Learn To Edit Video Using LumaFusion For iPad And iPhone {An In-depth Course} | Stuart Little | Skillshare

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Learn To Edit Video Using LumaFusion For iPad And iPhone {An In-depth Course}

teacher avatar Stuart Little, Video Editor | Filmmaker | YouTuber

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

43 Lessons (3h 9m)
    • 1. Introduction From Stu

    • 2. Lets Talk About File Management {Prologue}

    • 3. Lets Talk About Color Grading {Prologue}

    • 4. {Introduction} Creating A New Project

    • 5. Using The Video Timeline

    • 6. More Ways To Add Videos

    • 7. Adding Music

    • 8. Cutting and Trimming

    • 9. Fine Tuning The Video Edit - Part 1

    • 10. Removing Markers

    • 11. Frames Rates

    • 12. Replacing Clips

    • 13. Transitions

    • 14. Adding Keyframes to Video

    • 15. Adding More Keyframes

    • 16. Creating Multi-Track Video

    • 17. Linking And Unlinking Video

    • 18. Looping Playback

    • 19. Creating A Blank Clip

    • 20. Creating J And L Cuts

    • 21. Creating Jump Cuts

    • 22. Creating A Match Cut

    • 23. Using Voiceover

    • 24. Audio Ducking

    • 25. Selecting Multiple Clips

    • 26. Fine Tuning The Video Edit Part 2

    • 27. Blending Modes

    • 28. Reversing Video

    • 29. Duplicating Vs Copy And Paste

    • 30. Basic Colour Grading

    • 31. Using LUTS

    • 32. Applying Blurs

    • 33. Using Chromakey Green

    • 34. Applying Matte Bars

    • 35. Animating Matte Bars

    • 36. Sound Design

    • 37. Sampling Sound

    • 38. Fine Tuning The Video Edit Part 3

    • 39. Adding Main Titles

    • 40. Adding Overlay Titles

    • 41. Adding Shape Assets

    • 42. Exporting Video

    • 43. Backing Up Your Projects

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About This Class


Meet Your Teacher

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Stuart Little

Video Editor | Filmmaker | YouTuber


Hello, I am Stuart Little and I'm a Professional Video Editor, Filmmaker, iPhoneographer and YouTuber based on the West Coast of Scotland. I have been shooting for a living since 1992 and my aim to is to pass my knowledge and experience to the next generation of creatives and life long learners… 🤙

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1. Introduction From Stu: Hi guys, I'm Stu and I'm a professional photographer and filmmaker based on the west coast of Scotland. I have over 20 years experience as a professional photographer and 14 years experience as a filmmaker. I'm going to share with you in this new course where I go about editing using the limit Fusion app for iPod, an iPhone. If you haven't used luma fusion before and urine for a treat. Because the iPad and the iPhone, for such a tactile nature, it makes editing and video and manipulating your footage, sound effects, music so much easier. Diana, traditional nonlinear editor like phenol car or Adobe Premiere. I've designed the course as an in depth look, luma fusion that are 42 lessons lasting just over three hours. But the course is designed in one of two ways. You can either as a beginner, walks you through the course, an old linear fashion from Tutorial one, right the way through to the final tutorial. Or you can defend that if you're a more experienced users. So what are you going to learn in this course? We've actually known watching or you're going to be learning. And the video that's playing in the background. Basically, I'm going to take you through a whole short from Hawaii, go about creating things. They were going to use the B-roll from storybooks, which is built into luma fusion growing. And we're gonna look at fail management. We're going to look at creating a new project. How you use the timelines, ways to add value, adding music. Of course, cutting and trimming your footage, playing, tuning that cut, adding and removing markers. And we'll also discuss things like frame rates, replacing clips, transitions. He framing not only your video footage, but also the audio for your music and sound effects, treating multitrack to video and sound, linking and unlinking. But he will look in the clear by creating a blind. Steal my favorite styles of cart which are a G cut, an LCA, and a matched, as well as the normal part can you do with your trauma? Okay. I'm gonna stop waffling though, and I'm gonna let you discover all of it, the sound design, color grading, and cyclin, and much, much more. Enjoy the course. And I'll catch in the discussions below. Here we go. 2. Lets Talk About File Management {Prologue}: before we get started with lemon infusion proper. Let's take a few moments to talk about Fail Mandarin. Those two different ways I tend to manage my fails one is through. Obviously, the photos up we're my videos. Pretend to, sir. The other way is through the fails up on there's pros and cons to both options. If you'll see and hear in the fails up, I've got my videos setting here now the beauty of working on the files out if you can go in and rename the Fail. So, for example, with a runner here we top the little blue soft core with the three white dots and say that we can top rename. Press the X on a canon. Call it zero. Think it's seven or sexy can create. Remember on and always use underscores because, um, die away seems to like them. But it's also we could just call them Runner like So then top. OK, I can see those runner, and then after that, we've got circling sharks, so he's cost me shark. So again, rename go on zero. You forgot to clear the thing there ago. Zero it top underscore, but the letters sharks All right, Go. That's kind of was done. She gets a general idea or been able to rename their fails. Now you can also go in and trim your files from the fails up. But there are a basically a caveat to do in us, which is inhumanely that you may not topping one trim. You can go in on basically rough cut your short. So, for example, if I wanted us to start here and then finish around about here, click the bun it will give you the auction to see is a new clip that Sochi if you want secondary clips. So, for example, if I click Seaver's in New Club, you'll then see of wild horses Korpi and it's uploading street away. I can go back in and re name on this team. Just take it the world. Korpi do underscore and just put trimmed. I threw the extra AM and you can do it that way. The other way of doing things is to go into the four tours up but doing it this way. For example, if I got in Picket this horse ease video clip again, click here that I can do a trim and here, like in showing off like so take it down to about five seconds and then click done. I think of you two options. See videos in your club, which have already done before, or see video if you save the video, which I'm just gonna do, just know. Obviously, Trump's up. But the beauty of that is for some reason you want to get back into the beginning of the clip and go back into the area, and I can change things or literally click revolt, which would appear so click See video? No, then cva look. So, for example, for Go back into air that you'll see that a very up in the top corner, which basically reveals that all the way back to the original, like so. So just a couple of options for fable management When it comes to renaming the fails up, which obviously tops into things like drop boards, creative clothing. Dingle is really, really good for renaming fails on. Obviously, you can do rough carbs off in the note trimming, and here, as well is in the Lumen Fusion, at which I'm gonna show you later on. But it's great. Good. If you got lots and lots of clubs to basically go through, have a look at the club and trim them. They're either in here or in the photos up. 3. Lets Talk About Color Grading {Prologue}: once again before we get into limit fusion proper. I just want to take a moment to talk about colored reading. Using the fort was up. So, for example, if a tap on stock image or the runner click on edit, I convened use either the presets and color fix boat into photos up. So, for example, I could have dramatic, vivid coup or vivid warm on Duncan Slater here to basically dialling how much of their fate can actually get applied. This is a quick way of being able to color agreed, and compared to doing video traditionally and a Blakes of final cut pro or adobe premiere, we're color grading tends to happen at the very end of the video, unless you really have to tweak Ah Clipper wherever you tend to want to do the color grading at the beginning. And that's why I'm talking about before we even go into Lima Fusion proper on every tap on , like on over here. You can Nancy with options for going on, and I'm making adjustments of, for example, week when we could treat the highlights and lower them down a little. But shadows crush them, don't agree, but more for more drama. By contrast, if you want to break knows Black Point, you get the idea. Get into vibrance. Maybe a little bit too much vibrance there. So let's take that down a little. But warmth of can ago covered temple gonna get cold. I wouldn't recommend sharpening anything and here, but sometimes you need to. And then you've obviously got an option to defame things a little bit more as well on I've been yet if you want. But the one thing I would leave the very, very end once everything is edited together is if you're going to plan, apply a vignette, Attentive off, apply across on all the video clips. But that being said something, just a single vignette. The draw emphasis towards one clip can get applied is Vail. So obviously you go one way gets later. Iguodala re. It's an awful lot darker, so you got the option? Is Bill click done? What will then see if the video and again once you meet the changes. If you don't like them or they're not working out for you, you can go back in and basically revealed them back on. Make any further changes you went to see, for example, if that was too warm, I can't edit original like so on. From there, I can go in on meat changes. For example, genius David kill you get the idea what you will have to do. There was any changes you meet and the photos up. You will have to re import the video back end to your club. It doesn't automatically updated on them a fusion, but we'll talk more about that later on. 4. {Introduction} Creating A New Project: welcome to limit fusion. So I was gonna top up online ship. The first thing you see when you come into a room a fusion is you go straight into being able to create a new project, which we will do in a second doctor. But let's Chef just have a quick, brief tour off the Leo. Up on the top left is your video preview window, and you got your controls for that. Just blew up top right is your fail organizer, where you can basically go in on choose from four tours. If you study blocks subscription, you condemn. Let's talk fails stuff that's imported transitions, titles on music, and you can also bring in and other hard drives and things that you want to edit from. And then the meantime wing as you can see what it says. Press plus two. Creative Force Project is basically you're editing Tambling. So if we top the plus icon during here, you can I need to set up your fail. So, for example, I will just tape in Luna fusion Just demo get right to you. So you need to know your free MRI. Generally speaking, if you're just doing video for social media on You're not really worry too much about giving it a really cinematic look. Just wanted more like our TV than choose around a bit 30 frames per second. If you want to have that kind of hyper realistic look, two things you got to 60 frames a second. But again, it's a different vibe, although that is a clarity to that was greet on compared to this war cinematic 24 frames a second. You can then choose your aspect ratio and generally speaking was videos of landscape waits green 16 by name. But you can also go on November 16. Andi, you've got, for example, I'm gonna use this option for recording. Made very jitters for iPod on it was all sorts off definitely shows those instagram portrait You get the idea us wait screen on a more FIC ultra Panavision, but most of the time you can either come in square or you're gonna come in or in the likes of an instagram post, that kind of thing. But we'll just leave it 16 Benin landscape for the purpose of this. So if you really got the option to India for your future, for every user and spirit issue. And then on the top rain top the little plus you'll know See, we have the full tame line which will explore in the next video. 5. Using The Video Timeline: before the show you more about the value of time Lane. Let's just go back into the projects that its top during here on the bottom left on. Then from there, we got a few more options. If you talk a little weight circle on the left here, you can actually color cordial project so we can meet that purple. You've got a little notes icon here so you can put a note second, for example, I could put a limb on fusion skills here. Video idea. You can leave yourself a little notes as well. I'm just tap again and you'll see it turns blue on. You can see it says limit fears and sculpture, but you actually in the actual project as well. Which is Hyundai. You've got how many minutes and seconds or video on the actual lane at the moment. This is set to 00 because nobody Bernardi 24 friends for second your screen and spit issue on the date and time off creation on editing top one again, and then you're back into. So this is obviously the timeline we need to get about video into. It's like, Look at that. So we got into our photos, go to videos and you'll see the four stock videos that was actually working on they won't go to do. First of all is bringing in these horses. So once again you can rough court. And here is we also, for example, I could drag this along like so on. I could mark the eight point from the others. Avail. So two different ways of doing this are to drag left and right, and you can sleep the whole law back and forward the treasure and no point. And also you can if I just make an adjustment. Let's see two here I can sweep down on the screen on the end will move on. And if I then move the team Lee and I long to hear If I sway pop, the haute will then be adjusted as well. And then once I'm ready, you can just tap on the little arrow on it and drops into the tamely on. This is your tamely. There's lots of things you can do here. What? She went it in a little bit weird death in the next video, but the first thing I want to show you which will see if you loads and loads of time is basically when you want to expand the Tambling view, just Penn Shoate, and that will then expand it on the in pension like so to shrink it there. Don't do it from top and bottom. Go say per side. And that will make things a heck of a lot easier for you in terms of the actual area. So you can see the amount of seconds that the clip actually is Janet generating for and then obviously from their arrows, Idol said. To increase or decrease the actual went off the video. So that's just Sof working it through in trimming up and picking what you want. And you can also screw up along underneath the video preview as well as on the timeline. Whoever sits for you no, don't. Here on the bottom left hand, we put some more options, which we'll talk about more details as we use them, but basically you get ability to switch off the video, switch off the order of the resort, your lock, the tracks and the normal editing can actually happen, and you can also change the direction off. Video is actually pleased whether it's gonna be a police behind what it's going to overrate . You can see the same options for more video tracks more of the trance below every top. Once again, you've also got controls for your audio levels. And if you double top of circle will sit on bike zero. So those are your options during their you've also got a master volume control here. What she can go in and tweak Andi. You've also got the option for multi selections making terms and also quick menu of voiceover transitions, blank clips, main tables and overly titles and things like that. The other thing you can do and this is purely down to personal preference is tap on this, like on Don't Here at the bottom, you can change how things look. So, for example, if you want to tell him or so off action and the organization for making video choices, you can do that. If you went to concentrate Mawr organizational stage at the bottom with the video tailing, you can do that, but generally speaking, attained to stick to this one whereby video previews on the left, my organizations on the right on my timeline as bought a medal. I'm right handed door, so that suits me. But it may well be less arrangement suits you better so forever. One basically foolish report. You can change options, and that's not like you are doing here is for she had export. You can share the movie. She had the audio. Only you can package up is a little infusion project package. Again. We'll talk about that a little bit more later on XML Project package is for when you're basically using limit fusion on the goal. And if you combine your desktop and using the late so final cut pro or Adobe premiere, you can actually export the XML on. Then resync all the videos on your hard drive to your desktop on that where you can continue the ADA and premier because there are things within limit fusion that just can't be done compared to a traditional and non linear editor. Like Pray a premiere or final corporal, they just have a few more features, but the effusions pretty good. The last thing I want to show you is the snapshot, which could be hardly for doing free streams and things like that. So if you want to make a snap short, you top that 6. More Ways To Add Videos: let me show you another way or getting video into your timeline. Obviously you can work from the photos are linked, but you can also get down to fails completely briefly looked before. What you want to do is click add link to folder on just town, slash etc. And then from there, choose the folder you want. In this case, I'm going to my little fusions Kosher project. And then once him in there, you can see the videos actually want to work. What want to do is actually bring in this sunrise for a movie. All right, so just a quick police through you get The idea I want to do is take it to the Ana Good a little bit. Just take it over the and long. Not sure what just quills. Age of that clothes do that. Not so no. When it comes to drag again Well, I want to do in execution. Normally go to the back of the same lane. It's our corner and then just drop it and at the back. But I actually want to bring it in the front. So the rear door. But she's clicking on the injured dragging and I get like yellow. So I am stayed on each and that is the your basically lengthen like so from there looking, then cut the horses like so, see who are keeping the color team going through a nice warm colors of the moment, which will progress through the de off the actual video that we're creating and then eventually went more blues of 19. Sore starting off warm in the morning. Yes, general give going along, So you got few choices you can either. Good if I have files. If you already imported things, you're likely driving that and years veil propels already imported. If you want to bring in stock, you can go to storey blocks on. Obviously, let us a feast. All you really need a subscription? Thankfully, I got subscription. I think it's about meaning today. In one you keep Owens, but that which we work. So they were in about 17 18 Door's somewhat, and then obviously you got four tours there as well. So it's up to you how you're bringing your body when you also bring them indirectly from a hard right. What, my hard drive and then just copy across the sections of do they actually want to work with ? So the next further, we're gonna look at how you add music. 7. Adding Music: I think music is just disease adding video. Sophie top on our little folder. You will see, I've got two tracks. Wicked game on zero D exploit. We're gonna use wicked game for this. So you just tap on up and then you can basically played back in the preview tailing office . Little's no video on if you want to just bring it down. What team to do, though, is just pack up and drag it street on to the timeline. Like so it was a bit of silence before the ordeal begins. So what I'm gonna do is I'm gonna take up, too, just around there. And then I'm going to trim it like so, and the antica be the front end. So top two highly toe and press the trash can acorn and then move the jack up. And then not we. When we have playback music nicely comes on. It was at this point you could open up. You're say things for the sound because he was already set to be great. Quiet. So bring it on. It has been like a voiceover with your voice. Or later on, um, you'd want music to probably that don't between minus 10 db minus 20 db Because with the nature of this video, the vast majority over, it's going to be just nice stock clips under the chin going through. Then we don't need to worry too much about the quietness over the background audio it's on . If you were running music in the background, you want to lower the deficit bells off the overall, so peace so they recall. It's a simple is that to bring music and 8. Cutting and Trimming: it's at this point, we can talk about cutting on trimming, no attend to refer to cutting and trimming and switch between them as the same thing. But the honor. That is a slight difference, but you sometimes hear me good on a boat, trimming a clip up when I'm actually cutting it. If that makes sense, so let's talk about the differences there. Firstly, if you look over here on your preview time lane, you'll see the two video clubs show up is too little blue items. And then the big, long green item is obviously the music you can go in at this point on change, color and all the genes of colors off the PC's or video or music and we've got to do is highlight the club by topping one up. And then there's a little information I going here. Tap on that, and you can change the color so and so we commit the first clip purple. You can also rename it and also add news if you want, as from there as well on that was pretty good. And just tap on the and foreign corn and you'll know C and the preview Tamerlane is purple and then blue and obviously the music's green. So again, who went to do the same thing to the music? We could make it yellow enemies that look nice and pretty. But only thing we're using yellows. You can't see it very well. So what I'm gonna do is highlight that music clip again on. We'll look at blue Red reds Pretty good, because you can see the wave Tambling on awful lot better. So let's leave it read. Okay, you get a general idea. So cutting and trimming to be a cut was to ease of doing it, you can add up. Just move your little blue tamely in itself a little blue Corsa on the position of where you want to make the cut and then tackle says I corn at the bottom. But if you do this and you haven't got something highlighted, it will actually cut through every single track. Great. Very through. And you'll know. See, I've got cut you right the way through the music as well. Which gets about Macy. So if we used the back Otto up here and then that way on does what we want. Hi. Late the video. And so top on it this time position of where you want to make a cut. I don't see about here on then top. This is like on you will get a cut on. You can then reject the rest off the clip by just pressing the trash can. Yes, it's automatically highlighted like so and then what happens on playback is if I just please through, you will see it cut to the beat of the music. How I did that. If you weren't paying attention, we zoom in a little bit as they looked for a little peaks and action in the music of what you can actually do if you want to. If you go a complicated piece of music and you get lost, the sound effects and voiceovers on your video you can actually go in on the top and create a marker so I can just put ah be for beat look, So if you want to, you can change the color over. So, for example, I could meet them yellow, and then if you go forward along, there was about of action here. Let's listen to that Second, he heals the next major cut again you could lay. Not with that. It's a pawn. Oh, cut. You don't even need to deem it. But you just market look so And that means if you're in a different police and turning, you want to get back to that cut, you could just tap on the marker. I'll teach you street to the actual cut itself and then highlight the clip unnamed top scissors and then because everything behind the timeline cosa it is selected then could be caught. If you want to faint chilliness, we can expand a little bit more, and you can also click and drag the corner. So, for example, I want not GS to go over that a little bit more. So it should play a and then go to blank like so, which is good. So there we go and then we just strictly tell you Moline nothing you can do just by double tapping on the video timeline itself. You can shrink it there on double type again, and it'll zoom back and to the view you're not. So, for example, fighters from really far on Double Top Zim's oh, in taking over all look double tough again and we're back to where we were before. So if again started beginning with sunrise coming up, cut to the horses and then it cuts the block. So we're gonna bring in another piece or video. If I go into my folders. Let's see, let's bring in a shark clip here, which I've already pre selected. But let's pretend that haven't so free stage of the kill up it's played through. No, I showed you how to do the open. Don't sweep to make an end on a note point. You can also just topped the little and and drag along on points as well, something that's easier to do as well. And then what you want to do is just highlight the clip again. And then I just need to click and drag it. Don't brother than press, and that's a drop. But Nikon. So there we go so we can take the horses back a little. But sharks? There's our next cut, so we're gonna set here. I know here's a little tip about cutting instead of always having to type on the says alike are you. Teach your index finger and your middle finger, either in your right or left handed your rail left handed and just tap either signed off the timeline closer. It will endure cut for you that I find to be faster than anything else. And then just tap the trash icon on that gets rid off the remaining clip. So again, take it back a little bit, please. Through Sharkey's right. Then we need to save what the next club is going to be now. We could stay with Sea Life stuff or here go for something else that I think in the next video we'll look at going for something else, just gonna sweatshop the vibe. 9. Fine Tuning The Video Edit - Part 1: okay, before we go on to looking for some more video for this particular film on me, you know, we need to look and consider the color palette for a second. She I start off with a warm sunrise at Inglis into Warum. So probably evening short or the horses, it could be sudden raised, though, and then from there was a significant change in the music beat. You want change off the color to react to the fact that we're just moving locations entirely. So I'm considering the music and also the color palette to sort of define where I want to actually be in the video. And then obviously another court here, so I want to do is because I'm using stock stuff. I'm going into story block 30 blocks I should see pulling a little like the fire icon we're gonna take Pen weaves. So we're underneath the water. Went to get above the water? No. So I'm gonna tape and waves and we go and then look for something that works. We'll see. Just I'm just looking for something that will catch my eye. Like, for example, that pot of leaders kind of interesting, but just move along a little bit into the same lane. It's up on again. You see what sounding here? Coming Toe worlds is not going away. Mm, No. So I'm just looking to pick up something that connects the two points. Could be interesting. So look at this. Looks like a 3 60 clip. Just kind of interesting, but, you know, as a 3 60 club, because it says 3 60 honor. Okay, lets go back up. Ah, this looks interesting. Which is, I think, maybe a shipwreck or something. Yeah, I could see that working. So I want to bring this in. That obviously is gonna have to download. And this is a four key file. So again, I can choose to either click and drag or in this case, just tap on the option, and you'll see at this point you get storey blocks for limb effusion subscription. Now, I already have this in a yearly subscription which seems about money or you can do on a monthly basis. I'm gonna restore prophecies like, so I'm gonna go back into waves. If you're already subscribed. You don't have to do that. It's also good to do with the fact that I'm running the beater. Oh, um, Lemon fusion, Right There we go. So I think that clip again did. It's there. I could just drop it. And so I think the second to download and you'll notice tearing Here are just a double tom area there. You can see the little time our circle going round on downloading the clip once it's in place, it would go from straight perfect, too. Being on the same wing proper. So cuts, then another cut. No, there was another beat here. So again, we're gonna cut surrender. But there and thats team, I'm just gonna use three fingers outside of the same lane to cut the time point the trash can the night get rid of that. I've already got if I got to footage, but the story blocks downloaded media here, and these are some clips I've actually already downloaded. So we've gone from very orangey pilot. It's a subtle, more subtle orange warmth to completely blue. Two more delay, but still ahead of blue and then the green start to come in. So from that point, we can think about a lot that's going to maybe a forest scene or something. So, like, so forget this club here. Oh, are we? Kid, go into the city yet? Idea. Or we could keep to close up. Oh, weaves someone coastline vibe. The cool thing about that says it was a big splash comes up in this one, which I'm sure the drone operator must have loved. And that's a good point toe, actually, if you could make it work. So let's take this clip, for example again, just click and drag it this team into the same lane. What we're gonna have to do is deals the cup point, so we have to lose the front end or the video. So this time, instead of trimming or cutting, should see actually dragging the clip up. Going too far, so much drank the other way, maybe expand the hurt a little bit more. You know, it looks play black Cut. It's cold or not. It's too long on the action is like, basically there. So what we're gonna do is we're gonna make the backhands cut there, get rid of that on the instructor at the front end so that you get the peak action Andi were holding, or so let's see way Go. It's probably probably is actually a currency. Oh, yeah. Gonna teak. Probably the else peak action again. Top trash can on the stretcher front end of the club will just shrink it down a little bit . But pinching on so together laying up right, we play black and this is be no financing the voodoo. Just making it work now some editors, their goats pretty much perfect, mate Finger and even farther. Leader on some a details leaked to dump all the clips and and rough car with a just little chop chop chop chop chop on Then start to finance it. Later on, I'll eat Teoh, especially when you're doing stuff like this Basically finances as I go along, but it really depends on what you're shooting. If I'm doing a commercial video, sometimes you want to, you know, get rid of their collapse and began. And just from the clips up is basis possible leader. My guests of long form rough card and then go in and take the up the clips therefore there from that point onwards. So there we go. So that's was added even more. And the video will continue on the next video. We'll look it frame rates and things looked up 10. Removing Markers: Okay, let's talk about market a little bit more of showing you that you can obviously please a marker where you want it. So, for example, you get another beat about their I can then dropped a marker like so changes type color so I could make it read to see Have what? From that. Yet it's up on it. Andi, change any settings, so compute again. I'll be for beat it just beat what Wherever suits. And then that means we get to that point the marco and gets highlighted or you can top on it. So you want to get rid of a marketable you could snow see that once you've tapped on the mark or below it is a little blue marker with an X and state top or not negative to the marker. So, for example, if I go to the first marker, get rid of that. So if you wanna clear Mark als basically it's exactly the same police as where the plus market is like so engine in idle forever. You went toe and then by tapping on again and then topping a little blue X marker vanishes 11. Frames Rates: and this last, we're gonna look the more advanced settings for each of your video clips on. Also, we're gonna talk about frame rates because frame rates are pretty important to the video you're creating. Now. I'm kind of assuming that you understand the basics of freedom rates and other worlds the frame rate, your recording, your video. And if you're actually doing video for yourself if you don't all kind of cover on its basic level, so I'm gonna do is tap on the bottom rate. A looks off gear icon on. You'll see if you remember we set up. This project is a 24 frame rate, 24 frames a second time line with 16 burning ratio. So we have to keep that in mind when basically working with other clips. Because some of the clips, if I go into in full our 30 frames a second, others are strengthening. 97 29 7 23 98 close. 24 on 23 90. So these are traditional frame rates for the film industry and television, and what we have to do is we have to alter the clips so that the video clips conform to the correct frame rate. I'm gonna show you how to do that now. So I'm gonna do assure you how it against the more advanced settings for each of the video clips stick. We used to do it. Highlight the clip and click on the little pencil like the one in the middle bottom, and that will then take you into one of three options you'll see. It's automatically going to speed in reverse because I've already been in here. But you can also move over to the left hand side. We can adjust the actual positioning off the video club within the actual 16 banning ratio again, speed in reverse on. Then we've got color options here. Israel has different effects that blows on key framing things like that. If you go back to your speed and of else now free me, it's important you got to know the premature shooting up on hoping when you're watching this video, you can have understand frame rates on a basic level. In other words, if you're filming 30 frames per second, then all the videos need to conform to 30 frames per second. So, for example, if you were going for slow motion. Then you have got to 60 frames for second and then by half in that guarantee 30. You basically get double the amount of time seem to 120. Principal second, almost exclusive during further, but it's conforming it to roughly the same settings. The cool thing of it limit fusion, though, is that you'll notice down in this off speed lane here that does. This little option here holds off notch. They're in here, and you'll see it's adjusted automatically to point eat teams on. That's basically conforming the video very quickly to the correct speed. So, for example, with this one, it's a 29.97 France Forsaken Club. I can bring it into a little notch again. It's 0.8 teams, and you'll notice what I'm doing. This also lengthens the video. So when you're doing this, it's better to do at the team over and see it in the club on. Also make the cut that you want so that your video conforms, you see, cut perfect, and then we're going to the next cut. Lean things up. I think so. On the in. Highly the clip two fingers able seat off the timeline and then get rid of that again. Just take it back a little. But through. So what this does conforming to create to free MRI on adjusting the speed of the club to March 24 frames per second. You're basically cutting her any chance of dropped frames or stick art of stuff to the effect that you can sometimes get Onda again. If you take a look at this thought clip and he's thinking, Lord, turn as well. So and again and Atlantans the clip. So we need to go back into the edit, just trim it, using the sizzles like on this team trash can and then double clip on click on this club. But that's clip is effectively 24 frames per second. So apart from 240.2 frames, we can leave this when, as is, and if we go into this four key phenyl clip again double top on it, we can see it is also conforming to 20.98 principal second or as good as 24 frames per second set. Actually, to do anything with that no playback seen? No let run through you'll see the sun rises a little bit slower. Horses of slower and smoother seem with sharks from shortened below shows. Amazing. Then we get a shot off Hawaii, the course lane and then another short. I think off Hawaii could be wrong. Maybe the Oregon coast, something that on the weaves heading withdraw. That was pretty good note. As much as I like the short here, I'm not feeling it. I don't think it works with such a dramatic short here with sharks, and then begin to this shop that short becomes about boarding. So in the next video, I'm gonna show you a couple of different ways off recently, either overrating or removing this particular clip. 12. Replacing Clips: as I previously mentioned in the last lesson, I'm not feeling this aerial short here. It's just not working with the club. We want something a little bit better, so I'm gonna go for this total short. No, you wanted, please. And then I know for the short is close to solve. Taming off the short you want to replace. So I'm going to take it down to rent about five seconds and you can see just subtly on the blood of 5.25 just it cannot shrink it down a little bit. We don't need to worry about too much. I want to just pick the general video, this working for me. So I think rent a boat there. I'll do nicely. Then what we're going to do is just click and drugs or click and drag. And then if I drag it here, it will add it to the clip. If I drag it here, it will replace the clip so that's in front of the club That's behind the clip on the yellow box around. The clip means it's gonna be replaced. I want to keep the time lane duration for this video clip so I'm gonna top the top option and you'll know See, we go from the sharks. Start up Teoh Sutarto. But we've got that problem again if I just play by the clip once more free. MRIs are wrong and you could see it was a little bit stuttering. Well again. Double top on the video. Reduce the speed to match the frame rate. Get it spot on. So we're taking a 30 frames a second, and we're just slowing it down a little bit. Conforms to 24 frames a second. You see the clips lengthened ever so slightly, so we need Teoh at a cook. Just dio Eva tapping the sizzles. I can't take it back so go shocks to weaves. That looks a lot better. So the second he's a music there, which would ignore them. Rather cut. Cut there. Cut here. So sometimes I cut to the beat some teams are doing. But that's one of the ways you can replace Ah clip easily just by dragging and dropping on , looking for the yellow box that surrounds the clip that's already in your timeline that you want to replace. Okay, so the other we all replacing a club. Now that we've got our see torture than police is, you get to further options. You've got insert and overwrite. Let's look at those. So if you tap on this beautiful lake resort, I'm going to say that's maybe Canada or somewhere. I guess what I'm gonna do is I'm just gonna Wayne my family in up to. But they're top on the video again and you'll see you got your little arrow that drops the video into the timeline. So if you tap on that, it will split the clip like so. So you'll see it goes from the waves. The name of the city was short off the leak, and we're completely screwing up, cut and then bite to the Reeves again. So this is no ideal. So what do we do? Well, first of all, we undo things we then go to let see. See here on the club. Now, if you've got your father options open in the left hand side for locking visibility and also the audio state of things, you'll also notice this arrow pointing a woman detained rain. That's for inserting. You tap it. You're then going to overwrite mode. And that means when you tap on the beautiful lake resort video short and then tap on the Donato here or Dragon Drop doesn't matter. It will then overrate the original clip and you won't have another extra. But at the back end, which then means you can trim up now in terms of this bit of audio, much did not want to do either of these things. So I'm just going to reverse the clip, go to the end off my waves, Onda, drag it down and then just take you back about on, see how it's playing through. That was good. And the next lesson. We're going to start to look at transitions because this is all in camera transition, but we can sweeten up a little, but just be using one off the boat and transitions within limb a fusion 13. Transitions: Maybe we've got remember half a dozen clips on our timeline state to talk about transitions . No so far. I just give you a little bit of a plea black transition that was done. It's just a street heart cut, so there's no dissolving nor feeding on anything like that. It just cuts from one club to the other. And for the vast majority or videos, that's absolutely fine. But there comes a time when you want to do a transition, for example, that show off the waves splashing through into the drone into the forest scene. So if I laid out my timeline and between those two clips and then we could during two transitions, you'll see we have all manner off options there. 95% of these guys you're not gonna use as a transition or it becomes a little bit gimmicky , but the two that you will use quite a lot the 1st 2 cross dissolve on depth. So let's take a look across Thistle festival, so if we tap on it, you'll see it sure is you transition it to be, and then if we click and drag, then brings it during between the two clips. If I play it back again, see dissolves from one to the other. But that's great, but we can adjust the length off the transition. Teoh either make it faster or slower, or give it a little bit more drama effectively. So let's look at it from the point of view off faster. So what I'm gonna do is just click and dragon Woods, and I'm gonna take it doing to earn 22 frames. Please. Black. See, that was quite good. But we could also go the other week and that's dragged by coat on, tick over 22 seconds, then played back again. That looks pretty nice as well. The other option is that really drag Toronto about three seconds. Andi totally play on the fact that you're going from one clip. Sevilla No, I thought dislike that. But it doesn t want the definite part of a deal to get the transition toe work between the flying short on the for a short all the way of short in the Florida short. So let's take it back there and turned a boat. Two seconds it creams. No working for me yet. I'm gonna have to take it by doing it. Two seconds. I'm see here. That looks Eriko. But look, that's almost spawn. I'm just gonna be a real little picky ticket there into one second Eating fears. That's exactly what I wanted. So that's this off. First off, the different transitions that you probably want to use, which is the cross dissolve. And it tends to show the passage off time, especially when you slow it down the next time. Good luck cap is the depth. Now a depth is a good way of transitioning from one sort of seen and say create another scene. So, for example, we go from the sunrise, wild horses and then we go into the blue of the ocean. If I lane up on these and then bring in that transition, we can. Delicata has a little bit worse off power. I'm savoring Teoh from one club to Diller again. I'm going to reduce it there, toe one second, speed up effectively on that times and better on Blaine's with the music a little bit better as well. There we can look other transitions, things like If I go sunrise, you could also do the like Sof Zim Blur on differ. Sure you that and that works. But to me it's a little bit gimmicky, so I'm just gonna undo that on a low. Ah, hard cut majority to the time hard cuts. 10 to what the best. And then, if you want to use a dip to black feet, the blind gonna think hard car again are cut, and they have a cross dissolve to blend between the water on the trees that works. And that's the B six off transitions. It's just a key soft, choosing the ones you want to use. I tend to use things like Slade's toe and meat titles, and we'll look at that later on. When we go into Tate ALS. What links are doing a push. But sometimes that these work in the opposite way. You would think they would work, but we'll talk about that in another video. So the ones you want to use the most are crossed is over on the depth. Maybe it the oil a little bit. Resume blood, that kind of thing. But generally speaking, hard cuts are where it's at 14. Adding Keyframes to Video: okay before we go into the next lesson, which is key framing. I just wanted to show you that I've been rough cutting in some extra quotes from storey blocks. Sure year that we've been adding to the timeline, but double top the edge of the time lane. Oh, it's so it will shrink down. And then, if a double top again l injuries et a and you can see for this pensions, um, you can see the different quips open idea That's river are with the video. No, was one clip along here often, er, glass team lops. We'll just went on a little bit of magic to you'll notice with all these clips was a little bit of movement going on year sales movement with the signed but part of its A very static short. We want to just give up a little bit more life. This is something you can do with a lot of your clips. So let me show you her to dio double tap on the crop itself, Doubleday and deep into the Freeman. Or, if you've been in speeding, prevails or the card on the fix may take into one of those but we're wanting Freeman Foot. They were going to use their in here the size and position on. We're going to use key freedoms, These Israel doing us A starting at the beginning of the club. So top here. That takes us to the beginning and then top on a key frame. That's our starting key for him. What we then want to do is go to the end of the club. So the top here and then we want to make an adjustment. And when we make an adjustment, rescues to the size. There will be an automatic key frame applied because this club is 1920 paternity each D. I'm not wanting to enlarge up too much because it will start. You'll start to see the degradation of the club, but we can take up to run the boat to be 105% and that will be enough free to notice Aziz living in effect. So increase to 105 During here, on the size, you'll see with noble like Ephraim. And then if we scrapped through it, you'll notice, uh, bounding box increases as the sand drops there. I'm not sure that police so go movement just on a little bit more dynamic action to the images himself. There, the next club here. What done with at the double quick one up is a figure disputed Nevius. You'll notice I've gone the opposite way if I reset things that's doing to nineties pointing six because it's 24 frames a second and from 25 frames a second just to conform, er, but the other way you can go is to increase the speed. That's what basically done here, and that allows me to run the clothes from this Teoh the speed secret. Then we can also once again going to keep framing, started the beginning of the club top one key for him, top to the end of the club. And once again we can increase the size. So it's just again. I'm probably gonna bring upturned about 105 and then we go back from their nuts once again , a key frame 15. Adding More Keyframes: number of covered basic key framing. But you let's take a look at doing something a little bit more dramatic. So if I just play you the clip, what you'll see is a good looking clip on this about movement. And obviously you get a lens flare on a rotation off the balloon. What looks like possibly that's a Tellier. What's as exactly, could be Florida on the to interview. So I think you're SSTC. So I'm gonna do is I'm gonna actually mute the music track because we're going to be moving . That's through. That's a few times. There's no point heating the club more than once. So this double top on the clip Onda we press on the left button, two tickets to the beginning of the club, and then from there, we're going to top workforce key frame for the size and position look, and then we'll top rate hand button on Deltek is to the end of the club on what you can do . This team is. Rather than dialing on the Slater's, you could just pensions him. So, for example, I can zoom into the space station and I can then rotate it around, making sure dinner. I'm not going over the Baltar and creating black edges like so I'm just pension and zooming . There we go, and then I can move over a. But on that, we've now got a little bit more drama going on. So if I it's up back, please, through again, you can know C was a rotation and ism compared to the original clip that was a lot more static. Is that one more time? Once you get the hang of doing key frames, you could pretty much apply it to anything. For example, if I I wanted to, I could lane up with the edge of this clip, click on the music, chop it there on just show up there and then tap on this but the clip on again. What's the beginning off the club? Stop on a key frame for the volume, and then this time I can lower the volume dire, and then we'll do is we'll just skim through there would not want to go right to the end this thing. So we just went to skim through the point around a bit here, and then I can start to increase the volume and then I could go be. But father, increase the volume again. Your father back to double top on it. They are where it's at its full volume. And then if we play through the club this time this time switching the volume back on, you'll see we've got about a different school on so watching. So you can see you can apply key frames and more dynamic breeze by pinching was living, dragging moving around. And you can also apply key frames, all of things like music. No, I'm just gonna go back a few steps and get rid off these cuts. There we go. No, they cut their says. So it's still but one piece of music, like so just check. Still go the drama off the key framed with you that's looking pretty good. So that's what you do. More dramatic key frames just by starting on the left, and they're working your way through to the right and you can skim through it to see how after the looks gives you a little bit more flexibility than just dialing. And via this ladles 16. Creating Multi-Track Video: there. I'm getting to the point in my video, we're there's quite a big soft beat drop on our exciting but in the music I'm just pleased out before you know, you hear. So I want to take advantage off. This is what we do is top one. The market have already, leader, That brings me to under. But one minute, 51 seconds on a free him. I've got clip your mouth, which is fabulous studies guy. So if I bring it into the normal same lane here, you'll see it snaps back here next to our space station on. We don't want that. So this is where we start to introduce multi tracks or video. So if it is called back top on my beat, drop again. Market on, drag on. Understand? Go one higher. You'll know, See of Got the clip and police going. So no, what I also want to do this clip is speed up about because it just needs to cannot pope on there as best as possible, mate. Looking adding a key free. And but for the moment, we went out about speed. So rather than going slower, we're gonna take up to render boot two times I will see how that looks because with another multi track, it's thes put, which is what we want. So we can see there's the video. But there a gap to fill in. And once we get to this point here, we can drop it down at least there on. But for now, I want us to be in position here, and I think it still needs to be a little bit faster. Adult top one again take up to three times just equivalent to 300%. If you used to using the likes of Premiere or Final Cup on, then play through again. It was good. So we've got not prepared there. What other thing? I'm going to do it again. Odd about of a key frame. So go back to Freeman. Fat on meet. Sure, I'm Although from the clip, I'm just gonna pensions. Um, so you think work? Okay, So drop up. Lucky for him there with the right on pensions, Airman just thought at the bottom edge off the building and the trees on the tones and not the biker. And so on every comeback it making please through again perfect so that, says police. The clip were the music. Jeanne Gies on about the same in Comes On and we can run Mawr clubs and things that are going to charge my apple pants on every second or two. But you can see from there we go from space station. Probably add on another one, too three for four or five clips and to take up to this point being depending on the length of them were choose to actually do a car husband, the volume back political. So this is a stone to use multi tracks video on a little stage with bringing sound effects on little flourish. She's towards the end of the video for the audio state of things. 17. Linking And Unlinking Video : I've got my fabulous starry sky like that in place. I've also added this clip or mountain range underneath, just by oversleep slight in the club, adding it to the same line and automatically drops. And underneath, the problem arises is that I went to meet a lot of apps apart marker over here, which will just do this now. And if I then delete this clip here, it will also take Russia, my study, SKY club, and we don't want that. So we'll just go back one and undo. So what we have to be able to do is unlinked to clubs. And you'll notice that the line joining one clipped data, where you could turn here to the bottom of the time bar, timeline, Daimler, Yeah, the menu options. And below, and we click on the little chain link icon. This will unlink. There are two clips, meaning that when I select the clip below, I can then click and make it disappeared into the trashcan. I'm gonna do this and I want to point out something to you. When I tap this. It kinda looks like both clips were deleted. Scroll back along. You will see fabulous study sky, stolen place. And we've still got this club here. Now, that's also goes for if I saw it all the way along to the beginning, you will notice the music is also LinkedIn to the first club, which means if I move fast clip and any way, shape or form, it's going to readjust the music. So just as a matter, of course, if you want the music to stay exactly as throughout the video, unlinked as well. And obviously, if you don't want that, you can real income in the same way that if we go on to the sender, the clips. If I wanted that to be Wynton to the next video, I can link as well. So it's just to me, we're all winking and what it does. And its primary role is to allow you to move. Groups of clips together, are linked together, maybe went to keep together and put them to a different part of your timeline. 18. Looping Playback: This is just a quick short video 2. And finally, select a piece of footage. I've marked my ending point, oversleep by either swiping up and down or just living in an air. If you rapidly double tap the play button, you will then get a looping icon. And you can see here. And that means it's gonna keep playing back sim club again and again. So you can assess rather than having to keep impressing plate, but just thought little tip available to you. And then if we tap again, it stops. 19. Creating A Blank Clip: Sometimes when you are working with video, you'll need to create space at the beginning or the end of your piece of footage. The Vigo, By doing this split, tapping on the little plus icon and create a blank clip. By default, it gives you two seconds, but you can stretch out for as long as you need. So shrinking their purposes. And you can also go to the end of the club and add a point here. The one thing you can do are two things you should say is create a blank club in the middle of a club. And also, you can't drag and drop point clips as our Bureau of secondary above a club because it just vanishes. So if you need just a little blank space at the beginning of your video, what at the end? That's how you go about doing it. And in the next video, I'll show you fear it becomes applicable. 20. Creating J And L Cuts : In the last video, I showed you how to create a blank clip at the beginning or the end of your footage. In this short lesson, I'm going to show you how to make the most of it is also teaching you how to use G and L cuts. So let me explain that for you. Called the blank club. And we then got to send effects. We've go explosion and some bonfire burdening ambience, fire. So first of all, if I switch one explosion and playback club, and then it cuts to the car, you get the sense and the idea that an explosions happen. But if I also added the bonfire pardoning ambience, and you'll notice I'm starting with that club at the peak of action, where the send of the actual explosion itself comes in and then continues onwards. So the siren is preceding the clip. But you can do that. You don't have to do with a blank club skipping another piece of footage. I mean, for example, I get this footage whereby the car or extend is not on fire or just took it back. And so we know played a club fire effect. Once again, what you're creating with this g cut is anticipation. You got a blank screen. You then send effect. You then got the bonfire burdening syndicate canning. The next piece of footage. And it's called a G cot because of the shape it thinner creates within the self. Though the opposite theurgy cup or the other inter Jacob is an LCA and that's when the sound leaves one clip into another club, like so. And again, it's named after the sheep they basically, basically creates. So if we played us through yet explosion, the guy is the explosion. And then I've got a riser coming on here below. I've actually got a switched off. Just type again. Let's play it back and stain with a riser kicking in just at the end of the burning surround. And you'll notice I've also got keyframe here, which I've started and as point, but normal volume. And then going to the end of the voltage, dropped it down completely. It goes silent. So no only needed keyframes. And our action, you can also determines audio. Play again. That's the current fire kills the riser. Comminuted test is subtle and forced. Cern drops off and you get the rise of command. And in this case, we're going to end on a blank clip. Allah, sopranos, your watch The Sopranos, the final episode. You know what I'm talking about? So again, this is building up tension. Think Why is he managed to get to the bottom and car was going on so that the surface doing too well. And you could obviously cut that to another scene. And when they got these two clips. So as G cut, the beginning, leading until LCA to my favorite cuts, will talk about another one or two in other tutorials. But these are two coats that you will find yourself using and you can use creatively. And your videos. 21. Creating Jump Cuts: I'm going to do now is show you an example of jump cutting. And that's probably a huge ripples favorite cut. Jump cuts are basically a continuous shot shortstop showing for the passage of time effect or what. So if you take this short here of no audio oneness, and we've gotta go running through the wheat or barley field. Joe Smith and naysayers. But if I switch off the visibility on the top club, so men play by. And notice in this section, I have taken out clips and I've done it in such a way that it's jarring and that moves forward the clubs. But it kinda and energy at the same time with the style of Kotter's. Let's play it back again, though was startling itself. But she's actually moving forward within the field if you look at the possession of horrible heat. So that's a jump cut. Very simple, straight forward. And it's probably one of the most effective. Cuts are hot cuts that you could actually do within a video, especially if you've got one continuous shot. 22. Creating A Match Cut: The final shot I'm going to show you is actually from the trailer of rise of Skywalker. If you just please register for you guys a couple of different shots. And second on anything that is coming up that we just drew, I end up, this is basically what's called a match cut. And it's basically taking the end of one sequence and then matching it to the beginning of the next sequence. There. When I was actually watching us originally, really, really cool. I've noticed noise error as such, but certainly something that I wouldn't see her. She's pushing off here. I would actually cut it de coat the frame before remove that frame there and take it forward. So she's just leaving part of the platform. Cut that. And then we take that clip out. And if you play it, but I think that's a little bit cleaner on the audio slightly opener, but just by taking out that leg movement and pushing off as actually clean up. So it's personal preference on this receptor. But that's a match carp putting the sequence changes at the end of one club and then continues in a similar fashion, possession. And the next clip, that's one of the more creative ways of cutting. And if we also go right back to the beginning, where you go it here is cutting away on action. And just work our way through. You can see you get three clips there. So you get the helmet going down and cut the feet running. Cut to the way the show on the log. And then again to actual jump itself, which leads them to the notch curve. And it's an effect that we are getting it attention, especially on a trailer. 23. Using Voiceover: In this lesson, I'm going to show you how to use the voiceover feature. Can have VoiceOver Inception because I'm recording the screen oversleep. Just snow. Anybody ever go? So you click on the plus symbol, then go to voice-over. You didn't get us control panel. Now, the first thing that we do, obviously looking at levels, you don't want to go into foreign to the yellow and you definitely don't want you couldn't read because that means the audio is peaking and this topping out and you don't want that. So if you tap on philo circles for I would recommend doing is reducing the again, they're intelligent. Fifty-five percent, fifty six percent, somewhere in there. And that means when you're speaking, the audio gets recorded. Well, what can still do queer needed, and obviously, 40 kilohertz is as high as you can go in terms of the actual sample rate. Because when do they are done? And then we give aid to record. So you just start at the possession you want, and then go into the voice-over and you then press the so-called nowhere says Circle was like our red ring to indicate recording by. So but the song gonna suggest the guys, we're gonna fusion that they should change as the red. If you tap one up and go to blue counter and they were recording, automatically plays the club. So again, talking about and you can see the red bars and then finished. So to stop it is tapped the blue circle again. Now you then got an option to play it back to listen to what you've been doing, your recording. It automatically place the club and fight against, well, it gets probably require much plots. We've got a cutaway. You can see what's going on here. And notice the sorting through does the match cup and they made it. Okay, I'm going to pause it, know it quite happy with a voice-over you created. Then just tap the green square textbooks. And that will then apply the voiceover onto the clip. And then you can choose to either cut up a little bit more editor down or go in. And if you want to, remembering that you'll need to or you can move lab possession there. It's also easier to build if you unlink it so you can take away from this club and then just pick up whatever you want to go. That's how you do a voiceover. It's pretty straight forward. Just give it one final playthrough. So again, talking about much cuts, cuts away. And you can see what's going on here. And you can see the red bar recording through does the match cup. And then it waits a fan. And then finished. 24. Audio Ducking: Now that we've created a voice-over, This is a good time to talk about audio document. And if you don't know, but audio docking basically is an automatic way of handling the predominance of one track, in this case, the voiceover below than the other track. In this case, the Skywalker Club. When you record a voiceover, automatically actually sets up the duckling for you. But let me go and show you how to say it. The opinion that we first of all going to get to the voiceover double-tap opponent. You'll then see you got your volume above that. You've got configuration feature points. You get your docking options here, you get none. Auto and master. Whatever club you want to be, the mean load predominant club you sit to master, which is already done anyway. And then we go back and delta upon riser Skywalker into configuration and you'll see it's automatically set the docking to auto and you shouldn't want it Dr. tall, you could switch off and have none. But we do want it to be docking. So when I speak the volume on the Skywalker club or burn. And then if we tap Oh, and then playback, please the club. So again, talking about much cuts, we've got a cutaway. And you can see your place. And you can see the red. How much docking goes on, gets controlled. Don't be your global settings down here on the bottom right corner. Top, we're not good at talking. And you can then decide the dark star time, the duration, and the dark in time, and the end duration. These generally speaking, you don't have to count. Makerbot was too much. So we've also gone the volume and the dark threshold, attend to if needs be, just actually adjust the dark volume. But threshold is the balance between the two sound clips. You can play with that as well, and that just comes down to personal preference. So for example, I can reduce this to maintenance therapy, which is given now up. And we go. And you'll notice even a playback started there, which cuts. We've got to cut away the sound. And you can see what's going on here of this red bar recording through the match cup is even quite a fan. And then, and obviously this is a bit of a head-scratcher because you're listening to me, listening to me recording the video, total inception whenever you get the idea. So that's how you set up audio ducking is pretty straightforward and easy to do, especially if you're doing internal voice or if you're bringing in obviously external audio recordings entangled, you may want to have that self manually. It is double tap on the club and go into configuration and then set up that way. 25. Selecting Multiple Clips: We're back in with her demo, but the owner, and I want to show you how to do selections of multiple clips at the same time. Let's just quit. And recent, recently added feature, some luma fusion. And it's very, very handy. So best thing to do is just pinch and zoom in. You can see all the clips you want to select. And you'll note, No, I have maintain blindness. We added on a couple of other clubs here up to the drop. And I want to select these clips are just on the top. Track. Their TB that you tap. It's the light cone down here. And then you start your selection on the clip before Sukh tab and then drag. You'll notice it doesn't pick that clip up, just picks up everything afterwards. And you can then move them onto the mean tribe. And that's what gave you more room for adding titles, overlays, or even more be ruler over on top of the clubs. And I certainly would suggest keeping your timeline nascent stages like this. So what I'm gonna do now is I'm going to take us all the way back to the beginning. I'm just gonna run through the video as, as the snare. In the long term. This lesson is on your screen. And there we go and just double tap on the screen. Titian give back then. Or I don't know if you realized at dawn before I went to see full screen is double-tap 1A and now lives up in there. So there we go. That's fair amount with the ADA. And you can see all the different effects that I've applied to the video so far. I don't want use the full six minutes of the strikes of marker. And here, the backend. Let's see if I can just tap on it. And we go and mater as end. And that's point. I wanted to fit the track hurt as a couple of different ways of doing this and we're going to look at them. Now later. She told you. 26. Fine Tuning The Video Edit Part 2: Ok. And between creating the values, I have done a bit more of an edit. In fact, I've completed the edit on the video, but let me go through some changes that are made. If we go to the front end. I changed the sunset. Sure. Oh, look some of the last one I have changed for a different one folder. Take the eta in terms of where the value is actually carp. We get to here. And here I have my fabulous study sky. We've now got to plead us, but through we've got a couple a couple underneath a starry sky campaign. And we move on to then turn see nothing as I said, on New Orleans or austin tells us not sure. In the next video, we're gonna talk about blending woods and advance the gore. One club blending into another clipped out color. And we're going to cactus and steady sky. Turns of ninth street scene shop. Although it could have been taken from an Altria ACLU ghetto here. Kilo here, making an image of a bird. And we've got another blending shown us all more involved and we'll go through the US as well. And we cut to only the pool. Luminaire, some radio telescopes. And Aurora. So skewed with chilling, chilling and again with stars. And then we finish on a sunset. And I like it because it just starts to naturally darken still the clothes of capturing the exposure. And I then from there. And I'm also using a keyframe. If we go into the sound to reduce the certainty you can see that starts there and then ends there. And just flatten it completely. So that's where we're at with EDA and I've also added a blank clip. It also, you get to the end, it does this. It's cuts. The B gradually fits. Concerned. Just feels off, thanks and generally not work really, really well. So to finish off length, if you value each touristic old, but we need to add a main title. But it's also specifically, I like to do that. And we'll talk about in a little while. And then we go some sound effects that are then color grading and things as well. So there's plenty still to do and it's looking good so far. But next, we're gonna talk about blending modes, which is a great way of blending one video and to another, which makes filigree effect. 27. Blending Modes: Okay, so in this lesson we're going to take a look at blending modes. This is the clip I'm first going to show you. So it's second track on top of the buses or bus that's going to nil than to the ground. So I'm gonna do is I'm going to disable the visibility of the top club. I'm also going to just mute the syringe listener. So you don't get defind. Always play through this little but she can see here's what it looks like normally. Club I mean, it's fine. But if we re-enable the top club, you can now see schist added the extra clothes and the color from the top club fell a little bit more of dynamic flow. On the bottom club, I'm a keyframe setup so that it's enlarging. She can see here, zoom in to the bus. And on the top club, how we go about getting to the key frame. And a lot of the blending is you didn't Freeman sighs and possessions always open first. And you just tap that closed. You will then see below is blending. Blending hasn't been luma fusion for long. But version two updates when they added blending us into remember, and she's like blending you would find in Photoshop. So you've got your capacity and you blend mode. If I reset it back to Normal, you'll see there's the club. And if you just scan through, so it's just a clip underneath that's actually doing any keyframe movement as such on others clippers moving, I take it back. Keyframe, this one as well. So let's just two different clubs doing two different things. And I go, so all I did was search over to make it harvests the lights of overlay, which is all about harshness and instance, but I've got it and soft light. And that gives you some other colour. And the clouds lending through. And you can obviously adjust the opacity and increase it. So if you wanted to, you he keyframe, no problem at all. And pretty much any of the options the EC going on. On the right-hand side here can be keyframe. You've also got things like preset movements of a club, which I'm not going to place. Plus the snow will look on another video. But it gives you an idea of what's going on. So again, if we just come back here and you can see a blending, if we move over to this next clip. This a little bit more involved because I've got it going over. If I zoom in to specific clubs, the sunrise, I would say maybe with above. It's just the color of the sky. And you can see the clock coming through. There was an capacity change, the clock coming through. So it shows up as a blend between the two clubs. You've got Antarctica here. Let's kinda blows the old Arthur, sing the window. And you can see also it starts to blot out at this point. And then that goes at the option of disappearing. So again, if we totaled up the club to upside and possession, and you'll note next to the names, the little blue circle icon. And that's just denotes the fact that it is Keyframing going on within those clubs. So you can see here the capacity has been Lord. And obviously if you started a keyframe here, 0, if we work our way through, the porosity gets stronger. And you get to the end. And I guess a 100% no-slip landing was soft by again. But you'll also note down here on the bottom bar with the keyframe icon. But we've also got the color and Effects tab, the Keyframing icon. And that's because I've, it goes and blocks here. And I've got it set the sort of mid point and the second club. And it's gonna start to blur from here. So start so 0 radius, no corrosion blur. And then we add Gaussian blur until we get to the end of the club. But it goes up to Gaza and block 40 and garage and blood can be found here. You get 4020105 in a row, and then you get motion blur as avail I just wanted to gorge and block this photo. Fate will look at these more closely. And another lesson in terms of the effects themselves. But that's what this clip. So that's how you do blending oversleep. You could do multiple tracks or blending brush. And it just makes sure that a little bit more dynamic floor send the videos overall a club. So this is kind of a deliberate let through interpretation over the passage of time. But the quote pointing through and cuts the young lady and then the remaining clubs taking as to the sunset. And that's the end of the video. So that's how you basically do blending is if you've used Photoshop before or something similar, then it's exactly the same as that. But you're just applying it to the specific club itself. 28. Reversing Video: In this lesson, we're going to take a look at reversing a clip. Now, let's click. Moment is going from right to left. And then thus club has the tree and going from left to right to me, that's for but better actually won the phosphate clip to be going from left to right as well so that it comes into a left and right sequence. There's, everything's going the right way and it will just flow better. How do we go about reversing this clip? But we double tap. And you'll notice then urethane speed in reverse. You go reverse button. Now, audio with a club you want to reverse. You can maintain the audio patch. Otherwise it gets affected by the actual reverse itself. But that will work on all clips on the timeline, so just be aware of that. So to reverse is basically tap here. It will need to January effectively of video didn't really gets reversed. And then you can switch between the two options. Once it times the process them at once, that's done. Then we go on. There's you could come back the other way. And that then flows better. And to train shot. A subtle thing, psychological thing as well. That your brain kinda suddenly picks up in the background. Ps to basically reverse the clip. And then flowing this way. Everything's flowing and the right direction. And then obviously once we come away from this clipper, the Ghetto, which is changed, the motion, movement completely different. So it doesn't really matter after lunch. So that's how you'd reverse a club. 29. Duplicating Vs Copy And Paste: In this lesson, I want to show you the difference between duplicating club and copying and pasting a club, and how it positions itself on your video timely. To duplicate clip. Or you've got to do is highlight the clip and then tap on the duplicate icon, which you can see there into here and your menu bar. And what that will do is if you go a full timeline, it will add the value above the clip, which can be really useful for creating affects planning woods like anything. If we just go by, by undoing it, copy and paste, you go to this little clipboard icon, which at the moment is blank. But if we tap on it, click copy. You'll notice we've got a little star i cohen. No. Type 1a again, paste. It will add in the club at same lane possession. So for example, if I just move to the next point in the timeline and then paste, it will then. And whatever point you went to the same line. So if you want to copy and paste or elements the timeline, this is how you go about it. And he wanted to duplicate its another track above the timeline. You would basically do that as well by clicking duplicate. And that's kinda the difference between the two. So you want to on the timeline, copy and paste. You wanna above the timeline duplicated. 30. Basic Colour Grading: Now, if you remember, at the very beginning of the course, we talked about color grading. I'm going to show you the basics of color grading within the app here. So select the video clip you want color grid, double-tap on it, and then go to color and affects if it's already on speed, as good column effects. And you'll see we've got different options. Rhabdo anti, green colored water models, whole pile of solar flare, yesteryear, ten tape Chrome, right the way through to red wash, green wash, blue wash like in a thing. So you could also affects black and white. And that is the basic color presets. And if you tap on original, this will give you the default original, but with the ability to adjust settings. Now if you've done a levels or anything and Photoshop before, this will become familiar to you, but you can control brightness, contrast, saturation, the violence, the highly shadow radius, Highlight, Shadow amount, individual colors. So for example, this is good. Cyan ten socket. Read to magenta, already taken to the warmer end of thanks you speak, go into the yellow side of the controls and just double-tap entities, reset them as we do with any other controls. You then the gamma for exposure, and then whew range, as well as the ability to tint. So we could send to purple, blue, cyan, green, yellow idea, or set it back to normal, which is quite shaken up basic options. And it's just a case of tweaking on nanowire will see as less is more when it comes to using these controls. For the simple reason, if you go too heavy on the sliders and things can get out of hand very, very quickly. So you don't want to walk and loads of contrast. You will actually want to make little increment two movements until we start to see a deference and leave it at that. So for example, we could bring things up a little bit, or we could also darkened them off to me, more muddy. We could increase the vibrance. So use the little arrows either side rather than the Slater's. Cuz if you use the sliders, you probably end up being heavy-handed. I can see we can push the colors and then you can play this shadow highway game was an awful lot of control over others. And we can control the environment here so you can bounce between the two and then just play with the highlights. So once we get, once we get going, you can then switch the incremental options where we can reset them. You get a shadow man did as well. But she can control. And as I've already demonstrated, you go in and make a major warmer. Read. Using the sliders for these options. If you go too far and it just gets too heavy-handed. And then obviously you can play with gamma so you can deepen awful, but so less is more when you're using us. And if you scroll back up to the top, you've also got visibility icon. You can see before now facility coolers. And then obviously the warm up. One thing that it does frustrate me us ever so slightly is the fact that you haven't got control, such over the specific blend modes are decreasing. You have in other parts of the effects and color up here, but not so much in the color grading. Later, wait to run that. And I'll show you how to do that is we want to take the sense of no adjusted. Okay? So we can go in here and we can go into porn per color affects, copy them. So and then if we go back, remember her shred you to duplicate a club in typically clip. So if I take it the color set in January, but if you want to go in and paste two settings, and it's actually taken them. So what we can do with that, as we can go back to her original club and sat upon the original color preset receptor. And then on the top club, double-tap on up. Go to Freeman FET. Move size and position up. And now we can blend between the two columns. So if you have applied a stronger color grid and you would like, this is a great way of basically blending it back. And to balance out privacy, it use a blend mode as well. But so you could just do lakes of 75% strength. And I'm just going to a little bit into 0, which is pushed up. Rapid tapping, go seventy-five percent strength. So that's an option as well. And you can see a phi such the truck off before and after we blend data. And so it's another way of using another trunk and the layer below the original to actually blend the effect through. So it's another reason to keep your mean track. So at time ln isn't contagious possible. And that gives you plenty of trunks above for doing things like specific color grids and not. 31. Using LUTS: Okay, next lesson. Let's take a look at lots. And that's if you didn't cover an Effects tab. Move across standpoint of square, icon, Box icon. And you can see there was a lot stands for look up table. And it's basically just an arrangement of colors. So instead of using the color presets here, dialing and dialing and your own. You're basically using specific lot and is usually created by camera him. He treat urine but usually a camera manufacturers like so. Filmic prologue, prolog. You log and D flat for the settings. And that can be applied to the look of the film approach. So that it takes from a flat, neutral and Video Club through to something that's a little bit more palatable to the eye. But you can also use these four effects. So for example, if I apply filmic dialogue, version two, tap on it and then I'll do the visibility knows before and after. And it gives us a richer, darker media effect. And I use this a lot to be honest with you. But what you can do is just blend between the original and the full version of the law, which is tip age of goods, point-to-point three, somewhere in there. And just blend between the two. And as a quick and easy we of color gradients. So for example, we could do the wash. You can see it's a wash, the blend between the two. Or you can just reset things forming the log version two, which is 64 color. So there's plenty of options here, Modern, Vintage, trendy foam. And then you'll see a filmic d log d far from the original dream below. And focused on better CPI can obtain r3 tones. You get the idea. So again, easy to use. If you have a setting that you like. For example, filmic d log 0.30. You can if you wish, tab. So that'll style icon with a plus sign up. Save the preset. You can give it a name. So for example, we call it filmic underscore d log b to 0.30, which we know, diode then the setting, and then just tap star plus icon, right? And that will then save this as a preset. And it means when you go to the very, very end, you will see there is my preset. So for example, if I delete AS I can reapply the tapping on my own preset. And you can see I've created a black and white with a vignette. Was chroma key scenes that we'll talk about at some point. But remember these are applied over the top. So the vignette, little black and white, and the chroma key settings for tape. We can know Cove as well. You also get color awash with Vignette. You get the idea for mechanic can apply, right? So, so you can create your own presets, for example, have a creative bone garage and 40. I don't know why or That must have been for a specific reason at some point. And then we can obviously trash as well. So that's what's lookup tables, just another way of applying a specific color effect and then deciding how much of that effect gets applied. 32. Applying Blurs: In this lesson, I'm going to show you how to use the Gaussian Blur and a few other blurs and about the sharpening as well. So we go over to the droplet symbol and you'll see go through from 51020408000. And then we'll get things like motion blurs where you can decide if I remove the quotient festival, you can decide which direction the motion blur is actually going on. Exchange. I fraught as you get the general idea, I'm going to show you how to use these a lot with SAIC. And we've also got things like Zimbardo's girl, but she can snap and for a transition if you wish. Your boxplot. And we've also got a few sharp rings. Now these have to be used a really speeding Lee, I would think when things sharpening and then reduce it down if you need to sharpen a piece of footage. But to be perfectly honest, but unless you're shitting, wake our log file, C log, f log, and submit that, then. You're not really going to have to sharpen and post very often, especially for things like drone footage where then the DJI cameras tend to be sharper anyway. So you've got just a traditional sharpened R3 and you also got unsharp mask there. And let me show you what you can actually do with the blows. We double-tap on our foss clip here, go to the blood again. At the beginning we wanted to do is apply a blur. So you'll notice that the moment it wasn't a very keyframe options, just know what I'm gonna do is I'm going to apply I think boxplot 40. And soon as you tap that and it becomes active here. And on the right-hand side, you'll know CBP keyframe options, and then go and start the keyframe. I don't want to go all the way to the end with us. Allegedly wanted to quotes about maybe a second done over 2 second clip, slightly less than halfway. And although the radius the into one, which is effectively making an active. And then that way when we actually run the clip Palazzo to start with and then sharpens up. If you wanted to increase the effect. Kid, just wait for the light. So an ET cohesion blog, readers really bloody. Again, go to the beginning of the clip, start our keyframe. Moveon turned up 1 second, and then just low, the rate is 0. And that's our third being removed. Replay that third. That works really well. And so we'll look at it and maintain late finish off. It is tab. And that does its job. So that's how I use blogs. There's many other techniques are used with the blows as well. But generally I use them as transitions or sacred is to introduce different parts of a teacher. 33. Using Chromakey Green: In this lesson, I'm going to show you how the chroma key option works. So I'm just gonna I mean storybooks, dish known footage, tap tone, chroma. And I'm just going to pull this guy then his playing some kind of VR game. And you can see there's the footage there. What I'm gonna do is just move along a line up. And I think we would show probably debate here and get rid of Moscow. And then, right, so double-tap on the footage. And we then go to the little key icon or lock icon over. And we then go to green screen, just tap water. And what you've got to look for is you're mainly going to play with the saturation range. You'll notice he does appears for part of his master's bills. We're gonna pull it there. It brings back detail. British check with footage. Lose pure, good. Now the perfect key and it will do. And then if we pull the brightness turned a little bit, that should sort everything out and give us a nice clean edge. You shouldn't have to play with the huge range too much, or select the key color unless you have a specific green where you can go to the lake. So the Higgs and hexadecimal option and, and to be able to extract the green, just basically means saturation and brightness. And that's the short, yeah. And then also there's an option for reverse key which lead sheet to see the edge and I can switch it back. And then if it is correct to the end, and what I would do to sell us all but more is come back to our color. Tarpaulin includes chroma key regional, and then just load the brain in a solar cell that law the highly lethal, but take the vibrance turn and add a little bit of blue. And to the skin and a little cyan. That's just the so deal with the skin tone. It's not brilliant. Burden on solute may be better to stick it member has said, Just take it incrementally. Right? So that's kind of I don't think I need to do anything else to definitely do on the brain is going in that direction. And this is pleased with the level was about probably a little bit there. So please come back and then see the eclipse. If you lend to in gaming and stuff and doing edits while the MA fusion, then it's a great way to obviously extract yourself from a green screen background. But double-tap 0.02. Just also want to point out that you get blue screen dark Oldham operators, dark brightness lately among late brightness, blue-sky key and wishing key. These are all different color options. The most popular being green screen, but sometimes a predominance of green and videoclip. You may want to use a blue screen instead. Or if you want to extract the subject and then highlight a second chroma key, then you may have green and blue. And that way you get definitely Leon's effectively over the extraction. So you've got those options there. But what I'm going to do with this is trash it because it's not actually applicable to what I'm doing with my little video here. But that's how you use chroma key. 34. Applying Matte Bars: In this lesson, I'm going to show you how to create a more cinematic effect by adding bars. I've got three different ratios, 23572009, and that in two different sizes. But realistically, you're better working with the F4 key size. And we can just export later on. It doesn't really matter as long as as part of the 16-19 ratio of which these are. So what I'm gonna do is I'm going to grab bar, bring it down. And then I'm going to stretch her. So a little bit bigger. Double tap on the screen. And so electorally constraints passed. Absolutely everything. Double-tap again at the end. And just tap once appeared to move to the end of the clip and then trim there just two fingers. I will say that the timeline and I will get a trimmed and then delete the backend. And that then gives you a cinematic look. If we slid all the way to the beginning again. What you've then got to do is I'm just going to show off the musical sick and just so that you can hear me and not Anika singing. So what you've got to do is go through all the footage and make sure there's nothing being cut-off by them up ours. And we're looking good so far. Everything is fine. Is open internet. Sure. Lane is fine. And that's the next short coming up. I know I want to move because the sun's disappeared. So we'll stop here. Double-tap on our footage, and then all you got to do you didn't Freeman is just slated though in like so. And then if you've lived the y position, any fear that so you can just see WIP session bruises up and down. So if the expositions, but you'd rather not says and then you just weren't urea along the footage. And this case, I'm going to skim through it. Make sure that's clip doesn't work. So let's have a look at that. And then we'll just play. You want to have a wee bit more? At the top. There's the ghetto looking fine. Plenary room. Probably remove this clip. So again, playing the y possession. I just wanted to see a little bit what are the buildings and the corner to corner effect that's scans through and that's actually a movement on it. So what we'll need to do is reset the movement. So. If I just TK All the Keyframing, make sure the size is set to the United Way bites the beginning per foss keyframe and glued to the end of the clip. And then we'll just expanded C, a 110% or something. They go, maybe we can just check the eclipse working, okay. And that's absolutely fine. So again, you just gotta go through the club making sure at Harrison's looking good, nice here with a Reynolds. Obviously, we don't want to chocolate heads off. Somebody's done about some basically going to go through all the clubs, snow. And you'll see a little bit of a faster speed. And i'm just getting through to check. Absolutely everything is working for me. Really got movement now. It's actually quite interesting as a happy mistake. And top ten, top backup. You want to keep them yeah, quietly. Right? And strain is coming to the end. Quite happy to leave the close the block and then the blank. So there we go. That set. I've gone through all, all the fits each and made sure everything lines up. The only P so much they're going to look a little bit closer. Is the sharks. As this problem is this, that can go. So pretty happy with that. And you can see the overall effect versus music back corner. And I'm going to play it all the way through again. You'll be bored with it better, but you get the idea. So to get your video as more cinematic vibe, if you're shooting in 69 and you want to bring, and the top and the bottom, just to give that wars are panoramics, cinema scopes of vibe, then use a map bar graphic here. And that will cure all your issues. 35. Animating Matte Bars: Now that we've got bars, and please, let me show you how to animate them. And this is really cool and very, very simple to do. So just double-tap on your mapper graphic. We didn't want to start at the beginning. Tarpaulin keyframe. You then went to adjust the size, why possession the y-axis. And you want to take up to a 135, or you can go wait them out, but a 135% will keep you clear all the edges and it would go. Then you want to move your frame along, fires up to you. Over the short term. You move it the quicker the transition as and I'm going to take it to probably took to friend here. And then all we've got to do is just double tap on the Y axis of the size. Brings everything done, says another keyframe, and you're done again and again. You know, see how slowly somatically animate the reef. Until you notice that the Timmy gets too big, then complete-link is there for the rest of the body. Suppose that 36. Sound Design: Part of creating a film is obviously telling a story. But you also want to jog people's memories and emotion were possible. And one of the best ways to do that is through sound design. There. I'm not going to going to the clubs and enter. And this tutorial is want is mainly talk about sound design and playthrough. I've lead on same lane. As you can see here. We may talk about a few technicalities as well. So a switched off the wiki game track, like so. And I'm just going to play you some of the sounds of the video. And if you just fast forward to the next one, I've got strong looping went concert, which I wanted to continue into the next clip. So tie them together. And then if we move forward, I've caught some street signs. And then if you move forward again, one of my faves. So solu draw and mother ships are it's very sci-fi. So cern. And then we've got subway metro station tangents. And then I wanted on Hawk Are eagles train a cry to match up with that. And then if you move forward again from either the transmission center located there, and then finally some crickets. And the signs on the road don't specifically much up to the clips. But the Manchu enough with the music playing over as well to just basically evoke emotion and memories and help tell the story. And adds a layer of how it can appear that just are our depth to the film. Now the way you capture stones is one of several ways you can actually go out and record surge of self, which I have done in the past. You can pose sounds from clips if it's clean enough and you've got clean audio over specific cern. Going on. You can also sample sounds from YouTube. There are thousands upon thousands of YouTube channels that do nothing but. A giveaway sounds for free. And if it's asserting that it's generic and wouldn't be specifically recognized. And anybody who and it's not obvious, similar was the copyright is about Vg. Then you could sample that and bring that into your video. You could risk some paddling. A famous saying like our light saber straight from Star Wars that Ben barbs meet all those years ago. Obviously, that's owned by Lucas films. So you run the risk of getting at the MCAT, turn if you upload to YouTube or them taking the revenues for that part of the video. That sound is n. And that's something got, you've got to be aware of with YouTube and even Facebook and Instagram to certain extent the other week to get so STI either buy them outright and there's plenty of people on the internet who sell stock and certain Parks. And you can also obviously go to a friend's story blocks. And inside that you got sound effects. You've also loops and specific music. But if you're going to send a fax, you can see it was all manner of things could earn here. So if I wanted, for example, cern, the fate of air bubbles of the diver. I would go in a pan. Diving. Here. Bubbles. Pestel magnifying icon. And you'll see I've already got one highlighted. I think suitable to this clip. So what I'm gonna do is I'm going to click this pops up periodically for me because I'm on the beta of dilemma fusion software and help, help with limit touch to test the software. But it's quite a good point to sort of raise. If you're doing this professionally. Then I will recommend heartily. It's worth 65 pounds a year subscription or paying monthly named parents 49 a month. You get so much be rho, so many sound effects, just so much that you can add to your firms, especially if you're doing social media content. And you need elements to illustrate a specific story is totally worth it. So I'm just gonna click Restore purchases. That's done because I've already bought it. And from there, I'm going to add them the correct club. The only thing it does for just that, I've got to go back and and shut up, grabbed my club, put to him because I've tagged it with a color. You see is the alluding listener. And that's what you want to do is you want to play with this sound so that the peaks of sound are the things that sort of match up to the action to some extent. And the other thing I'm gonna do is unlink sound clip from the mean sound so that I can move about, but better. So moving over here. And I'm looking for This peak of noise here, which is the bubbles aligning with the music to a certain extent or distant between the music so it can be heard. And what I want to do is just generally written up front, but the clip and then overslept, I only need it for this point here. Because obviously the club thing changes. You could, as I have done in this video, have and again, this is a bit like a G and L cot have discerned either proceeding and leading you into the next clip or leading. So ever says, I'm just going to tap and cut their file, just cut the music. So I'll go back nightclub car again and then charge that bump. Then gives us above audio. The levels of the order of a double-tap one-up on always citable. You maybe want to dial it down a little bit. So maybe ticket or minus FI DB playback. And then the other thing that I wanted to do is ease. And certainly what I mean by that is is effectively created a key frame at the beginning of the clip, whereby I want the volume to be much lower. So we start our key frame. And then really just the volume term minus 90, which is new center TO, but I'm just going to stop. Minus 55, somewhere around a bit there. And then we move along to the peak of the action and then bring the volume up again around minus five. Then we move along towards the end of the action. And we place another keyframe. And again, we reduced the volume rather than we do the same. And the main is 5-stage. We go. And then at the very end we'll adjust the volume. So even I forgave on doing sometimes. So we just bring it there. So unless we wanted to go completely. So you can see you got us of o staging of easing up this end and then easing by Darwin. And as you can see there. So if we play it back within the clip, and then it easily. So now I've actually got it. If I look for three different options for eating and, and I've got my own setup, which looks like that. I've also got a preset meat, which looks like that for just eating unevenly. And I'm also the one for easing openly. So I tend to I don't want to just go in and I can basically choose from my presets here. The sample is the ease and added. And there's the ease and just apply it saved me going in to the clip. And then when we play it back now to the Ocean stft, which kind of works. And obviously here I've got a sub sonar sound. I've matched the volume of the music. And if I just switch off the sound designer little second. And what is factual thats 70, same we play the music. Does dust noise. So Piano note. So I've emulated data with the use of the sonar clip, and it goes over the top of the piano and basically enhances a. C can be either peaking here, the piano saying, you've got this sonar ping going on as well. And then we move on to another water waves. And they don't know a 100% pastor miles, which is not very important. The emotion and the memory of that 70, your brain gets reverted to the right and coming up. Because I wanted the music to be the dominant site. Sometimes you'll have seventies withdrew your film. It just really depends. And it's very much a dark carved in the sense that it's very old science. And you kinda have to go with your gut feeling and your emotion. For example. Just to finish things off, we're going to look at us horsing horse gallop club because actually got us off of YouTube. As a sound effect. I'm going to show you how to do that in the next video. But I'd go one layer, which is a single horse, nepa, couple horses towards the middle and end. And I've added another layer along slightly out of sync with the fascia. And I've added another layer again, is again moved along slightly. And the first and the second one. And what you get there is a deeper rumble of horses galloping. So it's definitely cannot go with your gut and apply the clips as you see fit. And by all means, in an ideal situation, gathering your fully sound and creating yourself is brilliant, but it's very, very time-consuming. And it's assigns all of it soon as well as being a darker up. The other way is to buy certain parks, sample things off the web if you can't do or light so subscribe distorted blocks or any other sound in video footage. Companies, for example, epidemics, so into another one. You can subscribe to the predominantly how musical and some sound effects where these lasers 30 blocks has thousands upon thousands of centre face and have to struggle to find some kind of sound that suits the actual value itself. 37. Sampling Sound: Okay, in this video, I'm going to show you how I go about getting sounds off of YouTube. I've basically serves to horses galloping sound affects us is it's given me and this is the sound effect there, a tampon. Just pause it for a second. And I do two sample is actually doing this no, which is recording the screen. And you can see the screen record button there. If you don't have this button on your control center, you get to the Control Center Settings, drag it up, an activator and paternalist. And then I'll give you the option to basically record the audio. If you want to record your voice as well as the audio, for whatever reason, then you press and hold the button down and our upper graphic just to show that. And basically trace microphone on. And I'm using my apple headphones terms record the audio and from there, top covers your countdown and you start recording. Generally though, when you want to just record the audio of the iPad, you want to have the microphone off, so tap away from that. And then I'm just going to record that. So I'll do this offline. And then when we come back again, will have a clip that begin in edit down. Okay, I've got another point on the club. I'm entering the Seven seconds worth of sound. So I'm just going to drop that and to stop blank edit club that use a lot. And from there, we want to be able to sample the audio. So you'll see audio plane. So I'm gonna do is just make sure it looks pretty good. But one of the things that you can do that we haven't actually done yet is detached the audio from the Miniclip. And to do that, we just tap slot like corn there in here next to the duplicate button and that splits the audio off. You can then on Lincoln and from their trash. The video. And we'll just sum up the beginning of the clip. The space at the end to all we'd go and thus as basically the audio itself there. And then we're gonna teach you how to export audio. We tamped down here second from the right and the bottom. And we want audio only. So and then we want to put it into fails 44 kilohertz. Now, by default, it tends to default to the apple in for a, I prefer to switch it to wave. We saw a little bit more flight school flexible are, you can see it's a very small file, just intellectually 80 kilobytes. So that should be pretty much instantaneous. And then we want to be able to give it a name. So I'm just gonna call it 02 because I've already done AS warns. And I'll just do an undue score equals 02 or Cs. Open attentive frame, just as I said, when you're doing naming conventions, adding dashes or underscores goes a long way to making sure that the failures compatible over multiple devices. Especially if you've got a mixed portfolio of jumping from PC to Mac, having horses 0-2 underscore, underscore galloping. And then the dot w v for WAV file at the backend really, really helps. So just say it for you there. And then all you've got to do is tackle icon on the top of the box. If you just actually hit Enter, it just brings the keyboard burn. Then you have to actually touch button anyway. And you see it's instantaneous. No. I've got audio answer sand here for my course, but I've also got audio waves on here and sound effects. And you can see, I've got all sorts of things. Talk to bn here. I'm not gonna go through them all, but you risers or wishes Brahms, when noise is based droves tension noises, it ruins, atmospherics and things like and it's in here I'm gonna horses gallop into and then click Save, and it's instantly upload it because it's types of attaining. So that's how I go about getting the sound. And then if I just switch back to my demo video and they go, they've obviously got horses galloping here, number one. So if I go to files and then go into sound effects, you'll see we've now got horses galloping too. And there's the clip I just made. And then if I wanted to, you could drag that onto the timeline. And you can see it's a little bit longer than most of the clips, but it turns blue. It will just take a second or two and basically resolve itself in place. Okay, so I've got the clip, possession, Twitter one tip and you can see if you just play it through. Just sweatshop temporarily and music. So we've now got fourth layer of process galloping. It definitely possessions. So it gives a depth to the sentence seems like more than one horse galloping along. And from there. Clip here that we can call upon for other phones. I'll later stage you find, as you actually start building your own sound effects according to the owner of sampling euro. And then you'll build up a library which is quite good. Keep on your iPod or your iPhone, and also keep offline in the cloud. I use Dropbox and for my larger collections of sound and sound effects and the loops. And I've got obviously a smaller and selection here, which I can tap into any point and download and use within a club. So you can either sample from YouTube, just be aware of copyright. Go to a stock library that has sound effects. The lakes are sturdy blocks which is built into luma fusion, which is really, really handy and well-worth the subscription. I don't know how many times when I'm filming or editing or per video I used will be evil or clips or anything that I need. And I'm just Pope and having another filmmaker layer that you can access. And the thing is, we, although in different parts of the world and we all get different shots. So and like so this horse is running at sunset and Julian, golden hair I would build to get us this guy or this girl, wherever we're going, I should say, has found us. And it's absolutely fantastic. So, well, what's the subscription? And obviously you can record your own. 38. Fine Tuning The Video Edit Part 3: I'm just going to take a moment to show you how to advance and move about single frames at a time. And this is something that if you're holding your iPad and a landscape format as I am, and you get your Apple pencil on your right hand and your thumb for your left-hand is basically free. You can effectively just swipe along the playback window to advance one time and you can say it the other way to advance one time. And that's kept you ultimate accuracy for placing your timeline exactly where you want it. Demonstrate that. It's not something I've used much Juden, in fact, think of USDA TO during this course, but as something I use when I'm actually editing my own phones. So I just wanted to make obviously technique above a deep dive on luma fusion, you get loads of stuff where you can go in and find all sorts of shortcuts. And if you can Apple keyboard attached, you can even use all of the shortcuts that applied to Adobe Premiere and Final Cut Pro. And there as well. There's also actually is a good time to mention. We're going to cover exporting movie. We've done audio only. Look at luma fusion project package at the very, very end of the course because it's the last thing you probably do. But if you are using luma fusion to start an edit and then you are going back to your desktop. You can export the XML project package. There. That's a paid extra that you have to pay for as much as about $10 or something. But if you're still using Final Cut and Adobe Premier, then you can X ML project package. And if you've got the assets on another hard drive, you can just basically unplugged that for your iPad and plug it into your desktop. And you're good to go in terms of editing those asset. But if those any issues you may have to rethink, the video fails as you would do with Premier and Final Cut off those missing clips and things were possible though. I would actually try and do as much as possible and luma fusion because the advantage to luma fusion over Final Cut and Adobe Premier is its ability, just a tactile ability to move around entertain lane and the drag and drop things with your fingers and your Apple pencil. It's just fills and works so much better. And every month, the guys over at limited or improving the software is c'mon, leaps and bounds in the last couple of years. And it's definitely up there in terms of being able to professionally edit video because of the multiple tracks. And it's maybe not exactly up to the same standard as premia and final car, by which hits at least 95% of the way they are. And for the vast majority of this, do. Short films, documentaries, or YouTube videos, social media content. This can be done either on your iPad or iPhone, no problem at all. So I just wanted to point out that you can basically swipe left, swipe right, and reposition your clip and using your fingers and your thumb in particular. 39. Adding Main Titles: In this lesson, I'm going to show you how to do a mean potato. But before we do that, just a couple of caveats. First level, make sure all your sound and video assets are now willing ten. And you can refer to obviously the LinkedIn video. And we're linking and unlinking should see. But basically what you're doing is highlighting the club and making sure it's either LinkedIn, if it's not. And work your way through. So you've got to make sure all the elements are completely LinkedIn. You add on your mean T80 and everything gets produced along a couple of few seconds. Then basically there's a couple of seconds, but a few seconds then everything goes with it. You don't do that. Could be a sink. So just be aware of that. Secondly, when it comes to the mean potato, you can only really apply it at the beginning of the video, which kinda makes sense. You can't, for example, if we go to the end of the video tree, I mean title at the end doesn't make sense and they don't give you that option. You've got an overlay title. And then if I go back to the beginning, slide along, and all I have to do to activate the potato is to press the plus symbol and tap mean title on the video timeline that will then give you a blank text. They integrate into it, double-tap on the text that will pop up your final controls. And then to be able to change the text, you double tap on the bounding box and you can then go in and edit. I think we're just gonna call this Video plan off the street forward title. Just click Done. And then from there we can make some further changes in terms of the Planet of text dialogue here. It's the usual suspects in terms of what you can and can't do. If you've used a desktop publishing application, Microsoft or Photoshop and that kind of thing. It's the usual kind of controls that you basically get. So you can control the capacity. You can change the font here. So for example, I give me carrot, apple SP, new Gothic. And we can then control the size. Much. They're going to bring it down a little bit smaller, 40. And then you've got control of the face color, whites, fame for me, classic way. You can change the edge color at the woman has sent to block. You make obit chunky with white and everything set to 0. Shadow color doesn't really apply here, either unless you are your background or something shuttered, not going to show up. But you can control the shadow distance block. The angle of the shadow is possession in the x and y coordinates, the rotation, et cetera. And you also get skill and then your skill X and Y. So there's plenty of controls. You can also call upon other options here in terms of adding more tasks, I think a sheet which I'll show you in another video and adding an image or a graphic, which can be quite handy. If I just actually screw up here. This is kind of a classic. Tape fees. Realistically. You can also do these fancy little, as you can see here. Presets. If you want a little bit of inspiration to start with, I'm just going to do all of those and keep it simple with what I've got there. So that's my tape. The last thing I want to show you in terms of positioning as up here, you can possession and all the different corners of smack in the middle. I've also issue. So that's the kind of guts of doing the tape phase side of things. And obviously your visibility here. If you've got more than one piece of text on the goal, For example, a fi creates c, this one, milli yellow. Good idea. Just back up and see you text. And it will, you takes layer. You've then got the option of juggling between the different pieces of text, like so. And when you're manipulating it, you can scratch his visibility on an off here. And if you open up, you can then trash it here. So we're just going to stack with our planet of text here. And then just to kind of give us a little bit more depth and movement, it's a couple of ways you can move text around. The phosphate is just the kind of classic way of doing a key frame. We should, we should be well used to burn openness and class. So it is good to that again. Top you keyframe, Lever art. The a 100% size goes to the very end and then increase the size of a little bit. Probably, I'll see a 150 that's 50% larger. And it looks pretty good. If we obviously scrub through, you can see the effect of applying over the three seconds. So that's one way of doing it. Within tab at the top left of the arrow. You can see if we play through it jumped straight into the video. Other way of getting some kind of motion and the taste is by using transitions. And these can get quite clever. So for example, you could do a simple cross this over there began. You could reduce its feet a second. And you'll see it does that. There's a hot cup. So that works well. You could do a zoom blur. And that's just considering to experimentation. And what you do and don't want to do with your text. This is an effect. Obviously the longer that stretches across, for example. And if we do over 1.5 seconds or their boats. So you get an idea. And you can also length little clip if you wanted to. Name. Isn't blurred effect even more room to seconds each roughly. You can see their faith coming in. But it's not suitable for what I want. So I'm just gonna go back a few stages and zoom bar. And this was simple classic text with a little bit of movement, but then cuts Street and into the video. So that's the main potato takes about of experimentation by all means have a goal with links to the slaves and the waves. As one thing I will show you actually, for example, slide, right? If you drag that on and then play it and it comes out from the left. Which kinda makes sense because it's sliding, right? So just keep that in mind. But it's a little bit counter-intuitive. And the same way that slayed left is going to come in from the right because it's going left. So don't think about, but it starts as more weird, it's heading. You can see the effect there. So we just come back to that. And I'll go back to photos. And that's the mean, Tatum. So could you start to play and you get the idea? 40. Adding Overlay Titles: And I'm going to show you how to do an overly Tatum. There's a couple of ways you can do this, but there's a couple of ways you can do this in terms of applying, I mean table as well. Anyway, let's do overtly takes you tap on the plus symbol, tampon over the title. And boom, you've got an overly tattoo, little Type 1a. And you can then go in and because of the changes that you wish to make to the title. And obviously you can go back to Friedman fat to actually animate it. So that's the phosphate. Let's take a look at the secondary. If you've looked up in our menu system here, you've got tomatoes to involute. So for user status, which is good because realistically, as much as these tattoos are fun to start with, you get bored of them quite quickly. And cheesy is not the right word because somebody's obviously spent a lot of time making these things, but it's not something you would use yourself that much. I tend to start with plain way or classic Maine and kinda walk from there. Anyway. I've got, for example, mean Tate to planet Earth, dialed in here. So I can just click and hold on to tap and drag whatever I want it to be. So I started there and then from there I can stretch it and we'll cover the whole of the horses clip. And then I can go into transitions. So I can do a cross dissolve. You can see now applied. And then if I want to, I can go into my options here. Go to Freeman FET and top 112% zoom or 12% Xin to fact. And then that way when I play by and I'm just actually going to mute worke came a second server or not. It should just cut. And I'm just gonna zoom in a little bit. Make sure this is going right to the edge. So that disappears at the right time. For the dissolve motion, which is play again. This time we'll put the music on. And that's it, I'm done. So that's the sort of two ways of working with titles. And the cool thing about working this way is that you can drag this absolutely. Whichever of those no restrictions whatsoever or second grabbed us. I can pop it to the end. I can pop it and between clips wherever I want. So when you're using these, you can only really pleased, again, overlay tied to overstate the possession of your tangling. With us with potatoes up here, you can drag and drop, and that makes them infinitely more flexible. 41. Adding Shape Assets: The final taking option I'm going to show you as part of this sculpture course is adding and sheeps or PNGs graphics basically. So the way we're doing that, as there's a few options. So if you go to titles, although second and we then go to overly table down here, know the slowly is the top point over a title. Artists bring it turned into this timeline. Double-tap on up, go to and then we tap plus. And then you can tap image. You can also do shapes as well. For example, we've got a nice rectangle here. And you can move that around, whatever you want to, change it to. O bubbles, copyright, diamonds unfold. All manner of shapes going on here, which are really nice, arrows and things like that. So you've got that option there as well. And then if you want, just tap and get rid of it. So if we go and bring in an image, you can see select an image, empty dot PNG, and then just below the capacities as an important image. And the first time you go into that, you know, like what the heck they're doing, either double-tap here, you just don't know. So just type here. Go to wherever you need to get your graphic from. For example, I'm going to choose quite high res and boom, then all you've got to do is get rid of your text. And you know, just working with a graphic and this case my little signature logo. You can see here. So that's like the convoluted way of doing things. The other way of doing things, which is a lot neater, 2p and then get rid of that is basically tapping new graphic look. So, and let me show you how I've made us. Basically, I've tapped on, I've done that previously, text layer, empty PNG, and then get rid of the text layer. And then I've tapped to unsafe title preset called the New Graphic. And it pops up as a preset far faster. And another way that's even faster than that. As obviously from the urine. You can see I've now got edited by and also my graphic and place. And then all I've got to do with that Freeman. And from there and go into my presets, type a 112% zoom. Now says he frames at the beginning and the end. Then thetas. So for example, if I want to extend this to five seconds, just muster frame five seconds, I can then go into trustee transitions. I'm just going to use a cross dissolve between the blind clear and the graphic created. Then all I like to do is at the end here, it stops edited by s2. And if you had a web address or let your Twitter handle, Instagram handles whatnot. It's quite good to do that, but I like to just end on a little bit of a blind clip. It doesn't have to be long. App's going to fun and to take it down to second. And then the music goods, the blind cross dissolve into edited by x2. That holds here for four seconds. And boom, it disappears. And that's how I like to end my films of recently and haven't been using this tube will go for long. And there we go, people. That is the completed video. We've still got a few more lessons to go. Don't panic. We've got few process things and tidying up, managing different files, not but that is the completed video. So in the next lesson, I'll show you what the exporter. 42. Exporting Video: As promised in this lesson, let's export the video. So we tap on, don't like corn for exporting, bottom rate second one1. And then we've got some options. We've already used audio-only, Katie, the snapshot, Vienna. And we want to use the movie option for lesson. You then choose where to put it to. Youtube or Vimeo. But mu bank is premised photos, photos, other ar and ir drop. If you want to exporter and send it to a laptop or another device, use AirDrop. But for this example, I'm just gonna do photos. You've also got either add destinations of U1 as well. You can see in our box we will Google Drive, OneDrive, things that you can port to. For example, I could drag across Dropbox, I think. Thank you. Pop in there. So I could play into Dropbox immediately down such that no enemy type on photos that puts into the photo app. No resolution. Just be aware. This is a 16 billion ratio that you, the majority of the clubs are four key, but some of the clubs are just standard full HD. So it's up to you how your process and less. So if you process out turkey, you can take it down to, this is a standard 1920 by 1080 iPhone size. It's up to you. But what I will see as if you're exporting attain AT clip, at 4K and you've got other four kx than it actually does a really, really good job. I've even gone as far as shot in 1920 by 1080, actually found in size. Because also the file sizes are smaller, exported and for key, for YouTube. And because YouTube's compression is so horrendously heavy, actually looks pretty good. So just keep that in mind. Frame rate. You want to keep the 24 frames per second quality. If you're just sending, thus TOR client for approval with an iceberg watermark over the top, then go to smallest six megabits per second. If you're outputting it. For YouTube or anything like that, probably a call enemy standard. If you want a quality, go for 75 megabytes, but you can go right up to a 150 megabytes. So it's up to you depending on wheels go unofficially broadcasting on television or film that's going to be shown on a big screen. If you short the voltage using either an oil like the new Canon R5. R5 that captures 8K footage, then you want to bind less than the highest resolution possible, but for general work quality, and that's why it's star, that's absolutely fine. Now that is an option up here. Once you put settings. You can then tap, it'll tie my coin here. I'm not going to tap, tap, tap. And not much happened actually. And basically it changed to remit recommended settings so you can do that. So or change the last full to export settings and you can do that as well. So it's telling you what it recommends. And you can see the audio quality is 44.1 kilohertz. Video codec HEVC, or is 2x four general ed is put into 2x four if you're tight on space due to 65. I don't think there's a vast difference between the two in terms of how it looks. Now you can work with VR footage in luma fusion. So you do have the option for changing if you're working with them, rectangular region R And then natural forma, you've got dot.mov or.mp4 identity skipping the MP4. So I'll tell you the export duration, even at 16 seconds and elegant frames, the space needed 1.39 gigabytes and the space available. And that's the one thing I'm gonna tell you right now. The i, that was the big mistake I made when buying, thus iPad Pro. And that was a car passing really load. Wu is a Lamborghini. That's why. Okay. See them very often. Either going, we haven't actually had any noise going on for the whole of this course, which had been really played off so much the recording us and my home office because a lockdown and the covert thing and all that kind of stuff. And that's the rationale is of actually hide but I'm not going to stop. We're just going to push onto. So I've only got 12 gigabytes available when you're buying an iPad for that it be the iPad Pro, that's the tenants size, 11 inch size 12 in size. By with as much memory as you could possibly afford. Technically above half a terabyte, 500 gig, or a terabyte of storage. It's worth the investment. It's better to have an iPad with a more storage and effectively need. And it just helps the iPad run a lot faster. Because if you're just like me, I think I'll get 64 gigs. Oneness is not a lot of storage. My priorities when I bought this iPod work completely different. I use it. No. I was more than she getting self-service, things that she's been able to do stuff when I'm out by the client and then exported. But by as much as you possibly can afford better to do that. And by a folio keyboard or the new freestanding keyboard, keep out for down the line and later on. You can easily just use your normal keyboard for your iMac and plug-in and via Bluetooth and stuff for keyboard or general working wired keyboard and works absolutely fine. So gets much species you can possibly afford. So this is our settings. And what I'm gonna do is I'm going to tap the top right is the angular rate, the movie. Uh, one thing I'll say about luma fusion, and I think it comes down to also the power of the iPad, but I think luma fusion tweaks it well. This thing processes and renders video Wave faster than my MacBook Pro. And our prefigured MacBook probe, it's pushing on our fingers know old. But it's got a fast process that has got a lot of RAM, reasonable size GPU. And it takes forever, whether using Adobe Premiere or Final Cut to render video. It's not that bad, but it does take 20 minutes or so. It's way longer than the actual movie. Where it is, you will find that this exports faster than the length of the clip in general. And you can see it's plugging away quite nicely. So I'll come back to you once it's exported and we'll take a look at it. And just deceivers going of the app. You know, C, I've got luma fusion demo, always named after the project name, just so that if you want something that's a little bit more refined, You can do that. And we'll just tap on it and put it through a couple of adjustments to Tatum. And you've probably seen enough of it through this Scotia course. So they would go, that's how you export all your video. It's really, really straightforward. And I hope you have enjoyed making this video with me using all the lovely B-roll from storybooks. I would also say as an aside, it's definitely what's the subscription to have Story blocks in your arsenal for, if nothing else, the sound effects loops and music. The obviously you get licensed for YouTube and stuff for lab if you're doing social media content. Or even if you're just doing this for yourself, for fun is worth the expense. Save yourself a few coffees for the week and get yourself a story blocks subscription. So there we go. And the last few videos, I'm just going to show you how to clean up things and bad things up. 43. Backing Up Your Projects: In this final lesson, what I'm going to show you is how to backup everything you've been working on. And to do that, we tap once again on export. And you'll see it says luma fusion project package, SAP or not. And they say that we are going to put it. So I'm going to put into fails. And then you then get two options. Trimmed media, smaller file, or you can go for the larger media. And it brings in everything so that you can reiterate effectively. I always go for the full original media rather than the chairman's medium. But if you're struggling for space is called function media. And we tap go. I'm just gonna put luma fusion demo. I'm just gonna tell you this up a little bit and understood and their 0-1 began. I just want to add that skill share. And we go and that exports are fails. Now this will take a while to do because you're exporting all your video clips. So we'll come back to once it's actually written the project. Near that it's written, you can choose free up to store it. So I'm going to go from my iCloud Drive. I've got my course name. And what I wanted to do here is add another folder and just call it project assets. Like done. And we will see that and they're not then starts uploading. It is as simple as that. And obviously you can save to Dropbox, Google Drive or OneDrive integrate. You really want to drop it to your MacBook Pro or stored on an external hard drive. All the options are there for you. And that's it guys. That's the course complete and appoint. You've enjoyed it. And welcome to my new class. They are cinematic, color grading and connect and color in your video should not be complicated. In fact, it should be easy. And one of the easiest ways of doing it on the iPad if they use an app called darkroom, which traditionally up until April was purely for elderly, but the data release and April to version 4.64.7, some map and the entry, just the ability to color greed video, and it's absolutely superstar. So what we're gonna do in the course, as we're going to use darkroom, but goes through all the Feedly and tips and techniques for easy color greeting on the goal using your iPad. I'm a great believer in mobile photography and mobile phone making and making the most of the devices the Apple created for us. And using your iPad to basically edit on the colour grade on the goal. So everything I tend to do these days, I came to do from my iPad. And I want to show you all the different things that I've learned. And hopefully you can use those tips and techniques and use them in your own videos.