Transcripts
1. CLASS PROJECT: TRUE DETECTIVE: So this is the introduction
for HBO's true detective. It came out a few years back, but it's a great introduction for how to layer some images. So I created something similar, and there are one, two, three, four, five
different layers here. You have the Crow,
you have the girl on the foreground and a
girl in the background. Now, if I open this up, you'll be able to
see each layer, and then in my project
bin over here, you can see all the
different files that I used. The first one on the
top is the title. The second one is the
grunge film look. Third one down is
the crows and fourth one is the image of the
close up of the girl, and the last one is
a girl on the Dock. Over the water. To do this, I'll uncheck the
top four layers. Remember the camera is always
looking from the top down. If the opacity
isn't see through, then it's not going to
show the ones underneath. On my first video
clip, what I did was, I just added brightness and
contrast, which is a filter. You can find down below, all those filter folders there. And then I changed
the scale a bit. So I added two key frames. One is, it starts off at 100%, and then I take it
up about nine more. Then I also adjust the
brightness and contrast. You can add key frames while
you're watching this video, so you can constantly change
the color as it's moving. For instance, I can grab
the brightness and take it all the way up and then
in the same video clip, it comes down so you can play with different
effects there. All right. I'll remove those. You can always hit command Z to go back and take those out. Now, un checking this
in the second layer, let's look at the girl here. Now, I added black and white. So I went over here
to image control, and I just grabbed that filter. I felt like there was
too much color in that. So they have this washed out look and so I
added black and white. Now, if I use this slider, I can open it up a
little bit more on both the side and down
below to lengthen it. And I added these key frames. And so if the key frame is
all the way up to the top, then that means the entire
video would be shown, and if it's down at the bottom, that means nothing
will be shown. Looking at the third layer
with the crows, same thing. If the opacity layer
is all the way down, then you won't be able to
see any of that video. And if it's all the way up,
then you would see all of it. So you can add those key
frames and play with the opacity levels to
get the desired look. Now, for this, this
is a texture file, and what I did was I have a stock video clip
of a film look, and I just downloaded that from a stock royalty free stock site. Now I can export just one frame because I just want the picture, I don't want it moving, and
now I've got this texture. So I can bring that
in as the top layer. Bring the opacity
down about halfway, so I just get a
little bit of that. They have this glass
texture in their clip, and I'm using something similar. Then if you come over here to perspective and add
this three D filter, you can turn it sideways. I'm going to scale it up a bit, so that way it doesn't
move off the screen. And it adds some three dimension
to the entire sequence. I can add a keyframe
at the beginning, and then as I swivel it, I can increase that and add another key frame
at the end of the video. You see it move just slightly. If there's too much texture, then you can grab that
entire opacity layer handle and bring it down. I have I haven't added
any key frames yet, but now add a couple and I can increase the
one in the middle, so I get a variation of it's on the screen
and it's off the screen. And I'll lengthen it. So it
matches the other clips. And I can add as many
key frames as I want and have it go in and out
as much as I want to. Again, the higher the keyframe, the more that video
would be shown, and the lower the keyframe, the more it would
not be visible. Now, I added some scaling to it. You see it start and then
move forward just a bit. Usually 5%. If I start at 100, I might
only take it up to 105, and that would be enough just to show a little bit of movement. Now, for this last one,
I added this title, and you can also add this
three D perspective, basic three D filter, and you can add a key frame
on that swivel portion. And decide how much
you want to swivel it. They do it just a
little bit just barely, like maybe 10% or less, and it shows just
a little bit of movement that's different
than just a flat image. Now, something else they did, they added spacing in
between the letters. What you can do is this font normally didn't have that space. So you can click in between each letter and hit
the space bar once. The other thing you
can do is if you don't like a full letter space, you can highlight the area between the two letters and you can pick your own space size
by just adjusting the font. So that's pretty
much the basics, and you can use this
layering effect in any of your videos to make
it a little more advanced.
2. CLASS PROJECT: GROUPON TITLE REVEAL: This is a group on commercial
with Tiffany Haddish, and you see the title reveal itself in the
middle of the screen. So we will do two things. We'll make that appear, and then also add in
that green graphic. First thing is we'll
just type in group on and I tried to match
the position of it, and so we'll put
that in the center. Then we'll drag crop. And if we go to the bottom and we raise that up,
you see it disappear. As we use that y
coordinate for motion, we can see it reveal itself. Since it needs to be
a little bit lower, I'll find where that
spot should be. And so about 476 is where
I want it to end up, so I'll add a key frame there. I want to start it a
little bit further down off the screen
where it's cropped out, and then when I play it, it will reveal itself. Now, for the second part,
you can create a square, and you could match
the color with the eye dropper
tool and you could select the original group on on the left to
match that color. Bring it underneath and roll over the end to
make it the same length. And once that group on
title reveals itself, then you can scale up
the green graphic. And so I was playing around with this and I
was trying to time it. So I'll start that motion forward and then add a key
frame when it's fully there. But you can't see through it. So we've got to come down
here to the bottom and take the opacity
down to about 63%. And also notice on the left that background
is blurred a bit. So if we bring in the
Gauten blur filter, I can maybe raise
that up to about 14%, and we'll see that it's
blurred just a bit, but we want it to blur after
the green graphic appears, so we'll make sure it's
zero before that happens. All right, so that's just
a quick way to reveal a title and also add in a
green see through graphic.
3. Deception All Skillshare: Let's take a look at Deception. It's a new series out on
ABC this week and you can take the resolution down to half instead of full if
it's already set that way. There are quite a few commands
in this project file. Let's take a look at each
layer and basically, this has several layers in it, and so we'll toggle out on each one so we can see
what's going on here. The first one is
Sundays at 109 central, then the ABC logo, then the playing card,
the deception title. We have two layers of smoke, then we have our main character, and then we have the
white background title. Let's go ahead and I will recreate this again in the
same sequence timeline. Normally, you would start
a new sequence timeline, but I'm just going to do it right next to the
original project. The first one is the background, and that is a White BG
is what I titled it. If you were to recreate that, you would grab this square in the tiler and make that
square and then just x out, and then drag it over into your project sequence timeline. Now the next one
is the Blue smoke, so you should have been
able to download that. And it's just blue smoke. It's a stock clip. And I'll drag that over
and cut off the end. Then what I want to do is take out the background,
the black color. If I go over two effects, and then I find the folder under key and then
just grab color key. If I drag that filter over, and then I go to
effect controls, If I use that eye
dropper and select that black color, it'll
take the color out. Now, you can toggle
the color tolerance out and then feather
out the edge. Until most of the black is gone. Now the next layer
I want to bring in is my main character. Now, this is a photoshop file. I already has the background
taken out for you. If you drag that in, now there's nothing behind them already because it was
done in photoshop. Now the next layer is
the blue smoke again, but instead of just dragging it over and doing the
commands all over again, I'm going to copy what
I've already done, and then I will paste
it where the marker is. If I select video track four
and uncheck Videotrack one, then I can place it there again. Now what I want to do
is I'll just scale it down. And bring it down. Notice there are those
hard edges there because the smoke
runs off the frame. If you go to uniform scale
and uncheck that box, you can start playing
with the perspective. What I'll do is I'll widen it
a bit and lengthen the top. And try to make it look a little bit different than
what's in the back, so you can select what
you want that to be. Now, if you stretch
it all the way out, you can get rid of those
lines, but if you can't, what you can do is if
you come over here to the effect controls under
the transform folder, you can grab crop, If you select the top part, you can come down a bit
to get rid of that line. Then if you go to edge feather, it will allow you to
feather out the edge. Now, since the smoke looks exactly like
it does in the back, because we duplicated it, I'm going to trim
off the front part and trim off the back
and move it over just because I don't want it to be exactly
the same as the back. You have enough footage
there to do that. Now the next thing I did was I created a title with
the Adobe titler. I selected the dark metal
font that was already in there because it was closely
related to the ABC title. It's not exactly the same, but I added that and it gave me an option
for linear gradient. For this, I'll choose
a different color just so we can see
something different. But I selected the
linear gradient, and then I selected white and gray and it spread the two
colors across the title. Now if I X out, it'll change that original
title and put it back in the project bin and
then I can drag it over. The next layer I want to
add is the playing card. If you drag that over, you
can place it on top on the next layer and that had the background taken out
as well in photoshop. You don't need to worry
about keying out anything. Then I'll place the
ABC logo on top. I'll use position to
place the logo over in the right hand corner
right now under effect controls just to
get that out of the way. My last title is
Sundays at 109 central, and that will be my last layer. Remember the camera is always
looking from the top down, so the layer on top is going to be placed over
everything underneath it. If you don't like that title, you can choose a couple
others in that title window. Here are the basics for putting it together and on
the next lesson, we'll look at how
to animate each. Now let's click on
the Deception title and I want to use the x and y coordinates to bring
it onto the screen. The very beginning, I
have that key frame where I have it off the screen. Then the last part I want is I want it to slow
down a little bit. I have three key frames and I can position them close or far away from my initial
keyframe and that tells me how fast or how slow it
will come on the screen. You can see there as I move
that middle key frame back. Do we want it to come
on quickly and then slow down or do we want
it to come on slowly? The next thing I
want to do is I want to crop out the letters as
they arrive on the screen. I'm going to add this
cropping filter. If I drag it over onto the
title and then go to effect controls and move the playhead
into about the center, I'm going to toggle that
stopwatch at zero for the right. But when it comes in, I want it to be cropped
out all the way. I'm going to crop it all
the way out to 81% or so. Now as it moves from 81
all the way back to zero, meaning zero is no
cropping at all. Now it crops each letter. Now, let's go ahead and scale and animate this playing card. Let's scale it down
to about 23% or so. At the very beginning,
I'll add a keyframe there for the position
and also the scale. By the time it gets to about
the middle of the video, I want it to be closer
to the foreground. I'll go ahead and scale it up, and then by the time
the video ends, it goes back towards his hand. If I wanted to stay in the foreground for a
little bit longer, then I'll hold those
positions and extend it. I'll keep the same position
and the same scaling. Now for a pretty cool effect, if you go over
here under effects into the distort folder, you can grab corner pin. If you place that filter
over the playing card, the next thing you can do
is if you go to upper left, you can adjust the corner
pin to go left or right. What that does is it
skews the perspective, which makes it more
three dimensional. Now we see it bend a little bit. As we make our
adjustment for each, it will add the
key frame for us, or we can make our own keyframes by toggling in that
key frame point. For the next one, what
I want to do is I want my actor to just fade away in the
background a little bit. I'll start him at a higher scale and then scale
him down just a little bit. I'll put that key
frame at the end of the video so he's constantly
moving the entire time. We don't want to
move it too much. We just want a slow steady pace. If you wanted to add one more
piece of animation there, you could do it to the ABC logo, and what you would
do is just lock in the scale and position
where it is right now, and also the rotation key frame. Now if I drag it off the screen by placing a keyframe towards
the beginning of the video, I'm going to use the rotation tool to just rotate it around
a couple of times. I'll use the rotation number, and I'll keep it at zero. But then at the very beginning, I'll rotate it around twice and it puts the keyframe
in there for me. But now as it comes into
the screen, it rolls. Now as we watch it again, we can see it has each
animation layer programmed, and there we have it. I hope you are able
to learn from this, and I'll see you
on the next one.
4. Jeep Lesson All: Alright, so go ahead and open up the 2018 Jeep Wrangler
commercial that you should have been able to download
and drag it into your project bin and
double click on that. And I'm going to go to the
end of this commercial, if you want to watch the
whole thing you can, but there's this effect that makes it appear as though
the car shutting off or the video shutting
off or At the very end, they start like
chopping up the image. See how it has a couple of
different images in there. And all it is is they're
just cutting that and then placing it over
the existing image. Now, a lot of times you'll use photoshop for
things like this, but Premier will do it for
you with a couple tools. One is cropping. And placing the video
over the other. You can add some filters to it as well for
the other effect. And the last part is
they cut frames out, and it goes back and forth
to black and the video. So I'll show you
how to zoom in on the sequence and use
the razor blade, and we'll cut frames
out for that. So let's go ahead
and get started. Now, I'm just going to bring this video clip
the last 4 seconds or so into my timeline. So if you use the marker point, it'll highlight that area gray and you can
drag it in here. So let's slow it down a little bit and look to
see what they did. So we've got the Jeep logo, and then the next frame, it moves closer and then
closer, then they cut it off, and then there's a couple
logos one on top of the other, and then it duplicates itself
and that kind of thing, and there's a
little color added. Not going to go through
every single image. I'm going to go
through maybe four or five steps, and with that, you'll get the hang
of it, and I'll add another filter effect that I thought was pretty cool
that they didn't use. Now, what's cool about
this is if you go over to this camera icon, you can click it and it will export wherever the marker is
in your sequence timeline, it'll export that as an image. We're going to do that
with this Jeep logo. If you roll the marker
over this jeep logo and then hit this camera, you can rename your file and
it will export it for you. And once you export it, you can drag it in, and now you have this image. So I labeled it Jeep pick. And so if you drag that in, now we'll be able to
cut this picture up. And the reason we
have it as a picture is because the videos
constantly moving. We just need that logo so we can start
adding effects to it. So what we're going to do
with this jeep picture is, I want to use the
razor blade tool. I want to cut it into
maybe ten sections. So just take the
razor blade tool and about every 20
or 30 frames or so, go ahead and make a cut. And what that does is
it allows us to access each part of that picture so
we can add an effect to it. Now, click over to
the second clip, and then go over to
effect controls, and you'll be able to
adjust where it is. There's our first effect. All they did was just zoom in a little bit
and move it down. So we've got our first and
second frames right there. So that's the original video. First second, first second. And let's go back
to see what we did. We have our first and second. It's not going to be
exactly the same, but you get the idea. All they did was have
two images there, one, two, one, two. Now let's go to our third image and see if we can
add an effect there. So they have one,
two, and three. So the third image is
over to the right, and that Jeep is a
registered trademark is now flipped up to the top. And it looks like they
added a little color there. So I'm going to use
effect controls again. I'm going to use motion, and I'm going to use scaling to make
it a little bit bigger, and also the position is
I have this at 9:38 611. So I move it down. Now, I'm
going to add this effect. You're going to go
to effects and then channel and arithmetic
and grab that over. Then it gives you some options here. You can play
around with this. For this, I selected and, and now I can adjust the red green and blue value until I get that
color that I like. I've got roughly 163 on red
and 255 on green and blue, and that gives me something
similar to what they had. All right. I've got
one, two, and three. Now, the next thing I want to
do is I want to copy this, the one I just created,
and I want to paste it again on the
next video track. So I can toggle
Video track three. So to copy and paste, you can just use
the keyboard and hit Control C or command C, and then select the track
where you want to place it with that blue toggle
and then hit Control V, and I paste it on
Video track three. Now I've got the second image, which is the same over the first image that
we've already altered. I wanted to look like this with Jeep as a registered trademark. And so I've got this
second image there. I'm going to copy and
paste a third image. Hit command C, and
then Command V, and the video will
be pasted into the layer that's identified and it will show up
where the marker is. I'm going to go over here
to video effects and transform and crop and bring the crop tool
over to the top. I'm going to make it
a different color just so I can see the difference between image one and image two because they're
exactly the same, and then I'm going
to bring it down. I make a different color. Now I can see I'm going
to roll over this. I'm going to crop
out the bottom. And crop out the top. And crop out the left
and crop out the right. Now we have that small E, and then I can place
that E in there. I'm going to take
a little bit more off and then change the
color back closer to blue. I'm going to add this
other little effect here, which is Gach and blur. And I can blur this
just a little bit. It's a nice effect. I don't know if
they had it blurry, but I'm just giving
you some options. We have one, two, and three. And we go back to the original and they have one,
two and three. Now, number four, they've
cut off the last letter, and let's see what we can
do. Let's scale it up. Now, how can we take
off the last letter? We're going to go to effects and transform and
grab that crop tool, drag it over, and we're
going to crop out the right side.
There we have it. Now I'm going to add that
channel arithmetic filter, and I'm going to select and, and I'm going to
change the color. All right. So it has a
fainted blue in there. So you can see how it starts
to come together here. That's basically what
they did is they just had several images
and they cropped it out and added color
and positioned it or had them overlap and
then compress the file. Let's go to our fifth image. T. We can see they
have two images here, and it's a lot larger. Let's go ahead and
scale it way up. And we need a second image, so I'm going to right
click and copy, and then I'm going to paste
it by checking that V three. It command C, and
then command V, and the video will
be pasted into the layer that's identified and it will show up
where the marker is. I'm going to move it
over so I can see the two because I've got two
of the exact same images, so I need to move one over. Now if I crop the top, by adding that cropping tool. I can crop it, and then
now I can scale it in or out and now we have something similar
to what they had. Let's go to channel
and then arithmetic, drag that over, and let's see
if we can change the color. I'm going to select and and
adjust the color again. It gives you some options
on how to change colors, and if you don't like the
color that they selected, you can also pick
something else. All right. So that's
pretty close. Like I said, it wasn't
going to be exact. I was just trying to
give you an idea. Now, there's another cool effect that they didn't have in there, but I want to show you
this really quickly. And I think I've seen
Jeep do this before is, I'm going to add
this lens flare and it's under generate
in the effects bin, and it puts in the
lens flare for us, and I'm going to animate this. If I toggle in the
key frame right here at 768, four y two, and then I go to the
beginning of the video, I can move it to the
left and then I go to the end of the video and
I move it to the right. It will animate that
going across like that. That's another cool effect that you might be
able to add in there.
5. JT Audio Interview: Go ahead and grab this
interview clip and bring it in. There are a lot of z or some stuttering and thoughts
and things like that. And so you can do this with any audio clip to remove the ums and z
and things like that. So that's really
the purpose here. So as we listen to this, I want to identify
what those are. Here we are in the jungle in New York City, a legendary spot, Licha Kes and Swi
Beats real estate and business and creativity
all coming together. They're just amazing those
two. And I love the space. You spent time in
here. You did Well, you worked with J on
Magna Carta and here. Yeah, I was So the
first one I come to is right here at
about 17 seconds in. And I just want to clean
up his audio a little bit. So I want to cut that out. Now, when I remove the
video and audio with it, I can right click and
then hit ripple delete. But what it does is it
creates a jump cut. So we are going to cover these cuts up with
another image. Let's see if we can find the
next one here. The album. I co wrote some tunes on that. All right. Now,
this section is a little unclear as to
what he's saying, and you also have
to think about, is this information
relevant or not? And I think we can
do without it, and it makes him sound a
little more professional. And so we cut that out, and then we'll right click on that space and ripple delete. And we can even go back
a little bit further. So I'm going to cut that section out and move that back and then right click and ripple delete to
take up the seam, and then eventually we'll cover that up with
another image. Now, to get even more specific, I want to zoom in
on the timeline, and we're really
looking for these gaps. I want to cut that
gap out there, and then I'll right
click and hit delete. Well, you worked with Jay
on Magna Carta in here? There's a lot that's happened
in the studio, ma'am. The Bance album. Mm hmm. I mean, did you really have to start with Dave Straight Hop. With Jay on Magna Carta in here? Yeah, I was, there's a lot that's happened
in the studio, ma'am. The Bance album. Mm hm. I co wrote some
some tunes on that. I mean, did you really have to start with Dave Straight Hop? Well, you worked with Jay
on Magna Carta in here? There's a lot that's happened
in the studio, ma'am. The Bance album. Mm hmm. You really have to stop
with that straight. Now, since I don't have any
images to grab to bring in, I'm just going to show you a trick that you can use
with the existing footage. I'm going to use
my marker in and marker outpoint to just grab
a section from the video, and I'm going to
cover up those cuts. Notice I'm only bringing
in the video track. It gives me that option. I can select video or audio
with those two icons. We don't want
another audio track. Now I will go to
effect controls, and I'm just going to
zoom in and get a shot of either the interviewer
or Justin Timberlake. Now, if I go over to effects
in the folder image control, I can grab the black
and white filter. Some might argue that
I don't want to have a shot of Justin sitting
there while he's talking, but every once in a while we see something
creative like that. But the main thing is I'm
covering the jump cut. As you're cleaning
up your audio, it's looking at something else, and it also detracts the audience from listening
to the audio track. But this happens all the time. People don't speak clearly all the way through seamlessly. Now the style of
the interview was a little bit different where
it was a little more raw, but if you wanted to clean
it up and shorten it, that would be the
way you would do it. What I'm looking
for, you can see in the audio wave form
in the audio track. You can already see the gaps there without even hearing it. And so just taking up
a lot of those gaps, as long as you cover up your
cut in the video, it works. Now, he says the
same thing twice. J came in to do a feature on J came in to do to
do a feature on. So I want to see if I can blend
those two words together. And oftentimes you
can get away with it. First, we'll use ripple delete to get rid of that extra space. And then to bridge that gap, what I'm going to do is, I'm going to lift that video up one track and bring the
audio down one track. And if you use the marker, you can bring that video back just so it overlaps
a couple frames, and that way it's
not so abrasive. And as you roll over it, you can blend the
two words together. He came in to do a feature on J came in to do a feature on J came in to do to
do a feature on. So when we play it back,
it plays a lot cleaner. And it's a little more
interesting as it cuts away to other parts that
help tell the story.
6. Netflix Wild West Opener: I wanted to be able
to show you how I put this introduction together, and I'm not going to go step by step all the way
from the very beginning. This is a summary of what's
already been completed. You have all of these
video clips here, and you've got a
couple that have fire which burns paper and then
underneath the video appears. Then you also have some of
these burned film images. And I just bring
the video opacity handle down so we
can see through it. Now, if I just toggle
that video out where I have those opacity handles and look at the
very simple clips, I have this one clip, which is the paper
burns in the middle, and underneath of it, the windmill shows through. As you get these video clips, they've already been recorded
where the Alpha channel is there and it will allow for another video
to show underneath. If you go to this
Lumetri preset folder, I grab this, which is the
Sina space 100 faded film. I just drag that over and it
gives me that vintage look. And I added a map in
for another layer, and what I did there
is I just again, brought the opacity handle
down so I can see through it. You can add those key frames in there and
bring that down. Then I throw in
that film effect. As I move down a
little bit further, we have the other paper
that's on fire and the Alpha channel
is embedded into that video and I have the
title that shows underneath. There's one more video in there, which is this crinkling paper. I've got the title over
the crinkling paper. Now, there's so many commands in this introduction
that what I did was I compressed the file before I added the titles because I add some key frames
and animation and some blur effects to the titles. What I did was, I
just compressed my video and brought it
back into the project, and now I'm adding these titles. Now for the titles,
I added this effect, which is just Gahen Blur. You can find that in
the effects section with the blur and sharpen folder and then just drag Gahen Blur. Over and you can bring it up or bring it down and you see all of these keyframes. Each time I've made it
blurry or not blurry, it adds a key frame, and then I change the position
on it left and right. Now, the other thing you
can do is once you have those commands setup
in your title, I just duplicated that title and put it into the sequence
timeline one more time. It gives it another
effect where we're seeing one title in the front
and the other one behind. So this is just a quick summary. If you decide that you
want to build it out, I have the video clips with the fire and
also the film stock. And what you can do
is place them in the sequence timeline and just play around with the
opacity handles. That's most of what
this project entails. If you haven't done
anything in this course, I would do this
lesson a little bit later because I go into more details on some
of the other courses, and by the time you
get to this one, you won't need all
of the step by step procedures to finish it. Right. So that's a quick rundown on how to produce an intro for something like Netflix or
one of your YouTube series.
7. OCEANS 8 LESSON 1 Skillshare: All right. So the new movie
Oceans eight is coming out, and there's a trailer
where Sandra Bullock is talking and the right
and left sides shrink. And so I want to just
show you real quick how to do that and then place
video in the background. So what I'm going to do is, I'm just going to take
out the first section and I can use that
since it's unaltered, and then we'll apply that effect to this so I
can show you how to do it. So what you'll do is go over
to effects and go down to the transform folder and grab crop and just drag it over to
that section of the video. What we want to do is take
out the left and right side. I have it at about 25% for both, so you can type in 25%
for left and right, and that's our
destination point. We'll add two key frames there at that point
in the video. About halfway in the video, it will stop there. Now at the beginning
of the video, that cropping effect
will be at zero. The two key frames identify the points where that
crop will take place. Now if you wanted it
to go a little slower, then you would have that 25%, those two key frames
further into the video. If you wanted it to go quicker, then you would just
bring that 25% maybe halfway in the video. Now, let's see if we can take another section
of the video and I'm just going to place that
behind this video track. I'm going to raise
the Sandra Bullock footage up to video track two and place the movie trailer footage
on video track one. And I'll roll over
the end a little bit and take up the first
part of the video. I want to find a spot where I can see what's going
on in the back. Then I'm going to add
this colorizing effect so we can see it a
little bit better. It wasn't exactly how
it was in the trailer, but they do have a
lot of red in there. If I go over to channel and
I grab arithmetic and I drag that over to the bottom
layer video and select and, and then I can increase
the red value to 255, and now I'm able to see
red in the background. That's a pretty cool
effect. The next thing they did is they
had a little bit of a border around the two images. If I go to file
new legacy title, I can create a border that will go at the edge
and I'll just drag that rectangle tool and create a small border and
change the color to black and then and if I go to the project,
I can drag it over. Now, the trick is to animate
that line at the same speed. What I have to do is find
that point where it stops. Now to get a little
better adjustment, I'm going to go ahead and move the title bar over the
Sander Bullock video, and I'll start there
with my main position and then I'll drag it off the screen at the
very beginning. At the beginning of the video, it starts off the screen and
at the end of that movement, it stays right where
that square ends. Let me trim off that title a little bit just to make
it clean in the sequence. Then I will duplicate this
line and drag that over. To that part in the
square where it ends and bring that into
the sequence timeline, and now I've got my second line, and I'll do the same thing. Where it stops, I'll have my position key
frame added there, and then I'll drag that
rectangle off the screen. Let me add the position and then at the beginning of the video,
I want it off the screen, so I'm just going
to drag it off, and then now when I roll
over the whole video, you can see that it
follows the same path.
8. Old Navy Final Lesson 3: All right. So if you've ever
been to an old Navy store, it's like a skate surf store, and they have screens in their monitors that
will be showing videos. Looking at these
clips over here, you've got four or
five main images, and then I have
this texture file. If you ever type in texture
on a royalty free site, you'll get some
really cool images. So there's either
pictures of textures or there might be some video
clips of different textures. I have one here. Then I also have these dots that I'll show you can add a
texture to your video clip. You see here there's
this layer of haze looks like eight pieces
that make a checkerboard. Then what I did was I exported that video and added a
couple more effects. Then I use the old Navy logo and keyed out the white and
place that over the video. Looking at the different
layers here, the top layers. Remember, the camera is always looking from
the top layer down, so whatever's on the top will block whatever's underneath it. If I toggle that I, we'll take all of those off
and now you're looking at my main footage of my
guy here in the red hat, and then I added this texture, which is a bunch of dots, and then I can
scale it in or out, change the colors on it and key out the white, and
that's what I did here. I added a color key
to this top layer. First, let me show
you what it is. If I scale it up, you can see that it's just
a bunch of dots. You can add that scaling effect
to make the dots bigger. I liked it smaller, so I replicated
this eight times. But you can see even if
you just do a half screen, it's something that's pretty cool and I didn't make this up, I just copied it from
somebody else who's doing it, and it's a way to dress up your video and do something that maybe other
people don't know how to do. Under keying in these
effect filters, I just grab that
color key filter and dragged it over
to that layer, and then I used the eye dropper, and I took out the white, and it allowed me
to see through it. And if you take that color
tolerance all the way up to 255, it'll
take the white out. And let me blow it up here
so you can see what I did. If I just use that eye dropper, hit the white and
add that effect. I had it toggled off, you can see that it will take out the white so you
can see through it. Then you can scale it
down or scale it up. Now, I did this to
each individual layer. I used the scaling in motion, and I just copied it and
pasted it and moved it over to make checker board effect
with all eight layers. I rotated a couple so the
pattern had a variation. But you can scale in or out. This uniform scale button, if you wanted to stretch it
without it being a square, you'd have individual controls
over the width and height. And so if you uncheck that
box, you can stretch it. I kept the proportion the same, but that's what that does. Then the very top layer
is the old Navy logo, and I added a color key
effect the same filter, the color key filter, and I just used that eye
dropper tool and put it over the white and took out the color tolerance to
take out the white. And so we're able to
see through that. If you wanted to
take out the blue, then you would use the eye
dropper to select the blue, take out the color,
tolerance for blue and you could invert it
like that if you like that. Now, zooming in a
little bit closer, if you take that
slider and zoom in, what I did was, I added
a lot of jump cuts, so it's not continuous. I took out pieces of footage, so there's this it's not
one continuous video. You see how those videos are
cut into smaller pieces. It adds a little bit
of jumpy effect to it. Then another filter I added was the brightness
and contrast. I pushed the contrast up, and then I also added
this arithmetic filter. It's one of my favorite filters. If you've watched any
of the other classes, you see that I'm
using it quite a bit. It's just a quick way
to add some color without using the color wheels
and the Lumetri effects. You can get a little more, Flavor quickly. You see here, I have this green and orange and pink look with this OR operator. It's called. The
operation is XOR. There are other effects
on there like and, you can add the red value, green value, and
blue value to it. But as you move those
values up or down, you can play around with
it to get a funky look, and I just, you know, use those and made
that look there. The other thing you can do
is you can actually change the color while the video is playing if you
add key frames. So, about 1 second in, I have, you know, those values
for red green and blue, but then I want to change
them a second later, and when the video
goes back to play, it will make the colors appear the way I program
them at that point in time, so you can have the
colors changing. I basically do this effect
all the way through. I have my jump cuts. The other thing I'll do is I'll take one individual section and I'll just use
scaling and scale it up. Not only is it jumping because it's missing pieces
of video in between, but it's also blowing it
up for just a second. It's just one more creative way to take existing video and get a little
bit more out of it. Last thing I did was I
wanted more control, and you can compress the
video and flatten it as one final piece and bring
it back into your project. So you can go to file
Export Media and then just have that box check so it'll bring it into
your project bin. Then this second clip
here in the timeline, I just grab it with
all of those effects. Also when your computer
starts to bog down, sometimes if you know
you're finished, you can just compress that
video file with all of the effects in there already
and then start again, and it's a lot easier. Now what I did was I brought this paint grunge, red motion. It's a texture file that I downloaded from a
royalty free site, and I can bring that
in over the video and bring the opacity
handle down about halfway. Now you have this
motion and it's jumping around over the effects
that I've already added. The other thing you can do is bring it down or up and then use that XOR filter to
change it to purple or blue or whatever color you like. And then when you
watch the final video, you can see all of
the effects there. Basically, there's a
handful of effects. I used the razor
blade to jump cut. I use the XOR, which was the arithmetic filter, and then I added that dot layer and added some scaling.
That's pretty much it.
9. PLANE ANIMATION LESSON 2 REVISED: Getting started, you're
going to pick a new project. I named this one plan Animation, and then you'll bring in the folder with
all of the assets. You can just drag it over from wherever it is
on your computer. All right. Let's get started. My work file is going
to look slightly different because I have the titles that are
already created. So I'm going to double click
on my map here. There it is. And I'm going to grab
it with this hand tool, and I'm just going to
bring it into my timeline, I wanted it to be my
first bottom layer, I'm going to bring
it into video one. We have our map and right now when we bring
it in, it's too big. Let's go to effect controls, and let's start here at the
beginning of this clip. Here's our clip here,
and we want to make sure that this marker, I call this a marker
is at the beginning. When I'm starting this, I
want it to be scaled out. I want it right here. But let's go 60. Now, the US is not
on the screen, so I'm going to use
my x y coordinates and I'm going to take my x coordinate and I'm
going to move it over. We're going to start here
with the United States. We're at 13 60. I like where that is 601360. What I'm going to
do is I'm going to toggle the animation, which is otherwise known
as adding a key frame. I'm adding a key frame for
position, so you see it there. Then I'm going to add
a key frame for scale. Scale, remember is in and
out and position is x and y. Now at this point in the video, it's going to stay there until
I add another key frame. Right now I'm holding
the left button down on the mouse and as I'm rolling
through, it's not moving. By the time it gets
to say 1 second, I want the map to be moving. I'm going to go
ahead and move it. I'm going to put
it here. Then as I move along a little bit more, I want it to get to Egypt. By here, I want it
to be I want Egypt. Maybe that's a
little bit too far. I want Egypt maybe
about right there. Now I go back to
the beginning and now I've got my
map that's moving. Now, let's add the plane. Come over here, click on that and drag the plane
over to Layer two. Now you see it makes it appear as though
the plane is moving, and it's just the
map that we added those animated toggles to, so that's the deal. Now, my plane is going
the wrong direction. Let's go over here to effects and let's go to video effects, and then go to transform and select horizontal flip
and bring it over here, and then it flips it over. Now, also, my plane is not starting where
it needs to start. What I'm going to do is,
I want to scale it down. I want it to be a
little bit smaller. I'm going to bring
it down to say 50, and then I'm going to
hit my scale key frame, toggle animation
keyframe, which puts that right there at
that point in time. Then the position at that
point in time is off, so I want to use my x
y position coordinate, and I want to have it right
over here in Los Angeles. It's about 1:22 or so 120, and then I'm going
to bring it up, I'm going to start right here. I could also maybe go
a little bit smaller. I think might be a little
smaller in the final one, but you can decide how
small you want to be. Let me select my position
toggle here. That's locked in. Then since I made a mistake here and I wanted
to be a little bit smaller, I can select this, highlight it again and delete it and say, I really wanted it at 40. Now it's a little bit smaller. Now, So because
the map is moving, it makes it appear as
though my plane is moving. So what I'm going to do is I'm going to scroll
over to Egypt. At that point, Right about
here where my map stops, I want the plane to
already be in Egypt. I'm going to work with
my destination point. At that point, I'm still
highlighted on the plane. I want the plane to be in Egypt. I'm going to use my
x Y coordinate tool and I'm going to bring
the plane over to Egypt. My number is 773, and then I want to
bring him down. Right there. I'll bring it down just under so we can still
see Egypt on the map. I have it at 773, 373. We're starting here
with the plane, and then we have land
in Egypt right there. Now, the other thing I did was, I wanted to scale the plane and make it appear as though
it was getting larger. About right here in the middle, I had it scale up. I'm going to go ahead
and at that point. I'm going to put it at 100. Okay. Then it goes from
40 all the way up to 100, and by the time
it gets to Egypt, I want it to be back down to 40. Right here, I can pick 40. Now, something else you
can do if you don't like this slider tool is
just click on this and just type in 40 and then hit return on the keyboard and
then now you have it at 40. Then you can adjust this It lines up at the same time
where the map stops. Now to do that, just select
it and you can move it. That gives you a basic idea
of how to animate something. Here we go. It starts in
LA and ends up there. Now I'm holding the left
button down in the mouse. This gives you this
real time view. Adobe installed this
virtual playback. It's called a Mercury
playback engine. They did that a few years
back, which is really cool. It allows you to see
things in real time. There we have it. Now, let's
go ahead and add the Clouds. I'm in effects mode, Let's toggle or
we're in effects, so just click over
back to the project. The next thing we need to
find is the pan video. I'm going to grab that and I'm going to bring that
into video layer three. Let me use the wheel on the mouse to go a
little bit higher. Now, notice, remember, the camera is always
looking from the top down, so we won't be able to see
anything underneath it. If I remove it, I'm seeing the plane and if
I put it back there, I can't see anything. They call this an
opacity handle. Right now I've got this
line at the top and so if I roll this pointer over it, it gives me an option to
use whatever this is. It's it's giving me this
opacity control handle. Right when I put it there. If I hold the left button
down in the mouse, I can bring the whole
thing down if you just wanted to have that cloud
layer at that point. Now, I wanted it to
fade in and out, so I can start with that
and then I'm going to use this add remove
key frame toggle. Now if you don't see this, it's because you don't
have it all the way open. They do this thing where
they don't even appear. Se there's nothing there
until you open it up. About right here, it opens up. You have to have it at least
that high for it to show. Now that we've done that,
I'm going to go ahead and add my key frames. What this does is
it's almost like a thumb tack and it tacks in that command at
that particular point. I'm going to add
another key frame here and maybe another one
here and another one here, and then I can go adjust them. At this point as the
plane gets up to the sky, I can move this left or right or I can bring it all the way up. Remember, as I'm
going all the way up, it's blocking out
what's underneath it. At this point, now I can
see that that's what I want and so I have it right there and by the time it gets
back down to Egypt, I need those clouds
to disappear. That's how I do that. You can play around
with that to see how much cloud image
you want or don't want. By the time it gets here, I'm going to go ahead
and just bring it all the way down so
there are no clouds. Now, something else
that you can do is see this video clip is really long and sometimes I like
it to be clean. So I can roll over this and
it gives me this other tool. Hold the left button down on the mouse and I can bring
that all the way in. For the next part,
we're going to create that orange rectangle. You're going to go to
file new legacy title. Then you can rename
it here. I usually Like to work quicker so I don't like to
stop and rename it. It, and then select this
show background video icon. If you want to come over here, select the rectangle tool, and I went to about right here. I'm holding the left
button down on the mouse and then I'm giving
myself that rectangle. You have some options over here. I wanted orange
so you can select the color and pick that. Then I also wanted to be
able to see through it. I selected the opacity down
here to about 88 or so. Now I also animated this. What it did was
about right here. I came in to the frame. What I'm going to do is
select this Title five. At this point, I don't
want it on the screen, but I want it to come
on about right there. I like the scale for it, I like the position for it. I'm going to go ahead and toggle those key frames
in at that moment. But over here at this point in the video at the
beginning of our video, we don't want it on the screen. Then we just need to
add our final title. I'm going to go up here and
go file new legacy title, and then Title six or maybe this one you want
to call it Los Angeles. Come over here to the type tool, select that. Los Angeles. It's going to be too big. I'm going to take the size down and get my selection tool so I can place it
where I want to. Maybe I don't like that color. What I'm going to do is
I'm going to highlight this whole thing and then come over here to the color
that I like, hit blue. Then now I've got blue. I'm going to hit my next title, which was two, it
Return Cairo, Egypt. Then for this, you
can scroll through and pick a different
font to match. I think it was Bud Mo
was the one I picked. Then right above this, after you choose the color, you can select the center tool, which will center that, and
then you can scale it up. Use the selection
tool to bring it up a little bit to make
room for the last title. For the last title, just select that t and then you can start typing 69 20
miles and highlight that, or you wouldn't need to if
you want to select some of the defaults that
Adobe has at the bottom. Once you find one that you like, you can highlight it
and center it as well and scale it up a
little bit and then use the selection tool to
bring it right underneath. The title of this
one is Los Angeles. Now if I just x out,
it'll save it like that, and it's over here, and I just
drag it right to the top. This is Video five, and then Los Angeles Cairo
Egypt, 69 20 miles. Now we want our title
to fly in so we can go ahead and select the
scale and position, and I want it to
fly in like this. I'm going to go ahead
and scale it out. It's at 262, but by
the time it gets here, it comes in and it matches
up with the orange. You're just going
to grab the audio and bring it down here. Then we have the plane flying. I'm going to grab that
and bring it down here. When you play with those, you can decide how loud or how soft you want that
jet engine to be. And so it's the same principle as the opacity
handles on the video, and maybe you want it
to get a little louder, as it gets closer. What you do is add your key frame to where you
want it to be, right here. Also to, if you need to zoom in a little bit more
to get more precise, go ahead and hit the slider
tool down at the bottom. That gives you a little
bit more control as you add these dots and just key frames in a
short period of time. Now, at the end, you
may want to fade out the jet as it lands, it a keyframe there and then bring the audio
all the way down
Jeff N., Video Editor
