Wondershare Filmora X and 11 - Complete Video Editing

1. Course Overview: Hi, welcome to the wonderful film ora learned complete video editing course where you will learn how to make pro level videos faster and easier than you ever imagined possible. My name is bloody palm guy and I will be your instructor for this course. By the time we are done, you will be able to color correct footage, apply special effects and animations, added audio and sound effects deal with when screens aggregate talking head videos below Logo animations, openers, lower thirds and much more I have shared the files are used so you can follow along and report your stuff. This course is intended for complete beginners. Are those transitioning from applications such as Mo Bobby, quad windows movie editor. I hope you will join me on this journey and Alessio inside. 2. Exploring Filmora Interface: This window will appear as soon as you launch film or x. You can quickly get to work by opening the recently used projects on the bottom left side. On the right side in the tools area, you can use the auto reframe, AI portrait, and PC screen tools. We will return to these tools later in the course. On the left, you can open a project you already have or create a new project by clicking on the New Project button. From this drop-down here you can select the aspect ratio for your project. The default aspect ratio is 16 is to nine. That is why the screen aspect ratio, and it is the most commonly used as Berkeley show to create videos, but not everyone wants to create videos. And 16 is to nine aspect ratio. We have a few other options here. We have one is to one ratio for an Instagram post minus 216 for an Instagram story and for any other vertical video. There are two more common options here for is to 321 is tonight. If you want to use a different aspect ratio other than the ones listed here, you can change it once you are inside the project. Now if I click on the New Project button, I'm inside the film on our project window. What do you see here as the default interface of Fillmore or x? On the left side of the interface is the media area inside of the media tab. This is where you import and find all your media that you are going to use in your project. You will also see six other tabs here. Audio tiles, conditions, affects elements and split screen. The Audio tab contains a large selection of royalty free music that you can use in your projects. On the left, the music is classified according to the genre. You have a plethora of options in the titles tab to create professional log entitles, lower thirds subtitles, openers and credits for your videos. The down arrow on a thumbnail here indicates that you must first download it in order to use it. To download the file, simply click on it. Once. The transition step, you have access to a hundreds of traditions that you can use to transition from cut to cut or scene to scene. The effects step contains a plateaued off effects that can be used to achieve a creative look and feel. Such as AI portrait, audio effects, filters, overlays, lakhs, and so on. You can also access the utility effects here such as cropping up clip, adding masks and borders. The Elements tab contains a plateaued off animated symbols in artwork that you can use to enhance your video. The split screen tab contains a number of templates for splitting the screen to view different media and a single frame switch to the Media tab. And at the top you will see few options for importing media into FilmArray x. The import drop-down list has several options that you can use to import media inside of femora x. You can also use the control I shortcut to import the media. There are other options as well that we will explore later in this course. On the right of the import drop-down is the record drop down. This leads us to record a webcam, record our screen and the quarter voice-over for our videos. On the right of the record drop-down, we have the search box that we can use to search media. On the right of the search box, we have filtered by Type button that lets us filter the selection based on the selection criteria. For example, if you just want to see videos in the media area, click on the filter by type button and select video from the display options. The View Options button lets us adjust the size of the thumbnails. Also, it allows us to sort and group media in the media tab. At the top left corner we have menu bar from where you can access commonly use commands. For example, to import footage. You can choose Import Media. Import media files from the file menu. Now we're going to move down to the timeline window, where we do most of our board. Here we assemble the media that we want to edit. In the top right side of the interface, we have this big preview window to see our three days. This is where we can do our source media as well as our timeline media. If you double-click on a media for tomorrow, x will let us do it in the preview window. On the top right, we have some options that you can use to login to your vendor share account, access the tutorials, Chuck Fillmore and methods center and open the toolbox cloud. That was the basic look around Filmer x interface. 3. Specifying Project Settings: When you click the New Project button on the welcome screen, you will be taken to this screen, which is film or access default interface. If you forgot to set the aspect ratio from the welcome screen, or if you wanted to use a different aspect than the defaults. You can do so by choosing Project Settings from the file menu. Now you can pick the correct aspect ratio, resolution, and frame rate from the Project Settings window. Now to use a custom aspect ratio, what do you have to do is to change the resolution. For example, if you are making an Instagram video, change the resolution to 1080 by 1350. And Fillmore, I will automatically set aspect ratio for you. Unlocked aspect ratio by clicking on this lock icon here. Let's go ahead and create a new project for a vertical video. Choose New Project. Nine is 216 portrait from the file menu. Now if you go to the Project Settings, we have a resolution of tinnitus by 1920 and fame rate of 25. Next drag traveled 01 from Media tab to the timeline. Now fill mortar asks us if it should match the resolution and the frame rate of the footage we dragged with the project settings we specified. Notice our projects resolution is to100 by 1920 and the media that we are using his 1920 by 1080. Ideally, you should first decide on the project settings and output you want before beginning to import media. In this case, let's keep the project settings. As you can see, film or a has scaled down and centered the media within the frame that we defined in the project settings. If you want to save the project, you can press Control S to save the project with a different name, press Control Shift S below the CIP project as option, we have the archive project option. By default, when you save a film or I project, it saves everything except the media files. If you were to delegate this project to someone else, would have to manually collect all of the media files and then hand them over. The archive project command saves the project as an archive and then embedded every media file used in the project within it. Let's see an example. Save this project with a default name and check its size. Now important media file and drag it to the timeline and then execute the archive project command. Check the size of the project. Now it should be in proportion to the size of the media you have used in the project. You can open archive using any archiving software such as seven or Windows. 4. Importing Media Into Filmora: It is very important to organize media in a project. A well-organized Media tab improves your workflow and efficiency. As you already know, there are several methods for importing media in digital Mora x. If there is no media in the media tab, you can single click on the blank area of the tab to invoke the open dialogue and import the media. The media tab contains a media file. Double-click to invoke the open dialogue. There are several options available in the importer of down for importing the footage inside of film or x, including from a camera or a phone. You can import a whole folder using the import for interruption. Film ora x is asking for creating proxies for the imported footage to improve the playback quality. We will talk about proxies later. So I'll press no here. You can also drag media from the Explorer to the Media tab to delete media from the media tab, select it and delete. That is one option in the import manual and it is called import with instant cutter tool. It enables you to quickly rough cut the video if it does not require extensive editing. When you run this command, FilmArray x launches the instant Carter window. Now I'll go ahead and import a file to install cutoff. Drag the orange play head to scrub through the clip. The playback controls are here below the timeline. If you want to trim off start or end of the clip, you can do so by dragging one of the light blue handles to shorten the clip. You can also anchor these blue handles to the location of the play head. To do so, please the play head in the specific location and then use one of these curly brackets. Once you are satisfied with the Edit, click the Export button here in the van den drop-down on the export dialogue. You can select center femora if you want to import the exported for this to film or off of other editing. The other two options are self-explanatory. The March tab of the instinct that our window is used to match clips. Suppose you have multiple clips in your cam and you want to import them as a single file in femora, open them and cut them in order by dragging and dropping the foot is at the top will be rendered first. If you attempt to import footage that is not in the MOV MP4 or empty as format, you will receive a warning message. In addition, all clip should have the same resolution and frame rate. When you export the most clips, you have option to import the exported file back to full moral. Let us import some media clips. I will change the thumbnail size too small and then group them by duration. Now I will sort them by the name. I'll import more files. This time, I'll use right-click menu to execute the import command. Now I'll go ahead and change a beautiful list. Notice that now we have more information about clips displayed in the media panel. I'll go ahead and change the view to small thumbnail. Now I will create a new folder with the name Lee by clicking on the folder icon here. The icon beside it is used to delete a folder. You can rename a folder by right-clicking. Now we will move clips related to lake. Inside the lake folder. I'll go ahead and select the clips and then drag them to the leg. Fold up. Folders are a nice way to organize your media. You should always use them to make our media panel neat and tidy. X has a new feature that you can use to automatically extract highlight from clips and then export the highlight to the film on a timeline for editing. This feature is called auto highlight. There are numerous methods to invoke this feature. You can right-click on a clip and then choose auto highlight from the shortcut menu. It can also be accessed from the tools menu. I'll select Import with auto highlight from the Import menu. To open the auto highlight window, I will not import the footage. Let us first play the footage. You can set the length of the highlight here at the bottom. From here, you may choose between TikTok and YouTube shorts. Select the custom option if we want to set a certain time, I'm going to go with tiktok. The insert mode is disabled by default. If you enable it, there will be gaps between clips. If you are trying to extract highlight from multiple clips. Once you set desired options, click Extract to begin the extraction process. On completion of this process, highlights will be added to the timeline. And this area here, take note of the clips duration. If you want to use photos from Flickr in your project, select download photos from Flickr option from the Import menu to open the flicker window, sign into your account, select the photos that you want to import, and then click the Import button to import photos to your project. That was a quick overview about importing media in Fillmore, our x. 5. Editing Video: If we have clips in the media tab, we can add a clip to the timeline at the playhead is location by clicking on this plus symbol if the resolution and frame settings you specify it for your project differ from the resolution and frame settings of the clips you are trying to add to the timeline. You will get a dialog box asking you to match the projects parameters to the media. To close this dialogue prompt, select the desired choice. You can also drag the clip of clips from the media tab to the timeline wherever you want. You can marquee, select the clips in the timeline, and then press Delete to remove them from the timeline. You have to choose this option wisely, as you might be adding a slow-mo footage shot at a higher frame rate. In such cases, you should not met the settings. Also when you are adding an image, you should not make the settings with the images with a solution. It's a good idea to verify your project settings before you match any footage. Let us import a Paxil footage having ID 287375. I want to add a cut when the dancer jumps off the ledge. To create a cut precisely, I will navigate to three seconds in the timeline. Now I'll click on the scissors icon to create a cut. Noticing the timeline, we have now created a cut. I would like to do a second cut when the dancers spins around in front of the gate, I'll go to 17 seconds in the timeline and make a pet there. I'll select the unwanted part of the clip and then click on the bin icon to delete the unwanted footage. Notice that film ora Access automatically fill the gap in the timeline. You can also place the Delete key to delete the unwanted footage. Now I'll create a cut at five seconds, 21 frames. I'll also create a cut at ten seconds, 22 frames. Now I'm going to remove the unwanted part. Let's say if we want a little footage at the beginning, select the clip, and then hover the mouse over the start of the clip until you see a double-headed arrow. Click and drag to trim the footage and set a new point. Tooltip will be displayed that shows the new start point of the clip as well as the duration of the clip. Similarly, you can trim eclipse end, that is the eclipse out point. We can also set the in and out points in the preview window. Here we have the same footage that we used earlier. Double-click on it in the media panel to show it in the preview window. Now, move the play head where you want to place the cut and press the icky. Similarly create a second cut using the O key. You can also use the market and mark out buttons to set in and out points. Now, drag the footage from the preview window to the timeline. Filmarray x will only bring the edited part of the timeline. All media assets you add to the timeline can be easily moved from 1 to another by clicking on them and dragging them to their new position on the timeline. When you move clips in the timeline, they get snapped to the in and out points of the other clips. And the play head snapping feature ensures that there is no empty space between two clips you have placed on the timeline. When you move or edit media in the timeline, sometimes there might appear some gap between them, which can hinder you to work on the clips together. You can delete a gap by first selecting it and then choosing close Gap option from the right-click menu. You can also press keyboard shortcut, Alt L. If you want to delete all gaps, select all media, and then choose Close gap from the right-click menu. That was a quick overview of the basic editing in film or x. 6. Making Use of the Timeline Icons: Let's start our timeline preview with a glance at the icons at the top of the timeline. These two icons are undo and redo icons. We have already discussed the next two icons. These are used to delete selected footage in the timeline and to split the footage at play heads location. The keyboard shortcut for splitting voltage is controlled by clicking on the crop icon, opens the crop and zoom window. The options in this window are used to crop footage. Add a pan and zoom effect with the speed icon, opens a flyout that you can use to change the speed of your footage or play it in reverse. You can also freeze the frame. The advanced color tools icon opens a flyout with two options, color correction and color match. You can use these options to color correct your footage. The next icon opens the options related to the green screen removal. Clicking on the motion tracking icon at the motion tracking effect to the selected media. You can use motion tracking to track feature in the footage and then attach another media such as a graphic or texts to follow that feature, clicking on the key framing icon opens the animation tab at the top. Using the options available here, you can add keyframes to the rotation, scale position, and opacity attributes of the footage. When you click on the edit icon, Fillmore approach opens few tabs at the top. In the video tab, you can use attributes such as position, rotate, and scale to transform the footage. Other video effects such as motion tracking, stabilization, green screen compositing and lens correction can be accessed by other we do tap the Audio tab is used to adjust the sound properties of Eclipse. The color tab is where we do color correction and color grading and Fillmore of x, the animation tab is the same as the one that appears when we click the keyframing icon. The silence detection icon opens the silence detection window. It allows you to detect silence in the footage, and then they move to silence. You can export the modified footage locally or to the timeline. When the computer used to edit videos doesn't have enough processing power, the playback of high-resolution video files can slow down. Lagging can happen no matter what video editing software you are using. But FilmArray x has an easy cure for it. Film aurora allows you to create a render preview of the footage, which is displayed in the preview window. When you add a clip to the term nine, red line appears on the time ruler to indicate that the footage hasn't yet been rendered. Select the media and click on the render preview icon to create a render preview for the selected footage. The rendering process will eliminate the lagging effect that is common when multiple visual effects are applied to a footage. When the rendering process is finished, that red line that appears over the media files will turn green and your previous should playback smoothly and without black. Notice that the render preview button is disabled now because we already have the rendered footage, film auto saves that rendered file in a folder specified in the preferences window. Choose File preferences from the menu bar or press Control Shift Comma to open the Preferences window, the preview render area of the performance tab. You can specify the location for the preview render files by clicking on the browse button here. Enabled this checkbox if you want to delete render files as soon as you close the project. However, deleting vendor files is only recommended if you no longer require them. Because repeating the rendering process can take a long time. Click clean to clear all the vendor files from the folder. If you enable the background render checkbox film motor will automatically render after you add a new media file to the timeline, you can specify how long it takes for the automatic background rendering to begin by entering a time value here, background render can cause your system to slow down. If you are editing a video on a computer with limited processing power, leave the background rendered box unchecked. The addMarker icon is used to add markers to the clips. And project timeline. Markets allows you to bookmark a specific points in the timeline of a video or project. It saves you time because you don't have to scrub back and forth in Eclipse to find a specific moment, highlight the clip, and move the play head to the location you want to bookmark, click the marker icon or press M to create a bookmark on the clip. Double-click on the marker icon to open the marker little window. From this window, you can enter a name for the marker. You can also type comments and set a specific color for the marker. Single click on the marker to snap the playhead to the location of the macro. To delete a marker, I right-click on it and then choose Delete from the manual. Choose Delete all markers from the menu. If you want to delete all markers. If you want to create a timeline marker, makes sure that no media is selected, and then press M to create a marker. Clicking on the mic icon opens the record or your window that you can use to record voiceovers. You can also access the record voice-over option from the record menu in the media tab. The audio mixer icon launches the audio mixer window, which is used to combine audio from multiple drugs. This next icon allows you to zoom to fit in the timeline window. The shortcut key is Shift G. These plus and minus icons can be used to zoom in and out of the timeline. Audio meters are represented by the two vertical lines on the far-right. When you preview a video with audio or preview an audio file, these will light up. When you click on the icon, you will see a larger version of the meters. 7. Using the Performance and Preferences Settings: First let's go up to File and click preferences to open the Preferences window. This window has several tabs at the top. The first step is the general one. Here you can select your preferred language. You can select your preferred interface team here. Here you can specify how frequently Fillmore I should check for updates. You can check this checkbox if you don't want Fillmore route to show you messages automatically, you can use these checkboxes to prevent film mode off from displaying the startup window and credit cloud. Every time you launch the application, the folder stab, you can specify where Phil model should place files on your computer that you create with FilmArray x. By clicking the folder icon on any of these, you can change the default location. Here you can change where effects packs will live on your computer. The options in the editing tab will let you define the default duration for various elements that you would use with your video. If you drag an image file, transition or effect to the timeline or freeze-frame, the duration of the element in the timeline will be controlled by these options. Here, a freeze-frame is a still image representing a single frame of your video clip. Freeze frames are typically used to make it appear IGF time has stopped at a specific point in your video. If I want to freeze the frame, I will anchor my play head to the frame I want to freeze. And then click on the speed icon on the timeline and choose freeze-frame from the flout. The duration of the freeze-frame is shown in gray in the timeline. I can change the duration by dragging this end of the gray bar. If I wanted to use a precise value for the duration, I will click on this gray bar and then choose duration, and then I will change value here. The default duration can be changed here. From this dropdown, you can select how your picture will adjust once you drop it in the timeline. We have three options here. Flipped, crop to fit, and pan and zoom. Fit will automatically adjust the image and center it in the Canvas. You may see black bars around the image in the preview window. Crop to fit will put your image in the timeline. But depending on the size, Fillmore may have to crop the image in order to fit it in the timeline without changing the aspect ratio. Lastly, pan and zoom will add an effect to your image while also fitting it to the aspect ratio. You can use these two options to specify what happens when you drag a media item from the media tab onto a media item in the timeline. The first option we have here is split selected tracks only and insert. It will only split the selected tracks and then insert the media. The other option we have is split all tracks and insert. It will split all tracks in the timeline and insert the drag footage. This checkbox lets you toggle the vaccine button on the play hit. The red button is here on the play head. I can drag it to change its position on the play head. Now, if I want to split a footage, I can do so by first anchoring my play head the desired location and then clicking on this button. If you toggle this button, then to split footage, either you have to click decision icon here or press Control be the save tab. You can instruct film aura to automatically take backup at certain intervals. You can also define backup directory, path and path for the default project location. Film era also gives you the ability to upload to a Cloud or to a network drive. The auto save feature is very important and I suggest that you keep it on. Your system crashes or becomes unresponsive for whatever reason, you can always fall back to the backup and save your day. The performance tab, you can enable GPU acceleration for rendering, playback and video decoding. Gpu stands for graphics processing unit. When editing, you may be working with hydrogenation files that are slowing down your system. If you have a graphics card installed on your system with sufficient memory, you can enable these options to reduce lag. We have already talked about people render options. At the bottom we have proxy settings using full k USD files in your projects causes film or x to slow down and even press, especially if the computer you are editing on doesn't have a lot of processing power. The simple solution is to use low resolution proxies for editing and playback. Proxies are considerably smaller debt raw video files using proxies is a simple but very effective video editing technique that speeds up the video editing process by reducing the time it takes your computer to render previews or perform any other video editing task. From here, you can set the proxy resolution and the location of the proxy files with the media you import exceeds the value is specified here. Film alla x will create a proxy fight. Enabled this checkbox if you want Fillmore out to automatically delete proxies when you close the project. Also, I recommend that you enable this checkbox for better performance. 8. Using the Timeline: The timeline is valuable. Do the majority of your editing. The media you'll import into Fillmore. Our x is stored in the timeline on audio and video tracks. Attract is a section of your timeline that holds media, film, ora access. Two types of practice, one for audio and one for video. Audio tracks are always located below the video tracks. By default, you can get one video track and one audio track. Right now I have two video tracks and one audio track indicated by these numbers here. If you drop media on the blank area here, FilmArray x will automatically create a new track for you. The number of clips you can place on a single track is not limited. You can also click this symbol here to invoke a flyout and then choose video or audio option to add a blank track. Use these two options. If you want to delete tracks. Use this option to change height of the track bigger or smaller, depending how you like it. You can also drag attracts edge to change its size. You can also invoke prac manager if you want to add multiple drugs at once. You can also access these options by right-clicking on this blank area to select a track, click on this area once to delete the selected track, right-click and then choose Delete Selected track. Click on the icon of a video track to make it invisible in the preview window for audio tracks, click on the speaker icon to mute the audio. When you click on the lock icon, the media on the track is locked. Media on a locked track cannot be edited or moved in any way. There are two ways to include videos and other media in the timeline. The first method is to find the media in the media tab and then drag and drop it onto the timeline. Another option for adding media to the timeline is to right-click on the media in the timeline, you'll get options like insert, overwrite, append, and add two new track for adding media to the timeline. The Insert option inserts your media into the currently selected track at the play head. Any media on the right side of the track that is already in the track will be moved to the right by the length of the Insert clip. Well, what did right at your media to the selected track at the play head and displaces any media that already occupies the space your edit media occupies. Append adds the media as the last piece of media in the selected track. Lastly, the add two new track option adds your media to a newly created track with modern media. To delete a single clip or media from the timeline, right-click on the media and choose Delete. You can also click on this icon here or hit Delete on your keyboard to remove multiple clips, press and hold Control key, and then select the target clips by clicking on them. Then you can hit Delete on your keyboard to delete them. When you delete or move clips in the timeline, it's sometimes leaves a large gap in the timeline. You can avoid it by using the ripple delete command. When you use the ripple delete command on a clip, it will dig together the two clips either side of it. This icon here is auto repo icon and it is active by default. What it means that you don't have to right-click and choose ripple delete. In order to get a ripple edit, you can just simply click on this delete icon and film mara will perform or repeated for you. If this icon is inactive and you delete a clip, you will get a gap in the timeline. You can also swap position of the clips in the timeline if the auto ripple features on line up the start points of the two clips and release mouse to swap the clips. If you drag a clip partially over the other clip, Fillmore r x will place the rest of that clip after. You will not lose any frames of your video because regulated vigils frames. If you turn off auto ripple, the clip on the right will overwrite clip on the left. Let's say you want to add a clip in your video somewhere in the middle. With auto repo on experience straightforward. Drag the clip you want to insert to the timeline. And when you see this line dropped the clip to add it in the middle. With auto dipole on a few trimmer clip fill motor x will preserve the rest of your clips. Just like this. Triple edit affects multiple cracks. If you don't want ripple edit to affect multiple tracks, locked attract that you don't want to affect. You can copy and paste clips in the timeline value copy paste clips that spacing of the eclipses kept. Select one or more clips in the sequence, right-click and then choose Copy. Select the track by clicking here in this area. Place the play head at the point where you want to paste the copy of the clips. And then right-click and choose Paste. If there are other clips on the track, they might be overwritten by the best eclipse. There are three ways to change video playback speed and Fillmore around. Let's explore these one-by-one. Right-click on a clip and choose the speed and duration from the menu to open the custom speed window, drag the speed slider to adjust the speed of the video clip. If you want, you can enter precise values here in this field. For example, if you want to double the speed and two here, effectively duration of the clip in the timeline will be reduced by half. The reverse. The speed option allows you to play the video backward. Now because we are reversing the video film ora asking us if we want to create a proxy for a smooth playback. I'm going to say no here. Notice that the speed of a clip has been doubled and it is now playing in reverse. The ripple edit checkbox is selected by default here. As a result, there will be no gaps in the timeline. If you uncheck this box, we will get gaps in the track. When we shot on the clefts duration by spreading it up. If you click on this icon here, you will see a custom speed option at the top of this fly-out. When you click on it, you will be taken to the same customers speed window that we discussed earlier. Here are some presets for speeding up or slowing down the footage are changing back to normal speed. The third method is to manually drag the video to change the playback speed while holding down the Control button, drag the clips edge backward to slow it down or forward to speed it up. When you slow down the video, you will notice a purple strip indicating the speed change. When you speed up the clip, that red strip indicates the change in speed. Click on the strip to get a flyout that shows speed related commands. Film ora x allows you to group clips together so that you can move them without changing their positions relative to each other. Select the clips that you want to combine in a group. Then right-click and select group to combine the clips. Now you can move the group clips as one unit. If you want to ungroup a group, select ungrouped from the right-click context menu. You can also use the right context menu to group the clips marked with a specific color. Right-click on the clip and then select the option. Select all clips with the same color mark. All clips in the same color mark will be selected automatically. Now you can group them by pressing Control G. We have seen a variety of methods to trim your footage. There is one more method that you can use. You can place the play head on the frame that you need to trim. Then right-click on it and then select trim, start to play head, or Trim enter play head to delete the video content in front of the play head or behind of it. 9. Using the Preview Window: On the top right side of the interface, we have this big preview window to see our footage. This is where we can view our source media as Walesa timeline media. If you click on a media phenomenon, X will let us do it in the preview window. We can also preview audio titles, transitions, effects, elements, split screens. The bottom left we have playback controls backward, forward, play and stop. Here's the slider that we can use to move forward or backward. These two buttons are market and mark out buttons used to buffer data clip. We already discussed this in a previous video. We can use this field to set the play hertz current position. It is an editable field where we can enter a specific value to jump to a specific point in a video. This field displays time in hours, minutes, seconds, and frames. This drop-down here lets you change the playback quality of the preview window. You can lower the quality for smoother editing experience. This setting has no effect on the final render. It just defines the playback quality in the preview window. If you are working on a high-res video or you have applied lots of effects on a clip, you should load the playback quality from here. Reducing your playback quality can eliminate lags and save your time. The next dropdown lets you change the project settings. If you have reduced the playback quality, but you want to see the original frame value Poggio timeline enable this option. Use original media when paused to set zoom levels in the preview window. Use these options. You can click on this icon to take snapshot of the current frame. The snapshot will be imported in the media tab, and then you can use it as a regular media. The next icon is used to adjust the volume. This double-headed arrow is used to maximize the proof window. Press Escape to exit the full-screen mode when you select a clip in the timeline selection handles appear in the window on the bounding box of the clip. Click and drag corner handles to resize clip and proportions. Drag the center handles if you want to stretch and squash your image. Use this handle to rotate the clip. When you move a clip in the Canvas here, it gets snapped to the center of the canvas. Edges of the canvas and edges of other clips. If you want to disable snapping, right-click and uncheck enabled Canvas snapping option. If you select Show safe Jones option from the context manual, two rectangles will be displayed. Outer rectangle is called x and save. The inner one is called title save X and safe is five per cent from all ages. And title safe is 10% from all ages. Keep all essential elements inside the outer rectangle when designing text and graphics for the web. Keep all essential elements inside the inner rectangle when designing graphics and text for broadcast or cable. In the go-to menu, we have some commands to jump to a specific time in the timeline, to zoom in and out in the timeline, you can use these commands. If you have set in and out points in the preview window, you can clear them using this option. If you want to rotate or flip a video clip, double-click on the clip in the timeline, the video tab will appear here on the top-left corner of the interface. Open the Transform area in this tab. Here you can use this slider to rotate the clip. You can also enter precise values here in this field. To reset the value, click on this icon here. Use these icons to flip the flip horizontally or vertically. Here we have a scale slider to change the scale of the clip. The bottom, we have two parameters to change x, y position of the clip. Every effect you'll see here it has a checkbox. You can use these checkboxes to toggle the effects on an off. If you double-click on an image in the timeline, instead of the video tab, the image tag will be displayed over here. And then you can use these controls to change the position and scale values of the image. 10. Editing Audio: It's amazing what a little background music can do for your videos mood. Within felt modal x, you can browse a royalty-free music library, or you can import your own music files. There are two ways to add background music to your videos. You can import a music file to the media library, likely to import any other media, or you can use a song from film or as royalty free audio library and use it for free. The Audio tab provides access to the library. Here on the left, songs are categorized according to the genre. Under the sound effect category, you will find sound effects to add music to your video. Click this plus symbol, and the music will be inserted at the play heads location. The alternative option is to right-click on the music and choose Apply from the contextual menu. You can also click and drag it to the timeline at the desired location. Film era allows you to add up to a 100 audio tracks. Please keep in mind that all of the music and sound effects and Gomorrah are completely free to use for personal, non-commercial purposes. Once you add music to the timeline, double-click on it to bring up the Audio tab. This is where you may change the pitch and volume of your audio. This tab also allows you to keyframe audio. Here you can see this horizontal line going across the audio clip, referred to as volume band. If we click drag this band, we can adjust the decibel level of the clip to increase the volume, pull the handle up and to decrease the volume, drag it down. Let's fade in and out this audio track now because this is something you will be using a lot while making videos, DRM fate refers to a steady increase or drop in audio levels. When you select an audio clip and move your mouse over it to white fade markers will appear at the start and at the end of the track. We can quickly fade in our music by dragging this fade marker to the right. And the same can be done at the end of the track. There is a method for doing this that is rather comprehensive. We can open the Audio tab by double-clicking on the track. These sliders can be used to fade in and fade out the music. They said the fading by clicking on the symbols. This pitch slider allows you to change the pitch of your sound to a different key. This can be used to make sound lower or higher, but not louder or quieter. Use audio keyframes if you need the volume to rise and fall as the clip place. To add an audio keyframe, navigate to the timeline. Move the play head to the where you want the volume chance to begin, and then pick the keyframe button. When the play head is over a keyframe, the keyframe icon past forms into Delete icon. You can delete the key frames by clicking on it. These two icons are used to navigate to the previous and next key, the next move the play head to the point where you want the volume adjustment to end, and click the key frame button once more. There are now two key frames on the track. Now, we can use this slider to adjust the volume for the keyframes. Let's create a few more key frames. The line between two key frames is called a volume envelope. You can drag it to adjust the volume of that section of your audio clip. You can also drag the keyframes to adjust the volume. If you want to adjust the left-right balance, you can drag inside this balance circle to adjust the balance. You can also type in a specific value here. A numerical value of 0 indicates that the audio is balanced, while minus a 100 indicates that it is all the way to the left. And plus a 100 indicates that it is all the way to the right. This drop-down menu allows you to access the audio equalizer settings, also known as EQ. It allows you to change the loudness of an audio frequency. That is to adjust the audios base in trouble, you can either choose a preset from this drop-down. Click Customize to open the equalizer and adjust the gain by dragging these sliders up or down. If you want to mute the video, right-click on the clip in the timeline and choose mute. Alternatively, you can use the Control Shift M shortcut to unmute, hit Control Shift M again. You can detach audio from a video clip. To do so, first add the video to the timeline and then right-click on the clip and select detach audio or press Control Alt D. The detached audio clip will be automatically placed in the audio track. You can now edited or deleted without affecting the video it was attached to. If you want to detach audio from multiple videos, first select them, and then execute the detach audio command. If you want to adjust the speed of the audio clip, it works the same as adjusting the video speed using this speed and duration command. 11. Removing Background Noise From Audio/Video: Many of us in urban areas lived near a busy street. When you record audio in such places, your microphone picks up a lot of background noise, which rooms the audio. Even if you are in a relatively quiet area, the mic picks up the noise from the fan or AC unit. You can use femoris de-noise function to remove the unwanted noise in the background. Although it is not as effective as audacity is Muslim wall effect. But I'm sure, but time it will improve the types of noise you can remove using the de-noise tool include wind noise, computer humps, and other consistent sounds. I have an audio clip with background noise here. Let's listen to it first. Wonder shared film or a video editor is the ideal choice for beginners. And you just would want to create a video. What their social network for fun. As you can hear, there is consistent fan noise in the audio. Now, I'm going to double-click on the AudioClip to open the audio settings in the Audio tab. And then I'm going to select the Remove Background Noise checkbox. Here we have three options, weak and strong. Let's listen to the audio with each of these de-noise algorithms, starting with MIT. Wonder shared film or video editor is the ideal choice of beginners. And you just want to create a video, what your social network for fun. One to share femora x, we do a detail is the ideal choice for beginners. And you just want to create a video for their social network for fun. Wonder shared film or a video editor is the ideal choice for beginners. And you just want to create a video for their social network for fun. As you can hear, the strong algorithm alters the audio significantly. I'll stick the MIT, which provides an acceptable quality. Wonder shared film or video editor is the ideal choice for beginners. You adjust would want to create a video. What their social network for fun. 12. Using Filmora's Audio Beat Detection Tool: The beat detection feature and film are automatically finds and marks or your beats. Right-click on the music file that you want to detect the beats for and select the beat detection option. Film Moana will automatically analyze the music and generate beat markers. When FilmArray completes the beat detection process, a beat icon appears on the audio thumbnail. After you have moved the music into your timeline, the beat markers will display on it. Let's have a listen and hear what Fillmore has found. If you right-click on the clip and choose V8 options fill monarch opens the Beta options window. By default, film or novel display the generated highlight beat markers in the red and the forbids. You can change that frequency using this feed here. Use this field to change the frequency upset. If you want to see every beat mark in the timeline. Do you have this checkbox here? Let's change the beat frequency to six and uncheck the checkbox. The regenerated markers do not appear automatically on the track. We have to drag the music to the timeline again to see those markers. Notice now we have blue markers as well. I will mute the previous prac and then I'm going to play the new track to check beats. Let's have a listen. Filmer has done a good job of detecting beads. These markets can be modified and deleted just like any other marker in thermodynamics. Now I will go ahead and match the beat of the music we have in the project to the timeline video clips. Let's change the beat frequency to five. Now, I will add just the edit points to match them with the Beat Markers. And make sure it sounds right. Make sure it's right. Let's add a sound effect at the end to give this animated good, some more swag. That is pretty much it for this video. That is how you use the beat detection feature in film or x. 13. Mixing Audio with the Audio Mixer Tool: When your video is finished and in picture lock, which means all of your visuals and edits are complete, then you should edit your audio. I also recommend that you use headphones while editing your audio because it is easier to hear the changes you make. To open the audio mixer, click on the audio mixer icon on the timeline toolbar. On the left side of the mixer, we have controls for the audio levels, foot video clips, and audio tracks. To control the levels. You can make them louder or softer by adjusting these levels, sliders to adjust channels, drag these knobs on the balanced circle. You can see changes clearly in the channel control panel to the right. If I move the A1 audio tracks, not all the way to the right, but even I can in the right section of the panel that reflect that adjustment. Now, listen to what we just did. You will notice that the audio is coming from the headphones right channel. On the right side of the mixer panel we have two modes, foot pan, balance control, stereo, and set out. In the studio mode, you can only pan left or right. You can pan from left, right, as well as front-to-back and sedans on mode, giving you complete control over the audio position. Only use the surround option if your audience will be watching your video on a surround sound system. Otherwise only use the studio mode. Lastly, we have mastered controls on the right side of the window. We can modify the master volume by dragging the master volume slider upward or downward. That is pretty much it for this video. That is how you can use audio mixer to model sound, audio video, and film. What our eggs. 14. Creating Chorus Effect using Pan/Balance Technique: Normally that chorus effect is greater than software like Audacity by using the time shifts tool and duplicating tracks. But in this video, we will use pan balance and pitch controls along with the audio mixer to achieve this effect. V have the same audio on all full audio tracks in this project file. Let's have a listen to the audio we will be using in this video. This audio is part of the nut grass and Scott mantra. Addition to Shara. Darn over some umami, certainly num, some candy, some of them sat. Dumb Angola. Solo the track by muting other pracs, double-click on the track to open the Audio tab and then change pitch to minus one and EQ to pop. Let's listen to what we just did. The addition CO2, Shara, solo, the A3 drag and then Jade pitch to, to an EQ to sparkle. Addition to solo the effort track, and then change EQ to acoustic. Addition to Shara, cheeto darn over some, unmute all tracks except A4. We will not make any changes to the A2 track. Open the audio mixer and rotate the balanced knob all the way to the left for the A1 track and all the way to the right for the A3 track. Both channels will be served by the audio into a2 FAQ. For A1 and A2 tracks changed decibel level to minus 124, master control to minus six. Now press the play button to hear the final output. Industrial mode means the addition Katara. Darn over some number means that the number some board member devolution. Now unmute A4 and switch to the surround mode and make changes to the track icons as shown here. The addition CTO, CIO darn, sum by one. Number means the number. Some more per devolution. Can be some. Kumar, I'm sorry. Has dum dum MongoLab addition to Shara darn over some number. That is pretty much it for this video. That's how you can utilize the audio mixer in FilmArray x to make chorus effect. 15. Using the Audio Ducking Feature: If you are a content creator, you are probably already aware of the significance of having the correct audio in a video. Audio ducking is a useful feature that can be used to achieve a good balance between voiceovers and background music. It shouldn't really, what ducking means is to duck or lower the background music, whether y's over. Here, I have a clip of one of my film camera tutorials on the timeline. I have placed cut two separate voiceovers from other parts where I'm not speaking, but completing actions on the screen. Now, I'll select all the talking footage. You will be selecting the clips. You want to hear more clearly, not the ones you want to lower the volume on. Now, I will right-click and choose Add just audio, the audio tab. I'm going to select this checkbox. Now, I can use this slider to adjust how much volume I want to lower. I'm going to set a value of 54 for this slider. Let's have a listen. Use these two options. If you want to delete tracks, use this option to change height of the track bigger or smaller, depending how you like it. You can also drag attracts edge to change its size. You can also invoke track manager if you want to add multiple projects at once. You can also end. So that is pretty much it for this video. That is how you can lower the background music volume that your dialogue can be heard more clearly. 16. Using the Audio Effects: The model does not have an extensive set of audio effects, but it has five audio effects that you can use with your audio tracks. These audio effects presets are available in the Audio Effects category of the effects tab. Click on the Effects sample thumbnail to reveal the sample. Hit play all your imagination. Hit play on your imagination. Hit play on your imagination. Hit play on your imagination. Your imagination. I have an audio clip in the timeline. Let's listen to it. If you look at what you have in life, you will always have more. If you look at what you don't have in life, you'll never have enough. Oprah Winfrey to apply an effect to your video or audio clip. Drag the sample from the Effects tab to the clip in the timeline. Now, I will drag the ICO effect to the track. And icon appears on the clip indicating that the effect has been applied on the clip to adjust effect parameters. Double-click on the track to open the Audio tab. From here, you can adjust the parameters of the effect. The delay time parameter specifies the number of seconds between each equal, between each delay you can choose between 02 seconds. If you look at what you have in mind, you will always have more. You'll always have if you look at what you don't have a look at what you'll never have an I look at what you'll never have an O prime. The delay factor defines the factors that impact the audio decay effect. A value of 0 means that there will be no equal. And a value of one means that each equal is as loud as the original. A lower value indicates that the equal effect will fade faster. If you look at what you have in life, you will always have more. If you don't have it, you will never happen. Because the ICO audio effect does not expand the Eclipse duration. You may require some silence. At the end of the track. Oprah Winfrey. Oprah Winfrey, Winfrey, Winfrey. Next three effects. Lobby, big room and the small room, allow you to adjust the reverb settings. The verb is created when a sound is deflected, it causes a cascade of the flexors to build up and then decay as the sound is absorbed by the purposes of the item in the room, which could include furniture, people, ARM, so on. Now, I will drag lobby to the audio track in the timeline, only one effect can be applied to the track. So I will click Okay here. You can change the reverb settings from 010 with the larger number indicating a greater reward and a smaller number integrating a vehicle reverb. If you look at what you have in life, you always have more. If you look at what you don't have in life, you'll never have enough. Look at what you have in life. You will always have more. If you look at what you don't have in life, you'll never have enough. If you look at what you have in life, you always have more. If you look at what you don't have in life, you'll never have enough. You always have more. If you look at what you don't have in life, you'll never have enough. The phone affect alters the audio to make it sound like it's coming from a phone. You look at what you have in life. You will always have. If you look at what you don't have in life, you'll never have enough. As you can see, Philmont doesn't have a large selection of audio effects. You can use these five if your project requests them. 17. Working with Text and Tiles: You can easily add text and titles to your project to match your style. There are many texts options available in films, such as captions, lower thirds, openers, and end credits to name a few, the title stab at the top of the screen provides access to titles, openers and other texts options. The text options are organized into different categories. On the left, let's start with an opener. The difference between a title and an opener is that the opener has a built-in background, whereas the title has a transparent background and can use your video as background. I'll go to the left and select openings, then scroll down and select opener 19, and then drag it to the timeline. Now let's edit the opener. I will go ahead and double-click on it to open the title editor. Here we have the title group Controller window. We can use these options to cross from all elements as a group. Click on this symbol to minimize and click again to restore the window. We can collectively change the group's position, scale, and rotation. Use these handles to change the size of the bounding box of an element. Use this handle to rotate the element. You can also click and drag an element to change its position. If you want to edit and click on it in the preview window and then change text and font properties. From here, you can change font, font size, orientation. You can make text bold or italic, and you can align the text. This text editor stays the same for all text options in FilmArray x. By clicking on this swatch here, we can change the color. We can choose from the entire color spectrum by clicking more. Or we can use the quick screen color option to take a color from something on our screen and use it for our text. Next is text space. It defines the space between each character in the word. Line. Space defines the space between the lines above and below. The alignment control allows you to anchor your element to a specific point within the frame. You can select that point by clicking on the center icon here. These arrows, symbols, these two icons let you cycle tool that text you have in your title. We already know that we can transform our elements as a group using the title group Controller window. But if you want to cross form a single element, select the element and then use these controls to transform the selected element. Options in the blending mode drop-down allows you to define a blending mode for the selected element. It will control half the selected element. The text layer in this case, will blend with the background. You don't always need to use blending mode for your titles. The opacity controlled defines the level of translucency for the selected element. On the left side of your screen, you can use presets available in the preset tab to add some style to your text, double-click on a preset to apply it to the selected element. You can also choose an animation for your texts from the animation tab. Hover the mouse over the thumbnail, preview the style of the animation. Double-click on a thumbnail to apply animation to the selected element. To remove an animation, double-click on the no animation option. Click on the Advanced button to open the advanced text edit window. The preset and animation tabs are the same as we have seen in the standard text editor. In this video, we have the font controls at the top. You can change the order of the elements using this drop-down. We can edit text from here and anchor it to the specific points using these controls. From here, we can collect text using a single color or a gradient. We can also use an image to fill the text. Use this fly out to apply an effect to the text. We can use this slider to the selected element. From this area, we can set shadow properties. Here at the top. You can use these items to add a text box shape to the title. At the bottom you can see all the elements layered in this area. At the bottom we have two presets video layers. We can delete them using this bin icon, but we can't add our own videos here. We can only add text image layers. When you apply an animation to an element. These open brackets appear on the layer that you can use to control the duration of the animation. Dark area here indicates that there will be no animation for this duration. You can offset animation by dragging the layers. How did jointly. You can also save editor titles as presets and then reuse them again and again. For that, you have to click on this Save as custom button and then give it a name and click Okay. The preset appear here in the Custom Category. If you like a text element, you can save it as a favorite. Your favorite elements will appear here. For each of the texts options, you will edit them in the same way. Titles can be placed on top of your video to introduce the audience about the video. Subtitles allows you to expand your reach to a new audience. People can read the dialogue in your video. Lower thirds stay at the lower third of the frame. And apart from other things, they are generally used to introduce the people on the screen. You can use simple texts to add plane non fancy text to your video. Last but not least as credit here, you can credit anyone that Macdonald video with rolling text. Opening titles, and end products are an integral part of video making. Fillmore. It gives you the ability to use text options and creative ways to tell the story to your audience. 18. Color Grading and Color Correcting Clips: Raw footage captured by a camera may contain a variety of flaws that can be easily corrected with film or a color correction and color grading tools. Color correction is one of the final steps in the video editing process. Therefore, before using the color tools, first finish all other video editing tasks, there is a distinction to be made between color correction and color grading. The goal of color correction is to make the footage look exactly like the human eye sees that. While color grading is where you created the actual aesthetic of your video, it also helps convey a whistle tone, or mood. Rehab three clips in the timeline here, I'm going to double-click on the first clip and then select Color tab at the top. There are five sections in this area that contained color correction tools. At the top we have color enhancement to ADL. Now I will open it. These controls improve video scholar. The Auto button can be used to apply the auto color function to the clip. You can further adjust colors using the threshold and value attributes. The threshold attributes set a threshold below which colors and a video will not be affected by auto color effect. The value slider does a blend value that defines the blending between the original colors and the colors enhanced by threshold parameter. You can use these icons to the set values. Next, we have a white balance. Have you ever wondered why your subjects appear yellow when photograph indoors? Or why does your cameras flash make them appear blue? It occurs as a result of incorrect white balance settings. A poor setting introduces unwanted color casts and make skin tones look unnatural. The color temperature in your image is balanced by using the white balance. Color temperature is a physical property of light that is measured in Kelvin units. Candle flame, for example, has a color temperature of around 1002 thousand Kelvin, while a clear sky has a color temperature of 6 thousand to 6,500 kelvins. To summarize, the temperature of the light source in the environment you are photographing is similar to the white balance settings on your camera. You will get natural looking images. This slider can be used to adjust the temperature. Moving the slider to the left produces a cooler looking image. While moving it to the right produces a warmer looking image. The tint can be adjusted using this slider. Here at the top of the white balance area we have the Auto button. This button can be used to adjust white balance automatically. As you can see here, auto white balance has messed up the colors. I'll go ahead and reset it. Instead of relying on the auto white balance, I will manually adjusted with this eyedropper here. I'll click it and then hover over the frame here and select the color in the mid gray range. Notice the image look much better. Now, you can toggle this checkbox here to see before and afterwards. And now here we have another footage. Let us fix the white balance of this potential. If I click on Auto as expected, we will not get proper colors. I will use the eyedropper and pick a color from the image. Now, let's explore tone settings. From here we can set contrast, saturation and brightness. Contrast Control defines the contrast between light and dark colors in your image. Dragging the slider to the right will make dark areas of your image darker and lighter areas lighter while dragging the slider to the left will make dark areas lighter and lighter areas darker. Because videos recorded on smartphones may already have some edit contrast. Increasing the contrast value too much made is often darker colors. Next to saturation, which increases or decreases the intensity of the colors. In case the footage you are color correcting is over or underexposed. You can use the brightness slider to make the video it look more realistic. Let's reset all settings and fixed colors. In this footage. I will first use the eyedropper to pick a color and fix the white balance. The color enhancement area I will set threshold to 5.4 and value to 50. Now, let's change the tone settings. Now, let's fix the color of this footage. The colors look much better now. Now it's your turn. Go ahead and practice color correction. On this clip. We have now color corrected our footage. Now, let's talk about lots or lookup tables. During the color grading process, you will be giving a distinct block to your videos. One way to do that is to use luck files. Luck is a file that contains colour replacement instructions. They are widely used in the film industry. And many 3D likes inspired by Hollywood films and popular television shows are available in film around. You can access them from here. You can select a preset from this drop-down. We have many options here. For this, for this, I'll stick to that film option. For this. For this, I will use gravity, then reduce the brightness a little bit to fix this. Now if you want to compare it before and after versions from the media tab, drag one more copy of the footage timeline and place it above the footage we already have in the timeline. Make sure it is selected, and then switch to the Effects tab. Apply image masks to the 4-bit. Under the video tab, Video Effects section. Double-click on the rectangular mask and then adjust the white slider to compare it before and afterwards. For other clip, copy paste, the effect. Color correction and color grading are enjoyable aspects of video editing. Continue to practice color correction on different videos to improve your skills. 19. Applying LUTs to Multiple Clips: A lot of lookup table can be used to give a distinct cinematic look to your footage. In a previous video, we have already discussed how to use LUT from the color tab to add a creative look to your color corrected video, there is a faster way to apply, lead to multiple clips at the same time. Go to the Effects tab and then select LUT from the tabs left pane. There are two major categories here, Blockbuster and cinematic. You can also use custom luck under color correction to apply a custom blood to the clips. Click on the thumbnail to attribute the LUT. There are many large CL from popular Hollywood movies and TV series. Nap, go ahead and select a lot that catches your eye. I am going to use movie, but I will go ahead and drag it to the timeline. Clips located beneath the light will have the LUT applied to them while clips located above will remain unaffected. Now I will extend the luck so that it affects all our clips in the timeline. Opacity of the light can be changed by first double-clicking on it and then adjusting the alpha slider here in the effects tab. If you want to load your own custom LUT, you can do so by dragging this custom option to your timeline. Now double-click on it and then select Load new luck from this dropdown, navigate to the location where you have saved your custom blocked, and then select it and then click open. You can also select one of these pre-existing lots from here and use this slider to adjust the opacity of the lot. It is very simple to give your video a creative block and film mara. There are numerous pre existing lakhs to choose from and you can also use any custom lab as well. There are numerous field lacks available on the internet that you can use in your videos. 20. Matching Colors: If you have a lot of clips in the timeline, then instead of color correcting them individually, you can color correct them as a batch. This enables you to create a consistent throughout the project. The first step in this process is to color correct the footage that you want to use as a reference. Here I have got some clips in the timeline. As you can see, each clef has different color scheme. I want to use the first clip as a reference for color matching. Let's first adjust the white balance. Now I'll go ahead and adjust the stone. Let's make up for this look cool by applying this part are 300 black. Select all clips, right-click, and then choose color match. Alternatively, you can press Control M to open the color match area in the color tab. You can also click on this icon and choose color match. Or you can select color match from the tools menu. If you don't see two windows here on the right, parallel this comparison view button. On the left we have the reference window, and on the right we have the current window. And the reference window. We need to move the play head to a frame. We want to match the stuff Our cleft store. Once we have decided on a frame, we need to click on match. Now we can use this level slider to lighten the effect of the match. I will set this slider to 30 and click Okay. Now all of our clips should look the same. When we use for this from different cameras, the clips will look different because they were shot on different environments, but different lighting and camera settings. Color matching can be used to achieve a consistent look. 21. Advanced Color Correction and Color Grading: In previous videos, we discussed how to color correct and color grid our footage using the options available in the color tab. Notice at the bottom we have the Advanced button. If I click on this button, will get access to the advanced color collection window. You can also access the window by right-clicking on the track and then choosing color correction from the context minimum. Alternatively, you can press Control Shift C from the presets tab of the window. You can select a color correction preset. These presets are the simplest way to achieve an enhanced cinematic look for your video. A few select 3D LUT from the drops down. You're gonna access some pre-existing likes to give your video a creative block. If you want to load a custom blood, click on this plus icon and then load your custom luck from your system. Another option we have here, this vignette. Vignetting is reduction of an image as brightness or saturation towards the periphery compared to the image center. The reset all button can be used to reset all settings in this window. If you want complete control over fine tuning the colors in your video, go to the adjusts tab and make manual adjustments to the color, temperature, exposure, and so on. At the top, we have histogram. The tonal range of the footage is represented by the histogram depicts how pixels are distributed in an image by graphing the number of pixels at each of the 256 brightness level. Pixels with the same brightness level are stacked in bars along the vertical axis on a histogram graph. The higher the line from this axis, the more pixels that are at that brightness level. The histogram simply counts the number of pixels for each tone and displays them as a graph with shadows on the left, mid tones in the middle, and highlights on the right. If you look at this histogram, you will notice that it lacks shadows. Also notice there are no shadows in this image, but rather a lot of mid tones and a few highlights. Therefore, if we want to collect correct the image, we must first correct the contrast, color enhancement, white balance, and 3D lock options we have already discussed. Now in the colored area here, the first control we have is exposure. This control is used to fix underexposed, overexposed clips. A negative value, we'll darken all colors and a positive value lightened them. The brightness control makes the video brighter or darker. The contrast Control defines the contrast between light and dark colors in your image. Dragging the slider to the right will make dark areas of your image darker and lighter. Areas lighter. While dragging the slider to the left will make dark areas and light areas darker. The next control we have vibrance. It is an important control because it versus the intensity of more muted colors while leaving the already saturated ones alone. It can, for example, keeps skin tones from becoming oversaturated and unnatural. Next is saturation, which increases or decreases the intensity of the colors. Next we have the light panel. You can use these controls to optimize the light in your video by making adjustments to highlights, shadows, whites and blacks. Next we have the HSL panel, which is short for hue, saturation and luminance. Select the Golan you'll want to adjust from here and then drag the sliders associated with your saturation and luminance to adjust the color you selected. For example, if I just want to affect the yellow shadow of this guy, I will select yellow color from here and then make adjustments to hue saturation and luminance components. Hue is color, saturation is vibrancy of the color, and luminance is the brightness of the color spectrum. Because we have restricted color possibilities here, I don't use the SSL function. And last but not least, we have vignette controls that we can use to create a vignette for our clip. Let's click on Reset, also reset everything. And let's fix colors in this clip. The first thing I'm going to do is correct the white balance. If you look at the histogram, you will notice that there are no blacks or shadows in this video. To fix it in the light panel, I'll drag the black slider to the left to introduce shadows. Notice in the histogram now we have shadows in the tonal range. Now I will introduce some whites as well. Notice how much better our video now blocks. Now I'm going to brighten the shadows a little bit. The image is looking under exposed selects bumper texts plaza in the color panel. Let's add some contrast as well as vibrance to the image. Also had some saturation. Last but not least, let's apply a 3D LUT to make it cinematic. You can compare your color corrected video to your original video by clicking on this icon here. You have three options here. Side view, left, right, and top, bottom. If you click and hold on this icon here, Fillmore, I will show you the original video. If you want to undo or redo any changes you make in this window, you can use these icons. If you want to use your customized color settings again, just click on this Save As preset button. Give you a preset, a name, and click. Okay. Your preset will appear in the preset tab. Now we can apply this preset to any other footage. Mora includes comprehensive range of tools to assist you in modifying or correcting the colors in video or image. To improve your skills, apply the principles you'll learn in this video to color correct, and color grade different videos. 22. Applying Transitions to Clips: Video projection is a technique that is used to connect one shot to another, typically, especially in cinema. This takes the form of a cut with jumps straight to the next scene with no visual clue other than the fact that the scene had changed, plantations and digital video can be more visible and noticeable, such as fade-out, wipes, dissolves, fades, and other visual effects in film era, this is what our default position looks like. As you can see, the two clips are connected by a simple cut. Transitions are simply a great way to connect one clip to the next and make our video flow more seamlessly. One of the most popular conditions is the fade transition. Let's start with that. I'll select the transition step here at the top and then select the basic category. I can also tie fit here in the search field to find the phase transition. Click on a tile to preview that transition in the preview window. Now I can drag the transition to the beginning or end of a video clip or imagine the timeline. You can also place the transition between the two videos. Now I'll go ahead and apply transition to the beginning of the timeline and the end of the timeline. As you can notice here, this transition has cupboard our whole clip soap, we need to fix its duration. So I'll double-click on the transition and then I'll change the duration here. Now if I want to apply this duration to all conditions in the timeline, I'll click on this button here. Now let's check these transitions. You can also grab the side of a transition to change its duration. Let us now apply the dissolve transition to the remaining cut points. However, keep in mind that traditions are not required for all cuts in the timeline. Simple cut is often more effective than adding a transition. We have three tangents in mode 0. Overlap is a transition that occurs between the end of one clip and the beginning of the next prefix will play the transition before the cut, whereas a postfix will play the transition after the gut. You can also drag a transition in the timeline to switch between transmission modes. When a piece of media is too short to accommodate a transition, framed frames are used by default to make the position work. If you don't want this double-click the tradition in the timeline and uncheck the include trimmed frames checkbox. You can also apply a transition to multiple clips. Just marquee select the clips in the timeline, then right-click on a thumbnail in the Transitions tab, and then choose apply to selected clips. To delete it conditions selected. Then press Delete, or you can right-click and choose delete from the men who he had awesome traditions that are my favorite. And I use them quite often. Check them and make sure it sounds right. Right. As you have seen friend Jason's are important for smoothly connecting one scene to the next. Flow of your videos. Seamless. 23. Adding Video Effect to Clips: Full model offers a variety of effects, such as filters, overlays, and elements that you can use to take your video to the next level. Effects can be accessed from the Effects tab. Already visited this tab when we discussed about color grading using 2D lots. Filters can be accessed from here. You can use these shapes for this, for example, to create camera shake and earthquake effects. These effects have same attributes. They are just piecerates for differentiate moments. All effects on film aura can be dragged and dropped to a specific location in the timeline. You'll have to make sure that you place the effect in the track above the dragon, which video is placed. In case you want to apply the effect to the entire video clip, you can drop the effect directly on the clip. There is no camera shake in any of the clips we are using in this project. Let's use the up-down one filter and drag it about this clip here. Now, I can drag the filter here in the timeline or grab its sights and changes duration. I can double-click on it to open its settings in the Effects tab and adjusts its attributes as desired. For example, if I reduce frequency value, I can control the chaos in the shape. Notice that is now less shake in the footage. We can also control position of the effect here. For example, if I set Y and Z values to 0 and x value to one, then the effect will show in the horizontal direction only. Similarly, we can control shift in the y and z directions. You can reset the values by clicking on the symbols. Now if we want to show that when the horse approaches the camera, the camera man shakes the camera out of fear or for any other reason. We can do so by adjusting these parameters. Now let's play and here we have the effect we were looking for. If you want to apply a filter to the entire flip, you need to drop the filter on the clip. When you apply an effect to an entire clip, the effect icon appears on the clip in the timeline. Now if you want to change attributes of the filter, you need to double-click on the clip and then you can change attributes from the video effects section of the video tab. Now, let's change the values to make a subtle camera shake. I also recommend that you keep these two checkboxes selected to ensure that film or that creates motion blur, it makes the shake effect real estate. Now I'll go ahead and apply the filter to the third clip in the timeline. Since we dropped it on the clip, the shape will affect the entire clip. The camera shake is looking pretty nice on this clip. Now let's apply a 2D lattice to the entire timeline. Extend it so that it affects the entire timeline. Video is looking nice now and the camera shake has added some Bill ASM in the scene. We have more filtered categories that you can use to give your video a different block. I will cover some of them later in this course. Some of the effects has the alpha slider that you can use to control the intensity of the filter. Overlays can be accessed from here. We have a plethora of overlay options here that we can use to add overlays to our videos. From the frame section, we can add a frame grabber video. Like if we want to add a film frame to our video, we can use film overlays. You're going to add a hard sphere if you want to give your video a romantic touch. I'll go ahead and use a cinema 21 is tonight overlay to give this video a cinematic widescreen look. We have many overlays here that we can use in our video. Let's look at elements now. Elements can be accessed from the elements step. Here we have a plethora of options that we can use in our videos. Let's go ahead and add spread the love from fun category to our timeline. Now I'll go ahead and reposition and resize it. Let's add few more elements. It's really easy to add effects, filters, and overlays to your videos to make them stand out. We will explore more effects later in this course. 24. Working with the Pan and Zoom Effect: If you want to convert a horizontal clip to a portrait without grabbing the top or bottom, right-click on it in the timeline and choose a rotate 90 CW that is clockwise, or rotate 90 CCW, that is counterclockwise. Filmer x. We'll wrote it the video without cropping in this manner. To crop a clip, right-click, and then select crop and zoom from the context menu to open the crop and zoom window, real in the crop tab here at the bottom we have this slider and playback controls. You can select the crop ratio from this ratio drop-down. If you want to keep the original ratio, select the original ratio option. You can also choose a preset from here, or specify a custom ratio. Click and drag here in the preview to change the position of the crop rectangle. With this rectangle, surround the area that you want to crop. Once you are satisfied with the settings, click Okay to crop the clip. If you want full Mora to crop a clip and fit it inside the Canvas, select the clip and then choose crop to fit, to crop the image so that it fits inside the canvas size that we have a specified in the project settings, in the pan and zoom tab, we can create the pan and zoom effect. Here two frames appear over the footage. A green frame mark that you start and read frame mark does end. At the bottom, we have four presets that we can use as a starting point for our effect. The first one is from far to knee up film mara with zoom in from the larger green frame to the smaller red frame. Let's select this end frame and aligned with the face of the character. And now play to see the effect. This green arrow is indicating the direction of the pan and zoom effect. The second preset from near to far is the opposite of the first preset. Next two presets are right to left and left to right. The last icon here we'll swap the start and endpoints. Now if you want to edit the effect, again, open the pan and zoom window and adjust the settings. If you want to get rid of this effect, click Reset, followed by, okay. 25. Using the Silence Detection Feature: The silence detection feature is a paid add-on fulfillment IX that allows you to scan and delete white pauses from your video automatically saving you a lot of time in the editing process. This module is not available as a onetime purchase. It requires a subscription. Only clips with audio are eligible for silence detection. In the timeline, I have a clip with silent pauses. You can execute the silence detection command in several ways. You can right-click on the thumbnail and select this command or you can access it from the Tools manual. The easiest method is to first select the clip in the track and then click on this icon here in the timeline to open the silence detection window. Full motor automatically detects the silence and marks it in the timeline here at the bottom. Let's listen to the audio, but default settings. Use these two options. If you want to delete tracks, use this option to change height of the track bigger or smaller, depending how you like it. You can also drag attracts edge to change its size. You can also invoke prac manager if you want to add multiple tracks at once, you can also access these options by right-clicking on this blank area to select a track, click on this area once to delete the selected tracks, right-click and then choose Delete Selected track. Click on the icon of a video track to make it invisible in the preview window for audio tracks, click on the speaker icon to mute the audio. On the left side of the window, we have parameters for adjusting the silence detection algorithm. If you click on this symbol here, film mara opens a pop-up and displays an animation that shows how these parameters work on the clip. The default value for the volume threshold is 25%. What this means is that the segments with volume threshold values of less than twenty-five percent will automatically be considered silent. The minimum duration defines duration of the low sounding audio. The default value is a 2.5th. Let's zoom in on the timeline. If I change the minimum duration to 1 second, FilmArray will no longer consider these two durations to be silence. Softening buffer defines the buffer time for the start and end of the audible segments that are adjacent to the silences or low sounding parts. So if I change the buffer value, film camera will adjust the beginning and ending points of the segments to accommodate that buffer. The highlighted sections reproject the audible segments that would be visible in the timeline. The darker parts in the timeline, or the silence detected by full motor. And these parts will be deleted. Once you export the clip, you can export to local hard drive by clicking on this button. Or you can click on this button to first export the clip and then import it back in the timeline. If you want to override silence detection segments, you can toggle this icon. You can also use these two icons on the timeline. That's how you can save editing time by using the silence detection feature. 26. Keyframing in Filmora: In animation and CGI, a keyframe defines the beginning and end points of any smooth transition. They are referred to as frames because their location and time is measured in frames on the timeline. Series of keyframes creates the illusion of an object moving. In the project, I have an oranges squared that I want to animate, moving horizontally across the screen and stopping at the center of the canvas. This is the first position of the squared. Now I will move the play head to the time when I want square to begin moving. Now I need to go to the animation tab. For that, I can double-click on the track two it. Here we have two subtypes, preset and customize. In the preset tab we have two areas, Reset Animation, and if I scroll down, there is another area called reset motions legacy. We don't need legacy animation because now we have better options to create any animation using the Customize tab here. To add a keyframe, I'll click Add and a circle will appear at the bottom of our timeline clip. This circle is a key-frame that represents all the stores, all the values for the attributes available in the customized stab. If you look at the customized step here, the key frame has a value of 0 for the row data attribute, a value of a 100% for scale, and a value of 0 for the other attributes, which is an x, position y, and opacity. These are linked to a point in time on the timeline, and that point is where our play head is. Now I will advance the playhead and place my square in the center of the canvas. Because we changed squares position property, a new circle appears in the timeline representing the second key frame for the playhead is the arrow between two key frames indicates that there is some animation between them. This keyframe represents position x as 0, and this keyframe, lipogenesis, the changed value. And the software automatically interpolates the values for the other frames between these two keyframes. If I feel that the movement is too slow, I can split it up by closing the gap between two key frames. The square will now take less time to travel from point a to point B. Now let's say I'm not happy with the final position of the square and what will change it? It's pretty straightforward. I'll just select the key frame and reposition my square. You can also use these two buttons to jump between key frames. We can create as many key frames as we want. I'll move forward in the time and then bring back the squared at the center of the canvas. Now I have one more key frame and another atom representing the second animation. Now, let's say I want my square to stage if for some time at the center and then start rotating. So I'll move the play head a few seconds and click on Add to create a new key frame. Notice there's no key frame between the two keyframes here as both share the same values. Now I will move forward again and change the rotation value to create an animation. Now if I want to slow down the rotation, I will move the keyframes apart. Now let's pause for a couple of seconds and then rotate the square and d clockwise. Likewise, we can use other two properties, scale and opacity to scale the size of the square and Control X opacity. Now I will change both the scale and opacity to 0 in order to hide the square completely from the Canvas. Delete a key frame. I can use this Delete button or I can right-click on the timeline and choose Delete key frame from the menu. You can click this button to remove all key frames from the selected track. In the presets tab we have some presets that you can drag to the timeline and then adjust animation as desired. That's a look at how to create keyframe animation and film ora. You can create some interesting looking animations using keyframes. 27. Stabilizing Videos and Applying Lens Correction: Phil Mora offers many features that you can use to quickly fix issues in your video and improve their quality. One common issue we face in our videos as shaky or uneven movement of the camera. We can use Fillmore rods, stabilization feature to smooth out budgetary video and make the camera movement smoother. Video stabilization refers to algorithms that improve video quality and remove undesirable camera shakes and jitters caused by hand jiggling and unintended camera panning. I have got this clip in the timeline here. And as you can see, the camera moment isn't even. This voltage needs to be stabilized. I will either right-click on the clip and select stabilization from the menu, or double-click on the clip to access the stabilization area of the video tab. Motor will begin analyzing your clip as soon as you enable a stabilization to determine what needs to be smoothed out in your shot. Film aura may take sometime to evaluate the clip depending on its sled. In film or novel, slightly Germany or frame to stabilize the footage to remove artifacts from the edges of your videos. The options in this drop-down control how Fillmore a handles the edges of the clip. If you set it to none, you can see how film aura is trying to compensate for the shaky movement. We have also option for tiling the footage, extending the footage. But the default option is reflect, which works fine in most of the cases. If you still see artifacts, you can use this slider to get rid of it from the edges. Another challenge we face is visual distortion caused by phis islands effect. Wide angle lenses, such as those seen in GoPro. Cameras, can distort the images on the sites. We can utilize Fillmore as Lens Correction option to prepare the fish eye effect. To fix the fish islands issue. Double-click on the clip and enable lens correction. From the select model drop-down, select the camera model you shot with. From this drop-down, select the capture mode resolution your video was shot with. Using the adjust levels slider. You can correct your lens. Checkout it in the preview window and click Okay, when you are done. 28. Creating Split Screens: The split screen function and film aurora allows you to display two or more clubs on one screen at the same time. This is useful when you want to compare two clips or visuals at the same time, or incorporate two or more types of footage into your video at the same time. Split screen presets can be accessed from the split screen tab here at the top here we have a number of presets that we can use to play two or more video clips simultaneously. To add a split screen to the timeline. Click Drag it as you would drag any element and FilmArray. Notice here we have a checkbox. This checkbox allows you to enable split screen animation that looks like this. If you have media in your media library, you can start with this split screen. Here. I'm going to use the sample videos. Drag videos from the media library to the plugin window where you want them to play. Click on a clip in the preview window to quickly change its size and position. This slider will let you change the scale of the clip. The clips position can be changed by clicking and dragging it. If you want to replace a clip, simply drag and drop a new clip in the preview window. Clicking on the speaker icon will mute the selected clip. Clicking on this icon will open the Advanced Split Editor. On the left side of the editor, you have access to media, video, color, and animation. Here you have timeline for the videos in the split screen editor. You can rearrange the clips by dragging and dropping them here. You can also trim clips here. If you want to replace a clip, simply drag and drop it from the left pane of the editor to the editors preview window where you want to play it. One of the split screen videos is longer than the other. You should enable the fit split screen duration on the timeline option. As a result, the shorter video ends with a freeze-frame while the longer video continues to play. This box is unchecked. The shorter video will be transparent. When you are done editing the Sparty screen effect, you should click on the Okay button to confirm the changes. So that's a look at how to use the split screen feature to play multiple videos simultaneously. 29. Using PIP and Masking: Bip, also known as picture in picture, is an effect that is frequently used to overlay some smaller videos on a background clip, allowing you to display two or more video clips on the screen at the same time, it is a useful technique for creating convincing content when creating online tutorials, product demonstrations, all game videos, among other things. It is extremely beneficial to those who work in the online teaching and tutorial business. Let's start with a quick color correction. Let's begin by adjusting the white balance. Let's now click the color settings. Now I'll go ahead and add that to the video to make it look cinematic. Now I'm going to use depleting food video from sample videos for creating the PIP effect. I'll drag video to the timeline and then place it where I want it to appear on this screen. I will resize and reposition the clip in the preview window. Let's add some cool animation to this clip. I'll go to the animation tab by double-clicking on the clip. Now, I will drag the pause presets and drop it on the clip in the timeline, and then adjust the animation. I would like to add some borders to this footage. To accomplish this, I will navigate to the utility section and drag the border utility onto the clip to create a nice border around the PIP frame. Now I'm going to double-click on the PIP clip to change bottle attributes. I'll set an orange color for the end attribute. Slightly plotted. Then change the direction of the color gradient. We have created a nice picture in picture the effect. If you want, you can also add a text element to the clip as well. Let's say I didn't like the rectangular shape of the PIP frame. Edvard like to change it. I can accomplish this by using a mask utility. I'll go ahead and drag shape mask and drop it on the PIP frame. Make sure that your drop it on the PIP track, not in a new track. Otherwise it will be applied to the background video. Now, I will double-click on the track and adjust the parameters of the shape mask. From here I can change position, width, and height of the mask. I can also add feathering to the frame and what the mask. I will reset everything and set width to 75 and height to 90. Because we changed the width and height of the clip. Art border is no longer visible. In the video effects section. You can't be at least the effects as a walk-around. First delete the border effect and then re-add it. Video editors and content creators should take advantage of PIP and masking. It improves the visibility on the video and makes it more engaging. 30. Using the Chroma Key: Chroma key compositing, also known as chroma keying, is a visual effects at post-production technique in which two or more images composited or layered together. For all my king is the process of filming actors and objects in front of a single color flat screen. Because this is green is usually blue or green. Chroma key is also known as a blue screen or green screen effect. Essentially the background color, which is usually blue or green, is removed using software King algorithms and transparency is created. You can then composite your kid footage or what any background ones who have the transparent footage. If you are going to shoot green screen footage, make sure you don't wear green cloth or you will get unexpected results. You can use the blue screen for your project if you want to wear your favorite green clothes or if the object you are shooting as green. Now, I'm going to double-click on this clip and enabled the chroma key option in the video tab. Full Morris default king color is green, which is why you can see transparency in the preview window right away. As a result, the background image is visible. Fill Mora uses this green color by default, but the shared of green in your video may be different and most of the time it will be. Therefore, you must click on the eyedropper and select the green sample from the preview window. We can see in the preview window that there is now more transparency. Fillmore are also provides us with these attributes, which we can use to fine tune out king. The first parameter is offset and determines how visible the backdrop is. Don't on the alpha channel checkbox to better visualize it. We have black and white it gas here. The black areas are clear and the white areas are opaque. Slide the offset slider to see how it affects the backdrop. The backdrop is also affected by the tolerance parameter. The edge thickness parameter controls the edges between the backdrop and the actor. The edge feather attribute with a smooth and feathered edges so that there are no part transitions between the backdrop and the actor. It will improve the overall appearance of the composition. Now I will enter some values. It a good key. Look at the chroma key feature and Fillmore out. Chroma key compositing is a powerful visual effects technique that you can use to create stunning composites. 31. Using the Scene Detection Feature: Scene protection is then advanced editing feature that allows you to split footage based on the conditions in the clip. Fillmore at detects transitions between shots and splits the video into temporal segments, which you can then import into the timeline. The scene detection procedure is simple. Select scene detection from the menu that appears when you right-click on the footage and the media library. Film aura or plasticine detection window. Now click on that detect button to begin the scene detection process. Film mara will take some time to detect the video depending on its sled. With the process is finished, the detection segments will appear on the right side of the window here. You can delete segments by clicking on the icons here. I'll go ahead and add the detected segments to the timeline by clicking Add to timeline. Maurer did an excellent job of detecting transitions between shots and segmenting the footage into basic temporal segments. You can now use transitions between shots if you want. That's a look at the film on our scene detection feature, which saves you a significant amount of editing time by locating transitions and then splitting the footage. 32. Using Motion Tracking: The process of tracking the movement of an object within a video clip is known as motion tracking. Film motors motion Dragon feature allows you to track or follow the movement of an object person on ADL. After getting the track data from the selected point, you can apply it to another element or object, venue. Apply the tracking data, the element or the object matches the moment of your footage. Essentially, you can add something to a scene that was never there before. This feature can be useful in a variety of situations. For example, you can use it to blood a person's face that you don't want to show in the video. All you can use it to hide sensitive information in your video. Even if the location of the unwanted area changes in the video, the motion dragging feature will follow it and keep it blurred in the timeline for as long as you want. Essentially, you can attach any element of the track point. To get good motion tracking data, you must first identify the target you want to track. The target should be in contrast with the background and not move out of the frame during tracking. It should also not be hidden or obscured by anything. This video, I would like to focus on the two boxes in the front. So I'll right-click on the clip and then select motion tracking. I also have the option of pressing Alt X. When you enabled cracking, the tracking box appears in the preview window. You should now include your target within this box by moving it and adjusting its size. When you are ready, click the Start button. As the play head moves to the end, the effect will begin to load. By clicking cancel, you can cancel the tracking process. Effect can be reset by clicking this icon and the tracking boxes visibility can be toggled by clicking the icon next to it. The process is finished. A highlight bar will appear on the timeline above the video. It denotes that video is being motion dragged. You can now use any element that will follow the target. I'm going to drag the energy of elements to the timeline. I'll double-click on the clip and then in the motion tracking area, I will select energy from this dropdown. Then in the preview window, I'm going to resize and reposition. The ARB. Should now stick to the moment of the boat. If you want another element to follow the track point, you can split the footage and then connect another element to it. From this drop-down, you can use this option to load an element from the computer. That's a look at the motion tracking feature and Fillmore. Motion tracking is a powerful editing tool that can take your video to the next level. 33. Exploring Blending Modes: A blending mode affects how a layer interacts with the layer beneath it. It combines the pixels of the two layers to produce a variety of effects. Blending Modes allow you to blend the color of the base layer with the color of the blend layer, dueling the resulted blended color. The algorithm used by the blending mode you have chosen determines how the base color and blend color mix. Here I have a grayscale gradient that I'll use to explain the math behind blending modes. Blending mode math. The luminance values range from 0 to one, with 0 representing black and one representing white. Because Fillmore or uses 0 for black and 255 for white. Converting the duty to 55 rage to G21 range is quite simple. For example, if you want to find the standardized value for 148, simply divide it by 255 to get 0.5, which is mid gray in the 0 to one range. Let's see how this math work. I will double-click on the gradient and then set the blending mode to multiply from the compositing section. This slider can be used to adjust the opacity of the blending mode. Let's call the base color a and the blend color be. The multiply algorithm multiplies the values of the base and blend colors. And as the name of the blending mode implies, the formula to obtain the resulting color is a times B. Because we are multiplying values here, the resulting color will be dark. There is no change in the resulting color here on the right side, we have pure white, because pure white is one on the numinous scale and any value multiplied by one results as the value itself. In other words, no color change. Therefore, we can conclude that multiply kills white. So you may be wondering what kills Black. The screen blending mode, on the other hand, girls black. Let's switch to the screen blending mode. Notice how the black has vanished and how that has been no change in the area where we have pure white color blending modes in the first group, dark and the images. The second group in this section, writing style images. The third group, which ranges from overlay to heartbreaks, darkness or lightness, the images, all you can say create contrast by both lighting and darkening the result. The overlay blending mode, for example, combines the multiply and screen blend modes, where the base layer is light, the topless lightens, the base layer is dark, the top layer darkens. And whether basically at his mid gray, the top layer remains unchanged. In the last group we have defense and exclusion. The Difference blend mode looks at the color information in each channel and subtracts the band color from the base color, a base color from the blend color, depending on which has the higher brightness value. Exclusion is very similar to difference. Blending with white causes the base color values to be inverted. That is, blending with black has no effect. Blending with 50% gray, on the other hand, yields 50% gray. Let's go ahead and composite these clouds over the cliff we have here in the timeline. I'll drag it to the timeline and then trim it to match with our base layer. I will now rotate it and then I'll reposition it. I'm going to change the blending mode to pin light and opacity to. Finally, let's apply a teal and orange locked to the competition. When you understand how different blending mode algorithms compute luminance values using blending modes and make it creative effects become sublease. Use them wisely and creatively to create a wide variety of effects. 34. Recording Desktop Screen: Moreover, not only allows you to record your computer screen, but it also allows you to record your webcam stream alongside this screen recording to the court, webcam only videos select the record from Webcam option. To open the capture video window. From here you can choose your webcam device, microphone, recording resolution, and frame rate for the capture. Then click on the Set button. A countdown will begin and webcam capture will begin after the countdown. If you want to stop the capture, click the red button again. Now click Okay. The capture will be added to your media library where you can edit it just like any other video in third moral code, your screen, select record PC screen from the record drop-down. Fillmore, I will open the wonder share screen decoder window for you. You can use these handles to change the size of the recording area. You can end up precise values in these fields. This center handled can be used to reposition the capture area. If you want to capture the entire screen, choose full-screen from this drop-down. If you only want protocol, this specific window on your computer, choose the target window option. If you have a dual monitors setup, you can select which screen to record by clicking on this icon below the record button, select the microphone from here, it will be used to record the narration for the screen recording you are making. The options in this drop-down allow you to select whether or not to record computer sounds during a screen capture session. You can select your output device from this manual. If you expand the settings area here, you will have access to additional options that you can use for your screen capture. The Save To option allows you to specify where your screen recordings will be saved after you stopped recording. The frame rate dropped down allows you to specify how many frames per second your screen recording will have. The quality drop-down allows you to select between good, better, and best image quality options. But keep in mind that choosing better or best image quality will increase the size of video file you are creating. You can enable this checkbox and then specify the time after which film or novel is stopped automatically capturing the screen. The time is set to 24 hours. By default, enable the show mouse clicks and recording checkbox. If you want to change the color of your mouse in the screen recording and enabled the play mouse click sandbox. If you want to hear mouse clicks 12, the recording from here, you can set hotkeys for pause, resume, and start stop commands. If you don't want the webcam feed to be recorded with the screen capture. Uncheck this box. If you use the custom option to specify the area of the screen, you'll want to record. Make sure the webcam window is position within the recording area. Once everything is in place, press the record button and begin recording the activities on the computer. Now, let's capture the target window with a webcam stream. Now, I'll go ahead and click on this cube icon here to create a cube in the viewport. Then I'm going to double-click here in the object manager and then rename the q as my cube. You can now edit the screen capture in Fillmore are just like any other video. As you can see, configuring a screen capture session and FilmArray simple. You can use Fillmore at the screen capture feature to record gameplay videos, YouTube videos, online courses, and so on. 35. Using Auto Reframe Feature: The AI powered auto reframe feature detects the focal point in your video and crop set, always keeping the focal point in the frame. It ensures that your video's main action or objectives never above few. Fillmore are detects the focal point automatically and adjust the frame accordingly. You can however, manually change the focal point of your video or selecting aspect ratio that suits your needs. You can use one of three methods to run the orderly frame command. When you launch Fillmore at the auto reframe feature is accessible from the right side of the welcome screen. You can also choose Auto reframe from the menu by right-clicking on the media in the media library. Another option is to go to the top menu bar and select tools and then auto reframe. When you select the Auto reframe option, the auto reframe window will be displayed from here you can select the aspect ratio that fits your needs. I'll keep it at 9216 because I wanted to make a vertical video out of this clip. You can also adjust the speed of your video, keep it at auto, fast or slow, because the character in this clip moves quickly. I'll set the motion speak too fast. Once you are all set, click Analyze to begin the video analysis. The video will be instantly and automatically the film to the aspect ratio and speed is specify it. By clicking the restart button. You can change or experiment with the different aspect ratios and speed options. If you want to change the focal point, you can now manually adjust the frame. Just did by dragging the fame to keep your focal point inside the frame. When you move the frame, Edit Points appeared in the timeline and highlighted in orange. These buttons will take you to the previous and next edit points. If you want to delete and edit point, click the bin icon. These two buttons can be used to undo or redo actions to replace a file. Click the replace File button and choose a new video. When you are happy with the reframed video, hit the Export button, enter a title for the video here, selected location on your hard drive using the same two option and then click Export. When they export is finished, filling model will open the destination folder so you can feel the exported video. Auto reframe is very useful ai powered feature that allows you to quickly extract the main action from your video without having to manually crop it. There is especially useful for social media content creators who want to create a vertical video for Instagram, YouTube shots, or tick tock. 36. Using AI Potrait: Ai portrait is AI based add-on and film camera that allows you to easily remove backgrounds without the use of a green screen or chroma key. The extracted portrait can then be enhanced with video effects. The AI portrait feature is most effective when real or single objects are facing the camera. If there are multiple people in the frame, or if there are fast moments in the frame, you will not get a good extract. When you launch Fillmore, right? You can access the AI portrait feature from the right side of the welcome screen. I'll go to the Effects tab to add the AI portrait effect. We have several effects here that we can apply to our clips. Now, I will go ahead and drag the human segmentation effect to the timeline about our video clip. If you want to apply the effect to the entire clip, drop the effect on the clip itself. Now if I double-click on the effect, I can change its properties from the Effects tab. Different AI portraits have different settings. Let's change the background of this clip now. It's worth noting that there is no transparency in the video. If you drop the effect directly on the clip, it will segment the human and create transparency. The AI portrait feature is fantastic, but it is not included in the standard film on a license. This feature requires an additional subscription. 37. Using AR Stickers: Film camera has a cool collection of AR stickers that you can use to add personality to your videos. These ARE stickers are image-based face tracking effects, which means they track human facial features in order to stick to the face and head. For example, if you use the heart eyes does trigger, it will automatically overlay over the person's eyes and move with him if he moves his head. There are a number of fun AR stickers available in film aura such as fancy eyes, fun elements, glasses, and much more. These AR stickers work best when applied to someone who is facing the camera. If there are multiple people in the frame, the AR struggled will be applied. The first phase, it detects to add a sticker. I'll go ahead and click the effects at the top followed by AR stickers. We have a lot of fun elements here that we can use. You can drop a sticker in the prac above the video clip to apply it to a specific area of the clip. However, if you want it to appear on the entire clip, place it on the clip itself. Later video to see the AR effect. Multiple stickers can also be used on a single clip. To remove a sticker. First double-click on the clip and then click on the class icon corresponding to the effect you want to remove. To remove all applied AR stickers. Right-click on the track and select Delete effect from the manual. That's a look at this fun feature of full Mora. 38. Blurring a Moving Face: The face of utility is used to obscure a moving phase in order to conceal a person's identity. It has a dragging mechanism that adjust the blur as needed. As a result, you don't have to monitor the phase frame by frame in order to capture the movement of the face for tomorrow also includes a number of interesting emojis that may be used to replace the face when the individual is facing the camera, the face of function works effectively. This effect does not function if the individual's head moves quickly. If the person turns away from the camera in a side posture, navigate to the Effects tab, utility category, and then drag face off to the V2 track. Fillmore at detects the face and blurs it. Extend the utility to match the duration of the clip in the V1 track. Double-click on the face of lead in the timeline. To open the effect tab, click on the appropriate emojis in the effect tab Faceoff section to use it to censor the face and then click OK, play the sequence to see the effect. There you have it. A glance at the face of utility, only the emojis included with full moral can be used. This utility does not allow you to use your own customized emojis. You will also note that you can't modify the size of the emojis. They are tiny and do not adequately concealed the face. You must utilize the motion tracking function if you want to use your own elements to censor the face. 39. Reversing a Video: Make sure the clip is selected in the timeline and 210 in the play head position field to set the play head at two seconds. Then frames mark, press Control B to split the clip, enter G20 in the play head position field to set the play head at t seconds and 20 frames mark press Control B to split the clip, select the middle clip in the timeline, and then press control C, press control V twice to paste two copies of the selected clip. Select the third clip from the left, click on the speed button on the toolbar, and then select a reverse from the flyout, select the last clip and reverse it adds value. Play the sequence to see the effect. You have just greater default. What reverse motion effect? Next, you will add a shake and effect and a lot to spice up the video, navigate to the Effects tab filters category, subcategory, and then drag mild to the V2 track, extern mild in the timeline to match the length of the main clip. Navigate to the Effects tab, filters category, shakes up category, then drag up down one to the V3, drag and adjust its length and position so that it matches the third clip in the timeline. Double-click on outbound one to open the effect tab. In the up-down one section, set frequency to ten, and then click Okay. Navigate to the Effects tab, lot category. Drag teal and orange to the V4 track. Extends teal and orange in the timeline to match the length of the video clip. Now apply a transition between fourth, fifth clips. Play the sequence to see the final effect. 40. Adding Blur to Vertical Videos: In this clip, you will learn how to add blood to vertical videos to make them horizontal. You can use this approach to convert a vertical video to a horizontal video. Let's get into it. The projects resolution is full HD, 1920 by 1080, whereas the first vertical video in the timeline is ten by 1920. This is why a black area surrounding the video in the preview window, these areas show projects transparency. If you drag a color layer to the V1 track, you will notice that it sees through where there is transparency. Blood filters use this transport in C2, create the background blurred effect, navigate to the Effects tab filter scattered with the background blurred subcategory. Then drag basic block onto the V3 drug and the timeline, double-click on basic blood to open the effector. The basic blog section set background luminance to minus 17 and background further to 0.34. Click OK. Play the sequence. Look at how to use blood filters and film era. Keep in mind that this effect will only function if there is transparency in the video. 41. Creating the Rotation Effect: In this clip, you will learn how to create a nice rotation effect by animating the date values. Let's get into it. Right-click on the preview window and then select June level 10% from the shortcut menu to set the zoom level at 10%, double-click on the clip in the timeline and then navigate to the animation tab. In the animation tab, customized sub tab set voltage to one entity and scale the 195 to create a keyframe in the timeline hold Control and then drag the out point of the clip toward left until 1.20 is displayed in the tool tip. Enter six to four in the play head position field to place the play head at 6.24 mock in the animation tab, customized sub tab, set it to 0 and then click, Okay, Right-click here on the preview window and then select June level fit from the shortcut menu. Navigate to the effect step, overlay category, frame subcategory. Then drag cinema 21 is tonight to the V2 track extensive them are 21 is to nine so that it affects the whole clip. That's a look at how to use keyframe animation to create a nice rotation effect. 42. Creating the Parallax Effect: In this clip, you will learn how to create the parallax effect, vet club and Jerome techniques. Let's get into it. The parallax effect, a person and the backdrop moves faster than the foreground. This effect works nicely when the camera in the clip is moving away from the central atom. And there are things in the backdrop that are far away. Let's begin by speeding up the clip so that the effect is noticeable and appealing. Right-click on the clip in the timeline and then select speed, speed and duration from the flyout or press Control R to open the custom speed dialog box, set speed to three and then click OK to speed up the clip. Right-click on the timeline and then select the video of crop and Joan from the flyout or press Alt C to open the crop and John Window. Navigate to the pan and zoom tab, and then select the end rectangle by clicking on it besides the end rectangle and then set it like this later sequence to see the Parallax effect. That's a look at how to use pan and zoom effect to create the parallax effect. If the camera is more than two verse the center object. You can enable from near to far preset in the crop and June window and then reposition the start rectangle to create the effect. 43. Creating Emboss Effect: In this clip, you will create emboss effect using various filters. Let's get into it. Navigate to the Effects tab, filters, category Materials subcategory. Then drag the emboss effect to the clip in the V1 track. Double-click on the clip in the V1 track to open the video tab, the Video Effects section and both subsection, set percentage to six. Click Okay. Drag a copy of the clip to the V2 track, navigate to the Effects tab, filter category material subcategory, then drag the shadow effect to the clip in the V2. Drag or double-click on the clip in the V2 track to open the video tab. In the compositing section, set blending mode to lighten, drag another copy of the clip to the V2 track. Apply this sketch effect with an aside, the multiply blending mode. Drag a copy of the clip to the V4 prac. Navigate to the Effects tab, filters category carbon subcategory. Then drag the pixelated edges effect to the clip in the V4 prac, double-click on the clip in the V4 practice, open the video tab in the compositing section, set blending mode to hard light. The video effects section, pixelated edges, subsection, set color to red. Click. Okay, so that's a look at how to create emboss effect using filters. Right on Dad. 44. Creating Glowing Edges Effect: As far as my flag, right on this clip, you will create the glowing edges effect using various filters. Let's start from the media library. Drag this clip to the V2 track, navigate to the Effects tab, filtered category. Woman subcategory drag the pixelated edges effect to the clip in the V2 track. Double-click on the clip in the V2 track to open the video tab in the compositing section, set the blending mode to difference. Individual effects section pixelated edges, subsection, click on the Color Swatch and then click more to open this Select Color window. Now set HTML to FF, FF II E14, and then click OK, the video tab. Click Okay, navigate to the Media tab, sample color category. Then drag white to the V3 track. Double-click on the white clip here in the timeline. And then in the compositing section, set blending mode to overlay. Let's play the sequence. Note that the flag, that's a look at how to create growing edges effect using various filters. 45. Creating RGB Strobe Effect: In this clip, you will create the popular RGB strobe effect using various filters. Let's get into it. Add to the V1 track. Enter three in the play head position to place the play head at three frames. Mark, make sure red is selected in the timeline and then plus all right, square bracket to trim it, drag green to the V1 track and snap it to vet right arrow three times to navigate to the six frames mark and then press Alt right square bracket to trim the clip. Likewise, repeat the process for orange, white, moon blue, baby pink, blue, yellow, cream, gradient one, gradient. And gradient three. Press Control a to select all clips and then copy the clips. Next makes sure play head is at the end of the sequence and then press Control retries later sequence. Now export the sequence and re-import the rendered file back into the media library. Here is the footage that we rendered out regenerate. It says we want to achieve the effect using blending modes. And it is easier to apply blending modes to a single clip rather than several clips. Drag this flip to the V2 track and drag the vendor HD clip to the V3 track. Trim the clip in the V2 track. Set blending mode to overlay for the rendered footage. Play the sequence to see the effect. Navigate to the Effects tab, filter categories, shakes subcategory. Then drag extreme to the V4 track. Extend extreme so that it affects the whole clip. Double-click on extreme to open the effect tab. In the extreme section enabled the RGB separate checkbox and then set frequency to 50. Click Okay. Navigate to the Effects tab, lot category. Drag movie one to the club. Move extreme to the V6 track. Navigate to the title stab, plain texts category. Then drag Basic six to the V4 track, extent, basic sex, and the timeline to match the length of extreme. Double-click on basic six in the timeline to open the text tab, then click on the Advanced button to open the advanced text edit window. In this window, change input text to Q neurons. Now change the settings as shown here. Drag Basic six to the V5 track. Extent basic six in the timeline to match the length of extreme open, the advanced text edit window. This window change input text to a better night life experience. Font to carpel bold. Change size to 20. Then click Okay. Drag this MP3 file from the media library to the A1 track and then match its length with extreme. Play the sequence to see the effect. That's a look at how to create RGB stripe effect using various filters. 46. Creating the Bass Shake Effect: In this clip, you will create the base shadow effect using filters and transitions. Let's get into it later sequence and check for bids. Value. Find the beat, press M to create a marker. You can also use the beat detection feature to automatically detect beats in the audio track, add markers as shown. It's split the clip shown. Navigate to the transition step. What category? Then drag the warp seven transition to the Edit Points where you with the base shake effect to appear. Double-click on a tradition to open the traditional stab, the traditional section set duration to ten frames. Click apply to all. Click OK. Play the sequence to see the effect. Navigate to the Effects tab, filters category, distortion subcategory, drag, chromatic aberration to the V2 track. Line effect with the tradition. Copy chromatic aberration to other Edit Points later sequence to see the effect. That's a look at how to create basic effect using filters and traditions. 47. Creating Text Glitch Effect: In this clip, you will create text glitch effect using titles, overlays, and traditions. Let's get into it. Navigate to the title stab, plain texts category. Then drag Basic six to the V1 track. Double-click on basic six and the timeline to open that text tab, then click on the Advanced button to open the advanced text edit window. Change input text to neurons factory. Each word should be on its own line. Change font settings as shown. In the animation tab of the window. Double-click on the evaporate preset. Enter 304 in the play head position field. Select Basic six in the timeline, and then press Control V, followed by Delete, navigate to the Effects tab, overlay category, DB, static subcategory, drag and back glitch to the V2 track. 22 in the play head position field. Select impact, bloodshed, the timeline, and then press Control V, followed by Delete. Copy impact Glitch, select the V2 track, then paste and align it. Play the sequence to see the effect. Navigate to the Effects tab, filters category, shake subcategory, then drag up down one to the V3 track and modify its length so that it fits the sequences duration. Double-click on up-down one to open the effect tab in the up-down one section, set frequency to 0.5, position x to 0.05, position y to 0, and position z to 0.5. Play the sequence to see the effect. Navigate to the transition step, ripple and dissolve category. Then drag pixel into the beginning of basic six in the V1 track. Similarly drag pixel out to the n, double-click on a transition to open the tradition tab. The transition section set duration of a pin frames. Then click Apply to all followed by okay. Now add audio elements. Play the sequence. Now have two options. If you wish to utilize this title in a video, you can either export the title into a video format and then blend it with the desired clip. Or you can blend the clip with the title using a blending mode. Let's go with the second choice. Drag this clip to the V4 track. Trim the clip in the timeline to match the length of the sequence. Now set blending mode to lighten play the sequence. That's a look at how to create a text glitch effect using titles, overlays, and traditions. 48. Creating Fast Zoom In and Out Effect: In this clip, give a loan to create the fast germ effect using the crop and zoom feature. You will also create the same effect using keyframe animation. So let us start enter 115 in the play head position field, and then press Control B to split the footage, select the second clip and open the crop and zoom window. Navigate to the pan and zoom tab and then place the end rectangle as shown. If you start the playback, you will see that the gym effect begins at 15 frames map and ends at the end of the clip. For the fast zoom effect, you need to split the clip. Let's do it. 121 in the play head position field, and then press Control V to split the footage. If you start the playback, you will see that the dome effect abruptly ends at 1 second 21 frames. You need to maintain the germ level for some time. For this, you need to clap the footage. Let's do it. Selected third clip and open the crop and Joan window. Navigate to the crop tab. Here the crop rectangle takes up the whole frame, but we want a precise size for the crop rectangle. The crop tab only displays the size of the pan and zoom effects start rectangle. Let's see how to swap crop rectangles in the pan and zoom tab, click on this icon here called swap. The start and endpoints switch to the crop tab and click OK. Play the sequence to see the effect. Now, you must retain the current zoom level for a short period of time before reversing defect, we just made enter 421 in the play head position field. Then press Control V to split the footage, select the last clip, open the crop and Joan window and maximize the end rectangle. Enter 502 in the play head position field, then press Control V to split the footage, open the crop and zoom window and then switch to the crop. Start the playback to see the effect in action. The approach we just use to create this effect is a typical way of producing a quick jump effect. If you have virgin ten of thermometer, you may get the slope by using the keyframe approach. Let's look at how let us add some markers to mark the positions of the key frames on the timeline. Click on the first marker and then double-click the clip in the timeline. The animation tab, customized sub tab, click on the Add button to add a keyframe, click on the second marker in the timeline. And then using the scale and position parameters, transform the video in the preview window. Click on the third marker in the timeline, and then click on the Add button to add a keyframe, click on the fourth marker in the timeline, and then reset the scale and position parameters by clicking on the corresponding reset buttons. Play the sequence to see the effect. So that's a look at how to create the fast June effect using dependent John Window and key frame animation. 49. Creating the Zoom In/Zoom Out Transition Effect: In this clip, you will create the gym conditional effect. Let's get into it. The first thing you need to do is to find a gym to addition, navigate to the traditional step. What category? Drag a warp June sixth to the edit point between the false two clips. Similarly drag what zoom tree to the edit point between the last two clips. Now you need to set the duration for the transition effect. Double-click on a transition to open the transition step, set duration to 15 frames. Then click Apply to all followed by okay, play the sequence to see the transition effect. Now let's add some shake navigate to the Effects tab, filter category, shakes up category. Then drag mild to the V2 track. Extend mild in the timeline to match the length of the sequence. Brag up down one to the V3 track and adjust its length and position so that it roughly matches the first tradition. In the timeline. Double-click on up-down one to open the effect tab. Now set frequency to 50 and then click OK. Create a copy of up-down one and then align it with the second tradition. Navigate to the effect step lot category, and then drag bool film to the V4 prac, extent cool film at a timeline to match the length of the sequence. Play the sequence to see the effect. That's a look at one of the ways to create the June transition effect. 50. Creating Color Fade Effect: In this clip, you've learned to create the color fade effect using the dissolve transition. Let's get into it. Here we want to create a gray scale to color dissolve effect for that, copied this clip, and then paste it into V2 track. Let's now adjust the colors of the clip in the V1 track, individual track, height the clip, and then select the clip in the V1 track, open the Advanced color collection window, and then navigate to the adjusted the color section, set the values as shown. Unhide the clip in the V2 track. Now it's time to apply the dissolved tradition. Navigate to the tradition stab, basic category, then drag dissolve to the beginning of the clip in the veto, drag. The play head around six seconds, just as shared with the flowers in the V2 track, extended transition to the position of the head. Play the sequence to see the effect. As you can see the color corrected video, that low saturation is end of V1 track. It will be displayed only for the length of the tradition. The clip from the V2 track will be shown for the remainder of the period. This effect can be achieved in a variety of ways. If you wish to prevent desaturating the club with color correction, neutralize the feed grayscale transition. Another option is to apply the black and white film lot from the Effects tab to the clip in the V1 track. That's a look at how to create a color fade effect using a transition. 51. Creating A Before/After Wipe Transition: In this clip you will learn a before and after wipe effect using a slide short transition. Let's get into it. To create this effect, we need two copies of the clip, create a new track, and then copy the layer that is in the V1 track, paste the copied clip into the V2 drag. Now navigate to the Effects tab, that category. Then drag dark firm to the club in the V2 track. You have two clips in the timeline. The original clip is individual tripe, while the edited clip is individual track. The clip in the V1 track will be used for the before version, while the clip in the V2 track will be used for the after version. To show the original clip, you need to trim the start point of the clip in the V2 track. Let's do it. Magician the play head at 15 frames mark. Make sure that clip in the video practice selected and then press Control V to split the clip, disabled the auto label function because the gaps in the timeline must be retained when you will delete the club. In the next step, select the first part of the clip and then press Delete to delete it. Notice how Fillmore has preserved the gap. Now it's time to apply the transition. Navigate to the transition step slideshow category. Now apply irrigates slide to the beginning of the clip in the V2 track, set duration of the transition to 20 frames. Now let's play the sequence to see the transition in action. That's a look at how to create a before and after wipe effect using a slideshow transition. 52. Creating Speed Ramping Transition: In this clip, you will create speed ramping effect. Speed ramping is a method that creates a distinct cinematic effect by speeding up and then slowing down the shot. Speed ramp transition are simple to implement and can add visual interest to firms. This effect involves the clip speed ramping up at the end of a clip followed by a cut. The speed in the second clip starts quickly and gradually decreases to make a seamless transition. Let's get into it. Let's create two spirits at three seconds and seven seconds mark. You have just cut a piece of footage from the end of the first clip and another from the beginning of the second clip. These two parts will be used to create a speed ramp transition between the two clips by splitting them up. The duration of each segment is determined by how dynamic your footage is. If you want, for example, four seconds of footage for the transition, cut, two seconds from the first clip and two seconds from the second clip. If the edit is at seven seconds, place the play head at five seconds mark and create a cut, and then place at nine seconds mark to create another gut. Let's create splits for other clips. Select this clip and open the customs be dialogue box. Set speed to repeat this for other clips as well. Let's add some shake. Navigate to the Effects tab, full-text scholarly shakes up category, then drag chaos went to the V2 track, put it above the cliffs used for the transition. Extend the effect for a little longer than the duration of the tradition. Now let's reduce the chaos by setting frequency to ten. Create more copies of chaos and align them in the timeline leader sequence to see the effect. That solve, we can create this speed ramping effect. 53. Creating Slide Up/Down Transition: In this clip, you will learn to create a slider position using filters. Let's get into it. Let's first trim the clips, split the first flip at 107 and then delete the second segment of the clip. Likewise split the second clip at 21. For now crop both the eclipse using the crop to fit command so that they fit inside the canvas. Now let's create the transition between the two clips using a shake filter, anchor the play head at the 17 frame, smack and navigate to the Effects tab. Filters category, shakes up category, then drag up down one, put up V2 track and align it to the play head. Go to 1.03 in the timeline, and then press Alt right square bracket to trim the filter. The filter affects both images for the same amount of time. The transition will be seamless. Be filtered begins at 17 frames and stops at 1 second, 23 frames. These spaces are precisely 15 frames apart from the center point, which is at 1 second, 7 frames. If you don't want to perform the mathematics, simply position the play head at 1 second 7 frames and then plus left arrow 15 times to reach the filters starting point. Similarly, from 1 second, 7 frames press right out of 15 times to reach the filters endpoint, double-click on up-down one to open the effect tab. Disabled the RGB separate checkbox. Set frequency to one position, x to 0, position C21, position G to 0. Then click OK. Play the sequence. The first clip moves up, while the second clip slides down with a seamless transition. However, in order to get the upside effect, you must also slide the second clip up, double-click on the second clip, and then in the image tab, dress form section, click on Flip buttons one-by-one to flip the clip. If you play the sequence, you will notice that motion of the second clip is downward. You can now obtain the AP moment. If you reverse the motion. To do this first, you must render the current output. Import the rendered file that looks like this. Drag this file to the V3 track and hide the v1 and v2 tracks. Go to 1.07 and then split the clip. This is the center point of the clip. Now flip the second clip. Play the sequence. You will notice that the second picture, glide zap to make a beautiful tradition, navigate to the shape filter category and drag mild to the V4 prac. Double-click on wild and then disable the RGB separate checkbox. Set frequency to one, position x to 0.08, position y to 0.04, and position G to 0.04. Play the sequence to see the transition. If you want to create a horizontal smooth slide transition, use the position x parameter in the Effects tab and set its value to one. Similarly, you can use the position g parameter to create a smooth spin tradition. Set its value to validity. That's a look at how to create traditions using shake filters. 54. Creating Cinematic Opening Bars: In this clip, you will learn to create cinematic opening Barra animation using transitions. Let's get into it. Navigate to the sample color category in the media tab, then drag black to the V1 track. Anchor the play head at 20 frames. Mark, split the clip and then delete the second segment. This black clip will be used in conjunction with the transition to generate animated bars. Drag this clip and snap it to the end of the black clip in the V1 track, copy paste black at the end of the sequence. Navigate to the transition step slideshow category, and then drag the rows split to the first edit point and Romer's to the second edit point. Set duration of the traditions to 20 frames. Navigate to the last category in the Effects tab, and then drag Harry Potter to the clip. Let's play the sequence to see the effect that salt you can create a black bars opening animation using traditions. 55. Creating a Lower Third Title: This clip, you will learn to create a lower third title. Let's get into it. Create a new default project with the modulation set to 1920 by Trinity and the frame rate set to 25 FPS. Navigate to the plain texts category in the title stab, and then drag Basic six to the V1 track, open the advanced text editor window, delete the default text layer by clicking on the bin icon. Click on the Add Shape button and then select the circle shape from the flyout. Delete decks from the input text field. A shift fill area here, set opacity to 0. The shape border radius. Click on the Color Swatch and then click more to open the Select Color window. Now set SAML 277, a BFF, and then tick. Next set size to 20, and then click Okay, get a snapshot and rename it as border. Open the advanced text edit window, then disable the shape part of checkbox. Ip field section, change opacity to 100 and color to white. Now create a snapshot and rename it as film. Drag border to the V1 track and drag to the V2 track. Double-click on border, and then navigate to the images tab in the transform Area, Set scale to 37, position x2 minus a11, a12, and position Y2 minus 3 sixth 0 fulfill, use the same values but set scale to 35. Make sure the play head is at 0 second, navigate to the animation tab and create a keyframe. Now set the opacity parameter to 0, jump to 1 second and the timeline and then change opacity to 100. The pig. This process for film. The circle and fill are both visible at the same time. Let's move the animation such that they appear at different times on the screen. Offset the animation by clicking and dragging the keyframes. Jump to four seconds and create a keyframe. Likewise, create a keyframe for film. Jump to 4.24 seconds and set opacity to 0. We'll repeat the process for fellow. Offset the animation so that elements disappear at different time. Navigate to the plain texts category, the title stab, and then drag Basic six to the V3 track. Open the Advanced Text Edit window and change input pigs to 18 underscore characters. Change font to Arial and size to 40. In the animation tab, double-click on the typewriter preset and then adjust the animation timings. Now trim this layer at 15 frames and 4.22 seconds. Navigate to the plain texts category in the title stab, and then drag Basic six to the V4 track. Align it with the layer in the v3 drag and then trim it at full point to two seconds. Open the Advanced Text Edit window and then change input text to neurons factory. Change font and size settings. The animation tab double-click on the typewriter preset to apply it to text. Adjust animation timings. Align the elements in the previous window. Play the animation to see this lower third and action. That's a look at how to create a lower third, just using detects the elements. 56. Creating a Loading Bar: In this clip, you will create a loading bar animation using titles. Let's get into it. Full Morris object animation capabilities are limited. Therefore, in order to pull off this loading bar animation, you will need a title to stimulate the progress bar moment. Create a new default project. Navigate to the title stab, plain texts category, and then drag Basic sex to the V1 product in the timeline, open the Advanced Text Edit window and then change input text as shown. Change fonts to backup medium. Now change color to green in the texts will area. Click on the Add Shape button, and then select Rectangle from the flyout. Delete texts from the input text field. Drag this yellow rectangle to the left to deduce the corner radius to 0. The shear field section change color to black. In the shared border section, change size to six. Align the rectangle with the text. Click on the arrange objects button and then select Send to Back from the flyout to send shape layer behind the text layer, align the two layers. Make sure the text layer is selected and then navigate to the animation tab. In this tab, double-click on a typewriter preset. Adjust the animation. Play the sequence to see the animation we just created. Navigate to the title stab, plain texts category, then drag Basic six to the V2 track in the timeline, double-click on basic six in the text tab, Ford section change default text to loading. Change font to back. Got it. Bold and size to 18. Align the text layer and assign the typewriter preset to it. Trim the layer at 1 second mark. Create four more copies and align them in the V2 track. Double-click on the last clip individual track. The text tab formed section, change text to complete it. And then in the animation tab, double-click or didn't know Animation option. Play the sequence to see the complete animation. That's a look at how to create loading bar animation and Gomorrah. 57. Creating Wavy Liquid Text Effect: In this tutorial, you will learn to create very liquid effect using titles. You will be using only titles to create this effect. The first step is to create a new project with the resolution set to full HD and the frame rate set to 25 frames per second. Now from the title stab, drag Basic six to the V1 track. Go ahead and open the advanced text edit window. Then delete the default text layer, click on the Add Shape button and then select Rectangle from the flyout. Delete text from the input text field. You don't need corner radius on this rectangle. So go ahead and drag this yellow rectangle towards left. Now here in the Shape Fill area, type two gradient fill changed the colors of the gradient. Now create two more shapes and assign colors of your choice to them. If you have three shapes, go ahead and align them as shown here. You may be wondering why titles are utilized to Colgate gradient shapes, but not the gradient colors from the media liabilities sample color category. Film motor includes several basic colors and gradients which may be accessed via the media tab sample color category. However, you can only use them as is, with no ability to change the color or gradient. When creating gradients with titles, you can use whatever color you wish. However it wouldn't with Titus, the gradient can only be two colors. Now in the Effects tab, navigate to distortion filters category, and then drag water to the V2 track. Now, Bragg blood to the V3 drag. You have got the watery surface here. Your background element is ready. Now let's create the texts from the titles tab, drag Basic six to the empty area of the V2 drag. Let's create a BG for this text. Drag the black sample color to the V1 track. Open the Advanced Text Edit window and then change input takes two neurons factory. Now adjust the text settings. Take a snapshot. In order to build the liquid text effect, this text must be composited over the liquid backdrop you created earlier. When you took this snapshot, you got an image with white text on a black backdrop. When it takes two elements composited over the backdrop, fill water offers you more control over the results of the blending modes. Now bring this snapshot to the V4 track to blend this text with the liquid background set blending mode to multiply. Here you have definable competition. That's a look at how to create very texts liquid effect, just using titles. 58. Zooming Through Text: In this tutorial, you will learn to create the gym to text effect. Let's get into it. Let's start by dragging black sample color to the V2 track from the title stat drag Basic sixth to the V3 track. Open the Advanced Text Edit window and change input text to neurons factory. Now change fonts and other settings. Detects this ready. You must now convert it to an image in order to better manage blending modes. Take a snapshot and then delete or hide basic six and black from the timeline. You have the text in the shape of a black and white picture. You can see the clip Bennett a few adjust the blending mode to multiply. Let us now use the pan and zoom function to achieve the same effect. Bragg snapshot to the V2 track and set its duration to one N15. Open the crop and zoom window. Reduce the size of the rectangle to the smallest possible size. If you go to the last frame of the snapshot in the timeline, you will find that film era has not zoomed in or the way it happened as a result of the inability to adjust the germ rectangle size to a single point. To solve this problem, take another snapshot of the last frame and then use the pen and June function to create a continuous geom effect. The timeline, make sure the play head is at the last frame of the snapshot. And then press Control Alt S to create another snapshot. Drag the new snapshot in the V2 track at descent to the previous snapshot. It's duration to five frames. Open the crop and zoom window, and then place the gym rectangle on the image's white region. The multiply blending mode is used. White is removed from the final image to produce transparency. The clip beneath the white portion of the picture will be visible in the output. This is why the white area is children. If you place the rectangle on the black region, you will jump into black rather than the clip Bennett. Change the blending mode to multiply for both snapshots. Play the sequence to see the effect. That's a look at how to create the gym to text effect. 59. Create the Bouncing Text Effect: In this tutorial, you will learn to create the bouncing text effect using titles and filters. Let's get into it. Let's start by dragging basic six from the titles tab to the V2 track from basic six at two seconds, mark. Open the advanced text edit window. At the input text to sunshine is the best medicine. Now change the font and font size settings. The animation tab double-click on the up-down to preset. Create two more copies of basic six. For the modal clip, change text tool above. Below, come up peace within. For the last clip, James text to the beach comma, you can live in bliss. Play the animation to see the effect. Now let's add some shape to the text using a shake filter. From the shape filter scattered, drag mild to the V3 track. Now change settings later animation. And notice that the mild filter is affecting both that the text as well as the videos. To just affect text first render the sequence without videos, import the render file and then composite this file with the videos, hide the V1 track, and then export the sequence to a file. I'll pause the video and read the sequence. Here is the dendrite file. Drag this file to the V4 prac, unhide the V1 track and hide the V2 and V3 tracks. Change blending mode to screen for the rendered file. Play the animation to see the effect. That's a look at how to create the bouncing text effect using titles and filters. 60. Creating the Karaoke Text Effect: In this tutorial, you will learn to create the karaoke text effect using titles. Let's get into it. Let's start by trimming the audio track at 23.20. Play the sequence to listen to the music from the A1 track. From the title stab Bragg basic six to the V2 drag. Now add the caudal sample color to the V1 track. Godel is a placeholder for the video that you will use with the lyrics. Open the Advanced TextEdit window and change font settings. In the text Bartle section change color to black, blur to ten, and size two to align the text at the bottom. Create a copy of basic six and paste it into v3 track. Open the advanced text editor window, and then in the text file section, set color to green. The animation tab double-click on the string blood preset. Open the lyrics text file for reference and mark the beginning and end of each lyric by adding markers. Split basic six in V2 and V3 tracks at marked positions. Disabled the auto repo function, and then remove all those sections of basic six where there is only music and audio track and no lyrics. Double-click on the first basic six clip of the V2 track, and then Jane sticks to when it hurts like this. Repeat the process for the first clip of the V2 track as well. Repeat the process for other clips. Play the sequence agile. You will notice that you'd need to slow down the speed of animation to match with the lyrics. Open the advanced text editor window and then adjust animation timing. Drag my filter to the V4 prac. The mild effect cannot be applied directly to the text clips. It has an impact on any track that is underneath it. As a result, it will affect the video as well. Therefore, if you don't want the video to shape, your must export the lyrics into a video file, height CTL, and mute the hosts like this track, export the sequence and bring back the exported file to film ora. Unmute the audio track and hide all other layers. Add the vendor file to the V6, drag, drag this clip to the V5 Bragg and then trim it to match its duration with the sequence. Change blending mode to screen for the rendered file. Navigate to the Effects tab overlay category light leak subcategory. Then drag the light leak six effect to the V7 track. Play the sequence to see the final effect. That's a look at how to create the karaoke text effect using titles. 61. Creating An Opener - 1: This tutorial, you will learn to create an opener animation. Let's get into it. Start by creating a default full HD project with frame date set to 25 frame per second. Drag Basic six from the title staff to the V1 drag in the timeline, open the advanced text editor window. Click on the Delete button to delete the default text layer. Add a rectangular shape using the Add Shape button and then delete the default text. Also set corner radius to 0 by dragging this yellow guy in the shape fill section, change color to EF F5 for W5. Now resize the shape so that it covers the whole canvas. Create a snapshot and renamed the snapshot as red. Delete basic six from the timeline and then drag that to the V1 track. Drag Basic six from the title staff to the V2, drag in the timeline. Open the advanced text edit window, change. Input picks two neurons factory. Now change the font settings. Let's now change color to be three to five to hide the V1 track and create a snapshot. The name that snapshot as NF unhide the V1 track. Because the goal was to produce transparency in the image. A snapshot was taken while hiding the backdrop. The compositing process is simple when there is transparency in the image. Drag Basic six to the right, we'll come back to it later. Drag NF to the V2, drag and drag another copy to the V3 track. Select both red and the snapshots and then drag them one prac up in the timeline. Here you have just made some room in the V1 track. Distract will be used to add a text title, select the snapshot in the v3, drag and open the crop and zoom window. Select Custom from the ratio drop-down menu. The crop rectangle such that it grabs the upper half of the text. Similarly grabbed the bottom half of the text using the snapshot in the V4 track. Now align these two snapshots in the preview window. Go to the ten frames, mark and open the animation tab. Click on the Add button to create a keyframe. Select the other snapshot and create a keyframe for it as well. Go to the beginning of the timeline, select the snapshot in the V4 track and then set position x two minus 635. Now select the other staff shot and change position x 2635. Go to 16 frames. Smart. Click on the Add button to create a key frame that repeat the process for the other snapshot. Go to the 24 frames, mark. Select the snapshot in the V4 prac and then change bodies and whiter 375. Select the other snapshot and change position Y2 minus three to five. Go to the 1.17 mark in the timeline. Create a keyframe for both the snapshots by clicking on the Add button, go to the 1.24 mark in the timeline. Close the gap between snapshots. You can copy the y-values from the 16 frames mark. Go to the 2.10 mark in the timeline. Select both snapshots and then press Control V to split the polyps. Removed the second segment of the clips. Read V1 track, trim basic six, and align it with this snapshots. Detect stop j's neurons factory to learn. Now change the font settings. The animation tab double-click on the pixelate preset. Go to the Fourteen frames, mark, select both snapshots and split them. Get two more copies of the right hearts of the snapshots. Also create two copies of basic six extent wird, slant to match the duration of the snapshots. Settext to share and growth for the copied basic six clips. Play the sequence to see the final animation. 62. Creating An Opener - 2: In this tutorial, you will learn to create an open-end animation. Let's get into it. Start by creating a default full HD project with favourite set to 25 frames per second. Drag Basic six from the title stop to the V2 track. In the timeline, the V1 track will be used for the background clip trip basic six at the 1800s frames mouth. Open the Advanced Text Edit window and then change input text to neurons factory. Now change the font settings as desired. The animation tab double-click on the evaporate preset and then adjust its duration. Create a copy of basic six and paste it next to the previous copy. Now if you need to import a sky dot PNG for the background, go to the 4PM frames mark, and then snap sky dot PNG to the play head in the V1 track. Double-click on the second basic six clip, and then in the animation tab, double-click on no animation. Open the advanced text editor window enabled the text shadow checkbox J's color to black, blood to three, and distance. To do the animation tab double-click on the drop one, please set. Navigate to the 1.18 mark extent. Second basic six clipped to the play heads position. Adjust the duration of the animation. Set blending mode to soft light. Now let's create few more copies of basic six to create 3D depth in the title. Copy the second basic six, flip and paste it into v3 track. Set blending mode to normal. Double-click on basic six in the v3 track at then press up arrow twice, followed by right arrow twice. Create a copy of basic six into v3 track and paste it in the V4 track. Press up arrow twice, followed by vital twice. Navigate to the 16 frames Mac, and create a snapshot. Snapshot to the V2 track and set its outpoint at 21 to set the out point of the sky dot PNG at 213. Select a snapshot and then open the crop and zoom window, adjust the position of the end rectangle. It's worth noting that film or a does not enable you to reduce the size of the rectangle all the way to 0. There will be some white text visible if you want the gym to turbinate at the dead center. This is why the sky dot PNG was trimmed at 23 rather than add to one to value play the animation, it appears as if the camera has zoomed into the backdrop. Set June level to track the 5%. Go to the 16 frames Mac and then open the animation tab. Now add a keyframe. In the preview window, resize this sky layer. Go to the 101 frame smack and then cover the entire frame using this sky layer. Double-click on the first basic sixth clip in the V2 track and then navigate to the 16 frames. Mark. Add a key frame at the 16 frames, smack. Go to the 18 frames mark and then change opacity to 0. The opener is very now play the animation to see the final effect. 63. Using Filmora's In-built Stock Library - Version 11: You can now acquire lots of studying royalty free high-resolution images, firm's gifts or the stickers and Fillmore attends to that new integrated stock Media Library. This collection is accessible. Why the stock Media tab? You can download assets from GIPHY, Pixabay and Unsplash. For example, to download a royalty-free video from Pixabay. Click Pixabay in the left pane in the right page. Make sure the videos option is active up here. If you want to search for images, click the photos button. Now select video type from this drop-down menu and vegetation from here to search the footage, type the search phrase, and then press Enter the matched items displayed below the search field. When you hover your cursor over the thumbnail Fillmore, I will display the sizes, tags linked with the video and the photographer's name. To download the video, click on the Download adult next to the video size. To find the location of the downloaded file, right-click on the thumbnail of the video you downloaded and selected the revealing exploded option or press Control Shift, are you no longer need to go to pixabay.com or unsplash.com to download royalty free music. You can obtain assets directly using Fillmore. 64. Using Instant Mode Feature - Version 11: Fillmore as instead mode allows you to simply make a video in a matter of minutes. Instead, mode does not require any editing skills. You can access instead mode by choosing the instant mode option here on the start of window. On the right, you will find different video templates, up to 115 video templates are available in full Mora including blog, business intro, slideshow, vacation, and others. You can find anything and makeup we're doing a matter of minutes. Scroll down to slideshow templates and hover your mouse pointer over the clean gravels slideshow. Let's click on Preview to see the preview of this template. Tags linked with tablets are given at the bottom of this page. Now I'll go ahead and enable the film authorized at mode by clicking the US this tablet button. Now, I'm going to import the videos I want to utilize in the slideshow. I'm going to rearrange these clips to fit the storyline. Google search and filter the clips as well as at just the thumbnail preview from the upper-right corner of the window. I'm now going to click on the auto Create button to start the auto creation process. On the right side we have the layer panel from Verbrechen, select the elements and titles. From here we can select the text layer. You can use this button to turn off the layers visibility. Use this button to delete the layer. If you want to edit the text, click this button. You can change the text of related parameters such as typeface and font size. From here. You can also transform the text from here. Once you are all set, click the Back button to switch to the layer panel. At the bottom we have the playback controls. This drop-down menu allows you to select an aspect ratio. You can click this button to generate a preview render. From the left pane of the window, you can select titles, templates, and music. At the bottom we have the timeline. You can relocate a clip to a new spot by dragging it. Global text, font, text color, and duration of the video can be set by clicking on the global setting button. To change the music settings. Click the music Settings button. If you click on the Effect Control button, you can toggle effects on and off for the selected clip from this fly out. If you want to export the video, click on the Export button. If you are an advanced user of full Mara and want to edit this project in the timeline. Click the dome line button. Now we can edit the sequence like you edit any sequence and Fillmore. Play the sequence to see the final slideshow. That's the look at Fillmore as instant mode feature. 65. Using the Auto Beat Sync Feature - Version 11: Auto beat sync as a feature and FilmArray 11 that allows you to automatically extract highlights and sync them with the background music beats. You can get to it in a few different ways. You can import a video and use this function on it by selecting the import with auto beat sync option from the import drop-down menu. If the video is already in the Media Library, you can right-click on it and choose Auto beat sync from the manual or run the auto beat sync command from the tools menu to open the auto beat sync window. Here on the top left corner of the window in the auto highlight section, we have our selected video. If you wish to add more videos, you can do so by clicking on the plus sign and importing them. Now if you move down here, we have the whole length parameter. Let's specify a value of eight followed. This parameter specifies videos maximum blend. It should not be shorter than the background music and should not be longer than the 1 third of the total length of all imported clips combined. Now, next section here is auto beat sync. From here we define the track for the background music as well as the music start time. You can use this default track or assign your own by clicking on this folder icon. Now to set the start time, we can click on Display button or we can enter the value in this field, or we can drag this red bar. I'll go ahead and set time to 120. Next we have the beat cut parameter that allows you to adjust the frequency of the beats. If you set it too fast, the final video will have more highlights. If you set it too slow, there will be less highlights in the video. Let us select the fast frequency. Now the last thing we have here is Video effect. You can enable them to add them to your timeline. These effects will not be baked into the video, but instead display as a fixed on their own track. I'll go ahead and select the fourth dot for glow and blur. Once you are all set, click on the Analyze button. Did you notice any blur or glow during playback? Let's double-check. If you need to make any changes, update the values, and reanalyze the Fantasia. If you are satisfied with the output, click on the Export to timeline button to export highlights music and effects to the timeline. Notice here in the timeline music video and effects are in their own blacks. 66. Working with the Auto Highlight Feature - Version 11: Film already done. That is an option in the Import menu called import with auto highlight that you can use to extract highlights from clips and then export them to the film, our timeline. Follow moral 11. Wonder she has replaced that option with auto beat sync feature. You can use this feature to automatically extract highlights and sync them with background music beats, wonder share now added the auto highlight feature to the Export window. If you already have a clip in the timeline that you want to extract highlights from. Click on the Export button or you can choose Create Video option from here. Here we have the auto highlight checkbox. I'll go ahead and enable it. Now I got this drop-down activated here. You can use these options to adjust the length of the highlight. You can choose from TikTok and YouTube shots. You can select a maximum extract length of 15 seconds or 60 seconds using these two options, select custom if you wish to select the precise value for the highlight or auto. If you want Filmer to determine the duration, select your choice from here, and that's it. Now, all you have to do is click the Export button. You will receive two videos. One is the main video, which is the sequences output, and the second video contains the extracted highlight. 67. Working with Masks (With Keyframing) - Version 11: Film whereas picture masking feature you can hide, duplicate, reveal, or edit your footage by selecting a specific piece of video or using video overlays. You can choose from a variety of shapes such as rectangles, circle, double lines, single line, or you can import your own design to use as a mask. The first thing I want to do with this clip is added speed ramping effect to it. So I will activate the speed ramping feature and then select the hero moment preset from the speed ramping tab. Here is what we have got. Allow duplicate the clip and apply a granny blood effect to the bottom layer. To access the mask settings, I'll double-click on the toddler and navigate to the video tabs, mask sub tab. Now I'm going to select the rectangle preset. I will scroll down here and set values for the mask. To transform the mask use the rotate scale, and position attributes. The blood strength parameter can be used to regulate the amount of edge feathering. You can also use this control here in the preview window to alter the amount of feathering. The various parameter governs the mask shapes corner, radius. Let me turn off the bottom layer so that you can see it clearly. The inward masks checkbox gives you the ability to invert the mask shape. If you want to save the current settings as custom preset, click on the save as custom button and assign a name for the preset. At the top we have this Add button that you can use to keyframe the mask shape. I'll make sure that play head is at the beginning. And then I'll click on Add to create a keyframe. I'll jump to three seconds and change the shape of the mask. Now I will move forward to four seconds and click on the Add button to create a keyframe. To create the last key frame, I'll go to 720 and the shape. Let's play to see the animation. If you want to delete the mask, make sure the clip is selected, and then click on this None button. There are some more presets here that you can use to create a mask. If I want to use an image as a mask, I can click on the Import button and then import the image. Fillmore only allows PNG file format for creating an image mask. This was the image that was used as the image mask. As you can see, what the shirt has greatly enhanced the masking feature introduced to mask animation. But it is still lacks the ability to draw a freehand mask with the pen tool. I'm hopeful that in future they will include this option as well. You can also use the single line and double line mask presets to show before and after version of a clip. Here is a clip that I color corrected with Fillmore as color correction tools. To compare residuals, I'll drag another copy of this clip to the timeline and align it with the clip that's currently there. Now I'll go to the mass tab and add a single line mask. To animate the mask. I'll drag this line all the way to the left and then click Add to add a keyframe. Now I'll move forward in the timeline by three seconds and drag the line all the way to the right to make another keyframe. I'm going to play the video to show you the comparison. That's a look at how you can use a line masks to display before and after versions of Eclipse output. 68. Using Preset Templates - Version 11: The preset templates feature and full model allows you to make a video by applying preset templates or creating one of your own and saving it for later use. Simply drag and drop them on the timeline. You can replace the clips as you like to complete a video quickly. The templates are accessible to the preset templates category in the media tab, fill mortar offers up to 24 preset templates to pick from. I'll add the travel interoperate set to the time Bye. Now, if I go to the project media folder, you will notice that we have two new items here, video and the tidal that are specific to this template. Let's run through the sequence to see what we have got. To replace this clip in the timeline, I'll hold down the Alt key and drag the new clip to the timeline over distract. Then release Alt and the mouse to replace the previous clip with the new clip. Now we can modify the title and other texts like we added any other texts in film Mora. Play the sequence to see the changes we made. You can also edit video or add another video to the timeline. Let's say I had a lot to make it beautiful. If you wish to save it as a template for future use, you can go to File and then select Save Project as template. The preset will be saved in the media tabs reset template category under the custom subcategory by children get first and then pressing F2, you can rename it. So the next time you want to utilize it as a template, simply drag it to the timeline. That concludes our look at Fillmore has preset templates. 69. Using the Speed Ramping Feature - Version 11: The rider, the rider, I keep way of the ride or die. Knowing that the rider, the rider, I keep waving. Want to create a unique speed ramming effect for your own watershed has added a new feature called speed ramping and FilmArray 11, which allows you to adjust the speed of the video to create cinematic effects. This feature can be accessed in three ways. If you have a clip in the timeline, you can right-click on it and select speed ramping from the speed menu. You can also access it from the tools menu. But the simplest way is to click on the speed icon and then select a speed ramping from here uphill at the top we have the newly added speed tab, which has two subtypes, uniform speed, which is the old-school way of changing the speed of the clips and speed ramping, which has settings to create the speed ramping effect. As you can see, we have lots of buttons here. The first one is none, which is selected by default. So there is no speed ramping effect. If I go to Customize now, I'll get this graph, this line and some adjustment poems. Also the speed ramping level a PS on the clip here in the timeline. If you mistakenly close this p tab, you can reopen it by clicking on this level. Here at the top of the graph, we have some controls. If I hold down the endpoint of this clip in the timeline, the duration of the clip appears in the tooltip. This duration is shown at the top of the graph. The first timestamp here represents the clips original duration. And the second is the updated duration after applying this speed ramp effect. Because I haven't changed the graph yet. Both are showing the same time values right now. In this graph, the horizontal axis shows the clip stimulation and the vertical axis represents the clip speed. One X is the eclipse normal speed. You can add a just world points by first-place in the play head at the desired location and then clicking the add adjustment point button. If you look at the button now, you'll notice that it's shape hat j's and the Tooltip now States delete adjustment point. You can delete a point by clicking on it. I can move a point on the graph by clicking and dragging it. Now, I'm going to click Customize to reset the graph, and then I'm going to erase this center point. I'm going to move the second at around 1.152 mark. As I drag the mouse, I can use the play head position field for checking the current time. Now I'll set both the first second points to 2.5 x speech. You can see the current speed that the point refers to in the Tooltip. I'm going to shift the third at 3.20 seconds while keeping the speed at one. If I play the sequence, you will notice that speed gradually decreases from the second to third. Now I'm going to position the play head at 4.23 seconds and then click the Add freeze-frame button. I'm going to set the freestyle to three seconds and then click Okay. The phrase point has a different shape than the adjustment points and the freeze frame duration is shown in the timeline by this gray strip. If I play the sequence, you will see that the clip pauses for three seconds. Now, if I wanted to store this graph to use in another video, I'll click the Save as custom button and give the preset or name. This preset will be displayed at the top of the graph to delete a preset, move the mouse over the clip, and then click the bin icon. We have some built-in presets here that you can utilize video clips. Let's create a graph for this clip. Changing the video speed may result in a shift in audio pitch. If you enable the maintain audio pitch checkbox, film or novel, maintain the existing audio pitch during speed ramping. Satisfied Click Okay to accept the changes. So that's a look at this speed ramping effect. We have liked how to make the speed ramping tradition and a previous video, what did share has included a new function called speed ramping to FilmArray 11 that simplifies the process of producing this speed ramping effect. Speed ramping is a method that creates a distinct cinematic effect by speeding up and then slowing down the shots. This effect involves the clip speed ramping up at the end of the clip, followed by a cut. The speed in the second clip starts quickly and gradually decreases to make a seamless transition. Here we have four different clips. Let's first split them to make some room for the speed ramping effect. Now I'll select this clip and apply the speed ramp and effect to it. I'll choose flash out preset and then trick the graph in the speed ramping tab, I want to speed up the clip at the end. Therefore, I'll shift these two points to the left. From this point until this point, the speed is normal. And then it increases to five times up to this point, and then stays at five x for the rest of the clip. Now, I will select this third clip, and this time I'll select the flash and preset and then slide the points to the right. Let's apply this effect to other clips. Now I would want to add some shape to these transitions. So I'll go ahead and browse to the Effects tab shape for the category and then add chaos one to the timeline. I'll keep the effect on for a bit longer than the traditional style. Now let's modify the frequency. I'll double-click KRS-One to open the Effects tab and then set frequency to five. I'll copy the effect, paste it and position it over the other two transitions. Play the sequence to see the final conditions. 70. Syncing Audio Using the Auto Synchronization feature - Version 11: The auto synchronization feature is used to sync to audio sources. Generally a video with audio and then additional audio file is recorded using a better microphone to record the sound more clearly. Using the auto synchronization feature, you can effortlessly match the external audio track with the video in just one click. There is one more situation in which you can use this feature. For example, if you have recorded a scripted tutorial and the system audio is on a separate track. The audio can then be sent using this feature. This clip here has a screen capture of tutorial instructions, as well as the narration. The preset templates feature and Fillmore allows you to make a video by specific to this template. Let's run through the sequence to see what we have got. This audio file contains both an addition and system audio. Let's run through the sequence to see what we have got. Let's now sync the audio. I'll drag this audio file to the A1 track. To sync audio. I'm going to select both the pracs right-click and then choose auto synchronization option from the shortcut menu. Full motor analyzes the audio in both the clips and then align the audio track with the video track. Human need to make a minor manual adjustment. Let's learn from what you have habitat. Let's run through the sequence to see what we have got. Now I'm going to delete the narration part from the audio track. Replace to really listen. We are done with the edit. Let's play the sequence to check the sync. Let's run through the sequence to see what we have got. Play the sequence to see the changes we made. That's a look at how to use the Auto Sync feature in Fillmore. 71. Using the InClowdz Cloud Drive - Version 11: Film, whereas in clouds, cloud drive feature allows you to transfer and manage all of your Cloud files in one place to upload a project to the drive in the startup window, click on the Backup button corresponding to the project that you want to upload to the drive. This button will be grayed out if you have already uploaded the project when you first-time try to upload a project to the drive human represented with the authorized dialog box to allow vendor shared in clouds drive to quickly backup files to a drive, select the checkbox for accepting the policy and click on the authorized button. I'll go ahead and click on this icon to upload the project to the drive. New window appears, end up Lord progresses displayed here by clicking the bin icon, you can delete a project from the drive to share the project, click the Share button and then create a link and send it to others. Password protected blink can also be created if you have a fill mortar license, you will have one GB of free storage. If you require more space, click the Expand button. A web page appears from where you can purchase additional space. Click the Manage button to VEGF div under shared bright page. From here you can customize all Drive settings. The project you upload to the drive will appear in the startup Windows, the Cloud Project tab. You can also remove and share projects from this tab. You can access the Cloud Administration window by clicking this icon. Enabled the upload to Cloud checkbox and the Export window if you are rendering a movie and want to upload it to the drive immediately after rendering. So that's a look at the clouds, cloud drive feature of femora.