unlocking the power of screenflow 8 - edit videos & build epic templates! | Philip Campbell | Skillshare

unlocking the power of screenflow 8 - edit videos & build epic templates!

Philip Campbell, Crypto, OBS Open Broadcaster, Screenflow

unlocking the power of screenflow 8 - edit videos & build epic templates!

Philip Campbell, Crypto, OBS Open Broadcaster, Screenflow

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17 Lessons (1h 54m)
    • 1. introduction to the course

    • 2. walking around config recording

    • 3. walking a blank document

    • 4. increase productivity with styles

    • 5. layers and nested layers power tips

    • 6. export now or batch? - meditation time!

    • 7. experiment with custom presets for batch!

    • 8. DOIT! - blurring things

    • 9. DOIT! - moving the webcam

    • 10. DOIT! - making a lower third

    • 11. DOIT! - fake taps, false colour, fades!

    • 12. DOIT! -- let's make a twitter looping video?

    • 13. TEMPLATES - basic overview

    • 14. TEMPLATES - create new from template

    • 15. TEMPLATES - from our basic template output

    • 16. COMPLEX TEMPLATES - daily driver episode

    • 17. COMPLEX TEMPLATES -- 4:3 ads for social

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About This Class


I love making quick and fast video, when i don't have time for much editing i want to have a system/pipeline where i can quickly produce fast web content for social media -- most of the time i want to be able to automatically set my green screen values, optimize my audio, put animations and the start and end of my videos and do effects with everything i record in realtime.

with the power of screenflow you can do this and a lot lot more -- i want to show you how to quickly and easily learn to tame the power of this fantastic application!

  • basic overview of what you can do with screenflow!
  • understanding the front screen
  • understanding the inside interface layout of the app
  • understanding the layers element
  • taking a look at the nested layers and why to keep tidy
  • digging into the feature set and how to use the settings
  • using custom favourites to build up regular fast effects
  • making your first templates and why they are powerful in 8
  • making templates natively for social media and app store
  • encoding settings and building a custom setting
  • animation effects - moving things from one place to another
  • animation effects - fades, effects and nesting
  • hands on — Let’s make a 840px banner for blog posts
  • hands on — recording and automation with templates
  • hands on -- making intros and outros
  • hands on -- making stingers for obs
  • hands on -- client work done for ios video for app store

Meet Your Teacher

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Philip Campbell

Crypto, OBS Open Broadcaster, Screenflow



I make courses as often as i can (in between blogging daily that is) my courses are about things I've learned or already done online -- i never make a course about skills I don't have yet! an internet strategist teaching anyone that wants to efficiently learn digital skills and tools often with free software based in the cloud - twenty-five plus years of expertise with all things digital and covering the latest trends today (and weekly in our podcast!)

--- the backstory --

hitting the road, working mobile, exploring across the uk and america! remote working 

building out creative media assets in obs and screenflow for clients during pandemic for business zoom

<... See full profile

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1. introduction to the course: Welcome back to a new course, have been wanting to do a screen flow course for probably about six months now. I made a big decision at the start of 2019 that I was gonna learn on additional tall for kind of doing animation, effects, banners, little intros and things. And Kino wasn't kind of cooking it, so I needed to spend a little bit of money. It's not cheap $129 but it is incredibly powerful when you start digging beneath the surface of this app. I'm talking obviously, about telly streams, screen float, Um, compared to something like Premiere Pro or final cut Pro X. It isn't a fully fledged like movie editor is kind of like somewhere in between. Kino I movie Andi Motion, if you like. If you know any of those APS Apple motion on this course probably will be a couple of hours long because I've really deep dived in the last six months, and I use it for create little animation banners for making IOS app store videos for clients on. I even do kind of advanced templates for is well, so if I want to record a video about certain DAP decentralized application. Then I've got a whole from 10 system noise reduction, gen locking and scenes. The whole lot it saves so much time like it makes me so much more productive. So hopefully we're gonna step through and I'm gonna try and give you as much. Riel world advice is possible on this product. Like they say on the site for educators, marketers, vloggers, online training. I'm gonna be concentrating mainly on marketers vloggers on online training. There is a whole bunch of other features in it, like the install library, all of those different things which you really don't need. The baseline version, $129 is actually very powerful. There's ah, obviously the Super Pac in the Super Pac premium and all those additional add ons if you have the extra money. If you've got the extra, like 75 bucks for the premium Super Pap pack and you don't have anywhere to get assets from that, it's probably gonna be valuable to you, cause there's half a 1,000,000 different unique pieces of of items content in their from video to animations to music to bits and pieces that you could just do a search inside of the app and find it. Hopefully you're gonna enjoy this course. If you have any questions, feel free to get in touch. Let's get into the course. 2. walking around config recording: All right, We're going to take a quick look at thescore een flow configuration that pops up once we go to the top bar into the trade by. You can see here we have some options. What we're looking at is the configure recording. Now, you probably want to do this the first time that you're making recordings. You can just go up to the top and click on record. But you really need to configure a few things. On the left hand side is some of the options that we can do before we actually start recording into screen flow. And from here, you can get what's no get help and even watch from tutorials that they've made. So the first option we've got is new recording. Now, what you gonna see is options for recording the desktop. This will show you a little red bar around the edge off your monitor, depending on which monitor you want to record content from underneath that you've got a grade out option right now because I don't have a lightning cable connected to my iPhone or iPad. But if I wanted to, I could record off my iPhone and iPad as well into my project, which is kind of useful if you want to do demonstrations of mobile laps and things like that. Underneath that is record video. Some recordings from the Logitech brio. Your camera will be shown underneath this drop down, and then underneath that you can have formats all the way up to four K. If your system and your camera allows it underneath that, we've got the Logitech brio that it's gonna try and record from in stereo. This is the mike that I'm using right now, but I'm using that in quick time. So I've just set this just in case we're going to get any weird things happening recording him. What happened? Showing another next configuration or one thing I should say. Actually, the bomb here a lot. People miss this. There is additional options on new recording so you can set the frame rate to either highest or down to one FPs or 30 FBS, so you can actually record at a certain speed. If you have an older machine, you might find that 30 FPs works better for you. Also, timeline frame rate same again. Your machine. If it's maybe 34 years old. You might be better off recording at the FPs, and you could do other fancy things, like recording in a loop or stopping the recording after a period of time. That's kind of useful, actually. If you want to record a quick five minute video to get out, you have a little timer sitting in the trade bother, and it kind of gives you a bit of reminder to hurry up and get the video dumb within that five minutes. Next option across is new documents, so you can see here under the prey preset. We've got full hasty 7 20 p Web and all these different imports for IOS. We've even got one for Instagram as well, which I think is six. Void by 46 45 6 40 year. You can do a maximum of 1000 by 1000. Nothing instagram upsets, and you can also change the timeline frame rate as well from 24 ps all the way up, 60 FPs underneath that is recent documents. So everything that you've been working on shows up on underneath that probably one of the most powerful features off the application and one of the reasons why I wanted to do a video little screen cast tutorial on how to use screen flow for making really advanced templates to be able to speed up on. Add a bit more productivity to your day to day video diesel, different shows or episodes or programs that I do recording video each day and each one of these. You can have a different animation style. You have different intro. You can do effects on your sound before you've recorded it. So once you get inside the editor, it's already applied those effects safer. Jenna Locking you do Moving animation is an incredibly powerful part of the app on. I don't think a lot of people really use it as much as they could be. The final part is TheStreet Media Library. I think for $60 a year you get access to 1/2 a 1,000,000 assets that you can use in the side of screen flow. I haven't actually bought this because I've got various places around the Internet that I could go and get free royalty, free images and animations and backgrounds that I can use as part my videos. But you may find it a lot more easier to just search inside of the application for something Vyron name. You know, maybe looking for a sunny background or a three d animation and you can find those in the app. All right, I'm gonna jump inside now, and I'm gonna show you a new recording. As if you were just, like, recording from the desktop. Maybe something in a browser with some gentle locking, and then we'll get into a bit more advanced topics. 3. walking a blank document: right, So I'm inside of the app now. I created a new documents he can see now. It says configured recording is great out because I'm actually recording using screen flow now also tells you the time if I click off, then go back up again. Told you how much time has elapsed since recording. So what I did to get this screen flow screen up is I actually said open new documents so you can actually open it in two different ways. You can just start recording like I did, or you could open a document and then start working on it. So I wanna walk you around the interface a little bit because it can be a little bit overwhelming for people to open up a new document and then just be given this layout of this kind of section at the bottom and then a section on the right inside in this big stage . So one of the things that I always do is I grabbed by the middle and shrink at the top. I use my scroll wheel to shrink that down, which is kind of useful. You can scroll up and down and also do that via view as well. Zoom in some 200% which obviously will zoom it back out. So we're gonna scroll that down again so we can get that back on to screen. So let me walk you round the interface a little bit. Everything that you're going to be doing is gonna be with this section on the right hand side there you could probably on on boldness and put this somewhere else. I know you can definitely do that with the bottom part. You can detach this bomb area, but everything you're gonna do is probably gonna happen here on the right hand side. So I'm just gonna step through each one of these sections a little bit to give you a bit of familiarity as to where all the tools are gonna be when you actually record some think. And then I'm going to show you this video that I've recorded of this very weird on how to edit that. Move that around to make some changes. You'll see at the bottom here on this bar we've got these are like layers. If you've ever used photo shop or any application where you're stacking layers on top of each other. That's where you're going to see everything at the bottom here. So if you're recording from your video camera, if you're according from the desktop, if you recording audio, all of those are separate layers at the very bottom of the screen, and we'll get into that as we go along. All right, so the video section here, we've got the ability to scale the video. We can make it full size, weaken, stretch it to fit on. We can even reset the scale if we get something wrong. Gets very advanced here because we can move the position around the X factor. The why the set factor of the zooming in and out of it. We can crop this main video, and we could do a whole bunch of different effects to it. Drop shallow color controls the color controls very useful if you want to change the saturation, brightness and contrast so usual stuff that you find in most video applications. The powerful part of this, though, is the video filters. So if we click on this button on the right and because we don't have a piece of video and now it's not allowing us to click on that video right now. But if we had some video here, once I jump through to the video content, you'll be able to see that next up is audio seeing. Go in here, do a similar thing here. Audio filters, volume docking, processing all the different things effects that you would do on an audio track. One thing I will say is well, on these two, particularly. You can see this like three D box on the right inside here that says Styles on it. This will become a very powerful feature later on, because if you've ever been frustrated by video packages or audio packages where you didn't quite get the same settings right the next time around, you can actually save those settings as a style sheet. So if you think of Web editing, you can create a style based on all the effects that you did be a video or audio. So that means you can just go back any time and apply those styles to a particular audio track or video track, and it be identical to how it was last time, incredibly powerful, and we definitely get into that as we go along 3rd 1 across video motion so you can move things around it and effects to it screen recording so you can add a pointer. You can just show what's going on on screening, even show all the keystrokes as well. Next up is Call Outs, another powerful feature of screen flow. If you want to call out a certain area off the screen, you can just zoom into it using your mouse port mass pointer on. Then around the area, you can change the opacity. So do you want to make the background darker so that people see that that area? You can do it just with mouse or foreground window, or you can actually do it. Freehand is also you can draw that out with a circle or a square, and you do other features like Zoom up Seacon, where the area that you're trying to do a call out on you consume that up so it takes priority on the screen, and you can do things like that of border to it so you can put lack imagination on a circle it or put a square on it, and you could do things at the bottom here is well, build in, build out so you can have a kind of an animation off. In effect goes from the desktop to zoom in it in and we're gonna I'm gonna show you that in the video. Maybe I'll do a zoom in of this area here and show you how that looks on screen. Next up is the touch Call out again. Same kind of things. We've got sizing, spacing, opacity, really, really powerful parts here for doing calling out certain areas of the screen on. You can do this as if you were doing it on a tablet. Next up is annotations. Annotations is another section. I use quite a lot so you can create a on an irritation using gay a line or square filled in square empty square. You can put a pastie thickness shadows. You can import endpoints on them as well. So if you've got a line you can put like an arrow on one end or both ends, Uh, text is very powerful again. You can use any font in your system. You can put backdrop onto it. You can put animation onto it. We're going to step through all of these features and show you quickly how to get up and running. And then finally, is that media library that I told you about in one of the first videos that you pay for $60 a year for half a 1,000,000 assets. We don't actually have that, but there's a whole collection of, like, music to like photos to videos on a global library as well, so that that actually works cross all of your screen flows that you work on. So let me jump into this video and let me do a few of those features so you can see how they work. 4. increase productivity with styles: right, so this might get very confusing, but this is the video that I just recorded off the previous video. So this is what you get once you have finished your recording and eventual recording by going up into the trade by clicking on stop record. So this is what I'm kind of left with. You'll notice that I've got a screen recording layer and this is what the layers looked like at the bottom. You can move these lays open danced by grabbing those three little balls, so I actually want this here. If I put it above this one, you'll notice that my webcam disappears. Gonna put that underneath there. Now, if I play this, you probably won't hear any audio because I've turned the audio recording off. I can hear it. So I'm just going to turn that off in a mute that all you do to mute the sound of a layer is click on this little output speaker here. So if I play it now, I can't hear anything that I'm saying. Another way of getting rid of audio on a track is if we go up to these buttons that I showed you in the previous video for going toe audio. You can see there's a button here that says Mute Audio and you'll notice is Well, now, if I go down to video filters that I can actually click on that button now and see these two different different things. All right, so this is probably gonna be one of those things that you you're wanting to do with screen fly very quickly. So you want to record something that's happening on screen. You want to capture the audio you want to capture the video on. You might want to go to the extent I have with the green screen as well. Now you see that this layer is a free layer on its own, so it captures each layer separate each source separately. So this is my Web cam with audio layer. Now what I want to do with this is I want to actually add Gen locking to this layer to get rid of the green background. Now there's a couple of ways of doing this, but I'm gonna quickly show you the normal way that you would go about it. So I one thing I want you to notice as well is that straight off the bat, straight out of recording from the APP, it's added a drop shadow to it. Now I don't want that. So I'm gonna turn that drop drop shadow. Often you can see it now. It's gone well, so you might have a few times where you're clicking on a layer and you're trying to get to , and it won't select it. So sometimes the best ways to click on the actual layer until you see the lines around the edge. Now, just like on normal APS. If I grab on these corners, then you can scale up the video, and I'm just holding it and dragging it to do that. You can even rotate that as well if you want to have a certain angle. I'm just going to and you'll see on the right hand side as well where the position is as I'm moving that you can see that the Zed rotation is moving as I'm as I'm doing that, um, I might do a separate video of me zooming into the area, but for now, just put that back to normal. All right, if we go to video filters and if we select On the plus, I'm gonna say chroma key and you'll see straightaway that it removes the green from the background. So I can actually then just put that video into the bottom corner. And if I step through this, that looks pretty good. My screen and my lightings pretty good. You can actually play around with the video effects off the greens. Grief. If you want to, you can see you. That one are highlighted again. You've got this video filters block with chroma key. Sometimes you don't see these because they're hidden away. So if you like wondering where they were, you could just drop it down. Now, if I use the sliders, you'll notice that if I go left and right with him, you can see how the green restores back. This white clip is basically telling the software to remove that color from the background . And you can granule e play with that until you get to the setting that you want at the tolerance level that you want. So if I took it all the way down to zero, the greens gonna come back. If I do, if I go to the right, the tolerance removes that green again with the angle as well. You can see where the green is, and you could just remove that. Now here's a powerful thing if if your configuration is the same most times I e. You've got a well lit green screen. Andi, you have the green screen behind you and the lighting set up, and it's always the same one thing that you can really, really, really powerful. And I want to get this out from the second video because I want to convince you that screen floor is a powerful part of your productivity taught. So what you can do is now that we have this configured exactly as we want with this chroma key, we can go to this button that I mentioned in the previous video styles. When we click on it, you can see some of my previous styles that I've got set up. But if we click on the plus, what you'll end up with is parameters to store in that style. So not only does it remember the video filters, which is this chroma key. So remembers all of these three settings. These air settings are perfect for us for this video clip removing the green screen. But also, it stalls the X position Y position on the scale. So the X and y scale as well. So what that means is, if I want to always have my video clip in this bottom right hand corner with these green screen settings, I can actually save that. So I'm gonna go ahead and do that, and I'm going to call it. I mean, just rename that. So I'm gonna click on here rename. So this is a test, right? So what I can do now is I can grab this movie over here on. I'm gonna just remove the chroma key, right? So I'm back to where I was effectively when I opened this up, apart from the drop down the drop shadow, which I think is that Okay, so what I can do is I can now go to the styles, click on that, and if we go down to the test, you'll notice that it moves it into the corner and applies my general an incredible, like, speedy quick toe edit, um, video effect. Right. So another thing that we can do is that we've also got audio on this layer. And if I want to, I can detach that audio. So I'm just right clicking here, doing detached audio and you'll see that I've got it, says Audio from Logitech. Abrio. Right, So I can hear music again because we haven't muted this so again. I can do things with this audio now. It's similar to those styles. So let's go to the second option across, which is audio. I'm gonna click on this little style, actually, I'm going to do that just yet. I'll show I'll show you one of my effects, actually, and then you can get an idea from it. So I already have a style preset called Apple Effects Batch. So if I go to update this, you can see that I have a number of effects inside of this. So I'm doing in an audio effect. I'm adding some audio filters. I'm removing some background noise. I'm smoothing the volume levels, and I'm generally changing the volume of changing effects through it so I can take what audio I've got there, the quality that I've got and I can apply a filter to it. So I'm just gonna apply this filter them. So you see here in the middle it's a little progress bar that tells you how long it's gonna take to apply that effect. Now what it's done. If I go to the drop down on audio filters, which is the bomb on the second column, you'll see that now I have a bunch of settings in here. So what I normally do is I actually need to update this to three. And I might go up to this and actually update that, say, done. And that's gonna take my current audio settings and updated with this master gain that I've changed on that is ultimately changed my audio levels to exactly as I want. So later on, we're gonna be looking at some effects to be able to automatically set the audio levels. Dual the noise reduction set, the gentle locking, remove the backgrounds, all of that stuff in a template. So all you have to do is go up to the top here and click on record to record your camera or the desktop or the audio Mike and have all those things automatically applied to it just saves so much time in having toe add those things in manually. All right, let's have a look at another thing. Let's go across to We're not going to video motion now because we'll get into that separately. I'm going to scream, recording. Let's do a call out. So let's go somewhere across the video, I think I said in the previous video, I was gonna call out. Maybe this middle section. Maybe I'll call out the call out. Let's see, why don't what? I want to do this. I could do it anyway. Really? Let's So we want toe grab or zoom into this time oclock in the middle. So one of the things we can do is select the video track, which is gonna be the background. And then we're going to click on this bond called Action. Now you'll notice that all the other ones have the action button as well. So what the what this action button does, is it? It adds another layer on top of the layer to say that we're going to do something to that particular layer to click on action. Instantly, we'll see a circle at the top and on the frame of the bottom here, you can see we got a yellow block and it runs for a small amount of time. So now we're kind of in an additional layer mode on top of this layer. So this is our background screen cast that we've captured. I'm gonna do this freehand So there's other options. We got to foreground window or we do freehand and you'll notice it's kind of dark and out. Now, we can do that as a circle or is the square someone say square? I'm just gonna grab. I just gotta draw all around this area by holding down the mouse and you'll see that that area is lighter than the background. So the reason for that is because of this opacity filter here. So if you want a grass, somebody's attention, you can darken the background and zoom into the area. Now, maybe I don't want to do that. Maybe I just wanna have the background is normal, but what I want to do is actually blur out the background. Well, the foreground should I say so. I can do that by clicking on blurred background and just keeping the focal point as that middle area. So you can you do a number of things that maybe I want to zoom up the area. So I'm focusing just on this middle area. You can do that too. Maybe you wanna put a shadow on it, put a shadow on it as well. And you can also give it a couple of seconds to build into the scene and then a couple of seconds to build out. So if I show you what that looks like, if I rewind this scrubber by grabbing the red bar along the top and then playing that you'll see that it once it gets to the start of it. Il zoom it up, Show me what I'm looking at and bounce it back down again. So very simple effect. Now we can change the speed of that by grabbing the edge of this ball and adjusting it or slowing it down. You'll notice that as I'm doing that, it shows you the duration off that call out as well. So this is quite good to get rough idea of how long you want it to be on screen. So I'm gonna say 10 seconds. Another powerful feature as well is that we can right click on this call out and we have a thing called curve type. So if you've ever seen those animation effects where you ease something in and then ease something out, you can do things like as well, So we're gonna do ease in and ease out over 10 seconds. So I'm gonna scroll this back out. And even though we haven't changed the bill, town time of two seconds on the out time of two seconds basically means we'll get two seconds off a building, easing in duration big paws on screen and then ease out for two seconds as well. So let's just roll that back a little bit and then click on play. You'll see it gets to the start to call out, Eases that in. So you know Scott faster and then stays on screen for about eight seconds. And then it's going to ease that back out again. And you can play with those to your heart to your heart's content. And again, if I click on that call out, you'll notice that that style button is highlighted again. So if you really like that, call out and you're using that call out a lot, you can just go into the style presets. Click on plus on, you'll see it's filled in all of those different things that you were doing to build in duration. The drop shadow passed the highlight type past the zoom up, etcetera. Very, very simple to use additional style presets. All right, what else can we do in here? We can do some text that drawing over the top of it if you want to. Let's drop some text on there. You'll see as soon as I click on the plus bun, I get this default text block and you'll notice in the layer on the bottom. I've got it on a separate layer so it disappears where the play head is Because I'm not over whether Text Block is, you'll notice that also it has a background to it. We want to get rid of that again. Focus on this section on the right outside to remove the background to it again. You could do styles here as well, so if you find yourself with a great lay out great fund, great backdrop. Maybe you got an animation where you want to face something in. So let's Let's do that. Let's put like a lower third on here. Put, uh, uh, fail Campbell screen cast. Okay. And then what we want to do is we want to actually animate that. So we want to build that in, and we'll probably like typewriter that across. So we cook on this preview, six gonna do that and we're gonna do is put that at the beginning of this file, bring their head back all the way as you move it a little forward and then we can just click on play. What will happen is it will just put that long bomb. Now you can do different things with that. You can change the background. You can do like color fills on that. You can remove the text completely. I can change the font, um, has put it up another size. I can make certain bits of it bold. And then if I want to, I can create a style again so I could just click on plus and it's got the building animation of text properties. So if I just want to every time do a animated lower third, I could do that and apply the effects to it Now. Probably gone a bit Mawr faster than I would like, because obviously I'm kind of showing you around the interface, but I kind of want to show you by by doing things that a person would one jump painting and get started, so hopefully that was a good little introduction to the layers and some of the really speedy effects to get you up and running really quickly. 5. layers and nested layers power tips: All right, let's take a look at layers. I realize up to now, I've kind of sprinted into everything I kind of wanted to cover over some of the things that I used regularly. Also, if you are a content creator and you're wanting to get to speak quick, I see a lot of clients on up work that send me a euro to, ah, YouTube video of the things they want. And they kind of want them today, all they want to be able to push it within the next few days. And so I'm trying to make this course around, giving out those power tips really quickly for content creators to We have to buy the software jump in and do this themselves. If they don't want to hire somebody, or if you haven't got the time that physically, like need to know how to do some action today, let's have a quick look at layers. This is a video that recorded this morning. You can see we've got quite a few layers here on. It looks a little bit complicated, but it's actually really not that complicated. What I want to concentrate on is layering and layers in general. So at the top here you can see that I've got a layer called intro Borders. And at the end of it, you can see that these, like stacked kind of like a dark layer on and another little kind of three D square on top of it. This means it's a nested layer. So I'm going to jump into this. I'm gonna show you why I've done it this way. You'll notice that it's at the very top so that this means this is the top layer. So what we have here is for areas, and each one of these is just a little annotation line. Andi around each edged. It just makes the video stand out on the site that I hosted on. So if I double click on that layer, then I get jumped through to the nested layer so you can see we have another tab along the top now. So if I want to get back to where Waas, it's always the timeline. I always go across the timeline. But if I want to jump through into that intro Borders, you'll notice that tabs there available for me to do that because I've opened it up on, so we just puts it as a separate type toe work on. So what I've done is I've given each one of these and name because you can just right click on each of the titles and you can just, like, change the name in there. Um, if you just actually click on it like that Sorry. That's how you talk. That's how you change the title of each one. Think is a good idea to have that organization skill in there to be ableto name each one just so you know which one you're working with. Obviously you could just, like, turn the layer off and then you know which one it is, but it just makes it easier to work with. If I wanted, for instance, changing color, I can just click on that one and then because it say a line, I could just go on and click straight through to it, and then I can change all my colors Here. You can see it's an annotation, and you can see it's a line on what chlorate is in the opacity and thickness, and you can change all those things if you want to you Notice it. Also like Grey's out, the other ones that shows you which one I'm working on, and then you have to kind of click off that to get back to a more. So why have I kept on like this? We'll really cause of neatness, right? Instead of having these four lines on this timeline to make the amount of layers that I have, you know, overly complicated, it's kind of a static. It's a kind of a static effect or a file if you like. So what I tend to do with this is have all of those lines the top left right bomb, all running edge M one in one layer. So this is a nested. Even though it's showing is one layer here, it's a nested layer in in that there's lots of layers inside of it. Sorry, we seem to have low, incredibly low flying jets today. Um, so the benefit of this is that I can I can do stuff with it inside of that intro Borders, if I go inside of it and use the little magnifying, think of the bottom here from small to large. If I shrink this down a little bit. Wow, that is literally overhead while I'm recording Unbelievable scroll down here. Bring this in. You could see that I've set this to go from zero seconds away across to, like, five minutes. So I said it to that length, just in case. I wanted to keep the borders on for more than a five minute show. But you can see here that I finish it. Actually it five seconds and I fade them out by putting a transition on the end of it, which I should do another little video about transitions. But transitions are effects that you can put on two on two layers to do certain things either begin all the end and then you can obviously use things like actions in between. If you want to do certain things with the video with that layer before ends, So another. Except so that's one example is that I've nested in together like that. Just makes it a lot easier to deal with. I can go into here and I can edit these things whenever I want. Also, I use this for the intro logo in their texts as well. So they're text there. The background to this text on this text is all on this or the layer called intro, logo and text. So if you go inside that, you can see that the placement of the logo, the text block the logo and then the annotation is kind of like a black background, but it has a certain amount of opacity on it, so you can see over here it says 3%. They're just nice and neat. It means that when I change this and you'll see how this template works later on, when we get more into advanced templates. But if I want to go and change the text on this, I just have to jump through into their change. The tax so comport like this is a test like that and just click off it and then want to go back to the timeline. You'll see that it's changed on screen, and it's changed inside of there. Now, if I on a couple these if I do or ness clips, you can see how busy this starts to get. So it's really just a neatness thing. Just, you know, you could just click on right click on on the layers that you want to join together, we just nest clips. And then all of those clips go into into one like that. I'm gonna put that back underneath here. If I want to move any of these layers, I could just grab these little three lines put to the top. One thing that screen flow does is it creates these blank areas, which is kind of annoying. Once you've nested something, it doesn't remove these blank areas. So what I tend to do is shrink down the whole of the stage so I can see everything and then grab everything. And then the very top, Most one. I grabbed that. Andi, just take that up. Just start that. I know of God, everything. I mean, this is just being picky because the blank spaces don't actually do anything. Kimmie in code. But it just makes me feel a lot neater. You see, now they will disappear. The last three that were there because there's nothing on it. They kind of disappear. So it's just a little bit of management, really off using layers like, so you can name them so you can see them very easily. You can turn them off, so you physically can't see the layer on the video it all, and you could turn the audio off that as well. Another good use off layers is if you have backgrounds like we have this moving background here. If you want to, you can create a nested group of those backgrounds on. Change those backgrounds out after you've run your template so you can have six backgrounds inside that nest and then just turn off. If you're using that one over and over again, you could just turn five them off. And then you don't have to go searching around for different backgrounds. You've already got them in your template again. We'll get into that a little bit later on, but that's that's the basics off layers and nesting. 6. export now or batch? - meditation time!: all right, Something. Now, I just realized what I exported. This last clip, which was me showing you the layers, is that there's also a couple of ways toe export files inside a screen flow, which I think are important to mention for a content creator. You either want Eddie everything and exported straightaway. Which text timeto obviously encode depending on the length of your file of us is gonna take at least that amount of time unless you got a fast I, Mac or fast up to date Mac, which might do it in faster time. So if you got a 10 minute video, you're probably gonna look around 5 to 10 minutes for it to encode it. So two little kind of life hacks that I do here, especially if you are making a lot of content in a day, is I kind of use those export imperial periods of time to kind of meditate and take a bit of time out. I used to do it when I exported two clips. I used to take seven minutes to 10 minutes out. Just go and sit. Andi literally meditate for 10 minutes and then have a clear head to come back and explain things a little easier. Another thing that you could do is you can also save this file. So if you save it as a screen flow So I'm just gonna call this test now you'll see the topics saving this file out. If you haven't got time to export it out, Maybe you've just only got an hour or a few hours to get some course work out and you don't want to be sitting in between each block to do meditation or toe. Just wait for the time for it to encode. One thing that I found that works really well is to be able to record and then save, recorded and save. And then later on, you can actually batch in code all of those screen, flat screen flow files together, which makes the whole post process much easier, especially if you're used to kind of a sprint methodology where you spend, like two hours just sprinting to get as much work done as possible. So that means you can literally set up like I do here with my my recording, less thes air, all my recordings for each section that I've got to do. And then I can just back to back each one. These 10 minutes, five minutes, five minutes, 10 minutes. I could end up with, like, an hour of content already recorded. Berry mind Not always edited already to go, not with effects and not with, like things moving around like I did with this one. I kind of moved a few things about here on screen so that you could see stuff going on in the background. This is finishing up now. I'll quickly show you what batch and coding looks like. So the benefit of this is that you can do an hour's worth of recording because obviously, you're not gonna be able to talk for hours and hours on end. You'll probably have to do it in batch. So now I've saved this is test up here. I could go to file and I can do batch export. So this brings up a request that where I can actually select my screen flow documents like that test and it'll say sometimes you get this is well, recoverable Data detected on test. I've never had a problem recovering it. Just click on recover, and it just works I'm not sure why it does that I've seen it a 1,000,000 times, doesn't cause any problems, so you can see here. It says documents test seven minutes, 41 seconds is the length of this video so you can actually save. You can actually record each part, of course, and then just save it as a screen flow file. So you have the master file. So this means you could spend an hour or two hours if your voice couldn't keep up with it. Then go out, do your things or do something else and then come back, edit those things or even save those screen flow files on Dropbox so that they're sinking to Dropbox or remote workers. Somebody like me can pick up those screen flows, edit them at all the transitions door you stuff that you need doing on it, and then look in there later on in the final, um, folder for all the ones that I finished, and then you can literally batch in code them here. So it means you can just load each one of them in settle your presets Here. We'll get onto presets in a little while about making some custom ones for that. I'm gonna use one here for just we keep it on Web high and you can see underneath. It tells you that the encoding speed of it on the audio settings as well, for encoding I'm gonna keep the scale of it by 100% on this interruptions of emotion but blow and chapters and stuff. But I don't use any of those. And this just means that you can do everything in blocks so you can literally just record all this stuff. Send it off to an editor, like, just leave the house, Let everything sink to Dropbox. Let your editor work on it. You get back, everything's in the final folder, and then you could just drop in here and batch and cut yourself or have your virtual worker Justin code all that stuff for you on having encoding ready to go if you've got a better way of doing it from Dropbox. So just a just a alternative ways off a pipeline process of working really 7. experiment with custom presets for batch!: So I quickly wanted to show you how to create your own custom exporting sections because I think it's kind of valuable toe. Understand the quality differences and also the speed differences on the size differences. Because if you're uploading to the Internet, you have mobile connection. Maybe around four g, the smaller on the quality perspective, we can change both of them to speed up that process. If we go into first thing, I'm gonna show you in preferences. Actually, for I get into that, I think it's important to do kind of like her. Behind the scenes, add many think one section that you should definitely go in an update is the timeline section. Just these three different things here can help speed up productivity to change your default transition. The track High Oliver as regular, but the default action curve I have that is easy in and out. That's gives it that, like slow down speed up effect s so that you don't have to apply an effect to every single time, and also you can change all the duration timings for each off the type, so text clips still images, audio action, and you can set how long duration is That means you don't have to go in and physically change that again. I mean, you might already have a style for that, but good idea, Teoh, check these things in the timeline. And if you start to use screen for every single day, I hardly recommend you update or your shortcuts as well. Anyway, let's get into the export settings. Obviously, I can't go to file export because it's great out right now because I have nothing on the stage is nothing to export. So what I'm gonna do is I'm gonna go to Batch Export. And while I'm in here, I will quickly talk about batch export because I think it's a really big timesaver, especially if you're making video parts one after another. Say you want to spend the next couple of hours getting as many parts, of course out, or you're describing your product or your service. This is a really good way off not having to wait for your computer, render for render video out, which obviously adds more time, and you kind of lose the momentum. You want to get into a one piece and then the next piece so What you can do is you can save your file instead of save our export and do the rendering and saving out. That way you can save it's a dot screen float for, and then when you do savers a screen flow file, then you can add them in over here on the left on site so you can come into screen flow any time that a file batch export and then select all the different documents here on the left inside. What will happen is that you'll see there's a timing next to them of how long the video is . And then here you can use the preset scaling, motion blowing motion blowing all of these things as well, to be able to batch them one after another. So this is really useful if you record for two hours and then go for lunch and just let that whole list in code while you're out over lunch. So you're utilizing that time that would normally be just you an hour checking out for lunch. You've got an hour with your machine tied up during the encoding, but not tying your way after weight for a video to it in code out normally, so it's kind of Ah, nice time saving hack to do that. Seen as we are going to look at the presets most of the time, the presets that come with screen flow will cover every eventuality. The Web high is pretty much good for posting videos to the Web. You might find, though, that the quality of them is not so great. Another preset That is really good. It's Haiti V. C. That's kind of the up to date video Kodak, which is the hate to 65 That might not play on every machine, though, because it it doubles. It shrinks down the size of it. It doesn't lose the quality. But then it's all on the decoding of that on the machines. Most opted eight machines can handle it, but not everything complaint. So do be very careful about that. Should be OK if you send this video file in this format. To a client who has an iPhone, for instance, that would be a small file size, and the quality won't be lost. The next one is lost list. Obviously, there's no loss in quality. Here files a massive pro red, same again lossless if you just want to take the audio out and these ones are really, really nice to have, especially if you're doing IOS APP videos for clients. The APP preview and the iPhone X optimized and screen film. Lots of stuff here for Apple. Also one here for Instagram. The animated GIF doesn't work like I expected it to, in fact, have had some issues with exporting animated GIF. I say to people that you're better off exporting it in another former as MP for a movie and then using something like Gift Brewery three. That's one. Once I use, I probably do a video about actually just to show you that. Then, underneath that, you'll see that I've got three once that I've create myself. So worked words. IPhone 5.5 Export settings on copy of Web 20 Meg Tweaks. So I had a very specific request from a client that they wanted a video in a certain size. So how did we make one of these? Well, for instance, if we're already on the high, we can we can customize this on. We can actually see all the settings for it. So this is one that's a little stand. If I start messing around with this, then what will happen is that that will change all the settings for Web high. You can see it underneath. It is very good at describing what you're gonna get his 264 file at 3000 kilometers, which is pretty good on a C audio to 56 which is very high. Actually. You probably don't need that level of quality, but this is the golden button that you need is manage. So once you get in here, this is where you start to have your existing ones at the top and then in the bottom, exceed custom presets of the ones I've made. So let me show you why I created a custom preset. Let's go into the work words one for instance, and edit that. Now you see, the differences here is that I want the frame rate to be 60 FPs on. I've doubled the data rate size to 6000 killer bits, and I could probably jack that toe 8000 killer bits and be nice, but have also changed this to be hardware accelerated. So if you have a GPU in your machine So you have a CPU for your your computing power, and then a GPU is normally like a video of processing unit. So if you have a hardware accelerated unit inside of your machine, you can utilize it here and then pretty much all the other settings are very similar. I've taken the data rate down for the audio from 2 56 down to 1 28 If you're doing a video piece that really relies on the audio and jack that up right to 3 20 But this is a custom profile now, So if I go up to the one that it was based on which the Web high and I copy that, you'll see that I get a copy of the bottom here and I can edit that. You can see how the previous one was. It was just a single pass. It was 30 frame 2nd 3000 But now I can edit this settings, and it won't affect the one at the top the Web high. I can also remove this for want to get rid of it. Then I had a custom thing for a client. If I go to ah, this one and edited. This one was a custom for the client that frame 2nd 3000 killer bits Single pass 44 256 K on die Kind of tweaked it until I found a perfect settings to what I wanted. But you can mess around with these as much you want. I've never tried these ones. Actually, this this copy of the instagram one on the animated GIF. Maybe this sentence in here that I can play with her Instagram 35 2nd 300,000 kilobytes profile Main never change these. I probably should do a bit more research into these. Doesn't look that much different. Really A bit more processing power KPs and then the animated gif. Interesting. So I can change the frame right here. I didn't know that I could do this. So you probably don't want 15 from second. You probably want 30 actually on then maybe colors to 56 Or drop that down to 32. Fuel going for file size and then also you've got, like, dithering here as well, so you might want to turn some of this off if you get in weird colors, which I am getting so I will play around with these batch export settings. But the golden rule here is always take a copy. Don't go into any of these and try and edit them. I don't even know if you can edit them. But don't don't mess them up by going into this customize and changing everything in here because that will change this particular preset. You're better off going to manage and then copying it. All right, that's it. I just wanted to show you that little bit. Always a good idea to go onto the websites off the companies and find out what their specifications that they expect for the video content. We send it to him, and you can just make yourself a custom preset. 8. DOIT! - blurring things: right. So I'm gonna quickly delete this layer because I don't really need a webcam layer I just recorded on screen a box area here. So if I just it's just poised to the end here, just a form area where I was be filling something out. So I want to type something in, like everything. One of things I wanted to show you is how to blow something out like a form field. So how would we put a blur just on that particular section there? So maybe we're only typing in that section starting around here. So the first thing you would do is find on the progress ball the time bar where we start to type. So it's around there. So the next thing I want to do is with the video selected, I want to go to the call out. I don't want to do an action, and so I'm starting the actually see this yellow box him starting the action at this point . Now, the moment it's just showing me a circle around where the mouse cursor is on screaming. I don't want that I actually wanted over here in this form area. So the thing I can do is do freehand And then I'm gonna use the square tour and I'm gonna kind of out an area where I might be typing. So you can have to be a little bit predictive about this so that the minute you can see that the background is blowed out. I don't want that. I want everything else to be non blood. I just want everything inside this area to be blowed out. So let's change the opacity off that. So it's the same all around, so it looks like there's nothing changed with things, Page. But if we start playing now, what did he do wrong? That I haven't done the blur on Silly me? All right, so if I just go back to this until in the Blur on, then you'll see that that area is start to blow out. So if I click play now, you'll see that the typing still happens. But you can't see what's been typing in that area now. Admittedly, underneath you're seeing everything, so this is a bad example, but you understand the methodology behind it now. Also, if I want to, I can do things with the video at this point. So maybe I want to scale up this whole area so I would put action in and I would say, Let's zoom that up. So I'm gonna bring this up to the front. So we're going from there, and then we're gonna quick, quickly plus play and it zooming up. You can see that the effect just carries on after I've zoomed it up because I'm kind of putting a focal area on this. Maybe I can make this expand up a little bit quicker as well. So we go from here, we do a curve chart type of ease in. You get these, by the way, by clicking on right clicking on them and it gives you the curve type. You can experiment playing around with these to find the effect you want. But all I've done here, by the way, sometimes if you can't click off is a good idea to click off the actual bar completely. So you see what happens is we get to this point and then we start playing that zooms up, and then it blurs out where we're typing now. You can mess around with any of that blurring and everything just by clicking back onto it . So it goes yellow and you can change all the settings on this. So we got to call out again and you can see you just changed. As you can see, we can one blur it if we want to. A little bit of blood, not too much. Boy, I could say it is a bad example, because obviously the world is everything because you see it below. But we can just get rid of those. That's another thing as well is that you can blurt anything else on the screen. You can have multiple times that you do that. So maybe you just want to get rid of this e on the end of May. You can blow as much as you want by by selecting on the screen, and it just blows everything out in that block. Now, you might want to just blur certain parts at certain times. So what you could do is grab the end of it and you can change the duration of that happening. So when you're recording, you gotta kind of bear in mind how you're gonna be potentially editing this afterwards. So thank you see, we blood everything out, and then it might be that we jump back so we can add another action in straight away. After this, the action. We're gonna bring this back to the same size, which is 100% on. I'm gonna move this up because I moved it as well. So what happens is is it's gonna zoom up. It's gonna hide the text and then it's going to zoom back down again. So very, very simple. But you can see how this can get really powerful really quickly. Another thing I should say is that these call outs and all the effects and all the tweaks that you've done, for instance, this call out one you can actually go into the to the style preset click on the plus, and it's going to remember that amount off blurred highlight type capacity, everything that you set. So if you find yourself blurring a lot of these things out a lot of the time, you can just set yourself a style pre second, just call it blur, and then you can apply that to anything so you can just grab, for instance, step through this a little bit more. Let's blur out the whole of the Google by clicking on Call out that we're going to do style . I'm gonna do blood now I can just select like I was doing before on the call out and just hide something, and it's gonna use the settings that I I saved inside of this. You can edit these as well. You can update them by clicking on update and go in there and change of right the things on their those parameters that you can store in their very simple. But once you start learning these power features, especially those styles, they're doing things like blows a really easy. 9. DOIT! - moving the webcam: just recorded for you. It's only a minute and 1/2 I'm gonna turn the audio layer off First off their say that you don't hear me play back So its bottom left hand corner here I've just clicked on the the speaker outputs You don't hear any audio When I scroll through it on All I'm gonna do is going to show you how I can remove the green off This background changed the audio quality of the sound quality So it sounds better and show you have to move physically Move this webcam view from one side of screen to the other, depending on what's on the screen. So I've created this little video of me using FLIPBOARD, which is one my favorite little news APS from like in the morning and at night. I kind of go through and look at the news on tell you about my little magazine, a nickel, the gravity. And then I picked three particular articles today, obviously, at pick the cheese factory, you convey about also about spending 1.7 trillion carmakers four times that much back. And then finally one of my favorite things at the moment, converting a van into a camper van. All right, let's get into this First thing I'm gonna do is gonna click on the Web cam view. And now I'm gonna go to video top right hand corner, and then I'm gonna go to video controls on I'm gonna click on the plus button, and I'm going to say chroma key. Now I want to do that and click on add. You'll notice that it removes the background, but you can see at the bottom right hand corner here. We've got a little bit of distortion on background effect. So it is not very good if we kind of put that here a second, Just move that layer around. You can see it's pretty bad. So what I'm gonna do is I'm gonna just this tolerance layer and you'll see gradually, that kind of disappears. Now, I would probably step through scroll through all of this to make sure that it looks pretty good as, um as I'm going through, which that's pretty damn sweet, actually. Just with that little saying, I do have a setting inside of here for changing the green screen automatically is a style preset. I say once you find the perfect settings for it. And you have the perfect lighting that is always the same. And the backgrounds always the same than pretty much get away with a precept. All right, so we got a drop down shadow on this and we don't want to have that. I'm just gonna take this thing, gets rid of the drop down shadow. Now, I'm gonna go back to the very first frame, very beginning in this video. I'm gonna grab it again, and I'm gonna put it on the left hand side and I'm gonna grab the corner of it. I'm going to scale it up, and you can see that it's not distorted, cause actual original size of this is 1920 by 10. 80. So even if I played this, you can see the resolution of this is pretty good. So I can scale this down without worried about any kind of distortion. Now, what I'm gonna do now is I'm gonna step through this until the background changes on. I'm gonna show you how I can move my webcam from the left of the right. So around about here is when we start moving to another page So I'm gonna go here. I'm gonna click on the actual layer of the webcam and then I'm gonna do action. So when I click on action, what you'll see is a little yellow kind of box on top of the video. Now what this means is now have clicked on action. Whatever I do will be key framed from the start of that to the end off this action. So if I now move this across here, you'll notice that when I rewind and click on play, it moves across. Now this is where it gets interesting. I'm clicking on this magnifying here so I could magnify up the layer. Now you can see that's very, very, very quick. So if we just click off the stage from and it's nothing selecting click on play, you'll notice that it plays through this action, which is purple, which means it's finished now and it moves it across Now. That's kind of boring, because kind of linear just across right now, you can grab this yellow area, and you can either make that longer so we can take the time to make it longer, even slower across the screen. If we want to, but also, we can do some really snazzy things with that transition. So I wanna change the curve type. So to do that, we right click on that video area I'm going to select ease in and out. So what you'll know notice now is that when I play now, it kind of start off slow and then brings it in. It's a lot more smoother, but I want that to be a little bit more snappy. So if I go back to this Aiken, bring shrink this down, and that makes it real snappy like that. Can you do a little bit faster if you want on again? You can save this preset this action if you want, so that you can always use it so you can just right click onto your webcam and apply it wherever you want. I want it to actually fade. You can have 14 set presets for left, right up, down where, if you want to put it so as the page changes, spit too fast. Actually, move this forward a little bit so you can move the action wherever you want. Let's do it. Uh, zoom a bit too corrupt this forward. See where the patient changes there. So we want to start transitioning here, I think. Boom. Right? So that's fairly straightforward. It's very easy once you get used to. Using these tools is not complicated stuff, Really. It's just finding your way around interface. Right? So let's serve fast forward a little bit, But this is that on. This is gonna be perfect here in this corner. Maybe what I'm going to do on this transition? No. As we go to this cheese, think we get back one. I'm gonna click on here action, and then I'm going to just scale this up a little bit, right? So bank right, Click on it curve type. Easier than out. Go back again, Bank. So now you can adjust it by zooming in to get the timing of that perfect. So we want to kind of go, we want to start. We kind of want to start here, I think, and then boom. Right. So you can you can play around with that and it adds a bit more dramatic, effective video. It just makes it less boring of a static shot. If you're just constantly sitting in the corner like that. If you're just suddenly, you know, page changes and you move to the other side. It just adds a little bit more interest to the video. So let me go to the end of here. And then we got another one. We got text on the side of here that's fine. Recovering it. And they were going to the other page. We want to move. Let's move to the bomb corner. So again, action. And I'm gonna grab this, shrink it down, moving across. Don't worry about shrinking and sizing. What will happen? Is it a key frame which basically means it will put the frames in between as you're as you're moving across. So it's shrinking on, moving at the same time again, curve type easing in one of my particular favorites as you want us to be really fast now. So from here, who, right, So you can you can customize that effect as much as you want. And then once you've got the perfect one that you want, you can save those as little presets. Just makes it a little bit more interesting as you're moving along. Last thing I'm gonna do here is I'm going to click on the Web Cam view, which is also my audio, and I'm gonna click on the audio tab and I'm gonna go to my preset, which is Apple Effects Batch, which, if I look at that going to update, you can see I'm doing some audio effects from audio filters, background noise removal. So all the things that you would normally stepped through and do manually, I just apply this and it will just go away room for 100% of the audio and then just just modify it and then I could just save this out on that. That video's done, so that's just a real quick way of showing you how to use the actions to move the Webcam view to scale and to move around on screen. 10. DOIT! - making a lower third: new document. What we're gonna do is we're gonna quickly make some lower. Third, So I'm gonna click on the text area. Had some text quickly. Let's just put, uh, name and then remove the background. Let's change the font highlight. It'll change the font. Make it bold, right? Most like that over here will take a copy of that Control and V Control, Control and State Control of E. Then we're going to change this to tutorials on screen casts as a title underneath. I would change that toe like 48 right? And then we'll sort of line that up so it fits underneath. That's kind of what's gonna be on. My little bother comes in. So if I wanted to, I could combine both those layers together and make them into a nested layer. Now, put a annotation, but I'm actually gonna use the annotation as a blocks. I'm just gonna put in this kind of orangey block on going to put it at the end of this layer. So I need to create its own layer now, sometimes skill share screen flow doesn't allow you to put the thing at the top, so I tend to put it in the bottom and then just grab it and put it at at the top. It's just a little bit boogie on the layers. So what I'm going to do now is I'm gonna animate this said that it comes on the screen around where lower third would be. This is probably a little bit too heavy for lower thirds and maybe something like this. And you customize this as you want with, like thickness shadow. Maybe we put a shadow on it. Let's put a put a background on here, actually, as well. So let's do this, Crais. A color I just have. This is a background that's just scale this all the way across. We're gonna put that at the very bottom here, so just so you can see this shadow effect over the top of it. I mean, this shadow is not looking particularly good. It's not like I want it. So let's have a quick play around with that. See if we can get the shadow looking a little bit nicer, uh, to shadow here. Let's make it a bit more precise like that. I think right every can make a little bit more distance on it. Or maybe it leave your pastie outlines parting outline on it for Want to be a little bit shop like that, and then take that off screen a little bit so you don't see the edge of it. Uh, just an example. I mean, play around with this design wise is machine one. I'm gonna bring this text into turns into black. So if we go back into the text field, fill it with black and then the other one grab this is well, cause you can't see because on white okay like that. I'm gonna leave those up there for a minute. So what I'm gonna do with this is I'm gonna animate this, so I need to be at the front of the line at the front of the layer here. I'm gonna take this off screen. You could hold the shift key down here. Actually, it's kind of useful to keep it on the flat line, and I'm gonna click of video knowing Do action. Sometimes this can stop from being selected, which is a bit of a pain, because then it's very difficult to grab it, but it looks like it's work this time on. I wanted a little bit up there and make sure you correct that. So what's happening here is that I started it off the screen. I clicked on action and then it's kind of key framing this in now. I'm not sure if that moves up a little bit. I think it does. So the way to get around this is we can have a look up here and you could see the position is well off the screen. 1620 pixels at 300. Position 300. So if we scroll to very end of this transition, it says 299 So it moves one pixel by now. I was just being really picky, but I could see it. So if I just play this, this is what it's gonna look like. Just gonna put that on its to slide, right? It takes ages. Come on. So what I want to do is on one of right click curve type. Easier than that. He's out. I don't want to half of this. I'm grabbing the end of this action and I'm saying I want it to happen in 0.2 seconds a bank right now. At this point, as soon as this comes on, that's when I want my text to happen So I can shrink these down for my text. And that basically means at the beginning of this they won't display right. But at the minute they're just gonna display at the top there. So obviously, I need to do a little bit of moving around. So for grab these two. Whoa, We don't want to do that. Sometimes that happens. Could be careful is to fly that ascribed these two. Click on the edge. You'll be careful clicking in this circle area or this Doc, could you just get what happened when I did that is just end up doing this. You can kind of, like, position things around which you might actually want as a pretty cool little sliding. But it just kind of reset that just cooking on Do put this on here in a minute. That behind. So what I have to do is I have to take this layer on after pulling underneath. That way, this can sit on top of their right, so I probably don't need tohave this length off orange ball. That I've got. So maybe I'll just position needs using my cursor keys. I'll just have that like that instead of this great big orange ball, like moving across to their Maybe I'll click on the the purple. You see it's purple a minute for click on It Goes yellow. I'm gonna shrink this down by just grabbing the end of it. When I do that, though, you'll notice that it's positions everything. So the way to do it is to click on shift and pull that way. You don't like position it resize it. So what if the do is click on shift and then click on it? Right? So I think that's gonna be enough. Maybe a little bit more, actually, I'm going to say around about that. So what we have very quickly how long? Literally six minutes is a little lower. Third, that just flies in now. You could do all kinds of different things on this as well. You can animate the text if you want to remember. You want to do some animation on that so I can go to the text block, do building animation. I'm just going to move and we're going to speed that up a little bit. I mean, your bank and you can do the same thing for the other one said building animation. But this time we're gonna do scale. Play that two slides. So we're gonna, like, slow that down bank. See, you gotta go to riff idea of how that works, So that should lower third bank, and you can play around with that to your heart's content. You can create little styles. You could literally used these text blocks to slide in and make a style from that You can automatically animate, drop in a box on add those effects to it just by clicking on the styles. Who got a video plus at style? You can see the exposition y position on this scale on that. Any box that you make will utilize the same effects that you used on this slide in box. So very easy to make a lower third inside the screen flow 11. DOIT! - fake taps, false colour, fades!: for a bit of ah, more hands on. Look at IOS videos. I wanted to show you a few little tips that I do. When it comes to clients that want videos in the APP store, they often want very unique, um, videos making per second. Often I get notes per second. What should be happening on the on the on the script here at the bottom are on the tray. Should I say in the layers? So here's one I've got for a client for for health care on. What they wanted is that every time there was a tap on the APP, they needed some kind of indication for that. So what I ended up doing is making these little tapping graphics, which look a little bit like this, start off big and then get small and then get big again. So, like giving you the illusion that you're tapping on screen. Now, one of the things that you'll come across is that clients will want you to change things very rapidly. They'll want you to use the colors all the branding highlight color from the from the branding specifically inside the video. So one of the effects that I did use on this, and I had to rapidly come up with something because it would have meant changing all of these tapping layers. And as you can see this quite a few when you start getting through the video. So what I found is that there's actually a lot off great controls in the video filter. So for just highlight one of these on drop down the video filters. One of them is called Faults Color, so you can go from color. Want to call it to I just use the same color picked over highlight color from their design on, then applied that to all of the videos. So why I had to do is just highlight all the videos and then apply that video filter. But inside this video filters is actually quite a lot of different Adam video effects filters it can use. I think it was that in the color just that I was using, or was it in color effect? Yepes Color effect. So what I used is false color, I believe, which had just went past, which is here. But there's a whole bunch of different video effects in here, so I would hardly recommend you play around with this video panel before you do anything for a client. Just get yourself familiarized with all the potential effects that you can use. Because if you kind of understand what's possible with the apt and you can kind of turn your hand toe anything, really. Another thing that I will say with this as well is I had an issue fading from a text freeze frame into another piece. I was actually using, like, a start frame, adding, Your transition and the transitions are pretty limited. Actually, If you try and do a fade or fade out there, normally go to black. There's no like Saito White or anything like that. And I had all of these titles on a separate channel, a separate layer because it was just easier to work with. And then I found that, actually, the way to do it is you can pull the video piece over the top of another piece just literally like this, and then that gives you like a fade between different parts like I mean, you can't really say that it was just too, too short. Visit complaint now is if you see the fade. Yeah, the fates bad because it's going from one piece of text, another piece of texture you don't really see. It's the same thing, Um, but just a little pout. It really there is that I create a little video for the tapping, and then I go through that with speed, and then you'll see it appear in the top right hand corner. But if I want to put it specifically on a video, I could just drag that wherever I want to put it on screen. And then obviously when I play it, it looks like I'm clicking in that area. It's just a nice visual for the client For them to go back to their clients and say All right, he go when you click on the search box, you can go through here and you can see it just great for conference displays on TV sets and things like that. So just a little ah, little power tip there of how to add little taps to a little I s O IOS video. Also, if you go to export from here, this is the one that you're gonna want to uses the IOS app preview. But be very careful because they are massive files in size. You might end up having to use something like we transfer to send them across. Bear in mind that they're free services up to two gig. You can convert this with something like hand brake, which is a great little app that use additionally, would screen float to output videos You can see here I did a few different conversions to 10. 80 p, and they strung down good enough that I can send them as, ah, high resolution file over the client, which they can then go on display on a TV screen. So if you're looking to change colors quickly, if you're looking to make little taps, make yourself a little video. We're just a little touch target frame There. I used 40 by 40 pixel PNG and I had a normal size for like 0.2 seconds, and then a smaller version of it. I just literally copied these and made them smaller. You can see the sizing there and then made it big again. So just all it does is it runs through, and then I kind of nested that together, right? So then it's on another channel, so it just happens above the video so you can see, like whenever it clicks on the video, Um, on decline came back and wanted it to be a different color. So I could kind of hack my way around that a little bit by using false color without having to go into the app and create. And a version of that so hardly suggest that you make yourself up a library off assets that you use a lot and you can store those in the global library, which is this end. But in here in the top right hand corner off your control panel on there's like a global. There's a global area for storing assets so that you can use them cross or your screen flows. I tend to keep them in the same video file. So all my parts that I need all in the same video file and then I could just drag it into the stage with it whenever I want 12. DOIT! -- let's make a twitter looping video?: All right, let's, sir, step through. Making a little video animation effects with some images and some clips for Twitter. So the first thing I would do about setting this up is gonna have a look at the looping time. Now I happen to know that it was around six seconds of it's actually 6.5 or videos posted to Twitter that 6.5 seconds are short herbal automatically loop. So I kind of wanna keep toe under 6.5 seconds. I get automatic looping video, which is kind of a nice effect because it stands out more on Twitter when people are surfing through like videos. If they don't have to click on something to start, an affair can export. It is video. I could get pretty good quality out of it. The next thing I'm gonna want to find out these air. Just simple searches, Twitter, looping video time and then Twitter video size dimensions. So the video Resolution one is 12 80 by 7 20 landscape, and then another thing I did is because it's four screen flow. I did a search for the Tele Stream press kit. Most companies have a press kit and inside of that they provided these beautiful, high quality images already on transparent background. So you kind of ready to go. So let me jump across to screen flow on. You'll see what I've got on the stage is an image that I use for this course. So I already have, like, a template of something toe work from That's the native size. I can make that bigger by going to video and clicking on this scale button, which will distort it. But it will give me the sizing that I need for the other parts. And then the other thing that I did, if we go to the furthest section here, this is my global library, and you can see that I've got the image, my logo that tell a stream, lovely logo and a little video off me stepping through and working on a file cause I kind of want that to be in the video as well at some point. So I'm gonna step through this. Obviously, I'm not gonna go through all of it because that be incredibly boring and supersede belong and skill shares all about really, really quick videos on DSO I will speed up a lot of the parts, but I'm just gonna step through this a few bits now and then I'll fast forward it when I think it's going to get a little bit boring. We've only just started it. So let's have a look out for we are, like, two minutes in. All right, let's get into this. So I'm gonna take this background and I'm going to First thing we're gonna do is select it , and I'm going to video. I'm gonna do opacity just so that I can roughly see it most going to speed this up to six seconds or should say fill it out to six seconds and make the timeline big. So I know that this is my whole length across. Then we got to the end here. I'm gonna grab this image and bring that onto the stage is well, we'll put that on the top. Take it up here, and I'm just gonna scale this scale up to suit. So roundabout, same kind of size. We have to be perfect. But anything in the same kind of ballpark is pretty good. Just gonna bring the capacity up again, and I'm gonna grab the image, the color me get rid of this color. We're gonna do a annotation, and we do a block of color. I'm just gonna pull blue color on there. But then I'm gonna go into color and select, get that gray, so know what Gray have got And then that gray can go underneath the logo, and then I'm just gonna put that, like, all the way across Doesn't have to be perfect. And then I'm gonna turn that off for the time being. So it gives me the image of the NATO on doing is using that image underneath as a reference really to see where I want to play stuff and speed up the video now and get everything done , and then we'll get into a little bit the animation. All right, So actually, pause the video while I was working on this instead of just going through a time last thing because I don't know, for ads any more value looks completely different from what I did, which is that I've got a top graphic here. That's the overlay of it. I changed my mind while I was working on this. That maybe actually go for a different kind of audience, like a younger audience who might want to learn how to make some little video edits and templates and things with but screen flow. So now I've gotten like this one of things I wanted to quickly show you for a pause. This video again is that I tend to lock the things that I'm not going to be using again. So, for instance, the background image, my logo on the sort of annotated background I can just lock those, and that means that I just can't select them on the stage. One thing I will say about working with multiple layers is that sometimes you select the funds on the on the stage, and it's not what you want. So by locking them that actually stops that happening. I can't go and click onto the logo here. Now that means I can play around the other things. Another thing that I did is I put these blocks that let me turn. This office is a top. I turned these blocks off the Sorry I took this blue block on this text, and I put it inside, combined it together as a nested clip that means if a click inside of this you can see I get these multiple tabs along the top here, which helps me work with certain things. So I know this is the top blue block and text. So if I turn both of these off, you can see it just turns the text on enough. If you go back to the timeline pretending on and off again, you can see you can see the block there and also enables me to instead of having to grab both of the blocks, I can just grab that top block and move it around anywhere on screen. And the text is combined together with it, which is kind of a useful little feature. Actually, I kind of like that. All right, let's put this back here, and then we'll put this one. I think I know a roundabout kind of feeling it around there, I think, or I'm gonna pull them to do some animation. I'll come straight back to you. All right, So this was an important because Well, I'm just trying what different effects would look like. Remember this video fall is only going to go for six seconds. I want a kind of that's not going all the way across to six seconds where the backgrounds not working. I just want to show you this effect, though, so I know the video's gonna be six seconds long and I want to kind of move the background back and forth to grab people's attention as they're going across the That's where feet I'll speed up the thes blanking out in a minute because they're that kind of dying off here . Look, So I need to fix those. That's because inside of this block there not long enough, you see, So if a shrink this down, I can grab both at same time, and I can take that to six seconds and their fixed, go to the blue block, do the same thing with that, and then you won't get that blinking action when things are blinking offscreen, go back here again on what I was going to show you is this'll. I've got an action on here, so all I'm doing is moving it from left to right, and then it slows down, gets halfway, and then I split the clip. It's the same clip, same image background, but then on the 2nd 1 I'm starting the position and then coming all the way back just to the edge of it, as it was before. Just so I get this kind of nice easing in effect when I play, it says The background is kind of moving like that, you know, just as a little bit more to it. And remember, that's going to loop round around as people are looking at it, so that might be a little bit too strong. So what I'll do is I'll just change the opacity on that video after go into each clip and do that actually sounds good under like, 5% go to this one of 5%. Probably good idea to get that capacity right before you do. Otherwise, you might have one brighter than the other one. When you're checking it, let me put some or effects and stuff onto this. I'll be right back. All right. So I took a bit longer over this than I really wanted to cause I started messing around with, like lays insider layers and then, like having a layer slowly moving across the The canvas is a little bit like those Netflix screen flow screen flow screen savers that you see. So I broke this this scene down into three parts and I'm using sort of the curve type as he's in over here. I'm using this one as linear so you can have a real play around with some of the stuff. I've actually provided this screen flow download file so that you can tinker with it and play around with it. But this should look pretty good once I output it because I'm thinking about how this is going to loop when it runs for six seconds and goes over and over again, but will export it and see what it looks like. Alright, so I've got this encoding now. I finished around with all the settings on it. I went a little bit over the top. Actually, I ended up having it, so it kind of like slide in and moves about and goes back and forth and a kind of measured it out for the six seconds of what's gonna happen on the screen. And then I'm using a another program here called Gift Brewery three. I just think it makes gifts better than screen fly screen flies a little bit limited on its custom preset. I would have to play around with a custom preset to get exactly as a one. But making it into a GIF allows me to see what it looks like if it was looping, so I'm pretty happy with it. I mean, it could do with some work here and there to make it a bit better, but this is like 23 men, because it's a gift. But it will be a lot smaller when it's an MP four file on. Obviously, because it's under 6.5 seconds, it will loop like this as well. So I'm pretty happy with that. I'll include the dot screen flow files. He could mess around with it so you can see how I did these kind of moving of lays in and out a little bit like the Netflix screen saver background things. So all right, call. I will catch up with you next. A little bit of the course 13. TEMPLATES - basic overview: templates of the most powerful part of screen flown. So I've spent quite a bit of time going over the template feature, and I'm gonna go into it in granular detail, but I'm going to show you the basics of setting up a brand new template from scratch. So I just created a new document here and right now, if we save this, we can save it as a normal screen flow document. Or we can say as a template. Now, when you try and click on Save as Template, it comes up and says no template placeholder clips before document could be saved as a template. You need to add at least one template placeholder clip to the timeline so that screen phone knows how to create a document from the template. So the way that templates work is that you create various layers on the stage, the stage being here at the bottom, and then you can create a video from that template. That's the hardest bit to get your head round. So if I, for instance, add my Web camera on my desktop into this stage, then I can create a video with all of the settings that I've I've said that I want. And then I can create a another video from that template. So, like, I've created this document from just a blank document, I can create a video from a template document. Sounds confusing, but I promise you it will be easy. So the first thing I'm gonna do is go to insert and insert the top here says template placeholder clips. If you click on that, it'll give me three options so I can add scream recording and computer audio. By the way, you can turn off one or the other once you've actually got on the stage. So what I'm gonna do is I'm gonna create a template document with all all but the IOS device because we're not gonna do that right now. I just show you how to do scream recording to capture the screen and then also my camera and microphone. Andi, I'll also change all the settings in there so that once I use this template every time, it will just automatically use my presets. That's the real power off building these templates. So I'm gonna add a scream recording your computer audio and you'll notice that you get this like blue bar placeholder. The length of it doesn't matter. So this is Put this in its five seconds. But as long as the placeholder is on the stage, you can record as long as you're one. Because it doesn't matter about that particular length unless you're doing effects in the video, which I'm going to show you a more advanced version off the template, maybe a couple of videos after this one. So we have a placeholder and it says here screaming according and computer audio place order. Now, if I want to, I can just mute the audio on the place order by clicking on this little mute there and anything I change and save inside of this template will automatically save it as part off the templates. Or when I use the template, it will. It will follow those instructions if you like, So I'm gonna add a template placeholder again. I'm gonna add camera and microphone, so I'm gonna put the camera and microphone above the screen recording so that if I had now use this, what it will do is it will grab from my camera and microphone that I select in my drop down . And this is where it gets a little bit confusing because when you do new document now or new template, you set which camera input on which audio input you gonna use, you can change them as much as you want. So why I tend to do is I tend to extract the audio from this and that. That gives it me as a separate channel, detached or, you know, extract audio. My bad. So what this does is I If I mute this layer, this enables me to play around with the audio track. So from here, I can just add from this audio a style preset. So the apple batch effect someone like this and do action. I'm gonna put the action all the way across it, and I'm going to say Apple batch preset, right. And then underneath this, I'm just gonna leave. This is right now, so I'm gonna capture the screen on going to capture the camera. So what I need to do now is go to file, save as template on jigs and put this as tutorial test boom. Now I can, if you look at the top, here is well, it says the name off the off the screen flow file I save. But next to it also says template. So in the next little video, I'm gonna show you what that looks like before you selected to actually create something from it. And then I'll show you the video, what it looks like and what it ends up like inside of screen flow when you use it as a template. 14. TEMPLATES - create new from template: So this is what it looks like when you're selecting the template that you created. So if we go to new from template, you'll see that I've got a number of templates here, which I'm gonna get into a few of these a little later on. But you can see the tutorial test one that we made now we could do two things here. We can select it to use it, or we can actually go in and re edit it. And you'll be going into re edit your templates quite a bit to get them exactly as you want , TEM. But for now, I'm just going to say I'm going to use this clip now. You'll see. Now it goes back to a screen that was very similar to the new recording screen, right? So if I go to new from template again, I can either go back and select another template, or I can just say I want to use this template as a base now the elements that I've put on the stage said the recording from the background on to use the camera on the mic. Those settings air in here. So even though I put a place older on the stage I set here. Which video camera I'm going to use to populate that with. And I'm now going to show you the output inside of screen flow off recording using this template that we just created. 15. TEMPLATES - from our basic template output: So I've finished recording using that template, and this is what I'm brought back to in screen flow. After I finished recording, you can see it's captured my camera at the top. It's detached the audio into the second layer and then I have a screen recording at the bottom. Now you can't see the screen recording. But if I was to turn off this top one, you can see everything that was on the screen at a time of recording. So if I want to, I can kind of like, mix, mix all this up, Shrink this down. No, I can play around with this. I can take off the Generac on the back of it. You know things like that and play around with the recording. Now, one of the powerful features off the template is maybe I want to duel that in the template itself. So I don't have to worry about doing that after the recording and I'm gonna show you in a template in a minute. How advanced You can get this. I'm gonna show you a template that I've made, which does all of the movement scaling, noise reduction, everything. All I have to do is seen from to the camera record my video on all my styling and all my emotions don't for me. Maybe it will give you a bit of inspiration of how you can do something similar. 16. COMPLEX TEMPLATES - daily driver episode: Okay, so we've done a basic template. We've showed the output of the basic template. Now I'm gonna show you a more advanced template because I think it's just easier for me to walk you through something that I use an existing template on a day to day basis. Plus, actually just recorded a video this morning using the same template so you can actually see what's out. Put it in how this kind of save you some time and why it's worth spending the extra time Get in the template right can speed up your whole production flow. If you're a person who is very scared of technology or you're scared of breaking something or you want some kind of level of consistency to technology on a day to day basis, then templates of the way to go is screenful, especially if you want to make a video update every day or every week. Um, I'm gonna step through this line by line, layer by layer so you can see what's going on. But basically what I've got on the top layer is the borders. So the top red border left right bottom. They're all on one on one layer, and they're all nestled together so you can see here they're all together. I've given them a name just to make it easier to see them. This one of the left one I can turn that often exceed disappears. So I have that as a nested object. It just plays along for five seconds, and then at the end of it you'll see that there's an end transition where it fades out and that just disappears. Now remember these layers Airil times as well. So things are happening at a certain speed, right? So it's it's about getting those layers all together and understanding that so First of all , I've got the borders, the borders on the very top layer, and then underneath that I've got intro, logo and text. So if I click through to that again, that's a nested object again. And so it's the logo. It's, um, text. And then there's an annotation on the bottom that you can't see because it's on a black screen. But if we go back to the timeline, you can see that the little transparent background around the text just so that it doesn't blur into the background. I could turn that off and you can see that without it. But I'm still there. What did I do? You do it wrong. Yeah. Didn't turn it off the back. Interesting. It's not turning it after. I mean, just delete it so you can see that it's not there. There you go. That's without it. I'm not sure. Why does that in the nested objects? Maybe it forgets it when you go into nested object. So, yeah, I have the text and logo on each one, and that's another layer that goes underneath that. And then this is where it gets really interesting. And I found this out from trial and error, and I was playing around just to see if I could do it for the 1st 2 seconds here for the microphone. Placeholder for this For the camera and mic fold. Marc phone placeholder. What I wanted to do is I wanted to move the placeholder. So the camera place What? I wanted it to move just to the right. Now my face is not always here, But what I can do is once I've gone through the template recorded, I can actually move that afterwards, and I'll show you that in a minute. But what this does is it moves across. And then at two seconds, I move it back again. Now, I had a problem with timings, and it does weird stuff if you have these on the same layer. So what I did is I split it at two seconds and then from two seconds onwards, I move it back in time, using a little action effect there to be ableto like moving across. You can change those speed wise etcetera. Um, one thing that I did make a mistake off is when I cut it before it got all out of sync because I not put it forward two seconds. So it's a good idea to kind of copy play around with this because this could be a little bit weird. If you don't have this as a copy of this one and then minus two seconds, then you end up with, like, audio sync issues that that's something to be super mindful off. But it doesn't matter what length this is now. It'll just run through because that's the placeholder. And then when I did is I extracted the audio from this because I thought had issues with the audio. So it just rannell the time perfectly. And then I've also got a think I've got it on here. Have a look. Not sure if I have not. I should have audio filter. Yeah, I've got removed background noise on this actual audio clip as well. And then underneath that, I have the moving background so you can see that kind of moving background. That was just something that I found royalty free on YouTube that I could use so you could change that out every time if you wanted to. And then under that, um, what is this? I think this is the background. I think this is the background shot. Yeah, I think that's the background. So fairly simple template. But it just speeds up the intros and outro on videos. I think at the very end of here is Well, if I shrink it all way down, I've got a little outro here as well, Which is my little altro, which, at the end of its all self contained to the audio's inside of that. And then what that does is this is a recording that I this morning, So if I extend this out, You can see how this works in practice. So all I did after this finished is I scold along here to see if I was on screen or not. And if I'm no, I can just click on that layer and I can move that wherever I wanted to be. If I wanted to have more like that, then it will just moved a small amount. Also, while I'm at this stage, I take my thumb now so I can just use cloud up and just grab it so I don't have to make a separate thumbnail up. I can just grab it like that and that all bloods it to the cloud. So then all I do is go in here. I changed my text that I want on the slide show on the slide. Sorry. And then you can see how this all works. So it moves across. I take my my screen capture here for my image for them now and then. What happens is it gets there here and you actually see two of me because of this line. If I just Kirsten forward a little bit, then disappears when you're actually playing it. You don't see You could polish that up a little bit, but you don't actually see exit jumped on to the next seat, so it just moves it back in. And if we want to, we can make that bit more snappy. Just comes back in. You can even change the curve chart types on these if you want. If you just want to have this kind of linear to come back in as as just a little push well like that and then you'll notice that the top pair of four seconds. As I'm started to get to the video, the bars start to disappear, and then we just go straight into the video and then you can see here. This is where the audio has been improved much of his audio filters on this. I think I only put the removed background noise on this Actually need Teoh play around with this template. It's one thing that you end up doing is work going back to the template to add certain things in So you might want to put in. I am the audio filters on on this layer, for instance. So that's kind of how it comes out and it speeds up production something like crazy, because all I need to do now is move my outro on the end, cut, you know, cutting and tail it top and tail it. If you want to call it that, just make sure that you could go through and tackle the arms and ours out. But I kind of just like free freestyle it go all the way through. But that's just a really quick way off, making advance themes with audio effects. Gen Locking already done very mind when I wanna have this in this template, we go back to this template for the camera microphone. If I go to video, you'll see that for the video filters. I already have my chroma key already set up, so I don't have to do any of that. Like, once I get through to this file. The recording, the green screens done, the audio's done. I just have to type on my text, effects my text for the now and then move the end outro in place and it text literally minutes to do. I thought I share that with you. I'm sure you could make even more advanced templates, and that may be timed templates. You could have like running for five minutes and the notification on screen. Or you just know that a new graphics gonna come on screen. You could share that template with a remote worker in Dropbox, or just drop your files into it and they can put it inside of the screen flow templates. Really powerful, tall. I think it's one of the most glossed over areas off this app, and really, you should be sleeping on it, all right. 17. COMPLEX TEMPLATES -- 4:3 ads for social: right. This piece is about making ads for social media. I'll put it in my list of things to do not make cell templates for Social media and AP store. So I do occasionally videos for APP store clients who have a existing set of assets. They have, you know, like graphics already done on. They have the previous slides from from a conference year before their iterating on those on they want up to date the APP store video to make it look a bit nicer has got new features on it, stuff like that. So I try and make software that I've bought fit into those circumstances. So seems I'm talking about the absolute. I jumped forward a few tabs, but you can find a lot of this stuff over on Apple's main developer site. There's a whole bunch of information there about planning out your at preview what should look like if you're going in completely cold with the client on. They want a app video doing. You got all the settings inside of screen flow for the IOS App store, even down to the Codex to encode it for the right format because it has to be like 30 frames a second. I think I've actually got respect here. That's got two formats here, like a low bit rate format and then a hi VI br bit rate, which is the pro West for two, to which I recommend, if you could do that, work within those kind of limits. Andi, if they If the client has come back and say that quality wasn't good enough, then you could mess around with the Codex inside of screen flow to give you these exact specifications for the APP store on Bear in mind that chances are you publicly doing one more than one video for an app Stal video preview because you've got different resolutions for different phones. So if you scroll down a little bit, you've got the eye for all the whole iPhone ranges, all the native resolutions. So what I tend to find is that you have all these different stages, and then the designer will have different layout, because also, sometimes the APP renders or looks different, or they've added more features in on the bigger, wider plus side screens. All right, so let me jump back in the beginning. This again, the reason why I'm doing this video is I'm tryingto a show you how to make little square social media instagram kind of answer. Very popular, like four by three square. I normally do 1000 by 1000 pixels. The native side. I think it's six foot by 6 40 on Instagram, but I make little slides and videos and templates on Do. You can sell them quite easily on creative market, creating mark dot com. You could also sell him on five if you to search for INSTAGRAM and adds, you'll see lots of people creating insta grabs into the grand adds over there and getting paid to do it. Or you could just put him up Singley onto gum road dot com and just attach price to him. And you can embed thes even into your website, which is kind of me as well. All right, let me jump through Oh shit out as well. If if you are focused mainly on Instagram ads, then do a search on YouTube for Instagram ads Tutorial 2019 and you'll get a whole Instagram Business manager overview, which I hardly recommend if you'll get into this kind of stuff or your clients starting to actually for these things? Um, I think that's it. I also wanted to maybe give a shout out to incipient dot Co. In cpr dot co. They've got really good block post on example preview videos and kind of going over 10 APS that they looked at and why they're CTS. Call to actions were very good on certain videos, and I think you can learn a lot from that as well before you actually pitch to a client. All right, let's jump into screen flow. Seniors, of course, is about screen flow. This is a template I made so you can see at the top. Here it says dot screen flow dash template section. I know it's a template file. What if we go to insert template placeholder clip? You'll see that it's already got a camera in my cronut IOS device on screen recording. I could add one to it, but I'm not doing that. I'm not recording from screen only cameras, so you see that the stage is a little bit weird compared to what you would see normally. So what I've got on the bottom is thes like text areas that are meant to be the text that's going on inside of the video, so I do those manually. I know those programs out there that help you make thes, but I kind of stepped through Do do it manually, so I know that they're right because I've had many of these translation services. It spends a lot of time going into the script and editing it, and it just takes longer. It needs to, so I make them that way. But you'll notice that the placeholder on this one if I bring the camera 69 camera over, click on that and go to scale, you'll notice it's at 34%. You're probably thinking, Well, why why have you put that into the middle of the screen at 34% at that kind of position and you'll notice that it's kind of off the accesses world by 17 pixels? Well, let me tell you, this took a lot of trial and error to get right, because screen flow isn't really designed to do what I'm trying to make it do. And that is, I wanted to build a template that I can use for social media for 43 size that video clips, Um, on every time I've recorded it, it just defaulted to the 69 shot on 1920 by 10 80 resolution size. It just completely ignores whatever sizing that I use on the video recording off the Webcam . So I found a little bit of a way around it, and it looks weird, but it doesn't work. And I have actually got templates on the gun road, and I'll probably put a link or a video at the bottom at the end of this course. Or maybe in the grab this pack thing. Maybe I give away a few for free, but if you see what I do when I recorded as a video, if I don't through to it, it comes back as this mess, Right said. This is me recording using this template and you'll notice that everything's everywhere. So if I now go to document settings and change this to Instagram, you'll notice it says six. Buoyed by six void and click on update. You'll notice everything now fits in place. This took a hell of a lot of tinkering around and playing with that. I'm not even sure if it will last through to the next version when they probably fix a bunch of bugs. But it works for May, and it works for rapidly prototyping like four by three size videos. So I've actually got here is I've got the text, obviously, and I've size that to suit as well, so it fits exactly inside of that. I just have to go through and change the tech sizes. We also noticed that I've got, like this at the bombs have turned this off. You'll notice that I've got two versions, and that's because I found a way to not only do the 16 by nine, but also do a four by three look that I wanted as well. So the four by three I can use in you know I can scale it up and use it into another file as well if I wanted to. So that's another thing about templates that I've not really talked about yet is that you can have that instance in as many times you want, and you can play with the look of it as many times you want. So I've got this one, for instance, with a edging on it like a shadow on it so you can record once at 16 by nine wide and then have your template shaped to design and layout that you want. So I'm gonna turn. Which one is it off? I want to turn this one off because I can see underneath. And if I play this, you can see it just, like fits into that middle area. And you can use that for, like a Twitter video, for instance. So let me go back to the original video, the original template, and show you a bit more around it. So you'll notice here in the D tube one that the actual de tube text this thing is the logo is not where it's placed on the other one, and you'll see that the position is minus and refute four and 255 So what? What's happening is when I'm shooting Webcam video in 1920 by 10 eighties of Full HD. What happens is when I scale it down 6 40 everything moves on the stage, so what? I have to work out slowly pixel by pixel, is with scaling. What happens to things, objects on the stage when our scale things down so you'll notice even underneath. There you see that one with the at the shop. I have to even work out the sizing the scale of that to actually make that go to four by three. I know it's a mind meld situation, but if you download a template and play around with it, you'll see what I mean is that you can really create some advanced things here, especially when you're going from four sides to scale down. And I use this template pretty much to make all my little video. So I have I can't show you now because I'm recording video. But if I If I could show you more templates, I have created a whole bunch of these different four by three templates because it means I could just record natively selected template record, natively it for Hasty and then go into the output and just click on Instagram Scale for Instagram and it moved everything into place so you can rapidly put these out. It's a little video updates look like you've done a lot of work when actually have no on. If you've got a regular client, then you can start to build up a template with all of these at it's in and turn them on and off as you use them. Maybe a text block at the top or slide in or the whole graphics slides up of the top video . Dissenting special, and you can have those on different layers and you can have them turned on or off. Or you could just have, like, five different camera looks and styles and turn them on and off and just mix and Max Max mix and match as you go. Hopefully, that's not too complicated. I'm happy to break this down. How this works, obviously, now that this is in a version that I can use, I can just double click on this text. And as I'm talking through the video, I just updated Andi. I move these particular blocks over depending on where the text starts, so I can just pause and then jump onto the next one. I know that's programs out there that help you do that, but I just found this a lot easier. So if you're getting into doing instagram abs or APP store ads or even your you're looking to regularly promote the stuff that you put out, you can easily take your brand. Take your theme, make a completely custom advance temp template in screen flow and then quickly every day. All you have to do is select screen flow. Used template. Select your instagram template record natively. As you know when you do 16.69 on dumb. Then when you've done the recording, you can then tinker with all the bits that you've set. But the amount of time that it cuts out from editing is unbelievable. Like I think I've gone from, like ours are and 1/2 to down to, like 2025 minutes just because I have done so many pre process ings of the layout, the audio, the effects that slides in the noise reduction all inside of the template.