Creative Video Editing: Mastering The Basics

1. Creative Video Editing: Class Introduction: Hello, good afternoon. I might call him from you will listen to what I have to say. Services Limited tie on Darwin stakes and welcome to my Skillshare course on creative video edited. I'm offering you 21 years of industry experience condensed into lessons of my creative editing basics, including a few tips, tricks, techniques, and creative practices that I use pretty much on every project. Having worked in many fast-paced environment, these staples of my editing process helped to get you started and maintain a flow during your creative process. Giving you a quick and effective results. Knowing an editing application inside out doesn't guarantee being created. Those newfound skills need to be applied with the basics. And this is where my course will help you. We need your help. That's a great idea. Good editing isn't just about flashy transitions are fancy 3D texts. They of course have their place. But good creative editing is about getting across information to the viewer in a clear and preferably entertaining manner. If you can do this, there'll be memorable. 121 years of experience originated in TB promotions. Here I learned the linear basics of video created. Three years later, my stylus. So during this time, I created a Team Pro Max award-winning projects at creatively directed many more. In 27, I went freelance, which led to working with three of the biggest studios in the world, is this is a varying sizes in various fields. Industry-leading agencies and friends just in need of some creative skills I acquired came from learning on the job, from project to project. And this is how you'll learn to the core of my creative process are the basic skills you will learn and then experiment in and around those creative parameters. I'm curious. The lessons range from basic project management, organising your material for being creative, creating a nested structure. I'm prepping music, super in position, On and Off, be editing when and what transitions to use. Script writing, using voiceover, mixing and creating audio design and using graphics. Plus a few more for your benefit. Strictly because this course is for anyone with basic editing knowledge and beyond. I've simplified where I can and I'll explain on our work in timeline with tips and tricks, real-world examples from my past projects and of course, inspiring well-known examples from TV and movies. Wherever you are. If you're up for it, please join me for your course project. The video treatment challenge. 2. Project: Video Treatment Challenge: Okay, So welcome to the fun part. Your class project is a video treatment challenge. Thank you all for coming. You are to create a video treatment of one of these mediums. Utilizing at a minimum, what you'll learn in each of the lessons. Your options are one and movie trailer, minimum 30 s to an advert, minimum 30 s. Three, a TV series, paramount minimum 30 s. Or if you're feeling especially adventurous for music for the maximum 4 min, let your imagination or passions guide you. If you love sci-fi films, go for it. If you love coffee, do a coffee at Dove soap operas or game shows, the choice is yours. You may find your project inspiration straight away. Or during the course, there is no pressure to start off with a project idea from the star. It'll be fun. You can film your content if you wish. But for ease of use, I recommend using a stock footage sites for this challenge. You can use whichever you want to do the motion ray, that easy exhales are all great. But personally, I love upward is far more creative than most sites. As the diversity of footage is amazing. You can also download the watermarked footage without a subscription, but you're warm and eventually as it's well worth the investment. For your music, you can use a commercial truck. Wish, but make sure if you're uploading to YouTube that is unlisted or other music, YouTube Studio has thousands of free to use. Trax is a great resource as his art list, Sound Stripe, epidemic sound, extreme music on a library I've been using for most of my career Audio Network. Most of these may have a free trial you can use for this project. I'm please make sure you read and understand their T's and C's if you want to post your projects online. Awesome. If you're still up further challenge, Let's get cracking on less than one. And we'll get you creating new and exciting content in no time at all. 3. Being Organised for Creativity.: Welcome to the first lesson of the course. I'm sorry to start with a boring and non-creative lesson, but it is extremely important to be organized. It is mostly common sense, so just getting in the habit of being organized is easy and it will save you so much time down the line. Many professional creatives work along the same lines as this tribe and test the process. So please stay tuned. Try to implement these processes. I promise it will help. Okay, So in your project folder, you will need to create a following standard folders. You will need a folder for material or music. Gi effects, graphics, work in progress for whips and finals. And GI effects are usually include a subfolder for Photoshop or picture bars called ASHP. Additionally, I may have files to and from After Effects in sub-folders named sympathy for and from AAA whips his way. You'll export your videos to view and share for feedback, etc. And you will find all video exports will go into finance bunny that these folders will also be reflected in your Premiere Pro project. Material wise, I always try to work with cold caplets. The timeline like now. This gives you more range with the clip. Before you start to pick, say, for k is four times the size of full HD. So you can zoom in and out trying from left to right, top to bottom, or wherever you want. So it's just good practice for a fast and efficient edit bot to proxy or poke a material. Even with a two gig of RAM. With a multi-layer timeline, you will get black J if you want to have smooth playback without rendering every time proxies are the way to go. And it's very quick and easy to do. Select your newly imported clips or click in there Folders, right-click and create boxes. I use a ProRes medium res, which seems to be lastly rich, poor choice. Then press Browse, find your material folder, and create a proxies folder. Then press Okay. Encoder will open automatically and render each clip. And then in your project folder, the proxy tab will show it as attached. To work with proxies, go to the program monitor up and press the Toggle Proxies icon under the controls. This switches you back and forth for proxy in blue, so full res, in white. You tend not to notice the difference, equality with these boxes. Just make sure you toggle back to white and for ways when exploring. Now, labeling your files when you explore is also incredibly useful. No preference as to how you do it. But generally, if it's g, f, x, or a timeline, I will have the project name, the date, and B1, week one. Right, that's it for the boring stuff and being old guys. Thank you for your patients. It wasn't too painful, I hope. Now join me for the next lesson, which is music 4. Music Part 1: Marking & Editing Music.: Welcome to lesson two, all about music. Music for me is one of the most essential components to editing. Yes, there are instances where it isn't needed or used, but most of the projects I have ever done required music relative to the project. And I would spend hours, if need be, just searching for the right track. Always trying to find elements within the track that spotlight creative mind, whether it's instrumentation key changes all the structure. Now, key to this is marking your music. This is where marking M on your keyboard addMarker with your music file is one way to help set your structure for your edits, whether it's to mark beats the bars, the key changes, the dropouts, symbols, guitars or whatever you want. This really helps. Now this becomes your guide and helps you to mold you read it. It also helps to keep you interested and enthusiastic and in flow. With this in mind, you can start anywhere on the timeline building towards a crescendo, a key change or dropout where you might have dialogue, an explosion or something significant happened, even a joke. You can watch the following examples of mine to see this in action. Mark in your music also helps with editing it. You're lucky you might have a 36th year or 90-second track, ready to 3 min track, you can cut all fade when you need to. But good editors look to manipulate the track to suit their needs. Marketing the beaks or bars helps you to mold a track you're excited to edit to. Okay, so this is editing your music. And we've got a chart here of how rich from reductions, relentless pop idea one mix four. So what we're looking here is the beats and bars where we actually go in. By the looks of it. Either 1 bar, 2 bar. The phrases will explain that. And then we'll get, I'll go through the entire track so you can see it all mapped out. And then we'll work out how we're going to add this shorter from 230 2 min 32 s down to 60 separate track. So here we go. Okay, that's how first phrase. So these are 2 bar eight beats in a bar of four beats in a bar, eight beats and uprise. Okay? Dropout. Right? What we've got here, that guy singing, that is one phrase over 2 bar beats 12341234. So that's that essentially there. We go to there. That is 1 bar. Him sing it over. That is one phrase. So we essentially can edit. So we've got one part, one, part, one, part, one part that key change here where the cow bell comes in. We've got another key change come in with this focal. So these are the repetitions, all the nuances that we have to look for to edit. I'm going to go through as the rest of the rest of this introduction. Let's say the first 4 bar, the first two phrases that down on a timeline. Just open that up so we can see where we're going to edit. And then we're gonna take this nice dropout hair. So where the female vocal comes in. Skip ahead. That's our edit point just before that be white this down. I'm just going to line this up. We're looking for similarities, remember? So look at that. Who are out. We've got these peaks here, lazy updates. So that's why that their sounds like. Perfect. Now if we just, I'm going to press Y here on the keyboard, which lets you toggle left toggle, right, frame-by-frame. Just go back a frame. Double beat, back, the other side. Then that's wrong again. There we go. There's the base. Now we're going to find another nice moment. So we've come pressing F to C where we've, what we've already used. This is a cool little moment here, working towards this other drop-off. But either way we're after this one here. This other lesson, the focal changes and it goes into non-owners. So we'll go with that part there. This lovely little drop-down here. They're going to work that I believe that works nicely. Then let's pick up a size 2 bar because of the Falco. See how that works. We're getting closer to a minute. Not timing myself to see how fast this is. That's not quite on. That must be there. That is our B. We go several jacket. Let's double-check that. It's just the last phrase. See if that works. Well. That will be not, think. Rhythm is not going to be two groups want to turn that up. That is literally repeating this bar or these 2 bar here. The outro to that, to that phrase. So we don't want that. That is essentially the same as that. Now that That's correct. So what we need to do is find another phrase or bar. To complement. What we can do is I'm going to put that under their fate. This that this one is just make sure that's in line. It's not that needs to go along here. So these are all these peaks are connected. Why is it this one? Is this one lesson. Yeah. So that's fine. Same here. All the way to here. What we're going to do, pull this out here. That's not far off. Let's just see where this starts properly. Okay, so that's our first beat. Delay. Jive. We have a pretty **** close. We can go to the ends. Yeah, lesson. We're literally just coming in with this female vocal. Nice job. Now. That's the phrase. That's quite nice. Round. Okay, stands for everyone there. It's, what we might do is just, just shorten this a little bit. And then go to the end. Bang on 1 min. I am going to do is this bit here is not as clean. It's not too bad. But you can press N is just take this along to your next marker that you've got more of the vocal. We can just do that so we get the end of our vocal tract down to a minute. Good luck with your edited 5. Music Part 2: Structure, Genre & Context.: Other than marking your music marketing, your timeline can also further help with your edit structure. For music videos like this timeline. You can map out the song elements, chorus verses, mid-late, etc. This gives you a visual representation of the song which you can implement into your narrative using the music we created in music lesson. I'm just going to take you through and show you how to mark on your timeline to create these chapters which help with your structure. It's called this call is orange arrow. Click off to music, press M, and then Option and slide. I opened, double-click and then type in. Hello, This is cool out first, first, tip-off. Off the music. Double-click to change the color. Let's go without first class. Hi then option. On there. I clicked on coal. Coal is first. Cool. That chorus. Again. Talking off the music. You can do it the other way. Change it. Cooled off course. Let's call this a middle IR refugees. Earn a tap off again. You can double-click your free fall, it's change it to orange just a second course. Then Option. Click and drag that middle eight. Alright. Again, the Allies day Option drag. A outright option drag. I don't really have that. Literally call this anything you want. So you could be beginning has stopped. Part one, part two, part three, whatever you need, whatever works for your narrative or whatever destruction you are working towards. Whether you're doing interviews and they slide part watery and TVA transition, whatever. Part two, part three, part four or just helps you to structure your timeline to work out how you're going to build you read it. You got a trailer, promo or Montage, beats of rhythm help to propel your edit or narrative. They also give you a natural structure to edit it. If you watch the edit for full Metal Jacket, This has a structure of two parts to reflect the structure of the film, boot camp and then war. Within the first half of the edit clips are punctuated by captions on the beat. 11 clips build a picture of the training and how it affects the soldiers. Leading into the final caption, Stanley Kubrick and the crescendo at the track followed by a dialogue, Full Metal Jacket. The second track speeds starts with a J curve, which we'll cover in another lesson. This takes us into the second part where the soldiers see the form horrors of war. Edit interchanges from the beat to the notes of the guitar. The Godfather trilogy at it follows a traditional three-part structure. Set the scene. This is done by introducing the actors and the characters with infamous lines of dialogue. The main method, the idea is the action, fights, explosions, shootings, which leads to the outro ends, the N-H bond revealing the hook. It's the price you pay for the life you choose. Part one is approximately 21 s big cymbal crash key change into part two, which is quicker and dramatic, which reaches its last cymbal crash. And 46 s, taking this into part three and the hook dialogue, which leads us into genre and theme You need to understand your genre, whether it's action drama, comedy, sci-fi, horror, or thriller. Along with all the other sub-genres. Where your genres crossover or have other elements. It can be generic within your genres, Action added. So usually fast-paced with Beats, sci-fi, horror and thrillers might build slowly to a crescendo. Comedies, we'll have setups and payoffs for laughs with dips in the audio. Now within you can subvert your genres, like with the Godfather trilogy at it. That's it. The angle of seeing the entire trilogy as a soap opera across generations. Lyrics as genre in theme. Lyrics usually need to relate to the content. If you're going down there's generic road. Here are some classic trailers, one to ten, that heightened the theme and tone of the movie by the lyrics and the music numbers one through seven are great examples of setting the tone, using the lyrics and music to build excitement and establish what to expect. Numbers eight to ten subvert the lyrics or the tone of movie, creating a new connection that is equally as powerful as being generic. And from my own back catalog, we have the boondocks where I found a great library track, said everything in the lyrics that I needed to promote this awesome animated series, which led us to the best of use of Music Award in 2008 at Pro Max Africa. Or if you're really musical or lyrical, you can write a lyrical script to communicate your information. Like this, Halloween movies or Austin Powers to add these back, mike. Dr. Aliens landed back for dropouts and pauses. These can be pretty much used in every genre of movie. Genre. Does it better than comedy? And that's because you need punchlines to land claim. And this is what makes those comedy trailers so much more memorable. Brand being bombarded by the action drama and fills a or other genres. Thing with comedy trial is, is the variety of songs. Some will use two tracks, Pineapple Express and then others will use more like the four tracks in hot tub time issue. Checkout is classic comedy trainers, some of which even surpassed the actual navies. Is it for our music? Let's move on to the next lesson. 6. Script Writing: Making It Memorable.: Welcome to the next lesson, and here we'll be looking into script writing. Now, script Writing is just another tool to get across your story information or to entertain. You don't have to be straightforward as the multitude of generic scripts that are voiced out there, you can be so much more creative and therefore memorable. Hair are a few examples of very different Script ideas, but they all have the same goal of which they achieve very differently. All those examples were telling you something, whether it was about a product, program, Movie, or brands. And they all did it in a memorable way. There were stories of very in-depth and description from the slightly surreal and the indirect to the day-to-day and very direct. When writing a script, there are three things are usually consider. The duration, the music, and the videos. If you're writing for TV or launch Overlays pointing to a date or time, otherwise known as an ATV or appointments of view. It's always good to write this down and work towards this information. Rule of thumb. Most eBay's or an boards, marketeers called them enslaved. The duration of your ATV is about five to 8 s. In a previous lesson, we looked at theme. We can also do that here. The saving Private Ryan, I wrote the script based upon the parents of famous war poets, but integrated the storyline of the movie as if told buy it from the perspective of a young soldier. Look out to the beach with them floating coffins, look into reveal the lives of men dropped over the splash, droplet, debt stones of silence, or owning a prize whales most feared drives you want dodging bullets and bombs, leaving friends for dead, which is crying from all blasted bond. Can I focus to fight against an enemy who also think they'd be right, a small victory. But at what is cost, to look back and see all that we've lost. An achievement so great. Your own to buying, to now go wander amongst the enemy and find Private Ryan. Someday we might look back on this and decide that saving Private Ryan was the one decent thing we were able to pull out of this whole dot awfulness, saving Private Ryan here on Sony Entertainment Television. And in March Movies '80s Month. The script is the glue that brings it all together. The Video makes the cultural references to the period, and this is reflected in shots from the Movies were promoting. Whilst the characters within the Movies react to the script. It was a time of video games, but had he Ray-Bans and BMX is fashion was interesting. All right, what gizmos were all arrange an innocence was still pure. Kinda. Welcome to '80s Month where we hark back to a decade of Movie greatness. Tom Cruise showed his leading man credentials before Top Gun in Risky Business. Mean was born from cubed in that classic Steven Spielberg presents Kremlin, showing off the talents of Gene Hackman and Christopher Reeve is the highly acclaimed Siegel's Superman to the kids adventure movie to define them all. Boosting Corey Feldman, Josh Brolin, and Sean Aston, that goons rounds off a super common. There is no substantive March Movies or AGs classics every Wednesday from a dirty only on Sony Entertainment Television. Remember, a script doesn't have to be from the first, second to the last. This is where the consideration for the music comes in. The flow of the music is structured. Does it have key changes or dropouts? Has a nice be memorable phrases or flourishes. How can the words be used to sink or fuse with the musical elements? Also, do you want your script to be purely informative where you have other elements that will make it memorable. If not, then maybe you can have FUN with the script. Create a Ryan, a limerick or lyrics to your music. The following spots I created, you'll see various ways you can not only be informative, but tell a story, interact with your content. And Ryan at the same time. I see it now for Script Writing. Let's move on to the next lesson. 7. Beat & Off Beat Editing: Merging with Music.: Welcome to the next lesson, and here will be looking into big cutting. Now this is one of the simplest and effective editing techniques that I use in short form editing for maybe cutting makes an edit feel more natural and seamless. When you're using the Beats or instrumentation as a trigger to change shots. This is where the marketing of your music comes in, making it easier to hit the main beats, build out a structure and work towards key changes, impactful crescendos, dropouts and pauses. Of course, I have a few examples to show you. So be cutting is what it sounds like. The beat hits, the shot changes. This effectively is a cut transition. The shot you cut too can be significant action on the beat or lead into an offbeat cup. This is where something within the shot hits the beat, like a punch explosion, gunshot, head movement, et cetera. You can literally make anything more significant by cutting on or off the beat. Confused, here are a few examples to help clear it up for you to see how effective it really can be. Okay, so I've got all these brushes that I used on a music video. The end, listen to that, and this will do nicely. We'll go put this at the end, nicely ending using the flat TVs coming off. So we've also got another little tracker, little clip, which is the same scene but clean without the TVs. So what we'll do here is just try and find where we start. Just find the same point where we can try and sync it up a little bit. So both clips, so we're just going to drop the opacity of the top clip. And to N'Sync this up. It's not looking too bad. Yeah, maybe that. So he's just doing Command left or right just to move this up and down the timeline. Okay, so just wanted to make a bar, just the end to excuse, kinda cut it with cotton on the beat. You can see that visually. See where those beats happen. This is basically a crosscut in-between the shots that has the TVs and the shot that doesn't say she'd give you quite cool. Disappearing effect stereos. Okay, so now I just kinda show bases that's lined up nicely. Yeah. So same as cap and then make little cross dissolve. With that little, that little outro sound. Wow. As if that is instigating the TV is being turned off or disappearing. Sorry. Just tidy this up. Don't need that underneath. Let's just play that. This is a cool little distinct sound. So we've got this clock care being crushed. Real action. Distinct action goes well with this sound. It's not be as such. It's, it's kind of a combo. So we're just gonna do that nine up and then we'll just duplicate that flip again. The second sound, real simple, really affect Bao, Bao. Okay, server guy and just listening. Again. Real distinct sound. Again, more distinct sound, the more effective your edit will be or the action in your edit. So we've got this nice thunderbolt here. And this will hit the bowel. For IVC where that marker is, that's the hit C on the music where that happens. Okay, so we're just going to now join, add something over the top. Now. This is, this is called super in position, which we'll be covering later in another lesson. Which is something I really love to do. It's just combining two clips to create a new clip. Which is effectively trying to make this, I do that screen yet screens nice. Where the light comes from, the IRS. That's it for now, we'll be cutting. Let's move on to the next lesson. 8. Edits: The Essential Basics for a Fantastic Flow.: Welcome to the next lesson, and here will be looking into edit. Now if you didn't know, video editing isn't about cutting footage up and slapping shots on a timeline and hoping they work. Although this is how I started. For your video to stand out, it needs to flow seamlessly and in short form editing, this can be extremely tricky and time consuming when considering all the elements you are pulling together to inform or entertain. But by utilizing these basic edit techniques, you'll be quicker at making the flow of an edit smoother and easier to watch. Some of these you will need to use frequently. Others are just aesthetic choices. Eyeline matches an essential edit depending on what you're editing. And if possible, if someone is looking at something with camera, you cut to the subject of their focus. This you'll see used predominantly between people in conversation. As an editor, you are needed to maintain the view as logos by matching their eyeline. Eyeline trace. If the focus is dead center, the next shots focus needs to be the same. This is especially helpful in a fast-paced edit. Both edits are used to great effect in Pulp Fiction and Mad Max Fury Road. It holds your attention often centered whilst building attention. Match cuts are a great artistic choice in and edit. This is where you cut between two shots that are similar in composition, sound, or movement. The most famous of these is Stanley Kubrick, 2001, a Space Odyssey or a bone thrown in the air by an ape, then cuts to a ship in space. This symbolizing the evolution from the very first tools to space travel. Powerful stuff. Cross-cutting shows two or more scenes that are either similar or contradictory. In the previous lesson, I showed this at the end of the music track that I was editing. Cutting between the word with the TVs and the wood without crosscutting is used to great effect in nearly every Star Wars movie. Usually cut in between the space battle and an assault of some kind. But the baptism scene in The Godfather uses crosscutting and to great effect in a juxtaposition or way, the life of a newborn in a religious ceremony juxtaposed to the murders of Michael, rivals, split edits or the J and L cut or audio transitions, in a sense. For Jacob, the audio for the next shot starts under the previous shot. This can build anticipation introducing the next scene, the LCA extends the audio beyond the visual, read it into the next shot, which is often used in an explanatory way like narration. Check out the following timeline to see how these edits look like. And after are two examples of this from two of my favorite movies, predator. Okay, So here we go. The audio for the next shell starts under the previous shell. So we'll just get this shelf and stock footage cargo placed this at the beginning of this clip for Jacob, the audio for the next shot starts under the previous shot, is can build anticipation, introducing the next scene. So that's the previous shot. Yellow car extends the audio beyond the visual editor into the next shot. I want to just duplicate this sharp. And I have just a little tip. It's a dialogue. The LCA extends the audio beyond the visual editor into the next shot, which is often used in an explanatory way like narration. So we've got shot before and after. Jacob. Okay. The prejudicing the J cuts starts at 50 s. It's very quick and very simple, but it's a very effective turn of pace. And in the Dark Knight, the outcome occurs at 45 s and continues until the jokers entrance. Check out my examples of the edits we've just talked about now over on my YouTube playlist. Edits are some classic examples from movies. Is it for now on edit? So let's move on to the next lesson. 9. Graphic Text & Captions: Maximise your Impact.: Welcome to the next lesson. And here we'll be looking into graphic Text and Captions. Right off the bat. I'll explain my understanding of the difference between the two. Graphic Text is predominantly stylized, often reflecting the movie brand or product is always informative and nearly always isolated from the adding. A caption usually accompanies a visual to underline or describe that visual. Although marketeers with sometimes argue otherwise, graphic Text is a great addition to an Edit to relay or punctuate inflammation, sometimes with or to replace a Voice-Over. Let's happiness to you. David. The Dream baby living the dream out, the bitter, sweet, sweet David. It. When you sleep with someone, your body makes a promise whether you do. I used to be one of those cavities inches snowboard. I need to take a five-minute skinny. What happened to your car? Every person, meaning vanilla Sky here on Sony Entertainment Television. But also there can be the star of the show by giving words character. This is seen more often with animations. Watch any Pixar or illumination teaser trailer to see the main character reflected in the title text. On the YouTube playlist GFF texts. There are two Fantastic kinetic typography examples to Brand Videos and two classic title sequences. Movie teaser trailers are the main proprietors of graphic Text. Relaying narrative direction or Release inflammation. The graphic Text will more than likely be the same font and style as the title graphic. They spin the Movies branding. This is how you'll recognize the movie from others when you see another Trailer, poster or billboard, continuity and consistency is kept coming up. Now what examples to highlight different aspects of graphical text? The style of graphic Text can be very simple, like the teaser, The Shining, which is very much of the time where Graphics were very rarely used. But this example, accompanied with the single now iconic elevator doors shop, build a phenomenal representation of the tone of the shining, as opposed to giving away narrative clues. Inception and the girl with the Dragon Tattoo are also simple graphics, but with minimal texture, both reflecting the title Graphics, inceptions, graphic texts. Only narrative component is its movement on a couple of instances with the accompanying movement of the background, which slowly arcs clockwise reflecting the infamous hotel hallway seeing. Chris Nolan is trailers predominantly employ a clean, simple form for his graphic Text. C also The Dark Knight trilogy, tenant and Interstellar. The goal of the dragon tattoos, cracked texture Graphics, which usually represents darker elements. In this case, this is psychological and physical fracture. This could be said to reflect our protagonist. Then we have the transformers teaser trailer, which uses a similar font to the title graphic. But we can see this is an aesthetic choice to preserve the unique brand title. The font, I believe to be Bank Gothic, is often attributed to technology or military. So it still has a connection to the brand and narrative. Then we have the more complex, heavily stylistic graphical texts like Spiderman three from 2007, which features your quintessential 3D texts more often than not seeing them blockbuster action films. This ties are also teases through its Graphics, an element of the narrative unseen in the two previous films. The graphic style was established with a unique font for this Spider-Man franchise. And now for the third film, they introduce a version to represent the character venom. The direct opposite of spiderman is how ROIC red and blue with an evil black and silver. And then we have one of my favorite elements to employ, creating character. All movement and graphic Text reflect the meaning in the words or Voice-Over. This you can see in the following examples. Luckier, FBI, Jordan, Jordan, glitch, glitches, Crito quick, and committed. Axn externa, let me Formatting New Zealand So let's just Sky going Alexander. Time to throw down your balance. I know that. I love you. If music is the food of love, play on and we investigate. The next block is a computer programmer on their dividend. Mouth makes it could've been ten to take notes from our panel. That's cool. I'll Valentine specials here on this sony channel. I miss now is the November Movies Max name with caches, which essentially works as a karaoke Captions, which is on-brand for the same for the channel. Enjoy. Odd mustache is what we got going on. Odd mustache. Really. Don't let them tell you Beat as well. '60s, shortly. So many people get it wrong. It's classic. They're everywhere. Most stash goes really well with the type stashes because they know what we're talking about. Your Tasha upper lip whole story was the muzzle Moussa guy, you follow closer lead caches on all these young guys are all a little quirky. Did not as cool as slaps. And this young Eddie Murphy stash these keys is that they've got away with cool, maximum width to ashes Saturday or Monday from nine on sony Max. Show you how you can create plays ball, create your own stele. Movie text. This nice texture here. Great. I text box pops up in our Effects Controls, which is going to, It's bad, playful. We go, alright, okay. They can still do the text. Okay. So I'm just going to get that. We might have been taken up as well because you want to show as much of this texture as possible. We've double sick might and click on the stroke to make it even thicker. Now I'll give it. Like I said, it gets a grunge. Is your effects in Track. Matte key. Click and put that on your grunge video to see your text is on Video to click on that and they have it. Now what we're gonna do, because we want to affect it, to give it a little bit three-dimensions, we're going to nest this kubelet text. Maybe Text. Sure, that values down here. So now we've got this isolated on its own currency effects. Then put an M boss. Then that will give you a market about with. So we just got to contrast up. Mix it. Say 77 will give it, bring it back to the original up the relief. The day you can see that coming through. We just change the direction around the lay. We want it left to right. And yes. More contrast and we can just She's put it to see what I'm Slack. Guy. Really varies greatly, Griffin, simple in Premiere probably job second. That is it for now. Let's move on to the next lesson. 10. The Variety of Voice-Over.: Welcome to the next lesson. And here will be looking into VoiceOver. Voiceover, like graphic text or captions. Voiceover is a tool used to relay information. But a voice-over is only as good as this. I liked your edit. There are 100 different ways to deliver a voice-over with your theme or videos or in dictating the tone of the voice. Also, if you are able to use a video artist, you must be mindful of what voice, how they speak, how clear they are, and how the voice and the red relate to the thing, their intonation, and what words are to be punctuated in the script. See what I did there. A carefully crafted script with a great video is just as powerful as any moving image as you saw in the previous lesson with the kinetic topography spots and especially the apple Video, Voice-over combined with just tags can be incredibly captivating. If you watch the apple video again, you will hear and see the combination of visual and audio orderable intonation. These combinations guiding us through the spot and giving resonance to key information for the viewer to remember. Even when writing this, I'm trying to find the quickest and most fluid way to relay the information. Next up, our review classic VoiceOver reads to highlight these points. Now from those examples you saw or heard all delivered on being entertaining and holding your attention. There were straight reads that worked at the strengths of the artist like Guinness, giving the advert weight and gravitas. And there are other reads that softly lead you astray, like the body into the MAC perfume efforts that are being shattered by the classic northern accent. Genius. Then we have just the pure fun of the crusher advert. A flat cat wearing kitten is subverted with the graph northern accent, followed by the beautiful, honest simplicity of the creature comforts at taking real life interviews and characterizing them as animals. All of these ingenious in their own right, but utilize voiceover in a different way. Now for my back catalog, we have two very contrasting reads. First step is to Tom Cruise months spot, which has a smiley, inviting and relatable voice. Age 14, he wanted to be a priest. That's classified as what? Ten years later, he's starting to Top Gun. And what is ME life, if not the pursuit of a dream. An icon of the '80s, '90s, amniotes, adored by women and men, even though I'm straight. Okay, nominated for three academy awards, who's in it? One of the most successful actors of all time. We bring you three classic Tom Cruise movies or it's tough. Top Gun. Had a little chat with the FBI and Vanilla Sky have revealed yourself to Tom Cruise month on Sony Entertainment Television. Now we have a watch season to 60 spot, which delivers a tongue-in-cheek read for a guy's guy channel. Santa Monica, the center of the universe, sun, sand. And who stands guard over the millions of sunset because LA County lifeguards, risking their finely tuned body and for the health and safety of California's. Only the best of the bestest are better at running slow motion. But these outstandingly beautiful people are only the beaches and all the towns and all the world. She hasn't walked into my living. Complex relationships flopped inbox. At the same time. Just how do they relax? About buffers of the buffed bodies that ignites a date. Here on Sony Max. You're welcome. Now, you'll take away from this lesson is to utilize a guide voice-over, which means, yes, you, it's the only way to start. If you don't like the sound of your own voice, get used to it. It will obviously improve your script writing, your timing, and your intonation. If you do or don't have an idea of the time, Just have fun. Experiment, mix it up. Maybe put on an accent. Hello, good afternoon. I might call him from ridiculously blatant promotions, promotion services we do with all be interested in watching BoJack around Sunni max dS, dV channel one to six. So busy. Great. Thank you. Bye-bye. The process is exciting and you'll never know what will come from it. As long as you have a good insights script, you'll find the right time that delivers Bosch. And if you need a Pro to come in and voice for you, you'll have given them the best possible start to nailing it with your guide. Apologies for my terrible accents and depression. That's it for now on VoiceOver. Let's move on to the next lesson. Voiceover. The process is exhorting and you'll never know that by the glassy narrower other lip. And there are other reads that are soft that did did did did come on boys. So 11. Transitions: What, Where & When to Use.: Welcome to the next lesson, and here we are. We're looking into transitions. So let's jump straight in and establish the main transitions used in virtually every edit. Fade up from black is an opening. Fade to black as an ending. We see this all the time used in movie trailers. My shots or sequences fade up and out to black. Make them an offer. Don't ever take sides with anyone against the family. Was not. Dipping in and out of black is a stylistic edit that can show a progression over time. This is similar but less jarring the jump cutting. It can also be used to build tension or to eventually reveal something. Jump cutting can also show a passage of time, it just a little bit quicker without dipping in and out. Black. Dissolves can also do this, but in a gentle or contexts like a dream or a memory. This should be used with caution as you need to balance from one shot to the next, judging the positive and negative space. So if you've got something justified right on your first shot, you don't really want something justified right on your second shot. It needs to be either centered or on the left, justified left of the previous edits match cutting is the most aesthetically pleasing transition. And it seems like magic when it happens. We can use that aesthetic with other elements within the sharp, but also with overlays and flares. Other popular transitions of the wipe vertical, horizontal or diagonal, the push, slide and splits. You'll see these pop up in every Star Wars movie, as well as the iris. This is also used to focus the viewer on a certain point on the screen, more often not seen as an opening or closing shot. Gun. Extra timeline here with a few extra transitions, especially something that I've been using throughout the, throughout the lesson, which is this little bad boy, which is the crash, Crash soon out. And then here we've got this is overlays, an overlay of color. This just zoom in here. So we've got impact lights came on, new city thing. So we're looking for is something that essentially is going to cover the entire screen. And then when you lighten it, or overlaying or screen is essentially going to give you that full coverage over the two shots where they were, they made this one's a little extra one just to give it a little bit light flair without actually lens glaring light flare. And that's it. You've got almost a little wipe in there, which is quite nice as well, that they see how that works. It's just like two lights coming together. That one, which you can do with free, take a look at all these impact lights here that do similar things on a different system all around the frame working slightly differently. So some of these would work. Others. Honesty. Okay. We've got this here which is a white mat. Color flare. This is easy. You just get a white man. Show you why not? Just go neck, color, mattes. Create, select YE, select any color. If you want to change that color, you could be blue, pink, black. Essentially we're looking at fade to white, if you will, but this you can control. We can take the keyframe here, give that real steep incline, or we could do it gradually. Leslie, come on. It comes out bit more steep. So that's your white matter. This is a similar one, but we've actually set up. So depending on the shop, we've actually got a little lens flare in here. So we're focusing on that line. What we've done is we'll just turn this off for seconds. Say that to render, the flare is obviously going to increase in brightness. And take us through to what I've actually done and see on this one, I've just moved it. So you apply it to both clips sets Eclipse But it doesn't matter if you start the flower with a recognized light source, you can change where that flare. So I've gone to where the middle of the street is because it's kinda the focal point. And you get your nice little flare coming out here. Just to help that along, I've added the white matter, which will give it a bit more screen time without actually writing out. That whiteout is just not too overwhelming on those clips. And then staying with a an effect type transitioned. I downloaded days free from somewhere. I think I've got it saved, whatever it is or I will try and pass these on to you. These bad boys who'd era. There, you guys see any comp dot next. So these bad boys just give you a little glitches. That little glitch takes you through. It's just all about finding those Firebase keyframes. And then just heightening that. So that's gone, doesn't go crazy throughout this nice and minimal. And then when you get to that final frame, going mental, and then copy and paste. Or you can copy and paste, copy and then paste effects. And then you've got the wave warp there. Then you'll just go in and to your effects. And then making sure that this first gave this frame here. Let's suppose keyframes are really high, and then everything else is just slowly petered out. And then you go. That is what we've got there. So the main thing about transitions is they're all very well and nice and they look cool. But unless they've got reason to be used, you really shouldn't be using their transition. You've got to have context for your transitions. And this is what it plays into your hands about it getting across what you're trying to say with your edit. What is the meaning of the video? In some instances, these transitions can become part of the steam. There can be a systematic use to them. They could also be symbolic because there was a time that was a lot younger. My puts transitions on everything because I thought it just looked cool. It's great that they look cool, but it can be overwhelming and you can lose the meaning of your edit through using too many transitions. If you just use them for a reason like that, you've got something for a split second and becomes part of the narrative. So like in this shot here, you've got that. You've got the stack there with the light coming through, found a victim. And then you flare through to see who dances, character, Milgram, there you go. So that is for a reason, you're going for one shot. There's a crime scene. There's another crime scene is investigating that is symbolic use of a transition. And it's part of the same as well. There's lots of wipes in here. These wipes off from the actual show. But I used to go from one scene to another to show his his mental state, if you will. These pendulum wipes here. Again, that becomes part of the scene. The pendulum wipes are part of the theme of the show. So that becomes part of the same of telling him his narrative. Today you go. If you can use a transition for a reason, It's a lot better than just using it for the sake of it. Sorry, where? Copy editing, that is it for now on transitions, Let's move on to the next lesson. 12. The Essential Basics of Sound Design & Mixing.: Welcome to the next lesson, and here will be looking into audio design. Audio design, and the application of sound effects isn't just about putting the direct sound in the right place to accompany the visual, although that is quite a lot of it. There were two methods to consider when creating your sound bed for your video. Digested sound and non-diegetic sound. Diegetic sound is what you would expect from the world you're experiencing. The most obvious being speech. People talk, cat's meow, dogs, bark, birds, tweet, etc. And then you can also steer the viewer to experiments and motion by using non-diegetic sound. Sound that is not of the world you're watching. This is atmospheric or reactive sound, a comedy paying for an idea or realization. Anomalous drone in a scary house, a wash when I punches thrown. You get the idea. Now are four examples with very obvious diegetic and non-diegetic sound. First up is a compilation of Edgar Wright's fast cuts, which he uses in his cornetto trilogy of Shaun of the Dead, Hot Fuzz and the world's end classics. This is to show otherwise boring passages of time in a colon stylistic way. They're all edited together in this video, which is annoying, but you'll get the idea. Even if you haven't seen the films. These are very quick, crisp diegetic sound effects. And some instances non-diegetic sound is there to heighten the tone. The nearly always with a core PCE track to complement the scene. Next is the hot first trailer, which again reiterate the great combination of both sets of sound design elements. The inception teaser trailer is purely soundtrack and atmospheric sound. Very popular idea for blockbuster teaser trailers. Of which the next two examples excel in the original Alien teaser from 1979 and the Prometheus teaser. The two films are 33 years apart in creation, but the one other sound trait that they share is a sound motif which resembles an alarm or an unworldly screamed. You have your two sound design areas. The following examples from my work have great sound design and it Room, which won a World silver prime axis or audio design. Jodie Foster in panic room on the Sony Entertainment Television. Saving Private Ryan and Full Metal Jacket, which have very similar audio desired traits. Look out to the beach with loading buffer. Look into reveal the lives of men dropped over, they splash, droplet, dead stones. Silences are only comprise whales mode. The fear drives you want dodging bullets and bombs, leaving friends for debt, which is crying for mom's womb, blasted bomb. Can I focus to fight against an enemy who also think they'd be right. Metal Jacket. And work his day, the Mission Impossible weekend. Workers Day, Mission Impossible. We can start Saturday the 30th of April chromate or less Soni Channel and let you know where I'm going and won't be on holiday You've earned it. Now, jump on a timeline to take you through combining sound effects to create more impactful diegetic sound, great non-diegetic sound, and why you can use them. Show you some of these sound effects. See what you can take into your next edits. Really simple, really basic. Let's crack on with this one. So just go in and have a look at what we got here. So that's just pressing F to C. What we've used, this bad boy is this one here. You just use, you just go into halfway getting that to the point of the change. So this is symbol up to there. Then we'll have a look at this. This is a base hit that's been a lot of reverb on it. Then this one is little suck back. And this one is again synoptic sub drop, which is the heavier base. Yeah. Let me combine the two. And obviously you've got sound effects for the transitions as well. It's just a different take on this. Slightly different What's in the same way. So obviously, we've got to diegetic sound effects. Obviously we've got two diegetic sound effects. We've got the traffic, which is some justices city traffic, forest. Let's do any birds. And then we've got our wash or rise wash, which works. Then we've got low and high. Just look up base drop. Now let's go lastly, I want to, so what we need to do with this is obviously drop, drop power of sine of x. Now digested sound, we've got a minus nine. Same as the forest, a minus nine. Let's see how that works. That's not too bad. You can see these peaking when she's actually an edit, which I'll show you in a little bit. You will need to balance that out with the rest of your music and any kind of dialogue that you might have. Heavy guys are working on. This server here, which is extremely loud. This is the entire thing. Doing lots of different bits and bobs. Just to this part back because it seemed to be a bit more appropriate. So we're going to drop that again, minus nine. So we go ahead. This is a horror, horror rise. And then we've got a cinematic hits. Allowed to these bad boys. I mean, you can literally, oops, wrong one. You can muck about with these all day long. So I can just option, drag, drop that one and that sounds like or just undo that out. Well, this sounds like drag-and-drop, guy. Not too bad. We got a little bit more technical. This is our effects Transition that we had in the last lesson. This is, again, sounds a bit Electrical. We've got the city. So we're going to do these at the same time, minus six this time. We've got our glitches here. So we're literally placing those on the timeline. At the same point. We see them just as they're happening. Sometimes a frame before works nicely because you're just preempting that. We've got this, What's this here? Transform bought almost electrical mechanical sound. We've got the reverse symbol again with the with the big, basically hits. And we've got a different version of that here. She's a bit more nice little pink on it. So what we're gonna do is just make these a little bit quieter, actually. Too bad. Of course. You can also add some effects to these if you wish. It's not going to my audio setup by this S x reverb. A little bit heavier. We're going to isolate this so we can just hear what we're doing. Too much reverb and you lose the sound effect. So we won't ring. Okay. This slide values to that we worked on. It's not as heavy as it was previously. Just gives you a dynamic. See you go, you've got all these different sound effects. These are great for sort of drama stuff and action is just about experimentation. You can expect to go in and know how you want anything to sound or anything to work. And unless she willing to experiment. This is how I found out about it. It helps you have your gotos after a while, you know how it's gonna work for you in your edit. Yeah, that's all. The standard sound effects that I will go to. You'll have some kind of ambient sound that can set a tone which is non-diegetic. Then you've got your diegetic sounds. Then you've got these non diabetics as well, your sym symbol. And then you hit so many of these. Going into this for your entertainment is maybe in an area. Again. I'm just going to show you real quick, easy way to mix. Basically. We've got our track here. So I've got that on -15 that I tried to keep to because it's just background sound. Then obviously on here, you want to add zeros, zero dB. Now, because we've got transition, we've got some audio, some dialogue coming up here. Press P on your keyboard to get your pen tool. And what we're gonna do is we're going to put a little keyframe that and a little keyframe there. Now, what we're going to now do is I'm going to go to here. When I've finished talking and we're going to do that. We've got down to minus ten here. Thereabouts doesn't really matter. And you'll hear the difference. That's why out you come back in. That is essentially a mixin. So what we're aiming for is one either side, you're only doing literally six frames. We're gonna go back up. Is this on zero is already. Then we're going to come to the end of this sequence. Here are two frames in again, our keyframes. So we're basically on the white backup dancer 101051. That needs to be in the middle of the incline because that is your, your music coming up in the mix as you're finishing speaking. So this adolescence voice-over. So that's just gone to the back there, nice and quiet and comes back in the glasses. There are other there are other reads that are soft. Did, did, did, did come on, boys. So also going in around in this dialogue, you've got to try and clip this as well. So you are again taken it at the end, dropping it. That's to get rid of any breaths. Nice and neat as a big breath here. I remember rightly. Let's get rid of that breath. I mean, I know money-market about this. But if it's a proper read, you want to get rid of any sort of even that will get rid of breath and make it nice and smooth water. So there you go. Okay, so that's your real basic mix. That's a lot of your butt. Your basic diegetic and non-diegetic sound effects. Go forth, have fun. Experiment. Just very, very satisfying. So have fun. That is it for now on audio design. Let's move on to the next lesson. 13. SuperImposition: Making the Most of Merging Imagery.: Welcome to the next lesson. And here where we're looking into superimposition. Superimposition is a dissolve transition between two or more shots to briefly create a new shot. This creates a connection between the two shots, magnifying the tone. In other instances, it's a great way to overlay more shots, but beware of over complicating the frame. Otherwise, you're liable to lose the viewer's attention. With some house looking video collage that's lost all its meaning. To start you off on super imposition, I have two examples from Francis Ford Coppola. First step is the Godfather Part two. Now, I trolled through YouTube for the actual clip, but alas, no dice. So here is the director's commentary over stills from the film. You can imagine how it works as microcolonies put in his kid to bed, the shop does a hole through to his father in 1917 watching his kid. This punctuates the family values passed from veto on to Michael. And they're similar moral dilemmas as to protecting them. Next, we have the opening to Apocalypse. Now, my two distinct shots interact. One is it The Jungle own file with helicopters flying around, and the second is of Martin Chines, captain Willard motionless embed. This implies in remembering the horrors of war, establishing the mindset of the protagonist. And this sets the viewer up for what is to come. I love using superimposition and experimented with layering up shots, playing with positive and negative spaces to create a fuller, richer frame. For me, there an aesthetically pleasing narrative tool, as well as the type of transition. The best examples of where I've achieved this r in the following three series promo spots and to music videos. First RPA two of the series, probably most, which are both very similar in tone and theme. Very dark and fragmented, dealing with the price of fame and the excess is that many succumb to. Both use J and L cuts with the dialogue from there shows these set up opportunities for lots of overlaying of shots within the positive and negative areas. By dissolving the shots from left to right and back again. We hit the key words with visuals making them more powerful. Here our celebrity mysteries and medical month from my days is solely my mission. Examined the evidence, the theories, and hopefully do what no one else could solve. The unsolvable suicide or cold blooded money, fame and power fan, the flames of these infamous story horse did not look like Elvis. They killed runoff in some money. Handle the original and new evidence, and come to your own conclusion on these celebrity mysteries. Wednesday 6th of gene from 755 here on this Soni Channel. Regularly from that Michael Jackson has been outside today. Smith had dogs talking about March in her life. The whole thing was I put some sexy at close range. This might put you to sleep, that you might never wake up. The kiddos behavior was escalated. They will up the ante with every carrying out every day. You're taking too many bills, too much medication. We have a drug overdose here. Especially my state treadmill care, matters of life and death, will play tomorrow, be lethal interaction of drugs. The doctor's job is to what's in the best interests of the patient. Dr. Feelgood in death row doctors. The welcome material reality check on citizens over and medical Thursday for the sodium channel. Next we have Badlands, Texas. Now, although tonally, it's very similar. This isn't as instantly appealing with no celebrities. So this had to be more about building the tone of the show through the dialogue and the visuals was tax free. But what do you think for one thing taken from you? Just as fast as your life, February night, you'd have in a warmer world. Just found dead outside of one of his employees would have fishbowl community or something happens. And it happens, everybody nobody would it have are drained. It was this before and you probably need immediate justice and battery pack it on your bill. That's found out that he and his family were staying here in West Texas. We will prove you to be guilt or lighter Had to face the music. There's nowhere to run. Their lands. Texas. Lot of August. Here. Within the middle of the spot, we see the main characters dissolving in and out over a surreal backdrop. A quick insert is overlaid of a police officer and police tape, which leads into an overlay of the officer talking in the car whilst underneath is his police car driving through the shots. We've now given him context whilst his dialogue sets up the next series of shots. Now I know these are quite intense examples of superimposition. So you can sit back and relax and watch these music videos, which are a little less serious, but it's still narratively driven. These are lay of the land and eyes wide shot, both by the shop window. Still none the wiser. Here are some famous examples for you to watch from Indiana Jones traveling around the world, a classic narrative tool from the early years of cinema. And these examples from Highlander are all great transitions. One simple dissolve and too much dissolves. Okay, So I'm going to take you through a couple of superimposition instances on a timeline just to show you the possibilities that are available to you. Here's our timeline and familiar setups here already. I'm just going to show you with a couple of days the different type of transition to a super imposition transition. Okay, here we go. There we go. Really nice and simple. It's just, you're creating just a different image that diamonds there. Speed going round the iris. And then the speed is introducing or rabbit. Really simple, but quite effective. This is a bit of a match cut from one lines of sight type sharp. So another lines of sight when you transition that everything is focused on that red red coats. Okay. Next one, more lines or site. We've got the same kind of just did not reverse the bit narrower. We just created focal point there. The focal point is down here. Focal point change there. Obviously the purple hair was the IRS, but you're drawn into the middle of that. And in the middle of that, we get our rabbit man. Essentially the kind of match cuts, if you will. I mean, there's so many different combinations of what you can do. This just the fun of finding out what works. Okay, so these are just all set up. This is just really simple. This is from music video that you would have seen previously. This is from Netherland. So here's the clip. Okay, so what the lyrics were hitting the lyrics stars above for our love, our rollout and love. So let's take away these layers. Here. You go. Some graphical things going on. Really simple. Just zoom in a bit. Okay, So we got a girl here. Let's just, let's just flopped are in this shot just to flop, I added flapper. Just flip. Horizontal flip. How I see it now it's possibly because of the previous shot. She was someone's looking the other way. I'll just work aesthetically in terms of left to right and right to left. Then here. Let's just kill that layer. That's your K to enable and disable a layer or clip. That. It's just a straight crop. Finding the best place. There's a stars above. And we overlay where we are related or width. We've done lightened, simple and beautiful That shot as you got that lovely green hues of the Aurora Borealis kicking in. And obviously when you lighten the black, just as lovely things, just all the dark. Obviously I never goes through, but this just really, really lovely. And then all this stuff is just adding more texture to it. I'll show you what one of these doesn't mean. It's taught that it's just a real simple graphical element. I put those together, stagger them, change their size. Have it. And I think the zone and this difference. Difference. Just having fun, just playing with things, just working out how elements can work in our favor. Then you've got this tunnel effect with the animated centered lines there with the hearts, all focusing on stars above. Really simple, but really effective. I really love that shot. Again, another sequence from that music video. Play it for you. Okay, We've got a few things that we're trying to hit their lay of the land. Shifted our hands meaning of life. We've got three phrases that we're trying to hit. Land. The land is this classic texts layer, isn't it? Yeah, is this text layer? I can. So that's a really simple texts layer where we've just manipulated the opacity. I've looked at that. We've just talked about with the opacity there. Let's just kill all these. Have a look at that. So this original sharp, looked like this. We just moved it to the side. We use that as our center point to flip it. Flip, horizontal, flip, stop there. And then we've taken this bad boy. That on an overlay, I believe I overlay, which is my favorite mode overlay, just so many lovely things with color. When that, when that actually comes through, you've got the light coming through a bit more vibrantly on the works really nicely. We've got that. That's just again, just little crop. It's just seeing that on his Todd. I mean, even that works nicely on a slide. But you add that to that. You're saying twice as many things. Meaning of life. Simple but effective. Tree growing. Just find the right point to crop it, which we did here, right across the horizon line there. And that worked. Then was it an overlay again? I think it was messy. It was a guy overlay, the king of mode. And that gives you your sequence. That's quite harsh cut there, but it does kinda work in terms of lacquer. An idea flashing through, I think it hits the bay as well. So there you go, That's that, right. Two more examples, really, really simple. Now this, this I use on, well, I used to use quite a lot. And I used to do a lot for jump cutting. It works better on sort of action sequences, something where there's a lot happening in the frame. This I've just used to here. So we'll just She's got this girl here. And what we've done is just zoom into this. I've sped up this clip, so I've duplicated that. Thus League, which is a option, drag up onto the timeline, then sped it up by 400 per cent. And it gives you this effect. She pays, appears little. Dissolve this out of the Dark, which is quite nice, but she ends up buying on where she would end here. We then just taking that up a bit, but that is the kind of effect. So you're just giving some kind of, I mean, in the context, if you've got some kind of weird music and the quiet spirit key that would be quite disconcerting. You could do it in an economy contexts is just about the tone that you have going. So if you've got sound effects going in there, you can have some kind of weird drone. These things change the complexity of what you're doing and the tone of what you're doing. Again, watch this one. I love doing this as well. Just a must-have four frames, 12344 frame overhang. This sharp sharp. Two separate shots. One follows the other. But again, this is, we look at this thousands per cent. These are all thousand per cent of life. Thousand per cent, thousand per cent. And this here is just a little jump cut. I've just taken this section out here. I would have just had that up there, caught that, and then gone back two frames, three frames, two frames. And that works. Lastly, just have fun playing with your marriage, your screens, your lightens. You can come up with some amazing you're looking contents, right? Have fun. That is it for now on superimposition. Let's move on to the next lesson. 14. Colour Correction & Grading: The Context of Colour.: Welcome to the next lesson, and here will be looking into color correction and grading. For many editors, this is an area of fear and apprehension, but you shouldn't feel dread. This is often one of the elements of creativity that brings in edits together. Even if it's a tweak of contrast, color or saturation. Color correction is when you adjust your shots to look as natural as possible. Color correcting to the way they would look to the naked eye, grading is a stylistic choice. Theme, branding or emotion. Purpose of your video will dictate your grading choices. Here are a few obvious but effective grading choices from my back catalog. First up is the Godfather trilogy, highlighting violence, rage, and blood was not what I want. Full Metal Jacket, which is purely brown related. Full metal jacket. Halloween movies, the association with the evil, which is snakes, et cetera. Guest with them. Let's take heed of his Brian. He's got except in the light. I'm using to Jerry and KitKat, the cold stark reality of relentless hard work. They're on their way and jump to. We have to work harder than everyone else. The hunger turned into fire. To work harder. To go faster. She's got to be disciplined. If you switch to my YouTube play this now, there are some great examples of color grades that reflect their films for various reasons. Plus a great video by sin effects with their ten best Cinematic Color Grades. Enjoy. Only God forgives, although very reflective of real life, it accentuates the strong neon's and saturated nightlife. Mad Max Fury Road does very much the same, but during the blazing daytime in a post-apocalyptic desert. But then without the gaze of sunlight, where either burn in loud reds, oranges with flashes of light in a deadly tornado, or frozen quietly and ominous white and blue hues in the dead of night. Since it is a stylistic choice reflective of the graphic novel is based upon. Here flashes of color represent violence, anger in certain aspects of certain characters. The color grading for the matrix consciously reflects the computer green hue of the computer code seen on its opening. This is throughout the movie. Lastly, we have the Grand Budapest Hotel of wedge, like Wes Anderson's other movies. It shares the same color sensibilities. Most of his work seems to live in a pastel ask retro era from the Royal Tanenbaum's to the most recent asteroid city, making him one of the most unique filmmakers around. Time for a timeline to show you a few quick and easy ideas for color correction and grading. Beyond these though, once again, just play around with the luma color or try out the Lumetri speed look presets. Here we go with our color correction, grading timeline. I guess. What would go here is the original. I'm just going to mute me. Laughter, listen to me. So okay. This is our original blue. And that's what I grade it too. So what that entails is, I'll show you on this. I'm here at your Lumetri Color file, basic correction, creative curves, color wheels, HSL, secondary. We're going to look at is these two mainly curves is my go-to. First and foremost, I was just going to turn these two off. And this is what the original see what it looks like without cars and then with curves. Curves. Basically, it's just affecting your lights and your dark within your clip So this is about where I like to be. Fantastic. What am I looking like with and without? And then absolutely basic correction. We've got. Saturation, exposure contrast highlights, shadows, whites and blacks. I like to still have a little bit of detail, but I'm looking for this Chris really vibrant, vibrant look to my footage. You see, I mean, it's very for what we're doing here. I just want it to be vibrant and cool and as inspiring. I suppose. That's why it's so tend to go for when I'm doing stuff like this. So that is those two little color wheel here as well. Like LOL, if you look, just adds a little extra blades on the highlights. We can get rid of that. Double-click on the icon. And that's all you're, then you can go down Jimmy John's and do this. Adds more, more blues around the mid times. We'll click, Get rid of that. You see shadows. I am again. Double-click. Go. Do the reds if you'd like. Now I'm in ****. That will pay full. These things can be manipulated to get the grading that you aren't. Moving on. This is something we used to do back in the day. Who's knocking out two or three times a day? That she used to take 60, 91, 22nd movie trailers. Old ones usually makes every second part of most out of them. A quick way of grading nose was to take a white matte layer. Invert the channel on it. You've got channel. I can drop that on. A bit different when we used to use Final Cut Pro. But it's kinda the same principle. So essentially, that's what effects they all just messing about. Finding what works best for us. There's 100% on the RGB. That's what that looks like. The original footage. But that answer 50. It's not too bad. You guys here of acid that say, that's not a bad. Washed out for my liking. Still pretty good. And that's just just overlaying something that's not going into Lumetri Color and staffing around, pulling this up and down, trying to find what works nicely. And you can make about walkabout. See what takes your fancy. And that's quite nice in apocalyptic that, and that is really cool. But all these things, you have to have a reasoning to do these things. Like I said on so many other transition in design and new graphics. If you could put a reason behind why you do all these elements. I'm just going to make it more memorable, more appealing. So this is the quick color correction or grade, but this is just a quick color correction. By going into here, maybe do this two ways. I'm going to show you how to do a quick GOT. We've got tints in color correction. I support automatically backup. That's your bulk standard. Let's take that off. Lumetri color. And we can do that also, particularly in saturation down. Now that looks a bit cooler. To be honest. It's pretty tight. Nice. You see you can see the difference. So as you can. So you can go lap. She's not preferable. Ideally, you're changing the lighter color to keep something as a code generator. Unless it's pretty close to how I did The Godfather. You can also do this annually, which we call us and get us back into your calves. Your read, write up what we were doing anyway for our reds. And then let us take a temperature a little bit. Since that are still red. Extent nice blacks, nice and tight. Okay, gotcha. Grains. That down before it starts hitting, starts plateauing. Blues will say, same thing. Guy is pretty much your godfather treatment that so you can either do it limits your color. Codes him. Bicycle a very different look. So obviously you do tin and then affects it through Lumetri Color. Give yourself more scope, detail in the face and everything. So there you go. That is how you would do. You guys have fun, experiment, enjoy it. That is it for now on color correction and grading, join me for the course conclusion 15. Creative Video Editing: Course Conclusion: Congratulations, You made it to the end. I know it was a bit of a director's cut more than a theatrical release, but you did amazing to stick with it and absorbed so much. So now you should have all you need to create a great, engaging, informative, and memorable video. I feel pretty excited about it. They're in it to again and again. And again. We've learned how to be organized and get our projects in order to make being creative a fluid process in music and our timelines, we've looked at creating structure to make creativity easier. Script writing, we've looked at how to be informative, as well as being entertaining via thematic choices based upon the aim of the video on an offbeat cutting helps our edits to relate with the music, drawing the viewer's eye and propelling your visual narrative. This, when combined with any of the edits, solidify visual communication. Now, leading the viewer, you now know how, where and when to use graphic texts and captions to strengthen your messaging. Which can be compounded by the use of words or voice-over, an equally powerful element as any graphic or visual. Even when it sings, rhymes or neurites, and just get used to your own voice. We've seen how transitions are simple edits or narrative pathways by giving the meaning. And now you're again guiding the viewer's eye and thoughts. Audio design gives our edit step, definition innovation, bringing the visuals to life and affecting the audience consciously and subconsciously. With superimposition, we can transition from shot to shot or use it as a narrative tool, experimenting, overlaying images to create new meaning or connections. And lastly, in color correction in grading, we now know how to bring up this thing together, whether through theme or just being realistic. Now your main takeaway is this. Now with all this new knowledge, you have the tools to build with preconceived ideas of what works in being creative. Experimentation and an open mind to anything will make you a better creative. You should have absorbed everything in the projects and resources, but don't stop there. By days for creativity are literally everywhere. Whether you're watching, reading, listening are dreaming. If you think something is cool, right it down, hoard your ideas and then apply them to your edits. Even if they don't work this time, they might sometime down the road, wants to think outside the box. Don't limit yourself by being in the box in the first place. So don't forget to upload your project edit to the project gallery. There'll be precious. We all learn from feedback and by being better in the next edit. I've certainly learned a lot by creating this course. You wouldn't believe the amount of WIP versions I went through. Just to get here. Remember, editing is a language and you now know all the vowels and a fair few letters of the alphabet. But there is so much more. If you like this course, please drop me a review and alike. Follow me and I'll be back with some more. Sing, happy, creative editing.