Start-to-Finish Video Blog Recording | Marshall Rimmer | Skillshare

Start-to-Finish Video Blog Recording

Marshall Rimmer, Filmmaker

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17 Lessons (1h 15m)
    • 1. Preparing to Record

      3:08
    • 2. Planning out a Script

      2:16
    • 3. "Free" Video Cameras

      5:19
    • 4. Professional Video Options

      1:28
    • 5. Lighting

      1:48
    • 6. Audio

      2:26
    • 7. Performance Tips

      1:51
    • 8. Visual Tips

      1:22
    • 9. Audio Tips

      3:24
    • 10. Recommended Softwares & Basic Approach

      1:37
    • 11. Single-System Software Tutorial

      6:56
    • 12. Double-System Editing Technique

      2:19
    • 13. Exporting & Uploadting

      1:25
    • 14. BONUS LESSONS: Color Grading Preview

      0:33
    • 15. BONUS LESSONS: Color Correction Prep

      8:07
    • 16. BONUS LESSONS: Color Correction Workshop

      9:43
    • 17. BONUS LESSONS: Color Grading Workflow

      21:02

About This Class

Start-to-Finish Video Blog Recording is a class designed to give you all the information you need to take your video blog from conception to completion. Geared toward those with little background in video production, this class will easily show you how to produce high-quality, eye-catching Video Blogs, all on your own.

In this class, students will learn:

  • Which equipment and softwares to use
  • How to conduct themselves on camera
  • How to capture clean video and crisp audio
  • How to craft an edit with optimum pacing

If you're interested in my color grading LUT pack, use the code "ClassDiscount" to receive 60% off all downloads.

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Transcripts

1. Preparing to Record: - so, - thank you guys for taking my skill share class about how to make a sculpture class. - This 1st 1 is just about how to prepare for your shoot. - So first off, - there are four types of video lessons in the skill share. - There's a screen cast presentation, - which is a lot like a power point. - There's the screen cast workflow, - which is like a power point integrate with actual hands on training. - There's a video workflow, - which is like a hands on without the power point. - And then there's the video lecture, - which is a lot like this, - just straight to camera. - Nothing too fancy about it. - So this class focuses on the video workflow in the video lecture. - So when you're trying to decide which type of video lesson is perfect for your class, - take a few things into consideration. - Is this lesson very hands on? - If it is in a physical sort of way, - you want to set up that really captures the work. - You don't want to be talking about how to do something without actually showing your - students how to do it. - It's just a little confusing that way, - and that calls for the video workflow. - But if it's more theoretical and less hands on than you're probably just gonna want to do a - video lecture now, - video lectures right a lot on the energy of your presentation. - If I was to do these video lectures and have the same energy I do in real life kind of a - boring conversation. - I just be telling you about the stuff. - There be pauses. - There be ums and UHS Um, - there's just not a lot of focus on the presentation, - and this is kind of my actual demeanor. - In real life. - It's a lot more mellow. - It's a lot more laid back, - but when you don't have anything to show your students, - when just relying on you relaying information, - you have to have more energy to yourself. - Nine times out of 10 that video work flows are better than the video lectures. - It's just more interesting to actually see the teachers be doing what they're talking about - . - So I always think to yourself, - Can I make this lecture into a workflow? - Can I have something that I'm actually showing hands on? - How to do something? - Because people are visual learners, - it's a lot easier to learn something When you see firsthand how it works versus you - explaining how it works, - this class is obviously very theoretical. - It's not too hands on. - I can't show you exactly what I'm talking about. - So that's why I've done a video lecture. - So before you shoot, - you need to decide where you're going to shoot. - Think about your subject. - Think about what class you're teaching. - Can you find a location that aligns with that subject? - You see a skill share class like a sound mixing class that takes place in the guise studio - . - You see some of these fashion classes that takes place in front of their closet with all - their clothes lined out. - So find the location that says something about your video. - If you can't do that final location, - that's not distracting. - You don't want to be in your bedroom. - You don't want to be somewhere where there's lots of noise around you. - So for these, - I've just set up a basic backdrop. - It allows you to focus on me and not be distracted by little objects in the background. - It's not necessarily the preferred way. - I would much rather have a location that would say something about this class, - you might be teaching a class on public speaking. - Maybe do it in an auditorium you might be teaching of cooking class. - Do it in your kitchen. - It takes about two minutes to sit down and really figure out Ah, - good location for your video, - and it makes all the difference in the world. - You should be doing all your recording on one day. - Unless your class has dozens of units, - You should really should be able to schedule all the recording in one day. - So really, - besides the content of your class, - that's pretty much all you need to do. - To prep. - You need to figure out which type of class is best for your lessons and figure out the - location, - and the next thing you need to do is actually script out your classes. - We'll get to that in the next video. - Listen 2. Planning out a Script: - All right, - So we're scripting on our class now. - So really, - the most important thing to do when it comes to scripting class is outlining. - Always outline and find those beats that you're gonna hit before you actually start - recording. - If you just turn on the camera, - start rambling for 10 minutes. - No one's really gonna have the patients for that. - But thing is, - I would highly recommend bullet points. - Don't script out your class word for word. - No one wants to watch a video of someone looking at a piece of paper reading word, - toe word, - toe word, - exactly what they're saying. - Let's that need to be loose. - They need to have some energy to them and they can't be so rigid. - Think about those classes that used to hate in college, - where the teacher just read off the power point point by point. - Don't do that. - So although you have your bullet points, - elaborate telling illustration, - do something that's just not hitting those main points. - Keep in mind that each unit should be about 1 to 3 video lessons. - Nature. - Those video lessons should be about 3 to 8 minutes long. - The reason why you keep it 3 to 8 minutes is that anything less than three minutes doesn't - feel that substantial. - And anything over eight minutes is something that people don't really want to watch. - This may sound crazy, - but rehearse. - Remember the speech classes used to take in middle school, - where you rehearsed and rehearsed and rehearsed, - and then you actually stood up and gave the speech? - There's no point trying to do it for the first time, - right in front of camera, - because each of those videos would end up being an hour long because you would keep - stuttering over your words. - You keep changing things, - so outline and then rehearse. - If you do that, - the actual video shoot will be a very simple, - painless process. - It's like I was saying in the last video, - the more hands on your video can be the better. - Use props if you can actually illustrate with something visual, - something tangible people want to watch that don't use unnecessary props. - Don't use props that illustrate a point that's not really directly what you're saying. - But think of something as simple as if I was telling you how to put together and I ke a - table you wouldn't want to sit and just watch me tell you step by step, - how to put together the table. - Be a lot easier if you visually saw me do it as I was telling it to you. - We're all in skill shirt cause we're all experts in our own fields. - So hopefully you're somewhat comfortable in what you're talking about, - and we all get stage fright from time to time. - But the more you rehearse, - the more you practice, - the easier and more natural will come to you. - So with that in mind will actually jump to the next video lesson where I'll give you guys - tips on tools and software's to use. - That'll make this filmmaking process as easy as possible. 3. "Free" Video Cameras: - So this lesson. - I want to let you guys know that it's totally fine to use free video camera options. - By that I mean video cameras that you guys have already laptops, - tablets, - cellphones that It's actually surprising that video quality that we get nowadays from thes - devices. - So right now I'm recording this off my laptop, - and you can tell it's not quite the quality that the other one was, - and the motion kind of registers differently. - Um, - and so you have to be aware of these things at the same time. - It's a fairly crisp image for, - um, - you know, - for something that's built into my computer for something that I don't have to go out and - purchase extra, - because when it comes down to it, - I mean, - buying video equipment kind of, - you know, - prevents a lot of people from pursuing this. - They think, - Oh, - I haven't shot anything before. - I haven't added anything before, - and I can't spend hundreds of dollars on equipment that I will just use one time. - So using these free options is a really good alternative, - but there are some drawbacks that you need to know. - First off, - you want to test the compatibility of your video, - and then you're editing software. - Um, - some editing Softwares don't register some formats of video, - so you want to do before you do your entire lesson, - you needed to shoot a quick 5 12th test and then bring it into your editing software. - We'll get to that later, - but bring it into your editing software and just test if you're able to edit the footage, - and if you're not, - you're gonna have to find another software that converts it, - so it is a little bit of a pain. - But between your laptop, - your computer, - your tablet cell phone, - whatever, - you should be able to have something that the editing software will read. - Also, - keep in mind that a lot of these cameras auto expose the auto color, - so there's a lot of like automatic things that you need to be aware of. - Um, - first off, - as you can see this, - I'm just shooting with a white background behind me. - If this background was black, - um, - the camera would read it a lot differently, - and my face would be very overexposed. - I have the exact same amount of light as I did in the last shot. - But in this, - because the backgrounds dark because my shirts dark, - the camera just wants to adjust the light. - It doesn't really know how to read it. - So as you can see, - my face loses a lot of detail because the camera doesn't know what to do with the light. - Same thing when I bring in color, - it's even more pronounced this time. - Now it's changing everything yellow, - So dark backgrounds are not that great. - The camera has to bring in kind of some artificial light itself. - It doesn't know how to read the images well on, - and you lose a lot of detail. - Three. - Auto exposure in the motion. - Everything is just a lot nastier is you can see there's a lot of grain and noise. - The images isn't as crisp, - so you want to definitely use a background that it's bright, - happy, - Um, - not dark and cave like when I pull up something like this blue. - As you can see, - the rest of the image, - has gotten very, - um, - his purple magenta. - When I take it away, - then it adjusts again. - So if you do have color in your image, - make sure that you have a balance of colors, - and it's not monochromatic. - So if you have some blues throwing some yellows in the middle, - just if you have some reds, - throw in some greens and then it'll Justus well, - so as you can see, - the image really isn't terrible. - I mean, - the motion really isn't registered that great, - but it is something that you would be able to watch in a lesson. - And I have just a nice, - bright China ball here lighting up my face, - and that's pretty much it. - So it's very simple, - but there is one huge can't show. - That is the audio. - Um, - I am, - according with separate microphone right now. - And if I weren't, - it would sound pretty terrible. - Um, - this audio is really comparable to the audio on my expensive video camera. - For whatever reason, - the audio is always terrible, - and you definitely need a separate microphone. - So one of the tricks here is that if you are using your laptop with separate microphone, - you will be running the double system that I've been talking about, - and that's a little bit more difficult. - Post. - It's nice on the editing. - If you can use a cheap video camera and plug in the audio directly, - but if you're just using a laptop, - it's gonna be a double system. - So another option is actually using your phone. - Video quality on a lot of phones these days is actually really remarkable. - IPhones and Galaxies have really, - really beautiful video quality, - so this is an off brand phone, - so it's not as great as those two. - But I'm sure you know someone with an iPhone or galaxy that you could probably use. - And obviously you're working with some of the same issues you're working with. - The auto iris, - the auto color, - some of the frame rate motion issues, - so you have to know the limitations of these cameras. - But one of the biggest prose about these is a company cell microphones that plug directly - into phones. - So you're not gonna have to worry about sinking audio. - One of the reasons is a big advantage is because the sinking audio double system thing that - have been talking about is really on. - Lee used in Mawr expensive editing Softwares. - So most of those free editing sidewalks you're not able to sync audio serve using an iTunes - or on my movie, - you really want audio and video to be in one file, - and this is tough to do with the laptop. - But the fact there are microphones out there that plug directly into the phone to give you - good audio quality is really cool. - Another quick tip is always shoot landscape, - not portrait. - It always looks a little silly if the video is gonna be up bright instead of long ways like - we're used to sing. - So if I've proven you guys that you shouldn't be scared of equipment costs if you play your - cards right, - the only thing you might have to buy is a little microphone that plugs into your phone. - You're not gonna have to go out there and spend hundreds of dollars buying or renting - professional equipment, - so this is a really nice alternative. 4. Professional Video Options: - so videos a little bit more difficult. - The cheapest, - great looking camera out there is still gonna be about $600. - And just like audio, - you probably have better things to be spending your money on. - I'll leave a few options for cheaper cameras, - and the additional resource is, - but I do teach another class on video cameras. - This class gives you dozens of affordable options of cameras on the market, - so definitely check it out if you want to take your video to the next level. - But if you just want to record the video lecture for the day again, - like audio rent, - the camera that I'm using right now cost $2500 new. - But to rent it it would just cost about $100 a day. - If your skills your classes going for $20 do the math, - it's probably worth the rental. - Another thing that's cheaper than renting is borrowing from your friends. - So send out something on Facebook or Twitter and see if people have a camera that they'll - be willing to let you borrow for just one day. - If you are looking into buying camera, - just some quick options real quick Cannon has a lot of great DSL ours, - these air cameras that double as still photography and video. - One of the cheaper options is the T three I, - and the teeth raise great for both video and photos and just some technical information - skills. - Sure recommends that you upload your videos at 7 20 so make sure when you're using a camera - that shoots at least 7 20 So the great thing about these classes is you don't need a super - fancy camera. - You just need something that allows people to clearly see you and a microphone to allow - people to clearly hear you. - I'll be giving you some visual tips in the next unit, - but that's pretty much all I have for the camera options looking the additional resources - for some PDS. - But again, - I recommend that you rent the camera for this 5. Lighting: so you haven't done video before. It might be a surprise to you that video it takes a lot of time and effort Toe light. This isn't how my room normally looks. I have a lot of lights pointed at me that really brighten up the image and make it something that you can look at if I was just used my overhead light and no other lights. We look something like this, which I assume is not something you guys want to be watching for every single video lesson . So I've set up a lot of lights around me to make me look less like a cave troll. So actually teach another skill. Share class on lighting on a shoestring budget for just $65 a show. You had a building entire studio in your room, which is what I have done here. This whole set up is cost me less than $65 so it's a really good deal because when you try to rent lights like we talked about running camera microphone when you try to red lights, lights usually run about 50 to $100 a day just for one light. But when it comes to lighting for this, especially for the video work flows and video lectures. You just want your subject nicely lit, nice and bright. Not to contrast. You don't want a lot of nasty shadows. You just wanted to be a pleasing image that people can look at for five minutes at a time. So one of my biggest tips and lighting is to use China balls, China, bowls of Japanese lanterns. You get them for my Kia for just about $10. They look like this, and what you do is you open them up and you're able to drop the light inside. This is actually what I'm using toe like my face right now. It gives a really nice soft light with no harsh shadows. So for just $10 you able to do something that really brightens up your image. We're not doing anything too fancy here. We're not trying to do any dramatic stylistic lighting. We just want people to be able to watch these video lectures and video work flows without thinking that the lighting is terrible or the sound is bad. We basically want the production to be invisible so people could get the most out of what their washing when it comes to lighting your image to be bright and happy and not a lot of shadows. So that's pretty much it for the lighting tools. Let's jump to the next lesson for editing. 6. Audio: All right, So this listing is about audio. Audio is something we don't really think about. We think about getting the camera, having the lighting all nice. But we don't really think too much about the actual audio, which is really sad, because, I mean, if you think about audio is 50% of your lesson and when you watch videos, you don't think too much about the audio. But the truth is, if I just used the audio of the microphone on my camera, it would sound like this. The room's really noisy. My voice is not that great. Um, this is something that we don't really think about when we watch things. We don't think that there are a lot of my expert mnemonics are all sorts of audio devices. We just We just watched video for what ISS. But the truth of the matter is that audio would sound terrible if you just use the microphone in your camera. Now I'm shooting with a nice camera. Even high quality cameras have terrible, terrible microphones. This is something that's always frustrated. Me and I have no idea why they don't put good microphones and cameras these days. But it's what we're stuck with. So we just have to make do. So I don't want to spend a lot of money of microphones. I'm sure you don't either, Um, but the truth is, you have to buy some kind of audio apparatus to make your video have audio. That's not gonna drive people crazy. Some, including a few of those options in the additional resource, is just to name a few. Zoom mikes are really, really popular. They're affordable and have decent audio quality. They're not the best microphones in the world, but for what we're doing there, perfectly fine and zoom mikes are actually what I'm using to record this audio. Right now. There's the cheap Zoom, which is about 100 bucks. And then there's the Nice Soon, which is a couple 100. In addition to Zoom, there's road marks, rode bikes. 10 actually plug into your camera so you don't have to worry about singing audio later, which is really nice, and you can find a road mike for under $100. But even then, it's probably more money than you want to spend on one microphone just for one video class . So if you've done all your preparations. You found the location you've outlined in rehearsed your class. You know that. It's only gonna take one day to shoot all your classes so you can just rent the cheap microphone. There's also more traditional banks. You get love Mike's, you get boom mikes. All those gonna cost hundreds of dollars, and I'm guessing you have better things that's been your money on. So the basic take away from this is you should be able to spend under $100 on audio to get something high quality. If you don't do video as a hobby or professionally, you shouldn't be spending $100 on a microphone. So go to a local rental house and rent a cheap professional mike for anywhere between 20 and $50. You should be doing all your filming on one day so you don't have to rent the microphone for one day. That's pretty much audio, So let's jump the video in the next lesson. 7. Performance Tips: So you picked out the location. You've outlined script. You've rehearsed it a lot, and now you're ready to get. The first lesson of this unit is performance tips. If you haven't been on camera lot, it's good to shoot some test footage to see how you read on camera. Like I said on one of the earlier lessons, if I gave a performance of the same energy that I typically have in real life, the video would be a lot less enjoyable and just kind of boring. It's interesting because as I'm speaking to the camera in my head, I'm thinking that my performance is really loud and energetic and over the top, and it doesn't read that way at all. It reads is kind of completely normal, even though this isn't the way that I typically talk. So if you haven't done this a lot, go ahead and do a practice lesson. Watch back the video and see how your energy is on camera. Cameras were weird things. They make people look less attractive or more attractive. They make people more boring and more exciting. They're very different than your perception of people in real life. So without any kind of practice and performance. You definitely want to watch it back and make sure that what you're doing is gonna be watchable for five minutes at a time. Also, keep in mind your audience. Don't use a lot of jargon. We're all professionals in our own field, and it's very easy for us to get lost in terminology. When your audience is just beginners, they still need the oriented, and they don't know all the words that you're using. If you do find yourself using a lot of buzz words a little silly. But put some vocab in. The additional resource is, you know, give them term that you've said that you haven't explained that they need to know what they mean. It's typically better to be standing sitting. People have higher energy when their on their feet. If you do want to sit because it works better with your location, just make sure they have proper posture and you're giving a good amount of energy and especially if you haven't done it before. It always helps to have someone else in the room directing you, even if it's just a friend, someone with no directing background. It always helps to have another perspective, something that makes complete sense in your head once you're trying to explain, it may turn out to be very cryptic, and you don't know that unless you have another perspective. So that's pretty much it for performance. The next video Focus on visual Tips. 8. Visual Tips: - so no, - we've talked about it earlier, - but it's really important how you're framed. - This is his tight of framing, - as you want to get. - If there's a lot more action evolved than you're showing your students how to do something - , - you typically want a wider shot, - something from the top, - your head to your belly. - But another tip is to be at least four feet from your background. - It doesn't really look good. - When someone's right up against the wall, - you'll see shadows on the wall and the walls just Azzan focuses. - They are, - and it's really not that aesthetically pleasing. - This should go without saying, - but make sure your subjects than focus. - And with lighting, - you really want a bright face with very little shadows. - It's okay to have a little contrast, - but it always looks good when it's very well lit so you can place your subject in front of - a window. - You can bring in those China balls and light up their face, - so cameras air. - Not just all about framing. - You want a nice frame, - too, - but not at the expense of bad lighting. - The number one thing is to make sure that your subjects is nicely lit, - even if you have a slightly boring background behind them, - it's better to have a good subject, - a bad background than a bad subject in a good background. - And really one of the biggest performance tips I can give is make sure everything is within - frame. - If it's a video lecture, - the only thing in frame is really the face. - That's the only thing that needs to be in frame. - But if it's a video work full, - you want to make sure that it's a wide shot that encompasses all of the action. - And like I said earlier, - I teach both a camera and lighting course. - So if you really want to go in depth and learn a little bit more about those, - check those classes out. - That's pretty much it for the visual tips. - Let's move on audio 9. Audio Tips: It's like we learned in the last audio class. Audio is a little bit more important than you think. I'm shooting in my apartment right now. I have a window right to my side, and every time a large truck drives by, it's really loud. If that happens during the middle of one of my takes, I need to stop and start over. Same thing with airplanes. If you live by an airport every once in a while, an airplane will fly overhead. Any time you hear a sound that distracts from you talking, it's probably gonna be enough to distract from the audience listening you want the microphone is close to you as possible without actually being in frame. My microphone is right here, two inches off frame and just a quick tip on the technical side when, according in your microphone, if you can see the decibel level, you want the decibels to peak at about negative six to negative 12. That's a healthy range. Any time the decibels hit, zero theater is gonna be clipped and it's going to sound terrible. It's much better to record audios at a very low level, then audios at a very high level, you can always bring the audio levels up. Yes, you'll get a little bit more background noise and won't sound great. But it's gonna be better than if you have the audio levels too high, and it just sounds like scratching whenever you hit that point. And there's two ways to do it. There's a single system and a double system in a single system. The audio is recorded into the camera and doesn't need to be sink in post. It's a lot easier and less of a headache. If you don't do this professionally, I recommend a single system set up. That means that you're probably gonna buy a small road mike or something of that nature and actually plug it into your camera. There's also a double system, which means that you're recording the audio separate from the camera, which is what I'm doing right now. So I'm sure you've seen those behind the scenes where the guy that runs in with Slate it has the scene, the take number, and then he claps. It runs off. That clap is what professionals actually used to sink the audio. So on a low budget end, what we do is we say what we're doing. We say something like Unit three, Lesson three, take four. We clapping from her face, and what that allows us to do in Post is to actually see the moment that my hand touches and match that up with the wave form when it spikes on the audio. And what that does is that sinks our audio or video. If we're running a single system, we get to skip this step, which is great. But if we're not, that's a necessary step. In all the take that we've done, it's very tedious, and if you could do a single system, I recommend it. But if not, it's a necessary step. The only advantage of having a double system is if the audio guy needs to run really far away from where the camera is. And in this case, that's just not what needs to happen. So a double system in this case really only happens based on what you have available. So before you start shooting, sit there in silence and listen for a hum. Listen for a buzz. Listen for traffic driving by. Listen for things that you wouldn't normally think of when you're just hanging out in a room. If these are things that you can address, go ahead and do them. One huge thing is air conditioning. You have to turn off air conditioning in the chute. Which probably explains why in some of these I'm sweating because if I had my air conditioner on, it would sound something like this, which is really not that great. I don't want my air conditioner on when I'm shooting. It's a little nice because the lights heat up the room and the air conditioning brings it back down. But it's at the expense of your audio. Always turn off the air conditioner. You don't need to unplug the refrigerator. That's going a little bit too far, but things like a C and some lights hum. Just listen for tones. Listen for things that you could turn off to make the room or quiet, so that's pretty much you don't all the tips I have, I think you're ready to record the next. You don't cover editing and postproduction. Um, it's a little scary, but hang in there and we'll get through it. And best of luck, recording your lecture 10. Recommended Softwares & Basic Approach: - so we're very fortunate to live in a time where it's very easy to get your hands on simple - editing software. - So from professionals, - the main editing Softwares out there are avid Adobe premiere and Final Cut pro. - Even the cheapest one of these is about $300. - Adobes actually recently changed their pricing structure so you can pay about 40 or $50 - monthly for their video editing software. - But even then, - it's a little bit difficult for beginners, - and there's much better stuff out there for someone just starting out. - Two names that come to mind are I Movie and Windows movie Maker. - Both these Softwares are very cheap and very easy to navigate. - There's also a handful of lesser known video editing Softwares out there. - I'll put those in. - The additional resource is editing is something that's very necessary because if you didn't - have video editing, - it would be 56 minutes of completely uncut video that people just really wouldn't want to - watch. - As you watch these videos, - you've seen these jump cuts from sentence to sentence to Senate's I'm finding the most - interesting. - Basically, - I'm putting all the points that basically putting all the points that I've hit in a row. - If I didn't have editing these videos would be 15 minutes long. - I be stumbling over myself. - I'd be going back and trying to wreaths. - I'd be go trying to go back and re say things better, - and it would just be kind of a mess. - We're gonna have to do is you're gonna have the watch back the video and cut out all the - times that you mess up. - It's really not difficult. - It's just something that you have to sit through. - Software's like Final Cut X, - our Windows movie maker make it very simple and intuitive to do this. - So that's pretty much it for this unit. - The next you know, - it's actually gonna be talking about on set. - We're going to talk about performance and the visual tips and audio tips and things that - actually you need to remember while you're shooting your project 11. Single-System Software Tutorial: - All right, - so this is just super quick crash course and I movie Windows movie maker is very similar - when his moviemakers free I'm really is built in. - And most Max, - you can download it from the APP store $15 if it doesn't come standard on your back, - which I believe it should. - I have literally uses program one time five minutes ago. - It's very simple. - Straightforward may look a little intimidating, - but let's get to it. - So we go over here to the bottom left and right, - click or control Click on a Mac, - which you're probably using if you're doing a movie and you go to import movies from their - you pick the video file. - Um, - if you recorded your video in photo booth, - those saved two pictures. - I believe you want to create an event Lesson one. - Whatever you wanna call it optimize video. - You know, - full or large, - either one is probably OK. - Um, - and you get import. - So this is part of one of the lessons that I've recorded here. - You can look at the scale on the bottom right here, - so you can zoom way in, - um, - or out. - You probably want it Maybe it about 21 2nd two seconds. - Um and so I'm movie which hurt the voyeur Quick I movie. - What you do is you basically select each good part that you have, - and then you throw it in the bin here. - So what you'll do, - let me just play real quick hit space bar play. - So I just want to give you guys a sample of what it looks like with dark background. - Okay, - so this was one of the lessons earlier. - Like I said, - the audio is not great. - So what I want to do is, - I can, - when I have clicked twice here, - creates his yellow box. - What you do is you take the start of the yellow box and the end of the l A box and create a - file that you want. - One thing that's nice is I Movie plays it. - You hear the audio as you're doing it. - So you line up the front half. - So right before you start talking and then you line up the last half at the end of the - sentence or a paragraph, - or however far do you want to go before you make a mistake or you've paused for whatever - reason. - So go ahead and match the end. - Maybe I forgot what I said. - I'm gonna play through sample of what it looks like with dark background. - So I want to cut it right after I say back something like that. - So this box represents the clip that I want to take it to do that, - I grab it and drop it into my project library when it believes what this called, - if I play it. - So I just want to give you guys a sample of what it looks like. - A dark background. - So that's that's the clip. - So then, - for the next will be basically, - do this for all the good takes that you've done while recording your lesson. - What say that? - Let's say that the second part. - For whatever reason, - I didn't want, - including those. - I have the exact same amount of light as I had in the last shot. - But as you can tell, - because the background start my shirts dark and maybe I want to pick it up from but as you - can tell, - so what I would do is I Same thing that it did. - We'll start. - But as you can tell, - start my shirt. - Stark. - The camera just really doesn't have to read the image as well and then throw them ended. - Image swell. - It's well, - So once I've got that clip, - I grab it and drop it over here is well, - it's very simple is just drag and drop the entire thing. - So you cut out all those Lowell's all those pauses when I play here in my projects what it - looks like the dark background. - But as you can tell, - because the background So it cuts just great. - So it does exactly what I want again. - There's a scale on this one. - Um, - you know, - however, - you want to do it there and let's say that I'm done. - So this is This is my entire lesson. - It's just these two clips. - I'm satisfied. - So I movie what you do and when his movie maker is gonna be a little different but to keep - mine, - they're very similar programs. - Just some of the wording and some of the file naming is a little different, - so I movie. - What you do is you click on the Project Library here and you see your project. - In this form you control click and you go to export using quick time export movie. - You don't have any options to tweak so quick. - Time is what you want and you click on it and you name it. - Whatever lesson one, - save it wherever you need to and you click on the options here and the options you want to - change your settings. - Put this at best. - This is just kind of image quality, - so settings. - This looks good. - H 264 That's fine. - Like all this is probably foreign to you. - What? - All this looks good, - but one thing that you want to make sure that you do skill share recommends that each video - is 12 80 by 7 20 So you go to size and you want to make sure that your dimensions they - probably started at current, - you want to make sure it's 12 80 by 7 20 HD, - and you want to preserve the aspect ratio. - If you don't do this, - depending on how you shot it, - your face is gonna be squished sideways or long ways you want to preserve the aspect ratio - . - Using letterbox is probably OK, - OK, - so audio settings are going to be fine, - and it is Internet streaming, - so I don't really know exactly what this does. - But go ahead and click. - Prepare for Internet streaming. - Compressed headers is the best setting for that. - And then you hit okay and looks good. - So it's going to movies save, - and then it exports the project. - So if you have video lesson, - that's 3 to 8 minutes. - This is gonna take a while. - This is a, - uh, - five second clip, - and it's gonna take me two minutes so it might take about an hour or so. - But once you export, - you should be good. - So as you can tell with this basic editing software I movie or Windows movie maker, - you don't have as many options as faras lining up the audio that I'll explain another - lectures. - It's just kind of clip to clip, - drag and drop. - It's very simple and straightforward, - but it's very important that you have good audio. - If you just use the audio that's built in your laptop, - it's it's not pleasing to the years, - and people are not gonna wanna watch that for, - you know, - 5 10 minutes on in. - So that's pretty much it. - If you don't want to go, - the professional route that you renting or buying or whatever. - It's totally fine to use your laptop or your cell phone or tablet or whatever. - Just make sure that it's it's gonna be so much easier if you have a microphone that plugs - directly into your video camera. - I hope you guys have gotten a lot out of this class. - If you're intrigued by the video world, - I want to learn more about camera lighting because you're taking this course. - I'm going to give a large discount for the other classes that I take. - So in these lessons, - I've just really scratched. - The surface is far is a very basic lighting and camera, - so if you want to go deeper, - definitely check this out. 12. Double-System Editing Technique: - So when we were on set before we recorded every single clip like the last video said with - clapping from her face. - So what we do in editing, - we take the moment that our hands touch and mark that with the spike in the audio. - What that does is it sinks all the clips so you need to do is start a sequence and - basically put down all the clips you have on match up the audio to the video. - It is very tedious. - Best of luck. - Once we sink up, - all the audio were able to move forward and actually get to the fun part of editing. - So you suck up all your audio and video. - Here you are, - 100 hours later and you're ready to start editing. - Basically, - this is all simple editing. - All we have to do is cut out the parts that we don't like these air mistakes. - This is maybe where the energy is low, - maybe a tangent that you went on basically all the non essential things that have happened - during the shoot that you need to cut out so we can basically take a 10 minute video file - and compress it into a 3 to 4 minutes. - Five. - So all the editing Softwares air different. - So for this step, - you really kind of need to know the editing software a little bit. - All includes an instruction manuals and the pdf. - Really, - what we're doing is very, - very simple editing. - That really only requires you to know one or two things in your software. - So it's really not that scary. - So you need to do is cut out all the bad parts. - Then take that video slide down to the next one and then you're good to go. - So you do this over and over and over until you've got a complete video lesson. - And initially one more step almost there. - So I call this final step trimming the fat. - Basically, - you watch back your video, - you've cut all the boring parts out, - and now it's a 3 to 8 minute video lesson. - Well, - you need to do is look at each cut you have. - And if there seems to be a lowland energy where you finish one sentence and maybe the pause - is a little too long before you start your next one, - go ahead and get in real tight and just trim out those 10th of a second. - People often overlooked this step, - but if you forget to trim the fat, - the energy level dips down, - and it's very difficult for that energy to come back up. - What you want to do is keep people engaged all the way through. - If they're all these lulls and positive beginning, - people don't want to watch it all the way through. - And it's okay to have small pauses, - maybe between paragraphs or subject changes. - But basically, - when you watch a video online, - you want it to be jam packed with information you don't want there to be times where you're - seeing something but not hearing something. - You want everything to be filled out. - So what? - You've trimmed the fat. - You've basically finished editing, - which is really exciting. - If you have no experience in video production, - you've just shot something edited and you're ready to upload 13. Exporting & Uploadting: - so just a few spectral quick. - It's good to have the videos to be 3 to 8 minutes long. - The titles of each video lessons should be shortened. - Sweet. - Maybe about 35 characters. - Title your lesson very clear. - Let people know exactly what they're in for and what you uploaded. - You should include a video description that really kind of hits all those key points to - help reinforce the subject matter. - So sculpture asked. - Videos aren't larger than 250 megabytes. - If you're not a computer whiz, - that's not a huge file, - but it's not a tiny file. - If you're able to export at a resolution of 12 80 by 7 20 this 250 megabyte limits - shouldn't be a problem. - I'm sure that sounded like jargon to a lot of you guys, - but try to export at a resolution of 7 20 some more technical jargon. - Skill shirt likes dot mp force that in movies dot a b I's and dot fl. - V's. - Basically a good rule of thumb is exported. - An MP for a quick time or flash and remember those audio levels negative six is what you - want them to hit. - Don't let them Picket Zero. - You should be able to see these levels and most editing Softwares. - Well, - there you have it. - You just made your own video class. - It was a little scary, - but it wasn't too bad, - was it? - So, - like I said, - I do teach a couple more lessons that go a little bit more in depth and Cameron lighting. - So if you're slightly unhappy with some of the visual elements of your lessons, - check out those other classes that don't really add a lot to your camera and lighting game - . - I really hope you guys feel like you've learned something. - I know we world wind right through that and egrets on finishing your video lessons. - I really look forward to seeing them, - and I really hope that your before and after has changed immensely. 14. BONUS LESSONS: Color Grading Preview: 15. BONUS LESSONS: Color Correction Prep: okay, today we're learning about color correction and it's important to note that color correction happens at the end of your process. So you've gone out. You film your footage, you've edited everything. And now at the end, you're doing color correction. We do this at the end because if you were to do color correction before you start editing, you would have to color correct every clip that you bring in every part of every clip. And when it comes editing, you really only using 10 to 15% of your footage, right? So because of that, you only do it at the end. So you're Onley color, correcting the part that you need to. So you're saving yourself a lot of time and possibly a lot of money. So today we're gonna be using a adobe premiere and the concept that we're learning today our basic universal concepts. So even if you're on final cut pro or DaVinci resolve or anything like that, we're only learning about color correction theory today. So the tools that we're using are very basic and universal, and you should be able to use any software while you're doing this eso today we're going to take footage that looks like this, and we're going to turn it into something that looks a little bit more like this. So again, we're just doing color correction. We're not doing any fancy color grades or styles or filters or anything like that. That's for a later lesson. But today we're just going from kind of a bland, boring, de saturated image to something that looks nice here. So one thing that I like to do before I start also is I like to set my background of my desktop to this neutral gray. You can just search on Google neutral gray color correction card or something like that, and you'll be able to find something like this comes up now. What I like about this is you actually see what's true white. What's true black so you can get your colors adjusted accordingly. And you know professional colors actually have their entire color. Corrections studios painted this neutral gray so that they can see if if if colors have deviated from where they're supposed to be, So with color correction, you do use some some scopes and charts and things like that, but you're also using your eye. It's kind of a balance between the two. So I have my footage. I've set this as my background on and I'm about ready to get started. So what? Adobe premiere. Quick Little thing about the software. And then we're gonna dump, jump into concepts. Um, if you click on this color tab up top, Ah, you are able to easily have everything right in front of you and also on the left. I like to look at the scopes as well as my image, so I can kind of come at it from from all sides there. So I'm going to erase what I have done already, and we will get started with something new. So, uh, before I start color correcting, I like to think of factors that may have, um ah, adjusted things in my image. So when I went out and film this, it was overcast. And so that means with overcast days, your image is gonna be a little less saturated, and it's gonna have a little less contrast. So I know that those things might have been adjusted. And I also know that I filmed this using an indie filter. An indie filter allows you to set your camera to settings that you get this really nice, blurred background. However, sometimes it adds a little bit of green tent to the image. So I'm going to assume that we're gonna have toe at a little bit magenta to compensate for that on then. Finally, the lens that I used sometimes films a little cooler than other lenses. So we might have to warm it up a little bit. Um, and then another thing. With overcast days, it is typically difficult to get the color correction correct on overcast days so I could see my, um, color correction here between daylight are blue and orange. Basically, I could see that having to be adjusted. But when I look at the image, it doesn't look terribly off. One thing that was nice. I own one of these cards here that about on Amazon for maybe 10 bucks. Don't feel the need to splurge on the $100.150 dollar versions of these. This card is is really just a good It's just printed on cheap card stock, but has all the proper colors. So, like using that a lot. Ah, and so I Typically, when I get to set, I will do something like this. I'll take a quick video of this so I'm able to get proper colors. And because of that, Adobe has this nice little eyedropper. So you can actually click on the proper white, and it will adjust accordingly. Ah, but before we jump right into that, I want to talk about thes the vector scope here in the history ram here, Um, just let you know what both of these charts me because they're both really important. So this one here is about the chroma and the saturation. And so you see red, magenta blue, so angry and yellow. So it's it's kind of a wheel here of the color and then the further out the the white pieces go, the higher the saturation ad saturation spreads out. When I decrease saturation to black and white, there's nothing there. So, um, one thing to know also, this little circle in the middle is typically seen as like maximum saturation. You don't want anything to get outside of this circle. That's not to say that the pieces need to touch the circle. They just shouldn't go above the circle there Also, one thing that's very important is this line right here. This is this skin tone line, So typically you want your skin tone tow line up against here. And the really interesting thing is, is no matter the ethnicity of the subject. Caucasian, African American, Latino agent, anything like that. It's really supposed to be mostly on the same skin tone line. The saturation and brightness are different, but the actual Hugh itself is very a similar, regardless of the ethnicity of the person, which is really interesting. Now this line here is opposite skin tone, and so what? That's just basically helping you to do. You know, when you think of Hollywood movies, a lot of the the the color palettes air like this orange and teal right And and that's because these are, um, these colors are opposite on the color wheel, their complementary. And so because of that, it's It's really easy to grade an image that has a lot of cool colors as clothes and furniture pieces and things like that. So if you can't help but it's actually really nice to have cool parts of your image leaves , you know, whatever cool partner image Reverse from the skin tone. Even if it's you know, a green or a blue doesn't have to be directly along this line. It's still gonna be a lot easier to color, great and make interesting later on. Once you start adding or in warm colors such as yellow, red or magenta, it's actually pretty difficult to make an image look really interesting. And this actually takes kind of amore expert, uh, color grader to make something interesting there. So a quick and easy cheap fixes at a lot of cool things to your image opposite the skin tone. It's always gonna look pretty nice. And this history and right here is basically a chart of the brightness of the image. So and it's from left to right. So left to right is the same as left of my image to right of my image here, Um, so you can see this right here. Is this wall right here kind of medium exposed? So what this does is you want your brightest parts, your image to be up here if you're seeing sky especially, and you what? Your darkest parts, your image to be down here. So you're saying this only goes up to about 95. This only goes about 2 10 So that is in step with with with with what I was saying about the contrast of the image, Um, not being super high because of the overcast day here. So that's brief overview of these scopes. Now we will be using our eye and looking at the's just depending on what we're adjusting. So with all that being said, we're now ready to jump into color correction, so 16. BONUS LESSONS: Color Correction Workshop: we're gonna start off by the eyedropper for the white balance. And what we will do here is we will click on the white on this card right here. And actually, I'm gonna reset to make sure everything is good. And we're going to do the eyedropper. We're going to do the eyedropper here, and you see it is 0.8 and 3.6. Now, this looks very good. Any time these numbers are less than five or less than the absolute value. Five, they could be negative as well, but less than five. Um, that means you are very close. And that's typically what you want to see. Sometimes they'll be less than 10 and that's okay. But typically these air large numbers. You've either messed something up or it was shot under strange conditions. Like if you'll see if I use the white balance. If I try to tell Adobe that that this this is white, I click on it and now suddenly have added 112 and 30. And so it's all over the place. Right? Um so I just want use eyedropper on the white part right here. Now, like I said, this this sometimes does get it wrong, so you might have to adjust things after use the eyedropper. Um, but worked for me on this one s. Oh, that's great. So now I know it's 00.8 towards orange and 3.6 towards Magenta. And this lines up with what I was saying about the indie filter and the lens sometimes being cool. So now I'm going to go to my actual clip and just real quick start off. This was 0.8, and this was 3.6. So now, in theory, this color is looking really good. And so I like to go just kind of down the line and see what I can do. The exposure right now, Um, there's not anything grossly overexposed or under exposed in the skin tones. I'm gonna leave that be, um, one thing that is important note is I put so much focus on the skin tone. That's really where people should be looking on. 95% of any kind of footage that you take that does have does have people in it. So that being said, if certain things were overexposed or technically improper, as long as these skin tone looks good. That's really what you want to be doing. So not gonna just the exposure. For now, I'm gonna add the contrast and you'll see that thes lines will go up. These lines will go down. And when you add contrast actually ad saturation. So this will spread out a little bit. Um, one thing to know that the conditions that this was shot and because it was overcast, um, I can probably at a lot of contrast without having to add saturation. So that's maximum right there. This is minimum. You don't want that. You typically want to be adding contrast. What I'm looking for right now is I'm looking to make sure that I still have detail in the skin tone because sometimes in the bright areas of the skin, you will lose detail special on sunny days, and I'm making sure that the dark parts of the hair still have some texture in there as well. So it looks like on this image, I'm up to about 50 something. So this looks this looks good. For now, color correction is a little bit of a dance. Sometimes I will have to affect one thing, and then go back or or affect something else. So but for now, this contrast looks good. This went up a little bit. This went down just a little bit. So highlights you typically bring down on an image. And what you're really looking for in highlights most of the time is the brightest part of the face is sometimes over exposed. Now, this was nice and overcast, so I'm still getting a lot of detail here, which is great, but I'm going to drop down the highlights just to about there. So this is really settle. Um, but you can see this looks gross. This now it does look like we may want to bring everything up, but for now, we're not quite there yet, so Yeah, something like there for the highlights is good. Now, with shadows with still photos, actually usually add value to the shadows. But with video, it looks a little better to lower now. So there's all the way we lost a lot of detail here is bringing it up. Looks kind of washed out in milky. So what I'm looking for here is the detail in the beard especially, and some of the hair. So somewhere around here, I'm still getting adding to the contrast, but I'm still being able to see all the dark spots. And again, I'm really just focusing on the subject. I need to be aware of other things in the frame that they don't look awful. Um, but I'm really just look at the subject for all this. Now that I brought this shadows down, I think I can actually brighten things up a little bit. So here's all the way. That's two months, years down. Whatever, Um, I think I can, actually, you know, with this overcast day, it's really nice. I can actually add a lot of exposure overall and still have detail in all the skin tone, which is really nice. That's it doesn't typically happen with with everything that you're doing. So that's nice. Just little point for boost because that I was going to raise the whites up a little bit. Um, but because I've done the exposure probably won't go too high. I really want thes these white points just Onley kiss the 100. If if that so this will be very subtle. I mean something just like three or four. And I look at the image. I'm still getting detail. It's fine. So image still looks good, but for the whites and blacks, I look a lot of thes these graphs here. So the blacks I want to go all the way down and just kiss that bottom there. Something like that looks fine. I look at my image. Have I lost anything in the beard? Maybe a little bit. So I'm gonna play with these shadows again. Yeah, I think I'm gonna bring them shows just a little bit. So something like that looks great. So we still have detail in the dark parts we still detail in the bright parts. That's great. Now let's look at the saturation. I'm gonna lower this down so I can kind of see the spread here of of my image. And, um, I go all the way saturated. That looks bad on here's black and white. Um, so when I go till I think it might be in a good place, there's a nice rule of a lot of creative design. Things just called the rule of haves. So when I add something that starts to look okay, I just want to cut it in half, and that's the better, more subtle version. So this was at 100 and I put it 100 40. That that right now, my I thinks maybe it's OK seeing this. This grayscale is really nice, because this this realizes how, you know, maybe overexposed part of this are over saturated part. This is I'm just gonna put it almost in half. Not quite half, but maybe here when 27 or so. That's actually looking pretty nice. Um, we have detail in all parts of the face. This part is a little over exposed. But you know what? It doesn't matter cause it's not the main part of the subjects is not distracting. Um, and so that's looking pretty good. Um, this was just color correction. This wasn't any sort of creative, um, filter, anything like that. But if I want to see what we've actually done, you know, it may not look like we've done a ton because we did it step by step. But if we toggle on the effect, here's the effect on. And this is what we started with. That's a whole lot of difference. Yeah, that's day and night. That's really nice. So we've just kind of corrected the image into something that's that's nice and standard, and we haven't really added any kind of color style or anything like that to our image. So that's for a later, um, later tutorial, but that's that's color correction. In a nutshell. Um, Premier has this this creative tab also where you can add some nice lutz. It has you can add vignette and what's nice about Premier? It actually has a A. When you go up, it brightens Devyn yet, So if you have a lens that has a built in bad vignette, you can you can actually counteracted here, which is really nice. Ah, this secondary. You can isolate certain colors color wheel. You can start playing with color relations and things like that. So there's a whole whole deep world here, man. I love the Cursed have is really nice. You can you can. All this is kind of in in depth stuff, but you can play with specific color saturation. You can change specific colors to look different and brighten him up in dark in, um, so this tab, I like a whole lot, but there's a ton here. It's definitely worth looking into. One thing that's fun about, um any any color correction is you can add Lutz, which are look up tables is the term, But really just think of them as instagram filters and things like that. So you could do some subtle ones. Um, let's see what I have pulled up right here. Uh, vintage urban fashion. So that will give it a nice Okay, Now, suddenly were We've given it a very distinct look, and you can actually add the intensity so I could do something like that. That actually looks pretty nice. That with some of the saturation, maybe. Um, so now I've given it kind of a look and style feels a little bit more vintage e Ah. And so you could do a whole lot with this creative tab and adding those lutz, which is great. Ah, but that is co creation in a nutshell. Hope you guys enjoyed it. Stay tuned for the next lesson and talk to you, then 17. BONUS LESSONS: Color Grading Workflow: - All right, So this is a lesson on let's and how to use lots in Adobe Premiere. Ah, Lut L u t stands for look up table, which doesn't really mean a whole lot this day and age, but basically think of it as, like an instagram filter or a way to achieve a Hollywood movie. Look, eso, um, when we watch movies, it's interesting to see that's even though we think the image looks fairly natural if we are to take a screenshot taken. A few screenshots of this is of skyfall. We look at screen shots and we can actually tell while this image there's a whole lot of blue until it's really cold. Um, and we look at scenes like maybe, ah, see this scene right here. While this is like an intimate dinner scene, uh, clandestine meeting kind of thing because you can see the whole images really orange really yellow, really read really warm, whereas these other scenes seem natural. But ah, as you can see, we're only really seeing, uh, some some tans, some science here. So everything that is done in movies you can see we don't see any red, any purple, anything like that. A lot of it is in production design, Yes, but after the fact, actually go in and change the color as well. So this image, we might think, is natural when we're watching the movie in the theater. But as you can see, we see skin tone and pretty much everything else is green, even when this car's probably black in real life. So as you can see, um, color grading does a whole lot for your story, and different genres will have different types of color that go along with them. This is images from assassination of Jesse James. You can see everything is kind of we're seeing a lot of Tan's. Even this. We're really only seeing a monochromatic image here. So different movies have different looks and styles, and so that being said, I'm going to go over some Let's that I've been working on in the past few weeks that I think turned out pretty well, So I divided them up into basically into different locations indoors and outdoors, city nature, but also different styles as well. So that's kind of how how I did a lot of people approach there. Let's just from a trying to make a cool image. But I wanted to approach it from a very practical standpoint. Basically saying, OK, I know this was shot in the desert. This will look cool. I know this was Shot and snow. I know this was shot in an urban city environment indoors, etcetera. So I approached it from a very practical standpoint, which allows you to get kind of the most out of it. So I divided up here on my premier timeline Hollywood moods, but also outdoors indoors. So just kind of want to go through these and show you guys how to, um, put Lutz on an image. Now, one thing that's important to note is that all of these clips are from stock photos or stock video sites. And so because of that, they've already done the basic correction. And I try to find clips that were basically on. Lee used basic correction and didn't add any additional style or look or anything like this . So most of these air pretty true to the colors that were on set. So that being said, let's jump in. So I selected these. I think these would be good style a Hollywood style. The Hollywood is heavily saturated. You see a lot of skin tones, and then everything else is a very cool color. One thing to note when when you're doing your lutz, any image that has the least amount of colors is going to give you. Ah typically give you the best results for using Lutz. So as you can see in this image, we're seeing blue. We're seeing skin tone. I guess there's a little bit of pink in this shirt, but it's heavily saturated, So really, we're not seeing a ton of colors. Same with this image. We're seeing black and white skin tone. Um, here we're seeing blue and skin tone. That's pretty much it. So anything that has, the less colors, the better. For Lutz, anything that has is vibrant like this. I typically like to dio with some of my fashion Lunts, which looked really good with a lot of different colors going on. But any kind of Hollywood stuff, you want to try to keep it, and this is important for you to note while you're on set, try to keep it the the least amount of colors as you possibly can while filming. All that being said, Let's jump into the lutz. So if this were a clip that we had filmed ourself, we would use the basic correction to make the image correct. And then the creative tab here on Premier is where we style eyes it. So I go to look, um, have a bunch of let's preloaded, but the ones that I created that I really like, I'm going to find here and lots. And so this is a Hollywood style, so we can either go with style were also outdoors. I believe City has some interesting stuff as well, but let's start with, um, this style in the Hollywood orange teal and I like. I used the look that dot look in Premier certain software. She'll use the DOT Cube Premier works best with the dot look. So when I open it up, we see that this is a pretty heavily added image, which again, if we're watching this in a movie theater, we're not thinking twice about how realistic this is. However, if we want, we can adjust the intensity here and with with let's I typically balance the intensity, and the saturation is typically what I'm doing, so maybe you want to go a little less. Let's see. This is nothing. This is twice which is too much. Let's say I want to go a little lasts maybe around 86 or so. And what if I boost the saturation just well, that image If I'm watching that, I'm really not thinking that this is a heavily graded style, even though it definitely is. Um, so some of these looks for more subtle than others. This looks really nice to me. We can toggle this. This is on and this is off. This is on. That's really nice. I'll see what else we got. Um, Cinematic subtle won't see if that does anything for us, it's a very different look. I would even say this is a little bit more of a fashion. Look, with this, I think braiding bringing the fated film bottom might be kind of nice. So this is a nice look as well. And as you can see, these luds minutes really just kind of drag and drop. Let's try some of those outdoor urban. Let's see, urban grand. You should. We'll see if that does anything interesting. Okay, so now we're getting into a different style of movie, right? This, um, maybe a little bit. Maybe there's some kind of horror element. Maybe there's some kind of suspense thriller, that kind of thing. Let's see if we add the intensity it's take away. That's faded. Film. Look, get some saturation. Now that's pretty cool. That's definitely a nice, you know, scary movie. Dramatic kind of thing again. All these air Real Dragon dropped really nice. And like I said, the less amount of colors you have in an image, the more versatile that image is probably gonna be. So let's just go to something else again. This has very few colors, so I'm going to assume that let's see, Hollywood action hero. Does that do anything for us? So here his skin tone is not super Ah, saturated. So this doesn't do as much as I would like. It still does. Still does center it, though, but I do think this might might be a little bit better on that, um, Hollywood orange teal cinematic subtle, Probably Also, yes, this that's a little extreme. Let's see if I bring it down, something like that might look nice. So again, this may seem extreme just by itself, because we know what it was. But if we were in a theater watching this, we wouldn't think twice about it. You know, we can look at some comparison. So correo man, he's a really nice images. Um, I'll see if I get one, try to find one that's very saturated. Something like this. Pretty saturated orange. You know, we're seeing a lot of warm towns here. Um, again, this one because there's not as many colors. This is gonna look nice for sure. Hollywood tea oranges might be boom, and that's a right Hollywood epic Transformers. And again, you know, we can obviously play with the intensity. So that's kind of how the Hollywood ones look heavy contrast. Oh, this might actually be nice. A lot of gray green. I think I'm gonna try that grunge on this one. Let's city urban grunge. Yeah, that looks great. That looks great. So So here's one that is in the Hollywood. Um, but ah, when I did this one earlier, I found a really moody, dramatic one. So, uh, let's see what urban crunch does. Yeah, that's that's not gonna work for us, probably because the prevalence of the greens. But if we release the saturation of the greens, the one that I liked here outdoors nature there was a moody forest one, She's in the forest. Let's do dot Look, she's in the forests were doing moody Forest and Boom. There's something pretty scary and off putting about this. We d saturated, darkened all the leaves, and that looks really creepy and nice. So this would be a great Hollywood horror movie now, Like I said, um, with the fashion one's anyone's that have a lot of colors. I typically like to do these fashion filters. Um, so let's throw on one and see what we get, Um, and the fashion one's air. But the style is mostly Hollywood, so the fashion ones are actually gonna be outdoor city Hollywood action hero. Warm fashion memories, Vintage urban, frustrated vintage urban fashion. See, we get as an interesting look. Yeah, that's really nice. So again, lots of colors in the city. Finnish, German. That looks really nice. Let's try with this warm fashion memories, and this is definitely a heavy filter, something, you know, some kind of instagram something. This is definitely stylized, but this looks really nice as well. So again, very colorful lot going on. Let's try one of these. I was trying vintage urban. See how that goes And that is not going to do it for us. Yeah, that blue really does not work for us. And warm fashion memories. Oh, see, now, that's interesting. Nice, warm. And again, this one, you're definitely going for a look. If you want to make it real subtle, you probably could. But I think this one actually benefits from being pretty extreme and leaning into it that way and see warm fashion memories. Yeah, that's nice. So these air really again, These lets air just drag and drop. Really cool. Um, like this one a lot with the warm fashion memories. Yeah, it's really nice. So it brings up the blacks. Let's see, we'll put on the scopes. We're way up here, but it's really nice. Stylized in the urban fashion. Really like that. So that's the fashion ones and this mood intimate. So this is we go back to any kind of cops here. Um, let's see. We have a Blade Runner. Blade Runner is gonna be crazy of it. So this seems pretty normal again. This is green and skin tone. The least amount of colors the better. But look at these. Look, I warm. These colors are I mean, this is a dystopian thing, but if we were to g o back Teoh any kind of intimate dinner scene and pretty much any movie we're getting this right. It's variations of skin tone. We saw that in the sky. Fall is well, I believe Yeah. So this so I mean, this is really heavy. Just one color, right? So if we're trying to imitate anything like that, um, we have a really nice one on indoors. Moody Room is Yeah. So something like that immediately feels a little bit more like that movie. There was another I did a candle lit one at works on some doesn't work on others here, Um, the colors not quite. Or the brightness is not quite right for it. So, um, anything like this intimate. I mean, these air out of the camera. But if we go to that moody room boom, we're looking at just yellow. That's kind of nice. Now, this will be nice, and it'll warm up the street lights here, in which will be really good. Many Ram, though. Yeah, so that again, we think this is totally natural, but it's very yellow. All the moody filters work best when you have a subject in a very dark background. So what I noticed in this clip is the background is not dark enough. If we were to put that moody room or the candle it, Ah, one on it, I believe everything is gonna be yellow in a kind of bizarre way too romantic candle dinner . This actually this is passable. This is not I don't love it because of how bright the background is. Um, there was one that's really good for intimate stuff with a brighter background. And that's just settle skin push. This is again, it's called. It's called subtle, but you are just trying to make the skin tones pop here is with it on. Here's with it off. As you can tell, the use of it definitely makes you focus on the skin a little bit more. That one's very subtle. Um, what? This should go with something big, and so those are the intimate ones. And then with outdoors outdoors, cool. I'm basically talking about anything with blues or greens in the images. And so something like this. Let's say we wanted to make this match that horror movie that we had talked about earlier. So this is the outdoors nature, and we're gonna go the forced the moody Forest. And while look at that, that's cool. So this is definitely a spooky, scary thing. And what's nice about these lessons, just how easily they are to drag and drop? We're really not having to mess of the intensity or saturation of most of them. One thing that's really nice about, uh, these is some of the travel ones are actually really good. Um, so I like this when you see aerial view of the ocean of the beach here and if we go to this is outdoors nature, we're going to go to Ocean Beach travel and suddenly boom, that that ocean pops a lot more, looks a lot better. We can actually even improve. The intensity of it may be of the saturation, and suddenly this water looks so nice. So this is really good for some travel stuff. We could do the same here with this family. Ocean Beach travel boom seems a lot more tropical doesn't, doesn't it? That's great. So 11 of these filters that I really like is this autumn Push some of these green. Some of these leaves are yellow, but a lot is green If we go to this autumn Autumn boost. Sorry. Autumn boost, filter, Boom. Now everything. Now this is the middle of autumn. All these leaves, even though it's snowing, it looks like all these leaves are now or engine yellow, which is really cool. Yeah. So I bet we could do that with this clip. It might be hard, but we'll see what autumn boost does with this one. So this one Interesting. Yeah. It kills the grass, makes all the leaves. Wow, this is really nice. So this puts anything in the season of autumn. Wow, that's incredible. The difference there. So this is I mean, this is night and day that autumn one is really cool. Um, this is another beach. One outdoors. Yellow. Now look at this one right here. There's actually not a ton of Is there some blue? But it's fairly monochromatic. I think this one would actually do well with one of those fashion filters that we saw. Um, so that was outdoor city Vintage urban fashion. Uh, not that one. Let's see her brand warm fashion memories. That's kind of cool. Yeah, that's a heavy color caste, but it looks really nice. Yeah, that's really cool. Um, again, when there's less colors on the frame ah, you can typically get away with with, um, putting basically any kind of filter on it. Let's weaken tried desert Dusty. Does that do anything for us all puts it together into some nice, more kind of khaki feel, so that's really nice and outdoors. Yellow. We could do a lot here. Um, there's some good like desert ones. Outdoor snow. There's a lot of really good snow. One. Um, I did three different snow. I think snow landscape was the best one there, and suddenly it feels a lot colder there, doesn't it? So we preserve the pops of yellow and red, which is nice. Ah, but but it really cools everything off. Makes you really embrace that snow a little bit more, which is really nice. As you can see, there are a ton of different options, a lot of good work ones as well. But there's a ton of good options here. And these lets Air really designed, so you can kind of really drag and drop almost any of them into an image. So that is, is how you do lots. It's really easy. You definitely want to keep it in the creative tab. Ah, it's real Dragon drop and adjust the intensity and saturation, but that's pretty much it. So for you guys, these let's are on sale. So if you wanna give him a download, feel free to do that. Ah, having broken down into different packages or if you want to get a discount, you can get him all at once. Um, so that's lots in a nutshell.