A Beginner's Guide to Making Music Videos with NO BUDGET

1. Unit 1.0 Introduction : So you want to start shooting music videos? First off, I just have to say, great choice. The music video industry is a really exciting place to start your career. But before we do, let me introduce myself. Welcome to 11%. My name is Devin when I've been directing music videos for about five years now In this course, we will go over pretty much everything that you need to know about directing these. If V is from scripting and planning out locations to uploading the finished video. And as a music video director, I know how especially hard it can be starting off. And I wanted to build the best course of pretty much everything that I wish I had known when I started. But real quick, this course is specifically designed for beginners and those who are just starting out in film-making. If you've already been shooting and editing music videos for awhile, you might find this information redundant. But if you only got one to two music videos and you're just looking to get a better grip on filmmaking and just music videos as a whole. You might find this course information and resources a lot helpful. This is also a project-based class. Throughout the course, you will work alongside me as we script out and plan, produce our very own music video. There's a series of worksheet documents that I highly recommend you downloading and printing out just so you can follow along and get better practice by the end of this class, the goal is to have you entirely made your very own music video. It is recommended that before we begin, you do have artists and song that you're ready to shoot for, just so that it's easier for you to follow along. However, obtaining leads and clients and the business side of music video is not something that we'll be covering in this course. So depending on how you get your music video deal is entirely up to you. I do have some quick recommendations though, before we began regarding just how one would it possibly obtaining these ideal and maybe daunting at first, just reaching out and just ask him to shoot music videos for people. Because and the end, That's how you're going to have to do it. I started on Instagram, just DM me and messaging every artist I knew in the LA area. And every once in awhile I get a couple of clients back to me. But do remember you don't have to and you probably won't be shooting for little woozy or future for your very first music video. Why hated hear this advice when I first started off, I do recommend shooting your first music Vue entirely for free. This pretty much gives you a great opportunity to practice your skill without having all that pressure of having to deliver this amazing product because they paid for it. For me. I started shooting music videos when I was still in school and everyone is trying to be a rapper and they still in high school. So I just pretty much asked the friends, I knew, hey, I'm trying to become a music video director. Would you mind if I practice and shoot you guys have first music video for free? And of course no one's going to decline that offer. There's artists everywhere and I guarantee you one of them is looking for a music video director. But if you really can't find artists to shoot for, just ask a friend to fake perform to a song that's already made. It doesn't have to get published or posted anywhere, but it could just be for practice and for fun. But really by you making it this far, you should already be proud of yourself by taking initiative and taking those first few steps. The music industry has ever-growing and there's some directors out there, even making it into the millions of dollars off of these shoes. So yeah, don't be afraid to tell that to your friends and family if they asked what you're trying to do. But it won't be as short and easy journey either. It'll be a long, continuous road of learning and failure. But in the end it will all pay off, especially if filmmaking is something that you want to do. I really want to thank you for joining me today and purchasing this class to team that next step in furthering your career, I can promise that this will be an investment that will forever pay off. And without further ado, let's go ahead and get started. 2. Unit 1.1 Brainstorming: In our second class, what we're going to cover is the brainstorming and planning process and music videos. Now this section is probably one of the most important parts of making these videos because this is pretty much where you plan and literally everything that happens in the music video. It can also be extremely fun because this is where a lot of the creativity is involved. But before we begin, I would like to introduce you to a very special guests who will be joining us throughout the duration of this course. As I was 13. No, mama, mama, yes, you're proud of her three kids. Most part, they get naughty. Greece had to make it out of praiseworthy ramping. Obviously, 18 has been a great friend of mine for a while now, and we've worked on a number of music video projects together and really big shout out and thanks to him because he's agreed to let us workshop video from one of his upcoming singles so that together you and I can walk through the entire process of what it's like to plan a music video. Now the first step to any music video is of course, listening to the song. Now quick tip right here. Usually artists are set on a song that they want for a music video, but for say the case that they don't have a song and they're like, Hey, I don't know what to shoot for it. Just tell them to send you a list of tracks that they have and then you can just choose from there. So 800s centers this song, we're gonna go ahead and take a listen. But while we do so I want you to first print out or pull up a digital copy of pages 1 or two of your worksheets so that you can fill out some areas as we listen to the song. Now if you look at these pages, you'll see there's a bunch of sections, but we're going to first start on page one where there's two sections. You'll see one that says song mood, and the other that says structured creativity. The only one you need to worry about for now is the song Mood. Now while you listen to your song, I want you to check off the boxes of the moods that fit your song. This is going to help us create a very easy classification of your song and the very first listen. Now let's go ahead and listen to our song. One that tells you that Panama, because time is money. Now that you've listened to your song, I hope you picked out some themes that you can identify your song list so that you can complete this worksheet. So we're just gonna go ahead and start with page one of the brainstorming worksheet. You see right here it says song Mood with all of these boxes right here. On each of these boxes right here is aligned with a song Mood. Obviously, for archi scenario right here, our song was definitely a bit sad, so I'm gonna go ahead and check that. It was definitely a little bit romantic, maybe dramatic, slow for sure. And I would maybe say painful. So you can see what we did there. We just checked off a couple of bucks that our song matches the theme with. Now the reason why we're doing this is that we can basically just have a theme in the back of our mind when we're planning out the rest so that we can just keep track of everything. Once you've identified the mood of your song, you pretty much have to come up with the rest of the plot. And that can be quite a daunting task, especially with that much creativity and possibility. This is why it 11%, we implement the idea of structured creativity. We can still obviously be creative and exercise your imagination to its fullest, but also keep it in a nice, orderly and organized form. And the structured creativity section is a reverse pyramid graph that I developed just to help me gather and collect my thoughts when I'm shooting music videos. So I'm gonna go over everything and then fill it out. And then you can fill it out for the song that you're shooting. In the first box, you can see it's labeled concepts, I think of when I hear the song. Now, this is pretty obvious. What you're gonna do in this box is just jot down a bunch of ideas that you think of when you hear the song. So when I think of the song, hates me by eating, It's obviously a love song, so I'm going to think of a romance movie or a love story. So I'm going to just go ahead and write that down. Would also comes to mind, are probably hearts and roses and other cliche romantic items. And something else that interestingly came to mind is just a very black and white video or very desaturated color palette. So I'm just gonna go ahead and write all these things down. Moving on to the second box, you see it's titled concepts and items in my own life and environment. So this box is attempting to pull from the personal side of creativity and things that were inspired by in her own life. Now while this might seem a bit vague, I want you to open your mind to literally anything you've come across in the past few weeks or so? Straight off the top of my head, I was at a constant the other week and I just thought about seeing maybe we're eating could be performing and perhaps there's a microphone. And also earlier today I was laying on the couch and I had this velvet soft blanket, so I don't know why my brain correlate the two, but I might just have this very velvet nice monotone background curtain for the performance shot. So I'm just gonna go ahead and just write those down. So I might write concert performance, and then I also might write velvet monotone curtain background. You can see how this box is really up to you and this is where you really want to pull from your own creative experiences, even if you think that your life is not interesting or no, I don't have anything to pull from. Yes, Yes, you do. You can pull amazing ideas literally from anywhere. And now, moving on to the third box, which is titled lyrics that stands out to me from the song. I want you to jot down a couple items or lyrical concepts that stand out to you from this track. So you might want to listen to the song again and just pull up a couple of key points. Now when I did this, some obvious ones that stood out to me is that attract 18 spells out a couple of lyrics. I might include concept of some letter animations, maybe for something else involving the spelling out of Lear. It's okay, you don't have to have a full concept right now ready, but it's just good to get it out on paper and organize it in this nice. Structured creativity format. Another thing mentioned in the song was the sky. She's a demon in the sky or something like that. So my brain might naturally wander to like clouds or something or some sort of element involved in the sky. So I'm just going to jot that down as well. Sky slash clouds, maybe some stars as well. You see how helpful this is just like going off lyrics. You can basically come up with like endless ideas if you just start pulling out certain specific key points and then just bouncing off from there. Now moving on to the last box, but before we go there you'll see all these boxes line up to one statement which states the song's theme slash mood is blank. And this is where we're going to pretty much restate all of these checkboxes Right here. I'm just pretty much right here. So my song's theme slash mood is definitely sad, romantic, dramatic, and painful. So we could go ahead and just write some of those down in this line. And now what we're gonna do before we get to this last box is we're just going to filter all of these ideas that we've had in all three of these boxes to one final group of items slash concepts that we can run with from the music video. So filtering through the first box, remember we wrote down these hearts and these roses right here. So that definitely fits the mood of romantic. So I'm gonna go ahead and write romantic right here in the final box. Then we go over the second option, which is black and white and desaturated monotone color palette. So that also kinda fits the theme of a little bit dark and dramatic. So I might keep this one as well. So boom, everything in my first box is included in the final thing, which is nice because it makes our elimination process easier. But the goal right here is to make sure you fill up all three of these boxes to the fullest. So just literally everything you can think of and then you can filter it down. But just for time sake and recording this course right now, I'm just gonna go off with these few items that I came up with right now, moving on to the second box are the concepts of items in my own life and environment. Now I mentioned the concert right here, but then I also mentioned the sky and the other box is going on some lyrics. Now at the concert idea is something cool, but just regarding the whole mood of everything and remember, it's sad, romantic, dramatic, and painful. And concerts are hype and high-energy. And there's a lot of people and it can be happy at times. So I might cut the concert idea. And then I also included this velvet red curtain thing. I said a monotone color palette for that as well. This curtain idea, I still do like it because it's a darkish color that I mentioned and I don't know, it just seems to add a fill to the video, so I might keep that, include that in my final theme. So I'm just going to write the velvet curtain on the bottom. And then lastly in the third box are the lyrics that stand out to me. Now over here we're going to be a lot of relevant ideas to the theme because their lyrics from the song. So as I mentioned in this third box over here, I went over at the sky. I noted on like clouds and sky. And that might work. So I'm going to keep this, my final theme because I might be able to do something with that. And then also lastly over here or the letter animation. I still really like that idea and I definitely want to include that in my final, I'm going to go ahead and write that over here. And boom, we've completed page one of the brainstorming process. And you can see right here how we've narrowed it down from general mood and theme all the way down to a specific set of ideas and themes and concepts that we can run a plot, an idea off of, join us in brainstorming part to, to continue the plot description and planning process. 3. Unit 1.2 Storyboarding: Welcome back class. As you can tell, I got a new haircut and a new suit. And today we're gonna be talking about a new unit. In this unit we're gonna be going over storyboarding. Storyboarding is probably one of the most fun and also one of my favorite parts of music via directing process because you get to draw. Now, if you're not an artist or illustrator, don't worry, you don't have to be great or drawings don't have to be magnificent. Why? Because who's going to be doing all your drawing for you, your camera. Now the goal is storyboarding is pretty much just to get down your story on a nice board format. It's honestly really a simple template and just an easy way to stay organized and your shot list and processes. Now first thing I want to get clear is these are not traditional storyboards. We're directing a music video and at this point it's pretty much a gorilla suit, so it doesn't have to be super accurate and down to the exact detail. Now I know e.g. like Pixar movies and higher budget films are like storyboarding, drawing out like pretty much like the frame and it's pretty insane. It's actually an entire department at Pixar and they're really extraordinary artists and they just draw all these different scenes, get everything down in perfect detail. But here we're not going to be doing that. I want you to pull up your storyboarding paper. And in this class we're gonna be going over it. I'm a drama scene and then I'm going to let you do the rest without further ado. Let's go ahead and dive right in. If you haven't page pulled out, as you can tell, there are six boxes right here, weigh less than a standard Hollywood budget medium. Usually for my music videos, I like to have six to 12 frames. So that's like one to two pages and storyboards right here. And it's really just to help you, like I said, lay out your scenes. So first up I'm gonna go over what's going on in these boxes. So right here, if we start on any of the boxes, they're all pretty much labeled the same, all the detail right here on the scene. So if you see on the left-hand side is going to say shot number and that's pretty much the shot number. Pretty much just go through first and just label all of them. Shot 123.456. It's just a really easy way to stay organized. Then it's going to say location number. Now another thing here, which is going to refer to one of our past previous pages, is we'd like to number of locations. It's a really great way to stay organized and on top of everything. So that's where you're just gonna mark down which location number is, is taking place out. And then on the right-hand side is Sensei Exterior. Now if you remember what we went over in one of the first units in such x means interior, exterior and you're just going to circle is a shot outside or indoors. And then below that there's a description. In the description right here. I'd just like to write out a basic sentence, maybe like a couple of bullet points. What's going on here? What's the scene like? Maybe some important details I like to remember. And some angles are millimeter lines and maybe particular details that really helped build the story and bringing it all together. And then above it is a blank, empty space for your creativity and imagination. Now honestly, I do really recommend that you do at least six really, if you're not an artist, don't worry about bad drawings, but really try to draw out and just get down on paper six exact shot that you definitely want on your music video. That way when you're on set and you're like, what shots have I not gotten exactly how I'm trying to compose this. You already have a guided visual of how everything should look and then you can adjust everything when you're onset. So let's go ahead and get to drawing. All right guys, So now we have our storyboard out before we actually begin, I'm going to pull up our page, one of our brainstorming, which we went over just all our ideas and everything we've talked about. We want it in the video though, right here, hearts, roses, black and white velvet curtain letter animation, sky clouds, and then obviously the park shot. So let's go ahead and start with our first storyboard icon right here. What we're gonna do is we're just going to name this shot number one. Obviously, we're going to call this location number one because that is the number of our part location. And then we're gonna circle exterior because this is exterior. I'm going to shortly write down what's going on. Definitely there's going to be crouch. This can be a crowd shot, right? Other people, car, car behind 18, perform. Alright, now let's go ahead and get to drawing. So first up, I always like to do very, very simple stuff. Like I said, it doesn't have to be super detailed. So first thing I always like to do is I like to just establish the angle that this has shot up. I definitely want this to be a lower shot, so I'm going to have the floor like very low out. And then I'm going to draw a guiding lines. I like to call these. That's what they are. But the guiding lines just help you establish our where's the floor? What is the angle of this? Stuff like that. So right here we have some nice guiding lines and then I definitely want a car going on right here. So I'm just going to draw a very, very rough sketch, a car. Alright, so now we have a very, very simple car drawing going on right here. Now I'm gonna go ahead and just draw in my subject and I have 18 standing over here. I like to do the bubble method. I don't know if that's the exact name of it, but it's very basic to simply drying ovals for just like different body parts of your character. Make sure that you can just get everything down and also just kinda gets a decently average job done. But those of you who don't like to draw or don't consider yourself an artist. Very simple way to use established draw some figures and boom, there we go. It doesn't have to be super hard, just a super easy, simple layout. I'm just What's going on in the shot right here. And maybe I might have some trees in the background, the park. And then boom, just like that we have seen done. You can see just how easy it was, just very simply seep out and craft our scene. I'm gonna go ahead and just do one more. Just you can go ahead and get the feel and hang of it. So we're going to be shot number two is going to be location number two and this would be interior. Now, this is going to be the cloud shot. I definitely want to get this cloud shot down just so we can help visualize and see how everything's going to look. So Cloud one, very easy. There are clouds going on. A lot of this is gonna be CG, which is why it's extremely helpful to have a visualizer of what's going on. So we're going to have some clouds laid out going on right here and very wide open shot going on right here on the foremost cloud, we're just going to have 18. He's in the lane down, like I said, doesn't have to be super amazing. Just make it really simple, rough sketch. And boom, just like that, we have a very horrible sketch and very, very simple subject shot. We're going to have 18 right here. And I also like to draw arrows on my scripts. Just suddenly have a very organized and clear description depiction of what's going on in the background right here at the most part I want all of this be open sky and clouds. And then let's go ahead and do the description. So lain down on louds, mainly sky slash Cloud. And already you can see how easy and simple it is, the storyboard. It doesn't have to be the most sophisticated shots, just a great way to lay out your shots. Okay, this is where I want this, I want it to look. And it also gives you that ability to practice and see if like, oh, that kinda worked in my head, but maybe it won't work in real life if you can't draw it down and get it down on paper. And here is our final storyboard concept. Join us in the next class that we can go over the planning process of a music video. 4. Unit 1.3 Coordination: Welcome back to part three of the brainstorming process. In this section, we're going to go over the artists feedback and location planning segment. I like to do these two parts together because they typically revolve around both sides, being able to coordinate with each other. As a director, I need to know which locations are close to me and I also need to know which locations are close and accessible to the artists and then vice versa. Now we're going to walk them on as very special guests. I wanted to introduce to you guys. What else? We got? We got a sensor, this you've got to sensitive. So our 18 baby all husband, a great front of mind for awhile now we've been working on a couple of projects by now, and he's been gracious enough to let us workshop one of his very own musically. So I'm going to ask you real quick. You just want to give a quick bio and introduction to yourself. What's your music like? Lose your background and just coming up and stuff like that just so you can introduce artists. And he's monitored for a two minute video. There's all sorts of things. We think, you know, I'm a pop star photography photographer. I do business in the 18 video is probably one of the most in-depth rotten he do. He could do everything. I'm telling him why he's already like taking pictures of me. I'm the photographer, He's taking pictures and knees and his photos are fired, so it really pops 18 baby, I'm gonna put his Instagram right here. It makes you guys to go follow the checkout and stuff, but without further ado, let's go ahead and jump into the planning process. Alright, so throughout the past few courses and classes right now with our students, we've been going over the planning process and breaking down how it's exactly plan and brainstorm ideas. So we've gone over some quick ideas that we came up for your song hates me, and we're just going to run them by you. This whole section right here is basically to go over the location planning and then also getting your feedback and see what ideas that you like and then which ideas that you don't like. And we can just move on from there. And then hopefully by the end of this session, we're going to have two locations that we compute our music video out and then a good set idea and musically we'll plot them can run on real quick. I'm just going to run by, we're going to play over the song real quick and hates me by eating VB0. I want to hear your take first. What is the message? Hey, it's me. What is your interpretation of it? What's the vibe that you're trying to go for and everything in that sense till behind hastening, you want to use ACE girlfriends that I had. The mama hated me and I knew I wasn't a perfect You feel me. I knew I wasn't perfect. Just try to prove something through my music and my little cousin now, obviously I can't go back. But yeah, I know you like he is a mistake. I really feel like I really felt like I was a mistake and you just got to move on in life. I'm really glad. I'm really glad that we also got that take as well. Because when I was listening to the song and when we went over planning and just writing ideas, my interpretation of the song, I thought it was like I loved. I mean, there's for sure, It's for sure I love song, but I didn't get that both sides. I heard the partners like your mama hates me, like she's mistake and I was like, I didn't even get any you can go in mind. Yeah, I was like, I'll just try and confuse my legs. I forget my legs, but yeah, I think it will also about showing how pretty the woman was and it's like a, it's like a love letter in a sense. But then also message on this family, family conflicts, other stuff like that. And you just kinda like time that together onto one side. Message of pain, desire, admiration, stuff like that, right? Yeah, got it. That's fine. That's right. Also real quick, funny story. Atp via the eyes forgets his lyrics on the seats though. This kid is on the grind though. He's recording this many songs. He's too many lyrics, too much work, too much grind. So props, props are not going to go subscribe stream 18 maybe I'll right now, right now, pause this course. I don't care ghosting stuff right now. I'm dead serious. You got it. We got a new album coming out. Do we do? Yeah. And I got to apologize on the way, but that's fine. That's fine. We're in a video coming right now, the one that we're working on. So make sure to go stream that. When that drops, they'll probably be out by the time this course is not so real quick. We're just going to run over some ideas that I came up with students. Then we're just going to run them by you and make sure, like, I want to hear your take on and stuff like that. Okay, so basically what we came up with and we finalize on some plot ideas throughout the song. There's just basically went off the lyrics. And then there's a second part where it's like daemon the Scott or something demon, this guy, even to me loose again. Forgot the layers. No, that's fine. That's fine. Yeah. Something like that. It was like something demon in the sky. So anyways, we came up with a couple of ideas. The first one was being a sky performance shot. Okay, so we wanted to have you basically performing is like a shot in the sky. There's clouds you might be sitting or standing on, just floating in the sky. This will be all completed green screen studio area. And then that'll be just really easy to film, get done. It can be done wherever location fits best. This isn't a B, that's one of the sequences from there. We're going to also include a spot just like a black, very black and white monotone shot, right? There's gonna be a curtain behind you. It's a curtain. And I noticed throughout, throughout a lot of the song, we spell out a lot of letters. So LBE, BAB. So I wanted to definitely incorporate something where it's like, oh, the letters are like animating letters are like an effect throughout the video. So throughout this, the second curtain shot, it's going to be all black and white. You're standing behind this like velvet curtain or whatever. It doesn't matter what the color is because it's black and white. But the important part is that there's these letter animations behind you and as you're spelling out the letters. And I really want to play with the contrast and monotone color palette of it so that we can have an effect like that. And lastly, to tie everything in, I know we talked about plot before. So what we planned out and what we worked out when I talk with students and we wanted to have the scene, it's gonna be a park setting. Okay. I wanted to have you like like the girls, like walking around the park. She's like kinda walking in Northern Ute. Half of the performance shots like you're walking, you're falling her and you're like singing the vs. And there's parts where you're like, she's so beautiful. She says smart. I don't know how I ended up with her. And then she's kinda just walking through and then Symbian. Now, let's go to post and beam. And then at the end of the music that you get with the girls, boom, done, park shot, Park sequence into main shot throughout the entire music video. And then throughout that, we're just going to include the sky performance shot and then those letter enemies shots. So those are our thoughts and those are applied. Yes, I want to hear your take. What are some ideas that you have? When you think of our ideas and stuff like that, I believe, I believe the song had to look at tar in it and ended up a guitar and pin the same, you know, like I'm like, Do you want, would you like to incorporate like a performance shot like this curtain scene that I want to have. The curtain behind you is letting animations. Originally I was going to have a microphone stand. And then I was like he'd be performing it. Thinking about as I don't know. So this is great example right here. When you talk to your artist, you're gonna get feedback and some of the ideas that you pass on are gonna be accepted. Some of them are not, but it's great that we're doing this feedback. So right here, like this microphone segment right here, the aging baby mentioned that he wants to include the microphone initially, I thought about it and the concert scene that I mentioned before and I was like maybe it doesn't match, but going off and bouncing back off ideas is exactly what you want to be doing in the artist's feedback section. So we're just gonna go ahead and write this down in our plot ideas section. Okay, So microphone and you mentioned a guitar too, right? Yeah. Okay. Do you want do you want to be performing the guitar or do you want to have a couple of friends like a big band or is this like What is your take on that or do you just flour? Nobody. No one else. No one else in the other shots. Well, yeah. Yeah. I'll play the target, the town hall. Okay. Got you fired for alright, so perfect. So now that we're getting these ideas, this is exactly what the type of feedback that you want. We can go ahead and add on these aspects such as the microphone and the guitar that we're going to have eating DDL plane. So that's another prop that we're going to add to our list as well later on. So the curtain shot in black and white, the letter animation, is that something that you're rocking with or is he be animated behind me, right? Yeah. It's gonna be it's gonna be like a fake. It's going to be all shot green-screen and then everything else is going to be added on. So that'd be like a curtain behind you. We might consider doing the curriculum in real life. I don't know. It depends. It depends, but, um, but yeah, that's something we'll figure it out. But it's easily, easily done and they're going to be animation going on with the letters as you spell out the parts of the song where you spell out the lyrics, I want to move on to the park shot right here, the park setting, is that something that you're like messing with? And then there's miniature plot and loosely following this girl around expressing it require, it requires a second model actor. We could we could apart shot off. It would be like a house shot. No parks shop. How sharp? Okay. I don't know. I feel like personally, I feel like hard shot. I've done way too much done way too much fun. What if we do want to mention apart and house? If we just move the plot from the parts of the house. So it's gonna be like a falling like a miniature story, like you'd just be performing honestly straight into the camera. And then we can include, incorporate like a model or whatever. And they just have an actor that you can do like wrappings you, but it can progress from the house. So you can be walking through the house and then the cameras like following that. And then and then maybe Miguel and maybe we could do bikes. I don't know That would be cool like something because I feel it feels useful to me. That's what at least I got from the track. And I was like, I definitely want to incorporate that playfulness aspect to the the videos and saying like, Oh no, you guys ride bikes or something? Yeah. I know what you feel. I know what you're saying but like 18 Baby Wise like, Oh no. I like my videos like I don't know. I don't like it to be too childish. Cars and like, okay, I got you. I feel like a bike and I get apart. And it's just way too for me, at least I felt like I said, I have a house like I have a house with to do that for me. Alright, that's, that's fine. See, this is a perfect exactly type of feedback if you wanted to get him. So hearing that this is something that is not his style particularly is great feedback and this is definitely something that you want to keep note on it, especially if you're going to be continuing working with these artists and just to help overall Build, collaborate ideas. So let's move on from the parks and the parks and also the plot real quick. Is that something that you're cool, you're messing with it? Yeah. I have I have a couple of people I could probably reach out to. And if you have some people to just go from there, That's alright, great. Then lastly was the sky performance shock. Having you'd like sending all my files. I'm going to do a lot of the title cards there as well because I wanted to originally started off the music feel like facing the sky. And then now the sky will be a big aspect of these VM because that's something that you're cool, you're messing with or yeah, But I'm just I'm just trying to think of has that transition like this guy. Oh, yeah. Yeah. It's it's basically it's basically just going to start in the sky and we're just planning to do a bunch of our title cards. We're going to real quick, We're good. We're getting that to that in the next class we have a storyboard segment and I'm Ben, I'm just going to literally start remember I sent you before at the storyboards like the pictures. Yeah. Yeah. So we're gonna get to that and then I'll just show you that so I can just give that to you. But we are right now. We're just trying to clean up their ideas. Now that we've gotten all the planning and plot ideas out of the way. We're gonna go ahead and move on to location planning. So that just that we can plan locations that are accessible and easy for me and yourself as a director, but then also easily accessible for your artists as well. So we talked about, I mean, we already talked about dates and finding. Was it next next week is preferred with days we test. Okay. Got too late. If I do weekdays, it have to be it happened before. Yeah. We'll get some days. What we're going to skip over that. So real quick, I just want to go with the location ideas, park settings. I have a couple of parks. Seminole, yeah. Also right-click. Send me the location after and then if we could just definitely pine from there. Does the house have like a like a thing where we can take the Greenspan inside like a barrage or any. Yeah. Okay. Alright, perfect. So we're already getting down two of our locations. We have the house setting, which we just add it on, and then we can also cover the studio setting, will just set up our portable green screen inside the house, and that will serve as our temporary studio. Alright, so perfect. So we have the house location. Yeah, Just send me that vacation after the address after and then we'll find from there if there's any parks around in that area or do you have any hope for us? Perfect. So now that we have our location for our part and a house done, we also covered the studio setting. It looks like we've just wrapped up our studio locations for confidential reasons. We're not going to be releasing the address and showing that on paper. But the idea is for you to coordinate and go back-and-forth with your artists just like how neonates and KVL did. And then to get down some locations that you can easily script out next process, but you would be going out to planning your dates. But because that's something out of our range, I'm just going to leave that up to you. That pretty much wraps up our planning and preparation process for the music video. Do you have any last minute thoughts or any ideas that you want it to be, video and stuff like that. And I really, I'm a simple guy. That's fine. I just wanted to say I really appreciate your time eating VB0. Thank you for letting us work on this project. Really could get that screen that I just wanted to say a big shout out to him once again, make sure to go follow him on Instagram and string this stuff on Spotify. Everything is linked down below. And with that said, we're gonna go ahead and move on to our next part of our planning propagation class. Join us in Unit four for the next time. 5. Unit 1.4 Callsheet: Welcome back class to the final stage of the planning and preparation process, which is the costume. First up, I just wanted to say, really great job. You made it this far. Give yourself a really big pat on the back. You've fought during listed all the tedious steps along the planning process and religion follow along properly. Your music video is going to be awesome. First up, what actually is a call sheet and why do we need it? Well, call sheets were invented originally in 1941 when films and motion picture began to become really big and Hollywood star is developed. It's basically a piece of paper that contains all types of information from locations, the settings, the times, the actors, the cast and crew, even down to the weather and snacks that are gonna be available. And it's meant to be passed along throughout your crews so that everybody has a full picture of what's going on and it's just on the same page, literally. Now if you look at a lot of these standard, traditional Hollywood production cost sheets, you'll see that they're quite complicated and a lot is really going on now given that we have a one-day music videos and there's not really that many scenes are CAUTI is not gonna be that complicated. I want you to print out or pull up a digital copy of the call sheet linked in this course, you can choose to either fill it out digitally or printed either or works. But remember, you're gonna be happy to pass him throughout your crew. So a digital copy might work the best. This call sheet I've personally designed and customized, so it's perfect for our music video shoots and just the type of production that we're shooting overall in general, it has three main sections that you'll be filling out. And while it might look daunting at first, don't worry, we're going to be teaching you everything you need to know about filling this out in this video without further ado, let's go ahead and dive right in. Alright guys, I got the computer camera going on, right. Because I'm using my camera to record the paper. So for this call sheet right here, it's very simple. You can either do this in pen or on computer typed up. I prefer typed up. I actually recommend you should do it typed up just for the sake of this course. I'm writing it out. Very simple stuff right here. We're going to break down each of these sections right here. What they are, what do you write here? How do you fill this out? And pretty much everything in that sense. So first up production title right here, production title our music video. You can just title it. The music video, hates eating. Moving on to our call time. This one is also very simple one. What time are you planning to arrive on set? So for our case, we're planning to arrive at 01:00 P.M. might I add you do want to remember if you're shooting exterior shots? Yeah, but all studio in indoors doesn't matter. But if you're shooting outside, exterior, you do remember that you want to account for sunlight time that the sun is gonna be out and you're going to have light to shoot. So just make sure that you're accounting for that golden hour. Sunset hour is a beautiful, pretty time to shoot, but you're going to lose a lot of your light and just different lighting. You don't have to mess around with settings if you're in the same lighting drove the video, because important thing now, for our date, obviously write down your date. So we are shooting this on February 11, 23. And then studio right here probably won't apply to you because we're not using the studio. So you can just write NA. Now keeping note that call time and your start time are two different times. You're not going to show up immediately. And then that instant just start shooting. If you're doing gorilla sheets maybe but all time always, usually give at least 30 min to an hour for you first start shooting just to help you make sure that everything is set up, everything is nice and ready before you just dive right in. So I'm going to note mine. One-thirty PM just because of the order of shots, I usually take 30 min to set up my stuff, makes sure everything is ready. And also the point in your college she is to make sure that everything is organized. So yeah, just give yourself 30 min to an hour and you should be fine. And then N time, I usually like to keep my music videos around 6 h. Under 6 h would be great. Always give yourself extra time. They'll always let your actors and artists know, hey, we're gonna be shooting from this time to this time if you think it's going to take 5 h to C6 and everything is going to take six C7. Always great to under promise and over-deliver. So we're just going to write 630. Now, moving on to the location section. Now this section pretty simple as an intensity you see by this chart. It's just the location. Where are we shooting up? What does the organization when addresses, stuff like that. So first off, we're just going to note down 12. We have two locations for the shoot, which is going to be the park shot for one. And then the now this section right here is the address and then parking notes. But just for confidentiality reasons, we're not going to be disclosing any addresses. So I can leave that up to your summary of that section up to you to fill up. And remember that this call, she is meant to be seen in past around the cast crew and actors and talents and whatnot just so that they can help stay organized and stay on board on schedule with everything that's going on when you're shooting. So make it easy, make it accessible. If you're writing down abbreviations, make sure it's clear to everybody who cast and crew. Now moving on to our second section, which is the seams. What we're gonna be doing for this section is going to be referring back to our storyboard section and just some of the scenes and the numbers that we drew out for each of the shots that are going on right here. So e.g. right here we have number one, which is the car shot and the part number two is the sky shot over here. And remember to refer back to numbers that are going on here. So this part can actually be a bit tedious just because it's gonna be kind of hard to coordinate. You're going to have to actually coordinate and say, okay, what I'm going to film this one, I'm going to film this action. What, what times, what lighting settings are going to work best for the day? I'm figuring all that out, sort that out. Trust me, it's worth it because you don't want to show up on scene and then miss a shot or not have enough time to do something because we don't have. Planning, this is pretty much the whole meat and potatoes of the call sheet. So really put your time and effort into making sure that this schedule is down correctly. Now remember, the shots are not going to be in order of the chronological order of the story or the way that it could be for some settings. But first thing that you only want to prioritize is the location, okay? Right. So you just want to make sure that you get all the shots that are in the same location, shot at the same time. This action actually is an older version. I don't have a location section, but on the call sheet that's available to you should be updated version which is going to have location number on the side just so that you can keep tracking order of all the location. So for our case scenario, we're going to start off with the house shot. I want to get how sought done. Because on our storyboard as shown here, we're going to be shooting our green screen shots and performance Curtin shots and the house shots, all the same settings because when we using the house pretty much as our studio. So with that case, we are going to be using, we're gonna be doing shot number two first just because it's a green screenshot, green-screen shot. So the shots that I usually like to get out the way first off the bat because usually they can take a lot longer than even just regular standard running gunshots. And then I'm gonna do my shot three, which is going to be the curtain shot. And let's go ahead and write down some call times, as we mentioned, are called Time is 01:00 P.M. so we're gonna start, let's say 140 and then our n time right here. Let's say it's going to take, I think it's generally going to take our 30 min. 30 min, pretty generous. It's really only 3-minute shot that we have to get. So let's say we end at two tan. Now props over here. Now this is something that we didn't mentioned in any of the other call sheets, but this is basically any items or extra prompts essentially that you're going to be bringing onto your set. You want to make sure that you have them listed out just so we can keep track and order everything's props don't even have to be things that are going to be shown in a scene, like fake guns are big blood or stuff like that, but they can even just be you guarantee equivalents. So I should have put prop slash gear and stuff like that. But we're just going to list our green screen and we're going to need lights and then maybe a map just so that we can have because 18 is going to be laying down and it's probably gonna be on the floor. So just having something nice for him, the Leon just so it's not super hard and painful to get this shot down, it would be helpful. And like right here, this whole section is just to help you keep on time and just remember what to bring. Moving on to our shot three over here. And shooting at this time to ten. Let's say it takes 20 min to transition and set up for the next scene. So the next side should take us to 30. Let's say we'll start at 02:30 and then it will also take us 30 min. So we'll end up three, right? Okay. So this is the curtain shot right here. So the curtain shot with a letter animation, stuff like that. So let's remember to bring the curtain here. We're also going to have them change outfits. So CD outfit genes. And then I definitely want some sunglasses for this song. I don't know, just something important that'll make everything stand out. So we have sunglasses and then moving on to our fourth and fifth shots, which are going to be the actual house shot and then the park shot. These are going to probably be the fastest ones that get done in shots. So all we have to weight it pretty much is used to clean up from these ones. And then we can get to shooting 4.5. So this isn't probably start around 320. And then we're going to shoot this shot for about 20 min. So we should end at 03:40. And then we're gonna have to drive to the park real quick prompts. We're not going to have really many props for this, maybe another outfit change, and then we're definitely gonna have some cars. So I guess this can count as props. We're going to have to drive to the part 4-5, right? Five is our part shot. So remember denote for that driving time, let's say it takes us 20 to 30 min to get to the part, get everything set up and start shooting. Especially if he's going to have some extras and models and other friends on say, more people means more time, so just account for that always. So let's say we start on for ten shooting the park shot, and this should take us around 20th, 30 min. So we should end at around 440. Perfect. And then once again, use the same outfit. Witness have cars right here. And then maybe fake money, let's do or fake money, a real quick tip, always have fake money if you're a music video director, let's say the number one thing that you should get in your investment. Everyone's like get cameras, get lights, get fake money. Do rappers love it? I'm telling you, having fake money will make you kill the music video game. And lastly onto the casting and crew section over here. These are just pretty much the people that you're going to have down for this shoot. It's not really too big. I might need a couple of extra hands. The setup and cleanup made sure that everything goes a little bit faster. So some planet and have to, through friends helped me. So this is where you're going to write their names down. And then over here is a call time. This is where you write down when they have to show up. For my case, they're going to show up at the same time as me. So it's gonna be 01:00 P.M. and then over here is the location slash address of where they have to be. So we're going to start at our house shots. So we're just going to write house. I'm not going to be writing down any addresses, as I mentioned with four other nodes over here just reserved for other, any extra miscellaneous stuff going on. And then also I'm going to write down 18 db. And then I'm going to write house. And with that, boom, that is pretty much how you fill out the call sheet. Like I said, you can type this up or write this out either or. But really it's just a great way to just stay organized and remember to bring this on your sheet as well. But a lot of your time and effort into organizing the scenes and make sure everything plays out right. And remember to always give yourself more time than you need. And with that, we're ready to start shooting. With that. Congratulations, you have officially made it to the end of the planning and preparation process. Music video connection to who really give yourself a round of applause. You did it, you completed that you've properly planned out pretty much everything that you need to have ready for your production. And now you're ready to start shooting. Join us on set and unit two to get to see you all there. 6. Unit 2.1 Introduction: Welcome guys to unit to the final stage of production. We're here, we've made it and this is probably gonna be one of the fastest and also quickest parts of your music video production process, because as you should have planned on your call sheet, it should only take around five to 6 h long. I'm right here with 18 baby. Are you doing today? I'm doing good. That's what's up. So today we're here at Santa Anita, Santa you to park right here in the beautiful Arcadia. It's a wonderful location. Remember, choose your locations. Make sure the weather is all perfectly planned out as we've prepared on our call sheet and throughout the past few days in our course and everything is going to plan right now. It is currently about to 40% 50 pm, so we're about 10:20 minutes off scheduled. But as you should have planned in your cost sheet account for that time, everything is going to take a little bit longer. There's gonna be delays, e.g. we've had a major parking disruption. Remy arrived here and it's just really messed up thing. So plan for that stuff, it's going to happen. It's okay. But the best thing you can do is just keep moving, making sure everything is in. Move forward and just stick to your call sheet. So without further ado, we're going to go ahead and dive right into the music video production. You're going to go ahead and follow along, make sure you watch this actually before that you actually shoot your music videos and not learning on the go as you're shooting, but have your call sheet ready, have everything ready, and let's get shooting through the peacock. 7. Unit 2.2 Test Run & Feedback: Hi guys. That was great. That's a great first take. I'd actually recommend you getting a first test run charges you can analyze and make sure everything is good. And I pull up the mistakes, pull up the areas that need improvement in both areas that are great. So what was great was the walk That was perfect. You could honestly able, you could honestly like look around more. You can incorporate some more movements. And then also I would say the speed of it as well, if you'd like what really slow, just so that it's able to let you know what, we have enough space to keep up with you guys. And then also Ryan, that was great, great performance. I would say a little bit more hand movements, a little bit more visible. I'm displayable that you're like performing the song and communicating to Eva. And then I would say maybe a little bit closer to her. So like three or 4 ft. And then so just so, you know, focus isn't too much of a problem. And then other than that, it's pretty great. I'm gonna be apparently motions around you guys. So that's why I'm saying if you can keep the slope, the speed really slow. So I can come around you from the sides, from the backs, whatnot. And then other than that, it was really great, Great job, great performance, great job, Ryan. Great job, Eva. Let's go ahead and run that back another time. 8. UNIT 2.3 Improvisation: All right guys, so right now we just finished our first take of the music video. Does a great performance. Great job, guys. Great job, great job. Which moves us on to our second part of unit two, which is the improv stage. Now, a lot of times during your music video, you're going to have a lot of factors that are gonna be affecting your shoots, such as e.g. the time delays the people here at this park and then just the terrain I like, literally ran into a tree the last time we were shooting in this shot, one of the things that we're going to improvise right now is we're going to adjust one of our shots with you originally had planned on our storyboard, which is the part where they walk off together. And like Ryan puts his hand over on her shoulder or whatever, because we don't have an open area like we planned in our cost sheets were due to adjust to this open terrain scape over here. It's really great. It's going to work. We're going to try to get the shots that best fit the call sheet and everything that we planned for in our storyboard. And then from there we're just going to go ahead and shoot. I'm one of the big things is don't spend too much time over planning or overthinking or over analyzing. These are gonna go wrong. No, you're setting your shoot is just going to look a little bit different than what you plan and hopefully intended to be. But the best thing is just to keep shooting, keep moving because right now we're also running out of time. The sky, the daylight is running out. We're going to try to keep shooting fast and moving along. Don't stop, don't overthink. And just make sure you constantly think on adjusting for the next shot and your music video. Let's go ahead and get to shooting this next shot. 9. UNIT 2.4 B-Roll: All right guys, we're moving on to our next unit, which is probably one of the second most important parts of the music video, which is the B-roll. B-roll when you're shooting on-location like here we are on a park, we're not in a controlled setting, is really extremely important. It's really great that you get what is that is not of your artists performing and this other non miscellaneous footage that would just help enhance the music video. Now if you're confused a little bit on what to actually shoot for your B-roll. Well, there's a lot of things right here in this parks. I mean, there's a whole bunch of trees. We have our subject, Ryan. We could just shoot and walking, can shoot their outfits. Want to get the details. It's about capturing the details, a little minor aspects of the scene, the setting, the surrounding that really enhance and make the best of Iraq. So we're gonna go ahead and just give some random B-roll shots so we can incorporate into our music. Let's go ahead and get some shooting. E.g. over here, right here we have our subject, Ryan. He's kinda just standing concealing and it's just a really great overall cinematic shot. So I'm just gonna go ahead and put my camera, of course, on 60 frames per second. Because you always want to shoot your Bureau on 60 frames per second in order to obtain the best. Soma. If you want to convert anything to slow motion layer on always you don't 60 frames per second for B-roll. You can adjust your other shots later. So right here, Ryan standing, I'm just going to go ahead and get this shot with him facing the mountains. It's just really overall cinematic. I'm shooting on 70 mm right now, just so that it's a really great blurred depth of field in the background and we have a nice shot of the mountains right here. All right, Ryan, You can go ahead and keep walking now. And now for this shot, I'm just going to get some shots of his feet walking. It's just some really great extra B-roll just to throw in. We can mess around with it later and whatnot. Perfect. Thanks, Ryan. I appreciate it right now, ransom to go ahead and fix his chin. Just some stuff to just highlight the details. Like I said, the details you didn't catch the LV on his jacket, a little diamonds on his chain based the sunlight just a little bit, so we have some sparkles. Yeah. There you go. All right, Ryan, You can go ahead and just fix your chain now. Yeah. Stuff like that. Perfect. And as long as they hit the sun, we're going to have some shots of him looking around at the part. I want you to look right when I say go 321, look right. Just like that. Just simple shots. Artists in not even performing. It says random stuff that doesn't even have to play into the story, but can really enhance her music. And with that, you can shoot amazing view of the music video. 10. Unit 2.5 Studio Direction: Where are you right now? What are we doing right now? The camera managed to get coffee is not enough, men? No, no, no, I haven't seen the crazy one. When did this start right here is this one back guys to our second stage of production. Right now, it is currently 05:30 P.M. now we are running a bit off schedule on the call sheet. We're here at 18 PBLs crypt because I've eaten, maybe they'll say STI mode. So right now we'll be going over is pretty much talent conducting and how to communicate exactly what we need from our talent, especially now that we're in a studio setting. This is actually not a studio, is just the gym room, right? But we're going to utilize in this room is a studio. And it's very important that you, as the creator and artist and director of know how to conduct your talent, especially in controlled spaces. It's an entirely different environment compared to shooting outside and just running and gunning it. I got it. So now that we have our talent ready right here, Ryan is really looking at what he's all drift out, taught them how to tie a tie the wild. We're gonna go ahead and have him stand in front of a green screen. I'm just gonna direct line and make sure everything is uncontrolled settings and everything perfectly down and we don't shoot. Oh, yeah. Ryan doesn't stand right here. You take a few steps forward. Yes, I can. Oh yeah. I'm gonna make sure and test this once again to guiding talent and making sure that our shot and everything is in frame. So right now we're shooting vertically so that we can get digital asset. And then posa Ryan, I'm gonna have you reach out real quick. Perfect. Alright, I want you to move your arms up. You guys look on. Here in this camera, you can see that Ryan is perfectly covered with the green screen. So you can put your hands down, right? That range right there IN is pretty much how much you have room of mobility and you can move into the scene. I want you to have a little bit more motion in the shot for sure, but definitely just keep things a little bit more constrained and then just have fun with it. And just like that, It's really simple, guiding your talent, making sure that everything that they're doing is gonna be good and perfect for the video. And then that way you can avoid any other message in post-production. So let's go ahead and get this job done. 11. UNIT 2.6 Lighting & Green Screens: All right guys. So right now we're in our final shot of our post-production seen right now we have 18 baby, alright, here he is on the clouds. So right now we have a green screen set up, which is going to lead us to our final stage of lighting and green-screen lighting because we're using a green screen lighting might as well. One of the biggest things to always make sure is that when using a green screen, make sure that there's no shadows, make sure there's no wrinkles right here. We have a elastic green-screen. It works really great, especially with this carpet environment right here. Taking notes, when taking notes in his head, yeah, literally elastic green screens are a great way, especially just attained no wrinkles and also having even lighting. Now one of the things that we're going to have to deal with in post is a little bit of these tiny shadows around his edge, but that's totally doable because we have very fair even lighting right here. I have two lighting setups right here. These are just some bulbs. And then right here we have a soft box light right here, which is really Hubs even out the skylight is supposed to be taking place outside in the sky, hence the fact that these are clouds. So it's just really important that you have everything nice and even now, also one of the last points is make sure you always control your lighting. Make sure you're shooting on the same ISO settings. Make sure that your lighting is all seem and symmetric so that when you get into editing and post-production, you stay, you don't have any differences in lights or anything, just looks different in general because really it's gonna be a pain if you didn't have to fix those mistakes later on, but without further ado, let's go ahead and get this last shot done and then we'll see you guys then. 12. Unit 3.0 Introduction: Congratulations, you did it. You directed your very own music videos. She give yourself a really big round of applause. Directing music videos, or certainly not easy as you might have learned, but hopefully you had a great deal of fun and more importantly, have a great variety of shots to work with as I now want to welcome you into the third and final stage of this course, the editing process. You did it, you made it this far. And now all that's left is the visual effects and video editing, probably my favorite part about the music video process. I know I say that about every year, the video editing segment will be broken down into six subunits as you'll work alongside me as we construct timeline breakdown visual effects go over how to apply transitions, where and how applied the effects and much, much more, the post-production editing process is really the stage where readers, directors, editors come together all to just fix and finalize everything for the big screen. And hopefully by all the planning and preparation that we did beforehand and on shoe, they'll have a great set of footage that you can work with and manipulate to turn into extraordinary music video for this section, mainly using Premier Pro and a little bit of After Effects to edit, compile, and apply the perfect visual effects for your music video. For those of you who are new to Premiere Pro and any video editing software in general, we're gonna go over a quick basic rundown of the software before we dive right in. So don't worry, but if you're extremely unfamiliar with the program, I do recommend that you go and take a little bit of time to familiarize yourself with video editing what our timelines, no media libraries displays the back panel. It's just stuff like that. Just so you can get the basic Keynesian. There's lots of go over in this unit. So without further ado, let's go ahead and dive right in. 13. Unit 3.1 Premiere Pro Basics: Welcome to the first part of unit three and the post-production process. In today's lesson, we'll be going over it. Premier Pro and the basics for those of you who aren't familiar with any type of video editing software in general, Premiere Pro is probably one of the most popular and famous video editing software is it's created by Adobe and it's included in the Adobe suite. And well, yes, of course there are ways to obtain it without pain. I really recommend that you go ahead and purchase are installed version of Premiere Pro. Before we dive into this version, of course, if you're using Da Vinci Resolve Final Cut ten or Sony Vegas, those are all totally great video editing options as well. So just remember to follow along as we are going to be editing mainly in Premier Pro, pretty much for those of you who are completely new, I'm just going to be given a breakdown of the entire video editing applications just in a nutshell so you can get digested things. So if you're already familiar with Premier Pro and the Adobe Suite, you can go ahead and skip this video. But for those of you still tuned in, let's go ahead and get started. All right, guys, so now that we have officially load up Premiere Pro, if you're a beginner, first-time user as a segment of the course is aimed towards probably going like, what the heck is this? What do I do? Where do I start? Well, don't worry, we've got you all covered. We're just going to basically quickly run down UI from here, from the basic tools that you need to know where everything is, how to use the workspaces and pretty much everything in that sense. So that when you go and get to editing your video, you're gonna be an absolute pro, or at least know your way around pro novice, beginner. Same thing. First thing we're gonna do is we're gonna come over here and in the top left-hand corner we're going to hit New Project. When you first learnt premiere, you're gonna be first set on the home screen, and this is the home screen right here. You just have a bunch of your past projects over here. And then you have some options in the top-left corner. In the top left corner hit New Project because it's going to be a new project and you can just name this whatever you like. So we're just going to call this. It's because that's the name of the song. Hit Enter and then boom, now you are finally inside of Premiere Pro. Depending on what type of workspace you're originally sat on. Yours might look a little bit different from mine, depending on which workspace you are set on. You can come over here to Windows. It works bases. And then I'm just going to come over here and click all panels. So I'm just gonna go to this first, all panelists, original OG layout for Premiere Pro. If yours doesn't look like mine, then yeah, just come here to Window workspaces and hit all panels. And that's where we're just gonna go off right here. And this is the layout that we're mainly going to be editing. So first up, what are all these different boxes going on right here? Well, there's no better place to start with then the Media Library on the bottom left-hand corner right here we have our media library and is, you'll see there's a box right here. It says, Important me to start. This is pretty much where you're going to have all of your clips. Put, all of your footage right here. You're going to pull from them and it's going to compile it and time nice library. And it's simply where you just store all your clips. Moving on to the right-hand side, you're gonna see a bar in-between. There's a bunch of tools. Now these tools we'll get into in just a bit, but these are just basically we're all your tools are. So I just like to call this the toolbox. And then moving to the right of that, you're going to have your timeline. And your timeline area right here is where you're just going to lay out all the tracks and clips. And this is pretty much where all the real editing goes because this is where you actually compile, move around scenes, cut and trim them. Everything that you'd imagine a video editor is doing. This is pretty much where all the magic happens. Moving on to the right of that, you just have audio bar. And then on the far right hand side over here, we have a bunch different options. Now the few main tabs that you only need to be worried about are the effects panel right here, the essential graphics, essential sound, and the Lumetri Color, essential sound. You might not even need to worry about because we're just adding a music video and there shouldn't be really any outside audio tracks except the song itself. For other videos, you probably might be using sound a lot. Moving on to the left of this, this is gonna be your display. This is where your V is going to play and this is pretty much where you see the final result. So this is a very big important part. And on the final left, top left-hand corner, you're going to have another panel for effects panels on the Lumetri Scopes. Now these are all just going to come into play. This is we're going to mess around with a lot of your effects and add animations to things and everything else in that sort. But without further ado, let's go ahead and drag in some of our clips so we can get a feel for editing. So right here I have the heats me folder from all the footage that we shot on our music video shoot. And I'm just going to drag it right here at the bottom left-hand corner for a media browser, we now see we have the folder right here. And then what I'm gonna do is I'm going to double-click this to open it and boom. Now you see we have all of our clips right here. If you would actually like to gain a better view and his organization of all the clips and see them better. And you can come over here to Window workspaces and then click on the assembly panel right here. This is going to make this library panel a lot bigger. And if you double-click on it, you see we have a much greater view of all of our clips will get better pick and choose. But also we don't have a lot of our other effects, panels and control ranges. So it's important to switch between your workspaces by hitting window and workspaces just to switch around depending on which stages of the editing process urine without further ado, let's just go ahead and drag in some basic tests clips just so we can get a feel of some of these tools might add. We're not actually officially editing this right now. I'm just giving a demonstration of just the basics of editing and what you can do. Now, coming over here back to this toolbox area, Let's go ahead and test out some of these tools. The first tool that you're going to see is going to be the Track Select Forward Tool. This basically grabs all of the clips and your entire timeline without you having to hold shift and select each individual one. A very great way to just move around and drag the entire timeline around, or even different segments. I'm going to add just a couple more clips over here, just so we can test this out better. So right here, if I wanted to grab all the clips to the right, I can just easily do so by using my track select tool or if I want to drag the entire timeline, I can easily do that to moving down, we have our edit ripple tool. Now this tool is a really, really useful tool. I use it all the time with editing. This tool is the edit ripple tool. It works basically the same as just dragging this cutting, but instead of leaving a gap in-between, it drags the entire other clip to it, leaving perfect cuts without no gaps in between your timeline. You can use this on either the right or left side and it will just basically drag the entire timeline exactly to where that cut was moving down. We have our razor tool. The razor tool is very simple and self-explanatory. It just adds costs wherever you want in your timeline. For the slip tool, we're not going to be really using our music video that our Pen tool over here is definitely gonna be extremely helpful. One pen tool basically helps you draw a mask or it can draw shapes. And it's just a really great way to draw and cut out and Premier right here, we've just made this super basic seat by just using the pen tool and it's just a really fun tool. Moving on to our shape tool, if you drag and hold, you can either draw a rectangle, ellipse polygon. This is just a really simple tool. It's just basically draws a rectangle. This tool, I also don't use that often we're not going to really be using or music video, either the hand tool right here is just a great way to just grab and select items such as text or shapes, but we don't have any of those here. And then lastly, as the texts last type tool, you can pretty much type anything that you want. And this is going to definitely come in handy for our title cards. And when you click on the Text tool, you'll now see a new panel opens up under the Essential Graphics. You click on your hates me tax right here under the Edit tab right here, you can now double-click and highlight everything and change the font, the size of the text, spacing of the letters. There's just so many different options that you can use. There's just so many different options that you can apply to your texts. I definitely recommend you messing around with it. And lastly, back to our Effects panel over here. We're going to use this text right here that we created just a mess around with some of the values of the effects control panel. Over here you're going to see in the top left-hand corner you're going to have some value such as position, scale, rotation, anchor point, et cetera. Now, the position is very simple. It just moves it around. If you'd just the coordinates, it just works like an x and y graph. Those ones that you did in middle-school scale over here, if you increase it and just obviously skills it larger or smaller and the rotation rotates it. But what's especially cool about Premier Pro is that you can set what are called keyframes. Now keyframes are basically values of position, scale, or rotation, whatever the value is your editing based on the timestamp value. To activate these, you can simply click on the stopwatch icon under your scale or position or rotation, and it will create a keyframe. You can select all these keyframes and drag around and you'll see nothing happens. But if we go ahead in our timeline and now we adjust that key-frame and let's say we scale it up and move it to the top. And we can just drag this to the very end when we play it out, it animates the text. Now this can be extremely helpful, especially if you're adding in music videos and you need to create texts, animation, or animate pretty much anything else. You can even apply these same keyframe values to actual clips. So right now I'm selected on the actual clip right here on our timeline. If I hit a keyframe on the scale and move that to the very beginning and then scale it up. If we play this clip back, you'll see that it zooms in while the clip is playing. Now this is a great way that you can create artificial camera movement. And there's just so many more options that you can do with Premier Pro with this. Lastly, the masking tool, probably one of the most important tools of any video editing software. This masking tool is a great way to just cutout and make bass. You can do this by clicking on the Pen tool under opacity and you'll now see you have a pen tool on your, on your scene. And if you drag and just draw out some points, you'll see you now created a mask and just like the text, you can also animate the mask by hitting the stopwatch toggle icon and then going ahead in the frame and just adjusting some of the position. Now you'll see the mask moves. And let me tell you this is probably one of the most helpful tools and Premier Pro, you should definitely know masking as beginner if, especially if you're just starting now, you can also adjust the mask feather by making it fade out more or turning it all the way down to zero and just giving it very harsh, sharp corners. And what that is, those are pretty much all the basics to Premier Pro. I still definitely recommend you guys taking deeper, further in-depth course on this, are watching more YouTube tutorials on this because there's still so much more to learn, but without further ado, let's resume our course. As you can see, Premiere Pro is really a beast of a video editing software. It's really going to be extremely helpful for this music video. And really there's so many applications even beyond music videos and music-related content. If you're looking to learn more and grow your skills in Premier Pro, I really recommend that you take an in-depth course on the application itself because it will really be helpful. Great job so far, guys, see you guys in the next unit. 14. Unit 3.2 Timelines PT1: Alright guys, so now that we're back inside of Premiere Pro, what we have is just a blank, empty project. Hopefully by now you do or should know your way around here because we are going to be editing and arranging pretty quickly today. So one of the first things that actually recommend doing before you even import anything into your timeline, whether you're on Mac or Windows, is organizing some of your clips. So what I like to do a lot room quickly with Mac, you have tags. I don't know if Windows has, you can tag them or not, but I just like to tag just with colors, red, blue, or you can make folders of certain files. But basically what I'm doing is I'm tallying the red clips, which are the performance shots. So the shots were Brian is actually seen in performing the song. And then the blue clips are the B-roll shots. So this way I just have a much easier way that I can just organize an import. My file is based on exactly what type of shots they are. So what I'm gonna do real quick is I'm going to make two new folders. I'm going to hit the folder icon at the bottom and I'm going to call this one B-roll. And then I'm going to make another folder by clicking the folder icon and calling this one per formats. Now, what I'm gonna do is I'm gonna come over here, hit View, sort by tags on my Mac just so I can get a quick arrangement and I'm going to select all of my red performance shots. I'm just going to drag them to my performance folder. And then same with my B-roll shots and drag these to my B-roll folder. Now why do I have the folder of just all my clips here that these are just pretty much duplicates, but it's just a lot easier to access. Now what I'm gonna do is I'm going to drag all, I'm going to highlight and select and drag all the performance shots and then just drag them into the timeline. The timeline is gonna be like 19, 20 min long because she's just all of the footage compiled in just a one big long video. But don't worry, we'll start that in just a bit. Now I want you to watch very closely that this part is really extremely helpful and crucial, especially in editing and making sure that you save time. What we're gonna do is we're going to create a new sequence because we are going to be using the double pancake timeline method. Now with double pancake timeline method is, is basically where you have two timelines, one with your B-roll shot and one with your performance shot. And that way you can just have better access to, you know, just grabbing and pulling and choosing whatever footage you want without having to scroll all throughout your timeline to different segments where you keep your B-roll and where you keep your performance. Don't worry. Everything I'm saying right now might not make sense, but it's going to adjust a bit. So follow really closely. We're gonna do is you're gonna come over here to the sequence, make sure you are on the assembly mode right now I'm on Windows, Workspace and assemblies. So click that and make sure you're on assembly. Then you're going to come over here to the top left hand corner, hit File, hit New, and then he creates sequence. Now you're going to name this sequence bureau. I named that rule OL. And now what you're gonna see is basically all the clips went away And what happened. But don't worry, because if you see in this top left hand corner and the timeline, there is now a tab for your music video footage and then your B-roll or blue, we have a rule timeline. Now watch very carefully what you're going do next, click on your B-roll footage or whatever you want. And you're going to drag this up. And you're going to see it highlights this blue area right under your display panel and just let go and you'll see, boom, it created a second timeline. Now, we have two timelines on a Premier Pro project. You remember like, what, why, why do we need this? So much extra, but trust me, it saves so much time, especially when you're in the editing. Now for this timeline assignment, which is gonna be our rule or blue roll, you're just going to simply drag your B-roll footage all into here and you just say keep existing settings right now. And boom, just like that, we have all of our B-roll footage, all of our standard footage. And just to keep things a little bit even more organized, highlight everything, Right-click it, and then scroll down here to label. And now you can change the label from below to any color you like. I prefer mango with his minions are my favorite fruit. I'm just letting you know if you guys want to send me anything. Now basically what this does is when we drag that into our real timeline, the bottom one is going to be a real timeline. We're actually going to edit and compose the real music video project. You have colored hoodie, B-roll footage, Orange clips, or B-roll clips are standard shots. Now it's time to actually edit and compile and start actually arranging instruction music. And now we're ready. Come back right here down to this bottom timeline here. And I'm actually going to change my window load back to Workspaces. And I'm just gonna go here to all panels right now. And it's going to put our dual channel on a different sequence. We're not going to have double pancake stack timelines, but that's okay. We don't need them right now. Now, make sure you're on the performance panel and it's time to actually import our song or music. It's not a music video without the music. Obviously, we're just going to have the MP3 file right here. I'm just going to drag it right here on the bottom lower audio layer. Now this is the fun part and only call it the fun part because I only found out about this recently. So it's kind of a cool trick to me. What we're gonna do is we're going to arrange and synchronize all of our clips right here to the music video track. Now what you're gonna do is hardly clips you have. You're going to have to stack them all on top of each other and make sure each either audios on different layers. So you can start by just dragging each one on a layer below it. Just like this too, we're just creating this sideways parabola shape. Each of the clips up and the audio clips down so that nothing is going to overlap with each other. Now once you have all of our clips perfectly lined up and just like printing the staircase type pattern, we're just going to drag everything pretty much to the very varied. Now this way, none of the audio tracks are going to overlap with each other or cutting you each other off because these are very important and vital to the mixing and matching process. Where it's like all of these audio clips was one at a time. I realize I didn't move it down. One more layer. I'm perfect. Now we have audio layer one open and we're just going to drag this directly over our music track. Now, it's time to select everything and matching arenas like all of these clips, as a hot key, you can hit Command a to select everything. And then what we're gonna do is we're going to hit clip and then we're going to hit Synchronize. Now it's going to say synchronized clips. It's going to say point, clip's start clubbing. Then we're going to click Audio and make sure to attract channel is not set to one or two, but mixdown suddenly not unmixed down. Okay, and now it Premiere is going to process this audio. So it might take a little bit of time because we are processing eight clips right here of audio. So we're just going to go ahead and wait for Premiere to do its magic and perfect, then you might get a synchronized failure because we were doing like Eclipse and that's a weird thing. But it says one of the clubs who is not able to find a match. But if you look on your timeline, you'll now see that all of your clubs have just slightly moved to rearrange themselves. And that's because Premier Pro on the exact point where the music started and stopped. And so we have all of our clips in synchronized with our music video. And that leaves, that saves us a huge chunk of time because we don't have to mess around and match up the song. And that's what the clubs with any parts of the song. It's just super easy now our job is just to find that one clip that was not synchronized. Wherever that one-click was, we're going to find, you'll probably hear it, but we're going to play it back. So it looks like I hear I hear one of them. I'm just gonna go each one individually overtime. You can get the solo track on the actual music layer and then the audio later that you're isolating to hear both of them. So audio two sounds like it's N'Sync. Let's hear audio three. Audio three is in sync. Audio for is in sync. And boom, audio five sounds a bit off and it looks like that's our one. This is our winter right here. To get this one done a little bit quicker, we can just hold shift and select the clip that hasn't been synchronized hold option and just drag them out, duplicate it. And then I'm just going to synchronize this separately by itself alone because it can't handle the group. Okay, So it looks like something's going off here. So it looks like for this clip there's a lot of echo here, which is why it's really throwing it off. So this one, you're just unfortunately just going to have to manually match it up. But really compared to all the synchronizing that Premiere Pro did, it saves us so much time. And just like that, I can easily manually match up the one track I was actually not synchronized. And then just replace the old one and delete those old clips and boom, now, every single clip right here is in-sync. And if you play it out, you hear this giant echo. That's fine because all of our clips are perfectly synchronous. Join us in part two of timeline and structuring to organize and layout our music video. 15. Unit 3.2 Timelines PT2: Welcome back to part two of the timeline and structuring of the music video process. Now this part is definitely one of the fun ones. Last part, we just spent a lot of our time organizing our timeline, getting our pancake structure ready, synchronizing audio clips, a lot of the boring technical stuff, but now it's actually time to edit and actually make this music video. So one of the first things that we're gonna do is I'm just going to select all of this extra little excess come to the very beginning of the audio track right here, which is our green tract right here, some of the very beginning of it. Now, you're going to just cut all of them and you can use the razor tool. I have my hotkeys set to a so I can hit eight and select them all. And then all the clips on the left-hand side, we're just going to delete and we're just gonna do the very same to the end of this clip right here. We're just going to select all the clips that hang off the edge and we're just going to trim them down. Perfect, Just like that. We have all of our video clips within bounds of the actual song laid out the solo tracks set on the original soundtrack. So when we play it back, we only hear the original sine. Now it's time to actually compile. And this part, you'll see why it's so fun to me because of the way we set this up, all we literally have to do to make this music video is cut and drag. It's that easy. If we turn off visibility on any of these clips, we can see all of our clips are just right there below it, aligned and perfectly set so that way and you can just cut and drag. I'm also now Let's just get straight to compile it. I know I for sure one of the opening subpart of the songs that on this guy shot. So I will just cut this opening part right here is my hotkey to cut and then just cut it and drag it. And now you'll see it's done with that part and we have another B-roll shot right here. I might want that for a few seconds and then I can just cut and drag that. And the way we're going to be editing is we're gonna be kind of editing in what I like to call steer formation pattern. This is because the way we shot our music videos is that we have a bunch of clips in the same order. And the goal is just to spread out and give a lot of diversity to each of these clips so that each part of the music video is still feels fresh and new. So when we play this out, you'll see there's cuts in-between certain parts where it gets a little bit awkward. We can always hit M to leave a marker just to signify that we're going to add some B-roll there. And for the first opening clip, I definitely know I want one of those parks shots, so I'm going to keep cutting away at it. Just keep cutting away at some of the bottom layers until we get to park layer shot and boom, just like that, we have already edited the first 20 s of her music video super easily. One of the things I actually want to do is also adjust some of the framing. These shots right here were shot in for K, and right now we are in a ten ADP sequence setting. So I'm going to just scale them down to 50% size in the effects panel. Hit command C on the motion tab, paste those effects to the rest of the 14 shots. I think a lot of these top frames to we're also shot and for k. So I'm just going to select literally all of them and hit Command V to paste those settings. Doing the same on the right side. And boom, just like that, we have our four key shots all zoomed out and we can obviously go back and play with the size and enemies of these. You can zoom in more, which is why it's really extremely beneficial if you have a camera that consume four key because you have a lot more range versatility to zoom in more uncertain shots or create more animations without having that fear of losing quality. So obviously a lot of these green screen shots we're going to compose later in After Effects. For now we're just going to go throughout this music video and just cut and trim any just until you get the field or music video. Now you're just going to want to be watching this as you play it. One of the things I like to do is add breaks at some of the verse changes right here. Wherever it's like the end of a line, I would create a new cut to a different segment. And it can just be whatever. Remember, your favorite tools here are gonna be your Cut tool and your trim tool is going to be extremely helpful, especially the editing. Now this one right here is a vertical shot, so I'm just going to also change this rotation to negative 90 degrees and honestly just go throughout your music video, this is really where the creativity is up to you. It sounds cliche, but it's so true. You have so much freedom now, this is, this is your time to show off your creativity, your music video arrangement. There's not really much else I can teach about arranging the videos, except how, you know, just to get to this part, but really watch your music video played throughout the different clips of which shots you think look good in certain parts. The goal for having you planned out all of these shots is so that when you get to this editing stage, you have like nine or ten different versions of the clip that you can choose from for your music video shot. And then you can just cut and adjust. It's a really super efficient way to edit music videos and saves you a lot of time. It's super easy and it honestly creates good results to, and especially allows you to edit and then very fast and well organized manner. One last tip I can add or just make sure you don't repeat some clips too often. So like e.g. if I play this clip right here on layer 61 time, I'm not going to try to play it again. So I haven't played it again at this beat drop over here just like a couple of seconds later, because I have nine other clips I can choose from. So we'll just go ahead and choose a different clip. We can change. Video six to suggest that way we don't have too much repetition. Now I'm going to leave the rest of the timeline composition up to you. This might take an hour or 2 h, maybe 3 h to do just like messing around and switching around. But real quick, we're going to come back to the pancake timeline methods for B-roll. So we're going to hit Window workspaces and come to our assembly panel, which we have our pancake method over here. And now it's time to adjust into some of the B-roll. We're going to come back over here to our B-roll panel right here. So we're going to come back here to this B-roll panel right here. And now it's time to choose and pick and adjust the different B-roll clips. This is why we have it set up like this because you're going to see how easy it is to just simply drag and drop. So right over here we're just going to go throughout each of our B-roll clips and some of the shots, parts of the shots were not that great at someone were. So we're just gonna go ahead and first trim the clips that we do and don't want this basic simple editing cuts and trims is part of the way the light hits his face and his talking is really good. This part right here, the smiling is good. Just a lot that we have a lot of great different B-roll shots and choose from here. So your first job is just to go throughout all your DO right here and then just cut and trim it down to the actual usable parts of the clip. So this might also take you another hour or 30 min or so, just cutting each I mean, just parts. I'm have a lot of shaky footage right here because I was stressed on the shoot. Not very complicated stuff here, but we're just basically just cutting and trimming. Now I'm going to grant you that time to go ahead and adjust it to cut and tram. But for the sake of time and recording this class, we're just going to go ahead and skip to the segment where you've already cut and trim all of your music video performance timeline here and trimmed out all the best sides of your B-roll. And now it's time to actually add B-roll to your timeline. Now this part is also very fun and easy. Quick tip real quick. You also don't need any of the audio tracks with a biro because it's B-roll, it's not linked to the sound so you don't need it. So basically what I'm doing right here is I'm just selecting all of these, hitting Command L to unlink the audio and then selecting the audio and deleting it. That way, we have all of our B-roll clips just nice and separated. If a lot of your B-roll clips are spaced out like this and you just want to close the gap. You can select them all hit sequence and then go to close gap. And then that way, it just brings all the clips easily together and it's very easy to grab and pull. Now, it's time to compile and you see how easy this is. We can literally go to all the parts where you hopefully marked and tag your performance shots by hitting the M key to add a marker and then just pull which Bureau shots we want to choose from. So right here I have a marker in this shot. This is the intro to the song. I'm definitely going to want some senior clubs going on right here because this other Bureau of him talking to Eva is going to be towards the end of the video. So I'm just going to grab this shot and Ryan looking at the mountain and drag it to my performance timeline. And just like that, super easy would be cool is if you can keep a designated tracks so I can designate V nine specifically for my B-roll. So you can just keep all your beer or they're really easy to stay organized with everything. And just like that, You see how easy it is to pick and choose from below. Maybe for this segment right here I want some more talking B-roll. I'm going to just keep going on throughout the rest of my music videos or maybe this segment right here. I would like some talking soon so I can come up to my B-roll panel right here. And then just grabbed a talking scene and drag it, right boom to my performance shot. Keep it in layer nine so everything stays organize. And just like that You see how easy it is that we're compiling this video already so fast, so click super efficient and the product is coming out white. Well, If you asked me now, Willy did just a segment of this video and you'll see how easy and fast food was. So just take the time put in the effort to set aside three or 4 h. So you know, just trimming out the best Bureau, chopping up and compiling your music video in your performance shot and then just combining the B-roll to your performance shot. And just like that, you can create a perfect, super easy music video structure. I'm gonna go ahead and do that right now. And I'll see you guys in the next course when we have everything ready and we're ready to move on to our visual effects segment. See you guys then. 16. UNIT 3.3 Premiere Pro VFX: Welcome back guys to the first stage of the visual effects section of music videos. Now this part is especially fun because we're doing visual effects like who does not like VFX. As you can see, we're still right here and our pancake viewing method, the way this section is going to be broken up into two parts. The first part, we're going to be V effects that can be completed in Premiere Pro. And the second part is going to be visual effects that can be done in After Effects. The reason being is because there are two levels of difficulties and complexities. After Effects, visual effects are going to be a little bit more difficult. Now this course is aimed towards beginners. So I know after effects can be quite daunting, especially if you're just starting out. Keep in mind your visual effects. Don't have to use After Effects, but I'm just still going to teach it. Everything is going to be very basic and simple, but it's just to help you get the fuel, especially moving on as music video. So with that right now we're going to hop into the premier pro section in this video, I'm going to teach you pretty much everything you need to know about the effects controls. We're gonna go over a lot of the cool effects there. Built-in Premier plugins the adjustment layer is just how to operate and how you can really create the best top-notch effects and using Premier Pro to its maximum its effects capabilities. Then we'll do the after-effects version without further ado. Let's go ahead and create some visual effects and Premier. As you can see right here, we have just completed our timeline. I sat here for like two 3 h today and the day before just chopping this thing up. And honestly, I was having a lot of fun. You can see right here in my timeline, there's blue clips and there's orange clips. I'm actually going to hit Shift F5 just to reset my window to effects. And you'll see right here in my timeline, there's blue clips and there's orange clips. The orange clips of the B-roll and the blue clips are our footage just as we had planned out everything. So there are two effects that we really need to create here. First is this green-screen, our Cloud section, which is gonna be a little bit more complicated. So we're going to do that in After Effects. And the second one is going to be the curtain performance shock. Now this shot is a little bit easier too, because you'll fix. So we're gonna be doing this one in Premier Pro. So the first thing I'm gonna do is I'm going to come over here and I'm going to chop up this layer right here. This first scene. I'm just going to hit a my hotkey to cut up the clip and boom, there you go. Now we have a separate clip of this top layer. Now this is going to bring us to our very first incorporation of Premiere Pro Tools, which we kinda highlighted over it and the basics tutorial. But we're going to have to first obviously mask this out because, you know, because we can't really apply any effects if you have these edges real quick. Also, I recommend that you, when you're applying visual effects, go ahead and just trim all the clips below it. You have a nice solid black background behind it. So I'm just dragging everything back, pulling it back and boom, now we just have this clip and a black background. Let's go ahead and get some masking. First thing you're gonna do is click on your clip. Obviously come over here to opacity on your effects. Controls are going to select this pen tool. You see that you have the pen tool available. And just like we did in the basics tutorial, just simply draw a very, very basic rough mask. If you need more space to view it, you can change the view from, I'm gonna say 25%. And that way you can draw a mask outside of the actual frames. Just more helpful, perfect, Just like that we created a very simple, easy rough mask. I'm going to feather it just a tad bit. And with that, honestly, I think we're looking pretty good. The first thing that we're actually going to do is we're actually going to bump up the green before we apply any of the green effects. Now this is something you'll just always wanted to do in every case scenario. As you can see, we have a very bright spot right here because that's where we placed the light on over here is just a little bit flatter. When we use our ultra key, it's going to key out some of these areas and it's probably going to mess up this area. So our goal is to first color correct the actual green-screen clip to make all the green like really, really green. So that way Premiere Pro can easily detect it and just get rid of all the greens. So what we're gonna do is we're gonna change our window. We're gonna go to Workspaces and we're going to hit color. Now, you're going to see how this whole new range of color, I'm gonna hit fit right here just so I can see everything in full. And now what you're gonna do is you're going to click on the HSL secondary tab and you are going to select the eyedropper tool. The eyedropper tool, just select green. And now you see you have these little knobs we can drag. And you see if you drag it, it kinda starts turning everything that is not green gray. Just leave all the green behind. So your job is you're just going to want to adjust these until you can see all of the green of your clip, but you try to keep your subject. All grace, I want my subject to stay gravy now sometimes Premiere is going to highlight some edges. So right here we got a little bit of the microphone. But because the microphone, everything else is black shouldn't be too much of the problem. You're able to drag and see that all of your subject is great and the green is green, then you should be pretty good to go. Now what we're gonna do is we're gonna come over here to this color correction wheel, and we're just going to click on the green area. You see that boom, already bumped up a lot of the greens. I'm gonna do the same just once more on this temperature and drag the tint all the way to the left. And now you're seeing that our green-screen is actually looking green. Don't do anything to this clip, Don't nest it. Don't change in these settings because we are going to need to copy and paste these settings to just the rest of these in just a bit. And now it's officially time to actually key out the green. Come over here to your effects panel. If you don't see your effects panel, which is obviously go to your workspace and windows and just hit all panels and it should be right here. And what you're gonna do is you're going to search up ultra key. And now this ultra key right here, you're going to drag and drop it to your green-screen layer and you're gonna see nothing happened. I'm actually going to change my workspace again just because. See the effects panel. Now we have a perfect view of our effects panel and you can see our Lumetri color effects that are applied right here and our ultra key. Now it's time to actually scale degree. Click on the eyedropper tool on your ultra key. And you're just going to click the green and 0 already off the bat. It's done a pretty decent job, but there's still some little edges that bright spot like I anticipated, kinda messed up this thing. So what we're gonna do to adjust this very easy fixed, put composite and changes to alpha channel. Now you'll see everything turned like really hard white and black. The white sections on the areas that are showing the black sanctions or not. We're going to hit the drop-down on Matt generation. And now we're just gonna go ahead and mess around with the settings. The highlight, you're going to decrease to zero. And the goal is to adjust the settings until you can get as much of this black background or black without decreasing or losing any of the white areas of your subject. So just mess around with the settings. You can increase tolerance. And pedestal is usually the lifesaver pencil usually helps get rid of a lot of that stuff. And if you're just a little bit concerned about these harsh edges, you can hit the drop-down on Matte cleanup and then you can mess around with the softened if you want, not as harsh edges. And now when we change our alpha channel back to composite, boom, Ryan is perfectly isolated from our scene. We did, we successfully carried out all of our green screen. Now before we move on, it's time to just copy and paste these effects to just the rest of our greens room clips. Now you'll see why it was so important vital that we use this layering method. Because to do this, all we have to do is click on our layer and we're just going to copy and paste all of these effects to the rest of all the other layers. Now unfortunately, you can only copy and paste one type of effect at the time, but still major lifestyle and neither time-saver right here, we're going to start with the opacity. Click on the opacity, it command C on Mac, or you can just right-click it and hit Copy, then zoom out. And you're just going to select all the other clips in your layer except the clip that you already applied it to. Hit Command V or paste. And if we go to another part where we can view the same clip, you can see we now apply the mask. Now we're just going to copy and paste the rest of the effects were some come over here. We did opacity. Let's do lumetri color. Click on Lumetri Color, select it, hit Command C or right-click and copy. And then we're just going to select, once again, select all the other clips in this layer, except the one that you've already applied it to you, and then Command V or paste. And now lastly, we're just going to do it with the ultra key. We're going to hit command C on the autarky and copy and pasted all the other clips, layer. And boom, just like that, if you go to any other clip where that's visible, you see, perfect. We have Brian and he's perfectly isolated now, you'll see there are some little dots and specs, but this is where it comes to using smart visual effects because the effect today that we're gonna be using is actually going to be a black background curtains. So they're not these little dots and these little spots are not evenly divisible anyways, now, let's actually add some visual effects. Now what I have in my project panel right here are some different assets. I have a curtain background and I have this super eight millimeter lens film, and I have some other overlays that are down here as well. The first thing we're gonna do is we're going to drag in our actual cookie. Now it doesn't matter actually what layered is on right now because we removed all the other bottom layers and we're just going to scale up our curtain right here. This is kind of a smaller image, pixel or picture, but it's doing pretty, doesn't look too bad of a quality loss. Now it looks like Ryan's behind the curtains, still pretty cheesy. I know. I for sure want this effect to be black and white, but we already applied lumetri color to our layer right here. And if we adjust or change the saturation, the black and white and you'll see our green screen is now visible again. So let's go ahead and do that. This is where the importance of adjustment layers come in handy in Premiere Pro, if you're novice video editor, you already might know how to use adjustment layers, but basically what adjustment layers are like, I like to call them like filters or sunglasses for, for Premiere Pro or video editing. Because what you're essentially doing is you're applying all the same effects that you would do. So normal clip, but you're keeping it on a separate layer and that way you can just turn off easily on and off the effects that you applied to create an adjustment layer. You're going to come to your immediate band and you're going to click on this New Item tab. Hit Adjustment Layer and hit, make sure the adjustment layers and the same dimensions and hit, Okay, now we have an adjustment layer right here and our media panel and just drag it over your clip. Nothing happened because we didn't apply anything to adjustment layer. We're gonna come over here to Window workspaces and come back to the color panel. And now let's change this to a black and white filter. You can easily create black and white by just decreasing the saturation. But I actually have some actual black and white presets that I like to use. You can probably search them up on Google and just find them and download. I have some from tropical color, I think. I'm perfect. And now once I applied that boom, everything is black and white and honestly it's looking pretty good right now with this black curtain background, Ryan's in black and white. It looks something straight out of the '60s. I'm serious. Now what we're gonna do is we're going to add a couple of overlays. Of course, if you're a subscriber to 11%, which if you aren't, go ahead and subscribe to 11%, find more tutorials made in the same style and manner of this course. We have a great time there, so definitely go check it out. But one of my favorite tools and video editing, our overlays, overlays are basically video files that are shot in either black or white, and basically allows you to use blending modes to isolate. Certain aspects of them. So don't worry, I'll told me, show you what I mean by this. But right here I have a super eight millimeter overlay. This is downloaded. This was downloaded by account wolf red drum. Definitely go check out his channel on YouTube. He's got some great overlays. They're basically where you can find overlays on YouTube, search up any type of overlay you're looking for. Light burn grainy film overlay. I'm just put overlay at the end and stuff will come up. Trust me, then from there you can just download. Now we have our overlay over our clip out. It's time to adjust the blending mode. We're going to change the blending mode from normal, and we're going to change it to multiply. And just like that, Perfect, It's gotten rid of all the white areas and you can see Ryan in the actual frame now. And actually it looks like it's shot on this like super eight millimeter film. Now here's the thing with the different blending modes. Multiply. It typically is known for just getting rid of all the white values. And if you want to get rid of all the black values, you can use something like linear dodge, add or screened. And you can see you just did the exact opposite pairs and change it back to multiply. And what's really cool about this is if you zoom in a bit, you'll see that it actually preserve some of the green that was applied to this overlay. So it looks like we have a film grain effect on Ryan, super easy to recreate. And it's really honestly getting the effect pretty nicely well done. A couple of more things I need to add to just spice it up is right here, the Super eight effect. Now this is a popular camera that has used a lot in the '90s. I think. It's famous and common for this little square, this little box in the corner. I honest, I'm too young for this. I don't know what I don't know what it was for, but it's cool. But basically our effect right here, There's all black background right here. So this multiplier effect is not aligned it to show this is where the handedness of graphics and titles come into play. Click on the Graphics entitled tab and hit new layer. And we're going to do is create a rectangle. And just like that, and you can create a rectangle without having to use the shape tool. I'm just creating a simple, basic gray rectangle. You can change the color if you'd like. She wanted to be a little bit wider or lighter. And then what I'm basically going to do is I'm just going to drag this below my clip. I'm perfect. Now you can see that little box in the corner is visible and it's showing because there's actually a layer, hello it to actually become visible on, well, of course it's not a 1960s or 1950s effect without some film grain, so you guessed it, I of course have some film grain overlays as well. So this overlay right here is just some dust. I love this film dust overlay. I'm just going to go ahead and chop up a nice little segment of it for our clip. And then what I'm gonna do is I'm going to scale it up. Now this film grain right here, we actually need, if you play it out, There's a little bit of specs. I don't know if you'd see him. We actually need to get rid of all the black right here. So we're going to use the same blending mode, but this time, Linear Dodge Add. And if we play it out, perfect, What an amazing, extraordinary effect. We have a pretty solid effect going on here. Sorry, one last thing I'd like to add some little bit of camera movement. I think I would just really tie everything together and to create some artificial Cameron within Premiere Pro adjustment layers once again, so you can use the actual seen old adjustment layer that you use in your project panel and press by dragging it back in. This time, instead of changing the Lumetri color values, we're going to come over here to Effects, and we're going to search for transform. We're going to drag the transform effect to our adjustment layer. And now what we're gonna do is we're going to go to the very beginning and we're going to hit a keyframe on scale and then go to the very end and then hit increase the scale just a tad bit. I'm going to do like 110. And if we play it out, you can see our camera. Your camera is actually zooming in and it just adds to the effect. Now it's time to just label everything by color-coding it. Go ahead and just select all the visual effects that you added, and then right-click it and hit label. And now this is once again, you can choose whatever color you like. I'm going to use blue just because I don't know, Blue's cool. And now that way you know that all of your blue layers are visual effects layers and then you can just help you stay organized. Now your job is simply just to go ahead and copy and paste those same effects to the rest of your clips and drag these other adjustment layers over them as well. Trim and adjust. And just like that, That's how we create simple, basic effects. We're pro, join us in the next video to go or visual effects in after-effects. See you guys there. 17. UNIT 3.4 After Effects VFX: All right guys, welcome back to the second part of the visual effects category. In the last episode, we went over how to create unique effects all within Premiere Pro. And just really easy, simple overlays, adjustment layers. Now it's time to actually use After Effects and we're going to dive into the real gritty details of how to compile this. It's really a refund. This is also one of the last units on video editing before we move on to the final stage of exporting. So really congrats, you made it this far. I hope by now you're already starting to build a solid understanding and knowledge and skill set that you can use and apply for your future music videos because your knowledge is the greatest power in this field. That sounds so Tai Lopez, but you know what I like a lot more than materialistic things, knowledge. So because we're using all of Adobe's product right now today, I'm gonna be teaching you guys how to use After Effects, how to incorporate After Effects clips within Premiere Pro, and specifically how to use the dynamic link between Adobe Suite. So if you don't have the Adobe suite, I'll leave a timestamp right here where you can skip too. But if you guys do have the Adobe suite with After Effects Premier Pro, you're definitely wanting to listen to this part because it's extremely helpful and it speeds things up for sure. So in today's unit, we're going to be editing this thing right here. We're going to take this green-screen clip and we're going to turn it into a Cloud scene. But how do we do that? Where do we even start? We're gonna be using After Effects, as I mentioned. But one of the first things that we actually have to do is obviously get this out of Premiere Pro. So what we're gonna do anyways, what we're gonna do is we're going to click on your clip, right-click it and you scroll down. After Effects 2023 or Premier Pro 2023 or whatever the latest version is right now, you're going to right-click it and then scroll to click on replace with After Effects composition. Make sure you have After Effects open. And so it speeds things up. And when you do so, it will automatically take you to After Effects and it will tell you to name this project. I'm going to call this heats me roto to it doesn't really matter what you name it, but we're just going to put it there. And boom, just like that, we have a After Effects composition now with our clip, It's pretty much just like we took the Premier Pro clip and put it directly in After Effects. And real quick before we do anything in after effects, actually wants you to come back to Premiere Pro real quick. And I want you to click on your clip, which you now see has turned red and it's called timeline linked com. And that basically means that what you're seeing right here is just going straight to the After Effects composition right here. So anything that you add an After Effects will show real-time and this Premiere Pro project. But the thing is, I mean, at least for me, I don't really have that much luck with Dynamic Link and testing, rendering and computer processing power. So if you would like to save time, but you can easily do is hit Command C or copy this right now. You can copy it and then I want you to hit Command Z or undo and just take it back to the original clip. Then what you're gonna do is you're just going to hit Command V again and just paste the delete roto again. So that way you have both the Roto and extroversion of the clip because sometimes the clip does it work and then you'd have to redo it and then this is already linked. This clip is already, It's just a mess. So just create a duplicate of the clip that you linked to your composition. I actually should have said Do it before, but whatever. And then once we have a duplicate of your clip, you can now go ahead and go into After Effects. That's typically known as a method used a lot in Photoshop as well, which is non-destructive editing. You just always make copies of things just to speed things up. And with that said now, it's time to actually start applying some effects. So let's go ahead and just dive right into this. The first thing that we're gonna be doing, our testing out and showing Masking capabilities in after effects. Just like in Premier Pro, you're going to have a pen tool, but this time you don't have to go to the Effects panel. You can literally just click on your clip. Click this pen tool in the top left-hand corner, and then just start drawing your mask. I'm just kinda drawing a very simple one right here. It doesn't have to be too complex. The one thing that I do know that upset about on shoot was getting this head part right here that the top of Ryan's head wasn't fully covered with green screen. So it's definitely going to cause some little message that we're going to have to deal with later on. But once you have your full mask cut out, It's going to turn into a black background just like in Premier. So the first thing that we're gonna do is just like we did in Premier. We're going to bump the green. We're gonna come over here to Effects and Presets. And this time we're going to search for lumetri color because lumetri color is actually an effect in After Effects. It's not like a whole section of color grading like it is in Premier. We're just gonna do pretty much, It's the same thing. We're going to hit the HSL secondary, hit the key, and then we're just going to set a color and we're just using the key to select some areas. So we're just hitting this show mask area. Just messing around with the same sliders to get your perfect selection of just the green areas. It's literally just the same thing that we did in Premiere, but we are in After Effects right now. Perfect. So now once we have a pretty nice keyed up green going on right here, what you're gonna do is once again and just increase the tint. And I'm going to drop down on the color wheel and set that to like a really bright green. And there we have it. That's a pretty good key. If you ask me, then what we're gonna do is now we're going to actually apply our green screen effect in After Effects. It's not called ultra key, it's called key light. So search a key light and the effects panel and drag it key light 1.2, key light 1.3, whatever the version is, it doesn't really matter. Now, you're just going to put your Eyedropper Tool and let's select some green. And without good to start off with, I can go ahead and turn off this show gray mask right here, so you get a better view. Change your final result view to screen mat. Just like in fear of blacks up represents the areas that are keyed out. White represents the areas that are selected. Let's hit the drop-down on screen mat and just mess around with some of these values. So I usually like to start off with the Clip Black rollout. I'm just going to increase it a tad bit so we can get a little bit rid of this fluorine. And then we're just going to mess around with the clip black a little bit and honestly just kinda mess around with it a little bit. Try to get rid of as much black onto your subject as possible. So right here at these little underscores. But the good thing is the type of vector a we're going for, we don't really need this all super chewed up perfectly. I just need a rough cut out of Ryan to the point where I'm not doing insane amount of rotoscoping. But other than that, I think that's pretty great. We're going to come back. We're going to hit Screen mat. And then we are going to change this to final result. And with that, boom, we got a pretty decent teed up version of Ryan right here. Let's add our clouds. So real quick over here on Photoshop, I have a picture of some clouds that I downloaded off of Google. I actually kinda tweak them a little bit, added some planets in the background because I thought that'd be cool and we're just going to hit Export as PNG. I'm going to call these Cloud back one. And then I'm going to turn this layer off. And what I've also done is exported a nice little cutout of some clouds in the front. Now we can put just in front of Ryan so it just blend things in better. I'm going to call this one CloudFront one. Now, if you want to know how to use Photoshop, we have a bunch of other tutorials on our YouTube channel. Unfortunately, in this course we can not go over Photoshop just due to time constraints. But if you're looking for any other backgrounds are cool images. You can easily find them off and google. This is just literally all of this is pretty much just agree what remains? I just needed to make some tweaks, adjustments, and drag these clips. And right here, first I'm gonna hold shift and select all of them, and then hold Shift again to scale everything down into frame and perfect. Now we have our clouds imported into After Effects. What I'm gonna do is I'm going to drag the Cloud background layer to the back and the front layer in the front. And now let's go ahead and just plop right in here. It's honestly looking pretty decent for like a really quick edit. I'm kinda just scaling Ryan up, messing around with his placement and position. We kinda added some shadow there and the clouds are ready. Boom, taught all that. Honestly, it looks pretty decent for like a really quick edit. I think it looks pretty good real quick though before we move on, this is just something really important that all After Effects add inducer is rotoscoping. I tried to avoid it as much as possible, but there are going to be instances where you do have to wrote a scope. So for the case example, how we fully didn't get the mask out the top of his head right here though. I want to just show you we don't have to use it right here, but I just want to show you just for future case scenarios. If you run into this issue, you do have to know how to rotoscoping. Rotoscoping is basically like green screen After Effects, just tracks and cuts out your subject. So to do this, we simply double-click on the layer that we want to wrote a scope. I'm increasing this mask over here real quick. Click on this, wrote this little brush icon and you'll see it brings a little green dot. You can go ahead and then just draw and drag. And as you can see, it will create a pink line right here. I'm just pretty much everything you're selecting. And once you select all of your subject, just drag ahead of time. And after effects will adjust the rotoscoping. And you go back to your composition, you'll see that it only cuts out the area, the after-effects rotoscoping. But the sake of this example, we don't need to use roto brushing, but it's just a good tool that you can have. It just really helps clean up some things, especially if you have some messages. Cases were subject goes out of the green screen and you don't want to just have to animate a mask. But other than that, let's go ahead and move on. One of the last important aspects of After Effects that you have to know is three cameras on 3D camera movements. To do this, we're going to set up a simple, basic 3D scene in After Effects. Don't get scared. It's all okay, Got you. The first thing that you're going to do is you're going to come over here to this 3D layer toggle icon and just click the 3D icon for all of your clips. You just turn all of our clips into 3D layers. This means that if we come over here to our viewpoint and we change this to, let's say custom view one. You can see that we have the 3D arrangement of our students. Everything just looks flat. But you see if we click on any of these layers, we have a toggle option of 3D icons. And let's say if we take this blue arrow of the front cloud icon and drag it forward, you will see that we're just dragging our front layer of our cloud layer forward and it's becoming separate from our scene. Let's do the same with Ryan as we separate him. And perfect. And you can see how it right here, we just, if we just change these viewpoints, we were making a 3D scene. It's actually a 3D scene. So now that we have this 3D scene, Let's actually make a camera that we can use to go and film in this 3D scene. Like I said, this is just a really great way to create cool camera movements are so much more you can do with this in After Effects. But we're just creating a basic animation. Change your custom view right here to default. And then what you're gonna do is you're going to come over here to Layer new and then create camera. Now you're gonna select your camera type to two node camera right here, and then you can name your camera whatever you want. I'm going to call mine Bob. I think we're going to hit. Okay. Now that we have Bob, the camera in our scene, Let's go ahead and add some animation. We're gonna hit the drop-down menu on transform on your camera. And then Transform comes to the very beginning of the scene. And all a sudden we want for this shot is just a simple zooming. That's all, that's all. Just, I just think it looks good. Nice little, quick, easy animation. Hit the keyframe icon on your point of interests and the keyframe icon on your position, and drag all the way to the end. Now what you're gonna do is you're going to take this Dali transition between facts and we're just going to zoom forward. And just like that, you'll see how After Effects is zooming the scene in. But there's only one problem. If we play it back, nothing is going on and the steam is still standing it. Well, to fix this, you can easily come over here to click on your viewpoint. If you're set on default, you have to change it to active camera Bob. And now if we go ahead to the back and reframe and we add our little zoom. You'll see it creates these two keyframes at the end right here. And now if we play it back, there's a nice zoom going on. It's all 3D tracked. These clouds right here, even if you see it or not, are slowly moving at a different speed, different rate is, adds more realism to it. And it's just a really great way to just be more creative, especially in After Effects. There's so much more that you can do with this, even go as far as to change to different focus level is the blur aperture to create depth of field, we're just creating a super simple animation right now, so we don't need to worry about all that, but really great skill that you definitely should know for After Effects. Now it's time to export. We're going to select all of our clubs right here, right-click them and just pre-compose them just for safety measures. Then we're going to do is we're gonna come over here to File. We're going to hit Export and we're going to hit Add to Render Queue. Then you're simply just going to click on the Output Name and change the name to whatever you want to call it. So I'm just going to call this hates me. Link comp to honestly works pretty good for me. Changed the folder that you want, hit Save, and then just hit Render. And with that, your After Effects composition will now render. It will be an MOV file. So you do have to convert the MOV file into a MP4 file if you want to add it Pro, you can easily do so if you have Adobe Media Encoder, but there's also websites, just search up MOV to MP4 file converter. And there's a ton of websites that you can do it out there for free, super easy. And with that, That's how you use After Effects to create awesome and visual effects. I'm really gonna go out this, have some fun, create some other cool clouds for the other clips and other different views that we got a Ryan and now it's time to hop into our final video editing lesson on rendering and exporting in Premiere Pro will see you guys there. 18. Unit 3.5 Exporting: And with that guys, wow, I can't believe this. We've officially made it to the end of the course. I can't be more proud of you guys if you guys have probably followed along and create alongside me, you guys have also created your very own official first music video on your own. Great job, Really? Oh my god, just start crying. But before we get almost 11%, we always have to end things here on the educational notes. So let me show you how to really quickly export your final project. Proper settings and post on YouTube and Instagram for sharing and created an amazing work deserves to be C. Let's dive right in one last time. We're going to get straight to the point right now and just hop right in. And let's go ahead and start actually going over how do you actually export? How do you render that? What are the settings that you're supposed to use and how to just go ahead and put that on YouTube. The first thing we're gonna do is because I just mentioned it over in the last video. I'm going to quickly show you guys how to use Adobe Media Encoder. If you guys are not an Adobe user, you can go ahead and skip to this mark timeframe because Media Encoder comes with the Adobe suite. So right after you all your visual effects and After Effects, you're gonna get a bunch of these files. And they're gonna be like really large sizes, like 300 mb for a five-second clip. And we put it into Premiere Pro. It loads in, but it's still, it's just so much storage, right? Why do we have such a large file to do this, we can simply compress it or you use a video editor compressor on mine, on internet, you can search up MOV to MP4 file. But what we're going to basically do with Media Encoder is take your file and just drag it right here to where it says dropped to add separate sources. You'll see it now appears right here. And what you're gonna do is I want you to click on the Match Source High bit rate. Now what we're gonna do, it opens up an export settings tab. This is where the Premier Pro export settings tab looks like. You're basically just going to change the format to each 0.264 and you can change the source to Match Source high bit rate. Now, that's fine. Hit Okay, and then play it out. And then once you come back to your folder, you'll see that boom, we now have an MP4 clip. If we hit Get info, we can see that our project file is only 1.2 mb. So much more smaller than this 300 megabyte file clip. We can go ahead and just move this file to the trash. We don't need to know more. And now let's go ahead and go back to Premiere Pro. Once you have exported and rendered all of your visual effects from after effects and are ready just to put them in, just simply drag the clips and then drag them to where you have them on your original timeline. And with that, we now have our actual visual effects clips in. You can go ahead and label these as well, because labeling their go-to, that's how you stay organized. I'm going to change my label to like a nice little purple label to resemble all my visual effects from After Effects. Now you can see if we look at our timeline, wow, isn't that so beautiful? We have a nice organized timeline. Blue represents Premiere Pro effects, orange represents B-roll, the blue, the light blue represents this, the real clips, the regular clips. And the goal is to have a full timeline that looks just like a rainbow, just having all those different colors and scattering and giving it that diversity, I guess you can say definitely is an indicator that you have a very nice, well composing music video. You can even go ahead and add some effects to your after-effects clips, even in Premier Pro. So let's say if I wanted to add some color grade, like an orange and teal look to my color grade. Honestly, it doesn't look that great. There's just so many cool options that you can implement to create some cool effects going on here. And with that, it's time to export. To export, there is really easy. There's actually a tab right here in the top left-hand corner that says Export. But if you don't see the Export tab right here, you can just hit File and then you can just hit Export and then media. And it'll take you to the same spot. Now we're back to these actual export or tab, like we saw in Media Encoder. It might look a little bit scary at first, but don't worry, it's all really simple stuff. The first dropdown you're going to click on is your video. This is just going to basically confirm that are these all the correct dimensions is the frame rate and what type of field order. If you don't like any of these settings, you can uncheck the box and let's say I want it in 24 frames per second, because 24 frames per second is actually technically more cinematic. For storytelling. We can do so by just unclicking the box. And if you want your composition in for k, we can also do so as well, but also keep in mind that, that might affect some of the formatting. We have some black bars here, so I'm going to just change it back to 1920 by 1080. Next is the audio. Audio. Just keep it on AAC. There's nothing else much like change here. Unless if you have some really loud audio clips, you might want to look into that multiplexer and captions. We didn't really use them. You can skip over effects. These are just relating to some other last-minute ones that you can apply like Lumetri, Color Grade packs if you want to add any on top of it, which we aren't, you can do so here we're actually gets really important. Sorry I skipped over it is actin video on the More tab, click on More under video. And now this is where you might encounter some issues if you export after scroll all the way down over here to your bitrate settings. And I want you to change this to either VBR one pass. And if you have issues, you can change it to CBR. What rate basically is, is let's say e.g. you have a still shot like this, just like how this cloud shot is right here. Because a lot of the pixels and this side are going to be the same. You don't want to waste all that extra storage and metadata, like creating new frames if you can just use the OLED pixels. So if you have a lower bit rate, it will try to preserve and use some of the OLED pixels from the past frame instead of using new pixels, but in turn, obviously lowers the quality a little bit. So if you have a lot of high fast movement clips, you want a very high bit rate, bit rates to around like even 20. Now at sometimes for me it has to be 20 because I have a lot, there's a lot of movement going on in music videos, though. I would say increase in around 18 or 20. It's gonna be a bigger file, but trust me, it's definitely worth it. And if you export and you see you have some little like, it looks like these little pixelated boxes or things are just kinda like glitching, then you definitely know that the problem is that you have a very low bit rates. So come back, increase the bit rate or change it to CBR. And you shouldn't be honestly pretty good. And if you export and you still continue to have issues with the bit rate, you can come over here to the preset and just change it to Match Source high bit rate or decided on a custom preset, make sure your format is set to each 0.264, of course. And with that, if you've gone over everything else, metadata, we don't really need to check with that. We should be pretty good with all the settings. Lastly, you just want to come over here, make sure that you are exporting the actual area of the music video that you want. And as you can see, it's exploiting a nine minute and 30-second video because we have all this other footage that we just threw in here. So instead of having the range set to entire source, you can change it to source in, splash out, drag the marker out to the playhead where your music video ends or after all your credits and title cards, whatever. And you'll now see that your music video is now set to the correct time. So mine is 3 min, 9 s Premiere Pro will give you a nice set of details just one last time, just so you can make sure everything is correct. Each 0.264, 1920 by 108024 frames per second, VBR one pass and 18.83 bit rate. Setting one last quick thing I also forgot to add real quick, so sorry, name your file and set the location. So I'm just going to call this hates me. And then set your project file to whatever folder you want to Omaha. Don't know how I'm I skipped over that. Once you're done, then hit Export Premiere Pro will take about a minute or two to fully export and have your music video ready. And now of course, because we keep it real here at 11%, Let's upload it to YouTube. I want you to go to your YouTube page and hit the Create icon and click Upload video. Take your file, drag to select and drop. Wait for it to upload, name it. You can name it whatever you want your title to be. And then I always like to do official music video. And then of course, add your name, give yourself some credit directed by Devin when you can give a nice little description about your artist or the song or the story behind it, or the lyrics to the song, you want to find a good thumbnail. You can just go ahead and actually scroll throughout your music video and find a good spot that you like. I like to just take simple screenshot and then you can hit upload custom thumbnail. Go to your reasons and just add that thumbnail, make sure you just select all the other options. No, it's not made for kids. The playlist, I'm turning mine off on monetization. If you want to add n cards, you can totally do so by hitting Add and then it will just add a video at the end or whatever. Once it uploads, make sure all the tech clear. And then finally, you can set your publishing date. You can either schedule which is just post on a regular day or you can schedule a premier and have a fun event. I always like to have premiers. Premiers are fine. You can add some cool details like, let's add an ambient premier. Hit Save, choose the date that you want it to drop, say April 7th, and then schedule. And with that, there you have it. Music video start to finish from planning to YouTube uploading. Thank you guys so much for tuning into this course. And with that, we are done. Wow, I cannot believe that really in all seriousness though guys, I wanted to say thank you guys so much for participating in this class. So many months of time and preparation and planning limits to this course. So it really means a world if you guys made it to the end. And really if you guys found any of this helpful or useful, and then if you know of anybody who's interested and wants to get started with this, please feel free to share this with them as many as we can teach it, as much knowledge we can share it the better. I really hope at the end of this, she doesn't want to walk away with a new set of musically your production skills that you didn't have before and go on to create the next vivo top Billboard number one. You guys with great, don't ever stop creating. Thank you guys so much for attending this class. And if you'd like to watch the final video that we created, It's linked in the final video of the course, stay creative guys. And with that, class dismissed.