the left. I might go from the right to slightly down and angled and then from down and angled toe over and imposed. When we speed ramp All of this, we wanted to be fluid and flawless. You don't even recognize there's a transition there. That's actually kind of cool. Okay, so since our last shot was going into the say we want to start on something dark might be a waas and pull off of it. So we're gonna speed rant into that a and in speed ramp out, and it should be pretty seamless. You want to set your focus to manual is well, so that if I'm pulling away from something with the camera, I know where I need to stop. Where I stop is in focus. But if you have that on all focus your cameras just gonna be hunting the whole time and we're not looking for that. We want that. Really? Chris Sharpe. Look, I'm gonna pull off the shelf, and then the plant will be in focus if we get this, so I'm gonna nail focus here. First, I'm gonna have the camera slightly twisted. And instead of trying to stop on focus, I'm gonna start on focus and then in there and then I'll reverse the clip in post, and that's it. It's so much simpler to do that shop backwards. Instead of trying to put out an end on focus. It's dead. Start on, focus. Go in and posters reverse the clip and it looks perfect having onto this clip. We're gonna do a max transition. So I'm gonna come up, stop on focus on the plant, and then I'm gonna go in, and then we'll play that whole thing in reverse. It'll look, Just just wait. Get that focus right there. Mascot Stop in frame. I'm shooting all of this in slow motion. Whether you got 60 frames a second or 1 2090 100 whatever. You've got to shoot in slow motion. And then if you feel like it's not slow enough, just practice moving half the speed. So if I'm shooting in 60 instead of 1 20 the only difference is 1 20 angle like this. But 60. I might just be a little slower. If I move half the speed for 60 frames a second, it's going to be equal to 1 20 post so it doesn't make a huge difference. Is practice being steady and slow down if you need to. If you don't have that higher frame rate, it can still be done and it still looks great. So I went from I'm asking down. What do you want? A mask down to this book school. I'm asking down last shots I'm gonna match down here to get this booking focus. I think it kind of looks cool. Should detail on it. After this transition, we're gonna do the shake. That's where we just shake the camera, come to and focus and then I'm gonna shape you. Can't. I'll show you why. That's good, right there having the letters of focus. So does bring down kind of got a flare off the window. That looks good. Nice. So if I end in a spot like that where I'm just holding the camera still like what can make a smooth motion instead of a hard just jump cut. This is a tip that not very many people know. I don't think, but shake your camera. I'm gonna hold it over here on this. That's going to be my transition. I just recorded that. I'm gonna take part of that clip, speeded up and insert it right in between this clip and the next clip, and it will make a smooth transition, a smooth in camera transition. This is something I use all the time. It's unnoticeable in flawless when you're watching it back, but just a little trick. It's adding that motion blur, and it makes it flawless. Forgive me for there's no story in this. There's no story in shooting the shelf. But I wanted to shoot something purposefully boring or just some static shots to show you. You can still make something static or not. Super interesting. Look extremely interesting by the transitions. I wanted the focus to be on the transitions and not on specifically the subjects. So that's kind of why I chose to stick to something simple and what you could call boring. But I don't think it's boring, but I think we can make anything that might seem boring, very interesting. Way did the shake and then will come to this plant static, and then we'll do the ceiling transition. So we're gonna come up, and then the next shot will come down with something movement. Okay, pan up to something white. Now we need to come off of something white so you could come off of the ceiling again. Or a wall or something. I've got a little white piece of paper down here. I'm gonna come off the white piece of paper at a little bit of rotation, and that's gonna be a flawless transition from color to a different color earlier we win in dark to the A dark out of the shelf is another similar thing we're gonna go from color from We came off of the plant, were coming from color of the ceiling and then coming off color of the white down here, justifiably unit. Okay, so we just did a little pan down section and the nighttime gonna finish the video panning down to myself, talking back until the camera. And this is how I completed that entire intro. I'm gonna show you in post all of these edits, though, So be something like this. Hey, I'm back. Every transition you just saw was an in camera transition. And in this class, I'm gonna show you how to do every single one of those back. Every transition you just saw was in camera transition. I'm gonna show you how to do it every single one of those in camera transition so that you could make transitions that nobody else can. We'll see in the class. So let's run to the computer and I'll show you how to fix all this stuff up 3. How to get sweet shots while filming : This is a tip that not very many people know. I don't think, but shake your camera. I'm gonna hold it over here on this. That's gonna be my transition. I just recorded that. I'm gonna take part of that clip, speeded up and insert it right in between this clip and the next clip, and it will make a smooth transition, a smooth in camera transition. This is something I use all the time. It's unnoticeable in flawless when you're watching it back, but just a little trick. It's adding that motion blur, and it makes it flawless. Forgive me for there's no story in this. There's no story in shooting the shelf. But I wanted to shoot something purposefully boring or just some static shots to show you. You can still make something static or not Super interesting. Look extremely interesting by the transition. I wanted the focus to be on the transitions and not on specifically the subjects. So that's kind of why I chose to stick to something simple and what you could call boring. But I don't think it's boring, but I think we can make anything that might seem boring, very interesting way did the shake and then will come to this plant static, and then we'll do the ceiling transition. So we're gonna come up, and then the next shot will come down with something movement. Okay, pan up to something light. Now we need to come off of something white. So you could come off of the ceiling again or a wall or something. I've got a little white piece of paper down here. I'm gonna come off the white piece of paper at a little bit of rotation, and that's gonna be a flawless transition from color to a different color. Earlier, we win in dark to the A dark out of the shelf. This is another similar thing we're gonna go from color from. We came off of the plant, were coming from color of the ceiling and then coming off color over the white down here, Justifiably unit. Okay, so we just did a little pan down section and the nighttime gonna finish the video panning down to myself, talking back until the camera. And this is how I completed that entire intro. I'm gonna show you in post all of these edits, though. So something like this. Hey, I'm back. Every transition you just saw was an in camera transition. And in this class, I'm gonna show you how to do every single one of those head on back. Every transition you just saw wasn't in camera transition. I'm gonna show you how to do it every single one of those in camera transition so that you could make transitions that nobody else can. We'll see in the class. So let's run to the computer and I'll show you how to fix all this stuff up. 4. The most important thing for in camera transitions : if you're going to do in camera transitions, One of the very most important things is the plan. Every single shot out in advance. If you do not plan to shut out in advance, your footage will look choppy. This is good advice for any kind of videography. But if you're gonna especially, especially do in camera transitions, you really need a focus on what shots we were gonna do beforehand. So you want to be able to plan if you're gonna pan to the right and where you're going to go or if you're gonna mass pass something or down from something, you have to have that next shot in mind now something that I would let you know something I would advise you in is not to get too strict on it, because things will change as you're shooting and you want to be able to have that flexibility to be able to change with your environment. So I may know I'm gonna go from shooting this book to shooting this water bottle or whatever. Personally, I make a lot of bows and arrows, and so I I make videos on how to make bows and arrows and I recently made a video where I am doing a bunch of these in camera transitions, and so I planned out as I'm shooting it. I have my videographer pan to the right, with the arrow and in that pan pan right into the next shot of me working on a bow. And so it's really good to remember that, because if I would have just pan to the right and then the next clip like, I'm just gonna pay into the left, it's gonna look so chopping. It's just gonna be like, No, so don't make that mistake. Plan out every shot. You can ride it down. If that's good for you, you can put it in your overnight. You can put it in your notes on your phone. Whatever it is, plan out your shots. Don't be super strict and feel like you have to follow it. But remember what your last shot was Before you start your new shot, make sure your composition is good and you're gonna have really good videos. But without planning, get out. It's gonna look choppy. The last positive thing about planning out your shots is that it makes the edit 15 times faster. And that may not even be an exaggeration. Because you know exactly what you're at. It's gonna be like before you're done shooting. And if you're a new videographer, this will take some time. So just practice, practice, practice, and you'll be able to learn this, and it's gonna make your video so much better. 5. How to edit in-camera transitions : Let's go ahead and jump into the computer. Now let's break down this at it. I'm personally editing and final cut pro. But if you're editing a premiere pro or DaVinci or anything like that, it's gonna be very similar for you. The concepts are gonna be the exact same. Just the controls might be just a little bit different, so let's go ahead and jump in computer and see what we've got. First clip. I start off by just talking's that looks like and that's when I was talking with the camera myself and I pan to the right. So right here we can see this clip is sped up here. That's how it normally would have looked. But I went ahead and spent this way up to make it seem less pan really festival right? If I go ahead and uh, had a section there, you'll be able to see what it looked like Originally, it's like this quick. So all of these transitions are. Most of them have to do with manipulating the speed and what I use a speed ramping and four final cut pro. That's gonna be shift B. And so here, if I do shift be, you see, it'll put a line there, and that will allow me to speed up a section or slow down a section. We'll take that away because I already have the edit, but that's what most of this is. Most of this is just hard cut, with a speed rampant. So I'm speed ramping into my camera motion and then, naturally, speed ramping the beginning of the next clip into the new camera motion, and it makes it seamless. So I went ahead and speed ramps here into the next clip. But the front of this clip, you can see a speed ramp I've got it up to. What is that? 2000 speed 20 times the speed. And so just like that, if I make this normal like it was before, this is a clip of it looks like a real flow that looks like so we'll go ahead and make that 20 times the speed. Zoom back in on this simple. So anytime I'm panning to the right, panning out, panning down penny to the side speed ramp in between those and that is how you make it a seamless transition 6. The little things matter the most : Let's continue watching. So to go along with the music right here I did another small speed ramp. Made it 12 times the speed, I guess. And then I spent a hell 20 times the speed and it goes with the music. And that's why I'm doing I'm editing to the music. Start here, Speed. And then really fast. There again, It was kind of that right? Downward motion. But if you would think, if you're just panning, right, panning right, panning right, then you're just gonna be straight. Right? But instead of just going right, you can go right. But from a top down views, you get a completely different perspective. But it keeps it seamless. So you can see here on this great high came from a top down view instead of just from the right view. But it was seamless because I went right down. And then the next one, I went vertically, vertically down. It's that makes it I hope that makes sense. I think it makes sense. See what we've got. Okay. Yep. Speed, toe the music speed down. And then what happened there haven't so fast. So here on this one, I went from the right. I added a little bit of in post motion. So let's zoom in here and see what we've got. Exactly. Got to speed ramps. Once lower 11 faster. One. Oh, so on this great, it's where I switch. This is one rolling down. So here, as I'm coming down, I came down on top from the top of a But let's check this out. I think I did some transforming here. Yes, you can see right there. I made that movement from this top left area Go back frame by frame. So let's reset this transform and I'll show you what it would have looked like. I just didn't feel like that looked good because it's kind of hard because I was coming straight down and when I really can't it with angled. So to make it go angled, I transformed this theme. So what I did to do that? I've got the transform button clicked. I want this to be the full, so we'll go ahead and hit the key. Friend will come back to the center here where I want to start. I'm just going to scale this up and come to this top left corner here so that I kind of get that diagonal motion to match the clip before we'll hit done here and then that shouldn't work for us. That was a little too, uh, jittery. I'd say I'd say is a little, too. It wasn't fast enough. So let's go ahead and transform again. Lets reset the hat I wanted to be sooner. So about right there. Transform, button, zoom back it. Zoom back in, moving over. There's something you'll see you'll want to do with just minor adjustments will go a long ways. And so just by doing a minor adjustment, you have the high for You have the eye to see if it looks good or if it looks bad. So just take your time. Look at it. And if it doesn't feel right, because there's something that's a little off like that, like Oh, the motion was moving one direction and then the next couple is moving a different direction. So how can I fix that? I need to go re shoot, shoot a different clip. Can I transform a little bit to make it look good? Let's see if this looks any better. Oops, I forgot to hit the key friend Button right here. Transform key friend. Let's come over here. And instead of trying to just drag it, shrink it back up. Just come over here and make all of this back to its original spot. Hundreds and zeros. Makes it perfect. Alright, Right again. Still doesn't look good. So this is a problem we can have. Sometimes it will try to edit and wait. What's happening? I'm trying. I need to figure out what I was the first time. So you can see it jumps from there to there. Why is that? They actually Kiefer. So we're gonna reset this for the final time. Come back to here, Hit a key frame at the normal size. Come back to the front. Boom, Zoom in. Want to make it slightly subtle? Que friends were hit. Okay, That should do it right there. See, I think that looks so much better. Just pay attention to the minor adjustments. Take your time and you make it look good. 7. More advanced In-Camera edits : move on to the next clip. Theo, this is the one. We went into the A role and show you what they look like beforehand. It's got a normal slowly going to it, and it's is a good dark. You can see how it's dark right there. It's like, Well, let's go ahead Chef to be and then we'll make it 20 times the speed I zoomed into the A. Now this next clip remember, I came out of the shelf because of the shelf is dark. And so these two go pretty pretty good together right there. But I didn't want to pull out and try to focus. If you remember, I nailed focus first came up for the mask and the my zoot, and then I pushed the camera through so that I would be able to nail focus. And then the first thing you want to do is reverse that clip and then, after it's reversed, then you cannot shift. Be to create your speed drinks. But you got to remember to reverse it first. That's what I did here. Reversed it. Same thing shift to be Come over. And then here I started that clip going up over the shelf. And so in reverse ending, I'm coming down. This is a mass transition. This one is something that you have to plan ahead of time before you have to plan ahead of time when you're filming. And I did a pretty simple mask here, just along with the shelf. I'm not gonna go into depth on the mask. There's plenty of videos on had a mask, but it makes it seamless, as you can see is like scroll through these steam cranes into the next clip, and I did that on the bottom of the shelf. So if you're masking and you have something straight, some kind of bar, some kind of shelf in this example, or even a car just something that's fairly straight, it's pretty easy to mask. And it will make your clip look really smooth into the next transition. But you want to remember to go ahead and speed rampant first, and then apply the mask because if you apply the mask that's being grant that your mass is gonna be all wacked up 8. Final touches to the edit : like a smooth transition down to that. But this was the shake. I just shook the camera. Normally, I will not make the shake this fast. Normally, normally I just make the shake. Probably about this fast, maybe a little longer. So maybe not so fast. Yeah, no thing I make it like that. But if you hear the music has that backer and I don't even add that as a sound effect, so let's go ahead. And I figured out that my clip is about that perfect length, and it kind of gives it a I don't know, cool feeling to make it longer. So again, I'm basing this based upon how the clip flows when I rewatch it. Does this clip flow of this clip and basting everything upon that It allows me decide if I should make this shaking transition longer or shorter? All I did a speed up. That clip goes in between. I believe it looks a lot better than if I just had this right here. This is like a hard cut, but if I go back, my edit, there it is. Ceiling transition. This is similar to when we went into the desk and then came out. I went to the A man at the desk. I went up to the white ceiling, came out of the paper again. I did a little bit of transforming here to make it more seamless. I'll take that transform off so you can see what it looked like before hand. See how that doesn't feel so good. And the reason is I'm coming from here where I speed ramped up to the ceiling, going into a white ceiling and then I've got the black picture frame right there. So how I fix that a key frame, I'm gonna zoom, ride, and to make it completely white, five friends over, Bring out the key frame button again, scale it back to 100 and that should start zoomed in. So it's white from white, and then it will come out. Things just so much more seamless with little things make the biggest difference. Got the detail again, and then great way. If you're blogging or doing anything, where you're gonna be talking at the end, just drop that camera down. At the very end, you can see pan down to the carpet and then I pan down to the ceiling right on my face. Now, I didn't mess up here. I forgot to manual. Focus it. If you're gonna do a whip into your face, you want a manual focus? Because you can see I'm blurry here at the beginning. If I would have just locked focus said it to manual pan down on myself, it would have been good and seamless. I don't like how it was blurry, but got it imposed. And I figured I'd be a good teaching point. So you guys don't make that same mistake, Theo. That's it. That's how I did those edits. If you have more questions about Maurin depth on any of the specific edits, I'd be glad. Walk you through it or show you in another video. Just let me know in the project discussion below 9. Easy Class Project : and for the project of this class. I would like to see you guys do a video. If you're making a video for anything, if you use any sort of hand held transitions, you can you can use these toe just enhance your videos. You don't have to use these for every single transition in the video. It can get a little vertigo if you use it over and over and over and over again. Really, really, really fast. But it depends on what kind and style of video you're gonna use. But any kind of video, these camera in camera transitions are well worth using their worth learning. It makes your videos have a look that not really any of the other videos have, because you could be completely creative. So if you make a video within camera transitions, believe that in the project section I will watch it. I would love to watch your videos, enjoy watching your videos and thank you guys for watching my class. I'll see you guys on the next one