Transcripts
1. DJI Class Trailer: Dji is not only most popular name in aerial photography, there drones capture the most professional quality footage, both all the complex settings and interfaces flying a DJI can be a little challenging. That's where this class comes in, whether you're taking dynamic shots and landscapes are moving subjects. This course is going to walk you through everything you need to know to master drone photography will start off by talking about the specs of the camera, the body of the drone and the controller will dive in DPT every single menu setting to allow you to capture the best image possible. We'll go over all of DJs pre-programmed cinematic quick shots. From there we'll talk about that technique for flying the drone, planning the shoot, getting proper exposure, finding color temperature. We'll cover every shot you could possibly get diving deep into cinematic film theory. This analyses dynamic shots, adding foreground elements to your footage, and even adjusting frame rates so you can slow things down and post finally will go into color correction and the export settings you need to use to get the best out of your image. The DJI many too, is a beautiful little drone that captures incredible footage, but it does have a bit of a learning curve. This class takes all that away and allows you to dive in headfirst, getting the best aerial footage you possibly can.
2. the DJI Mini 2 body: Okay, so this is the body of the mini two here. It is super compact. And as you can see compared to my hand, I mean, it is a very small drone, which is great. And so first thing you wanna do is you want to unfold the drone. And when you unfold it, you always wanna make sure that you unfold the front arms first. Otherwise, when the back arms come out, it gets trapped and you can't do that. So you fold the front arms first and then the back arms. You that on both sides from arms first and then back arms. So that is what our many looks like when she's all unfolded. And as you can see, it has the ultralight 249 grams there on the side. So just a few things about the body of the drone. On the back here, you have a few important things. You have your USB-C to charge the Jerome, your MicroSD slot here for your memory cards. And then when you open this little hatch, there's your battery right there. So you can charge the battery directly into the drone If you don't have any other way to charge it. So that's the back of the drone. On the bottom here, we have the power button and then we have a few vents and then some sensors as well. You also have a flashing light here at the bottom, on the end here. And so to power up the drone, like all DJI products you push once, see the battery life, we're about halfway and then you'd hold it down to power up entirely. Now you also have a guard for your camera, for your gimble here, up on the front. And this is very important to keep on whenever you possibly can. When you fly, you will take this off. Otherwise you will get an error message. But when you're storing it, always have it on and always protects the lens. Because when you don't have it on your lens can be pretty vulnerable to scratches, especially when you don't have any sort of Indie or CP filters to protect your lens. So I do recommend buying those filters. And even if you don't think that they do too much for your aesthetic, It's always good to protect your lens and have just another layer in front your lands. Because if you crash this drone and you don't have any protection for your lens, you could easily scratch up the lens. And that's really going to damage your image and really going to make you have to buy a whole new drone. So instead, it's a good idea to drop 40 or 50 bucks on a few filters that you can always have in front of your lens so you don't scratch that up.
3. Mavic Air / Mini 2 Controller: Okay, so this is your DJI controller. I'm just gonna go over all of its components are a quick and starting off, you actually have the joysticks down here on the bottom that you're going to have to take out and screw in. It seems a little awkward the first couple times you do this. But it does really come in handy when it comes to packing your controller up in your bag. And so doing this every single time doesn't take a lot of time. Not too bad. So that's the first step right there. And then the other buttons include This is a function button up here on the top left. And that function button you can set to be anything you want. A good one for it to be set on is the setting that allows the gimble to look straight down just to see where you are in the sky. That helps a lot for landing. And then you can double press it and you can change that function as well. This button right here is very important. This is basically your panic button. So if ever the drone is doing something, and especially when it's doing one of its preprogrammed routes, if you press it once, it'll pause completely in the sky. So because this drone doesn't have sensors on the side, it is important that you are careful of where you're flying. So if you think you may be in harm's way, you can push it once and it'll automatically hover the sky. If you hold it, it will return to the base and so present once it pauses, Hold it down, it returns to home. And that's another thing that you want to do in case the drone loses connection and you're concerned that it might be lost. This guy in the middle right here is how you select between Sydney normal and Sport mode. I typically only do sport mode when I'm trying to get to a part of the location pretty fast. It can go to speeds over 30 miles an hour. So you can quickly get to where you need to be going. When you film and Sport mode, occasionally the Gimbal will be kind of jerky and so you really don't get that much usable footage out of it. Now if you are doing something where you're trying to show that the speed of the drones flying low and straightforward. As long as you're not turning or tilting or doing too many movements at once, sometimes you can get a pretty good effect out of it. Now the cinema mode, I like to make it as smooth as humanly possible. And the cinema mode I usually use for when I'm flying closer to subjects. And I need to be a little bit more exact. And I am a little concerned about running into things, so he has more control and the normal is kind of your standard out of the box settings. Now you can't go in to the controls and adjust the sensitivity of all of those so that it is important to set it to how you like it. Now this is the power button. If you press it once, it shows you your battery life so that you can see right now minds about halfway full. And if you push it once and then hold it, it'll go ahead and power up. And that's how you power up all DJI products. And same thing when you are pairing it down, push it once and then hold it, and it will power down. Now this button here on the right side, that's too quickly switch between photos and videos. And so it quickly switches between your settings without you having to go in on the screen and start clicking around. Now on the top here we have some pretty important settings. This is your tilt controls, tilting the camera up or down. And then this right here is your recording or taking a picture. So it has the the trigger controls there for recording or taking a picture. Now, up top right here, this is actually where you're going to place your phone. It's also a doubles as the antenna, which is really nice. So if you're flying this, even if you're not using your phone, if you're using an attached iPad or something that you're not using controls, you still want to raise this up. So it gets good reception. And then hidden down here, you have your USB-C or your lightning cables for you to plug into your phone. And then at the bottom here, you have your USB-C to charge the controller. And that's pretty much everything on the controller itself.
4. the DJI Fly App: Okay, let's take a look at the DJI app. And so to open it up, we can either click on the ad app icon or if we have our cable plugged in, we can just power on our controller. So a few things to know about the app. In the top left corner is a little bit of geography information and shows you where you are and gives you information about the flying zones that you're able to do in that area. The fly spots tab shows you interesting spots that are nearby that you might want to capture. The top-right academy since U2 DJI site where they have some helpful tutorial information. And then the bottom-left is more accustomed to you so you can check out your album. It has photos and video from the device that you're using to control your controller. And it also has the photos and videos taken from the aircraft and my drone is currently powered off. So that's why we're not seeing anything here. The sky pixel is kind of a social media experience that DJI uses. And then in the bottom right, we can connect our aircraft. So if we have not done that yet, it will auto connect. If your aircraft is powered up. But if you haven't done that yet, you'll need to select between the mini two or the Er2. From there you want to unfold your arms, follow the directions. And then you can connect your device.
5. Supplementary Gear: Let's talk about all the ancillary gear that you probably need with your drone. Now if you're not buying the fly more comma, which I do recommend they had because you're probably going to have to buy these things anyway. Definitely spend the extra $150 to get these things. But if you're not, if you just have the base drone and controller, here's a few things that you need. Number one, you need more batteries and you need your charging pack. Now the batteries in this drone really only last about 25 minutes or so. And that goes very fast when you're in the air. And the frustrating part is they take over an hour, hour and a half to charge. So if you're out in the field and you want to get some drone footage and you know, you only have the 20-25 minutes if you capture it if something else comes up, that's interesting that you wanna use your drone for, you're out of luck. So I definitely recommend getting at least one extra battery probably too. And that charging pack, because the charging pack is really convenient while you're flying a drone that can be charging your other batteries. Now it's also important to get a very fast microSD card. The great thing about these drones, especially the DJI of many too, is that it shoots a 100 megabytes per second. That means the quality of your image is going to be great, but you need an SD card that can right at that speed. The vast majority of microSD cards, even though they'll say higher than a 100, they're typically talking about the read speed, not the right speed. And you want to get a card with right speed of over a 100 megabytes per second. So all those cards, you look at, the SanDisk and the other brands, they promote the read speed because the read speed is obviously higher than the right speed. And when it comes to marketing, that looks better. Now these cards are a little bit more expensive, but they will get you better footage. The card that I personally use is from Belkin Dell can makes professional cards of the size, but I'm looking for the MicroSD THC, and it's important, UHS to v 90. So the v A9 is what you want to be searching for. So del can devices v A9 memory card. It'd be great to get 64 gigs if you want to save a little bit of money, the 32 will give you a couple hours of footage. But if you find a car that's UHS version one or even a UHS version two, V6, that's not going to work for you. You want the UHS to v 90. Now the B19 there will record up to speeds of over a 150 megabytes, which is clearly higher than a 100 that your drone can record. Another thing to pick up are some filters for your lens. There are indie filters and their pl filters. Now this is primarily for either video or long exposure photography. But ND filters actually block light that comes into your lens. And because of this, you can achieve a shutter speed that is more pleasing to the eye. The rule of thumb for video is that the shutter speed should be twice your frame rate. So that means if you're shooting at 30 frames a second, your shutter speed should be 60. Now this is not the case with the drones. The shutter speed is very high because we're getting in a lot of light. We have a low ISO, But we can't control the aperture. Now a general rule of thumb for ND Is that an indie of 16 is pretty good on a bright sunny day. Anything less than that is good for cloudy days or around evening or anything like that. And anything higher than that is maybe if you're on ski slopes or something like that where there's a lot of reflection as well. Anything over 16 might be good there, but I usually keep either a 16 or an eight on my lens. The PAL filters are polarizing filters, and this allows you to capture a more pleasing sky. It also takes some reflection off of lakes and things like that. Now, one of the most important reasons for these filters are just to protect your lens. So even if you have a very low ND filter on your lens at all times, it adds a second layer of glass that if anything were to happen to your drone, if it were to fall or run into trees or anything like that, you have another layer so you're not going to scratch the lens itself. Because if you scratch that lens, you might as well get a neutron. So the brand of the i recommend for these filters are free well, they make very good professional quality filters. The color cast on them is much better than it is on other filters. They have a few packs. They have one for very bright days, they have one for not so bright days. And they have a large pack for all of them. Again, I always let as 16 or eight sit on my lens. If you do a lot of photography as well as video, maybe just let that ate live there. The 16 is going to be better for video, but might impede some photography. You also want to have a light on your drone If you ever, you do any night flying, this is something you're actually supposed to have on your drone for regulation purposes. And then finally, if you want to use an iPad instead of just your phone, you can get an iPad holder for your controller. And so you have a bigger screen to watch while you're flying a drone. Looking at your footage through an iPad versus a cell phone is a big difference. That's all the supplementary gear I recommend for the drone definitely helps you save a little bit of time and makes your footage look even better.
6. Menu - Safety Settings: So let's dive into our menu really quick. So on the top right of the screen, the little three dots, we click on that and we see our menu. And let's go ahead and start off with the safety sub-menu. So as you can see, we start off with flight protection, and it limits our max altitude. Now here in North America, the max altitude that a, an, an unmanned aircraft can fly is only 400 feet. Above 400 feet, you need some sort of government sign off. And so I definitely advise you keeping that under 400. The DJI Mini to does allow you to overwrite that, but it does tell you if you get in trouble, it's on you. So 400 feet honestly is really high and I don't often really see myself in situations where I wish I was hire. Now obviously, if you're around New York City and you have all those giant skyscrapers, it might be tempting to go a little higher, but you definitely want to keep that under 400 feet so you're abiding by all the local laws. Next you have max distance, and that's distance away from the home point that your drone can travel. The optical link on this drone is very good. It's a huge step up from the original one. And you can actually fly it up to six miles and still get a video transmission to your phone, which is pretty crazy. And now I've seen videos on YouTube of people flying six miles. However, I don't think you have the battery life to fly six miles and come back. And so the most I've ever seen anyone do successfully there and back is about 3.5 or four miles. Now, one miles about 5300 feet. So maybe the max distance, you should put it maybe three miles or so. I like to just keep my max distance and no limit, but I'm always checking the battery to make sure that I haven't gotten myself in a situation where I don't have enough battery to get back home. The auto RTH or return to home altitude. Basically, whenever I'm in a situation where the camera loses connection or if I actually tap returned home in the settings, my drone will fly to this altitude before coming back to the home point. Now this is really valuable because some drones don't have sensors on the side. And so if they fly up to this height, the theory is that they won't be running into anything when they come back home. So you definitely want to put that above a 100 feet or so. You never know how tall some power lines are. And so there's really no downside to keeping that on the higher end. So I recommend doing that for the auto return to home altitude. Under that, you can update your home point. If you have moved and the drone has not registered that you can go ahead and update the home point. And then you can also calibrate some of your sensors. This is if you're having issues with navigation or if you're having issues with controls. Now the campus has a little bit more to do with the navigation tools where your drone is being seen on a map. And you can press that blue calibrate to go ahead and calibrate that. And then the IMU normal, that stands for inertial measurement units. And that's actually how the drone, the little sensors on it registers how it's turning, how it's moving, and how it's adjusting. And so if you have issues with how the drone is actually flying, the IMU is something that you might want to calibrate. From there you can find your battery info and it tells you how charged your battery is, as well as how many flights you've been on and certain information like that. The unlocked GEO zone is a fun one if you actually have certain credentials to allow you to fly within certain registered zones, that's where you do it here. I do not have any of those correct credentials, so that tab is useless for me. From there, you can look at your advanced safety settings and it tells you what to do in case of emergency. So the first one is when your signal is lost, Do you want the drone to return to home to descend straight down slowly? Or do you want it to hover in place? And 95% of the time, I really think returned to home is the right answer. If you're in a very controlled space and you're doing very small movements where the drone is meters away from you, then I'm sure hover or descend would be fine. But if you're doing traditional drone photography where you are in an open space and the drone might be a mile away. You definitely want it to be returning to Home. And then also there's an emergency propeller stop. And that's just when the propeller is completely stop and it'll fall from the sky. And to do this, I always, always, always keep this on emergency only. Because if you switch to the other setting, it will actually allow you, as you can see in the little diagram, when you pull the two joysticks, either together or down or away and down, that's the emergency propeller stop. So I like to do dynamic shots where my drone is moving one way and tilting another, turning another. And I'm nervous that if I did not have this on emergency only, then I would trigger that emergency only and it would fall. So just make sure that this is on emergency only. So you don't find yourself in that situation. And then there's also the payload mode. I've seen people on YouTube attach 360 cameras to the bottom of their drone. Apparently this drone is actually pretty powerful and can fly somewhat, somewhat heavy objects. So if you do want to try and attach something to the bottom of the drone, you know, it's probably not manufacturer recommended, but it is possible with some objects, you can turn on payload mode. And it basically gives your drone a heads up that it's going to weigh a little bit more than it should.
7. Menu - Gimbal Settings: Let's go over to the Control tab. And right off the bat we see we can choose between units, whether that's metric or imperial. And then even a metric you can choose between meters or kilometers. Now there's a light on the front of the drone. And you can change the setting on that, either to breathing, to solid or to rainbow. And then from there you can choose the colors as well. So it's kinda nice you get to customize your drone a little bit. Next we have the Gimbal mode. And the Gimbal should pretty much always stay on follow mode unless you're going for a very desired effect. The first-person view or F pv mode, really has to do with the role of the drone. And it gives a very cool effect if you know what you're doing. But if you have that turned on and you don't want it to be on, it's going to be very aggravating. So really, yeah, it deals with the role of the drone. And so the whole world kinda tilts to the left or tilts to the right depending on how you're moving. There's also allowing for upward gimble rotation. And this allows you to shoot up to 20 degrees up. And these newer drones have actually done a really good job of not getting the propellers in the shot. And so I like to keep this enabled. One thing to keep in mind though, is you really don't want to be pointing your lens at the sun very often. It's not good for the sensors. And so this, when you do enable the upward gamble rotation, you do occasionally shoot right at the sun a little bit more. And so that's just something to be aware of. Just be careful with, with your sensor. And then we can calibrate our Gimbel. And we also have our advanced Kimball settings. And this is actually a very important menu setting. And when you go in there, you can actually change the pitch and yaw of all three different modes you may be filming in. Now, the pitch is actually the speed of the Gimbels tilting, and then the yaw is the speed of the aircraft turning. So aircrafts have, there's about three different ways that you can move an aircraft. Both position and then tilting, right. So aircraft can go in three-dimensions and go for back. It can go left, right, or I can go up, down. And so that's a position in space. And then it also has a pitch, a Ya, and a role. So the pitch is the tilting up and down. The yaw is the turning side to side. And then the role is tilting left to right. So you don't control the roll because you don't really have a role on this drone. Now, a role you do kind of does kind of mimic that when you turn it on the F pv mode. So if you do want to work with, with something with a role, That's how you would get to it. But 99.9% of the time were really just dealing with the pitch and the yaw here. And I like to keep normal pretty much how it comes. But I do like to get in there with the city mode and make it really, really smooth. And when you up the smoothness of the pitch and the yaw, basically what you're doing is when you look at the footage, you're not seeing as as jerky of motion of its pointed, straight. And then when it turns, it actually eases into the term. So you want to keep that smoothness really high. And even if you're pushing on the controls really fast, it'll be a really nice slow cinematic turn or slow cinematic tilt. You also have the ability to charge your phone while it's plugged into the controller. So that's kinda cool. If you find yourself where your phone is low on battery, this is definitely worth it. Otherwise it will drain the battery of the controller. And so you'll have to charge that one as well. So it's it's taken battery that either way. It just depends on where you want it to take the battery from. And then we have the stick mode. Now it comes in mode two, but there's mode one and mode three as well. So mode one, as you can see, the left joystick, forward and backward move, move the drone in space, and then left and right turn it. Whereas the right stick will go up and down for forward and back, and then move it left and right. In space. Mode two is the manufacturer's mode. It's basically the right stick is you're moving the drone in space for back, left, right. And then the right stick. You're turning left and right, and you're moving up and down. And then mode three is basically flip mode two, whereas the left stick is moving the drone in space forward, back, left, right. And then the right stick moves it up and down and then turns left and right. And if you don't like any of those, you can customize your own. So from there we can change the function button and we can program a single tap and a double-tap for that function button on the left side of the controller there. So the center view that return to center, it kinda defaults to, is really nice and I like to keep mine there for the single tap. However, it does have a double-tap functionality. And so some different things you can do. You can toggle the map to live view on and off. And that's kind of nice. You can change from Gimbal follow to PHP mode. So if you do find yourself, I'm wanting to emulate F pv mode drones with that role. You can do that as well. You can jump in there for the Advanced Camera Settings. And then you can do the auto exposure lock and unlock, which is very helpful as well. From there if you're having some transmission issues, you can jump in to the RC calibration and check that out. And if you're new, you can do a flight tutorial here, which is really helpful. It does take maybe five to ten minutes, but it did help me learn a whole lot on how to fly.
8. Menu - Camera Settings: Okay, let's go over to the camera tab. Now it's important to note also that this is where your photo settings would be if the drone was in photo mode. So if you want to switch between JPEG or JPEG and raw, or if you want to switch between the dimensions that your photograph would be either 16 by nine or four by three. This is where those options would come up if I was in photo mode. So if you're not seeing those, if you want to adjust those, just make sure you're switching back and forth between photo mode and video mode on the drone. So that very first one is the anti Flickr. And this really has to do with if the camera is getting any of your propellers in the top of the frame, it can actually adjust the, the frame rate of those propellers. And so when you keep it on auto, it does a pretty good job of that. And then you can also do 50 hertz or 60 hertz. And then you can turn on the histogram, which I definitely recommend. It's a visual representation of the exposure and the frame, and it allows you to see how you are exposing things. And one really good rule of thumb. As you can see, the, the, there's four different vertical lines on the histogram that basically each one of those represents 20% exposure. So the vertical line to the farthest right is at 80% exposure. And that's a pretty good spot for your sky to live. And so if you're ever pointed and you see the sky, which you often do with drone photography. You can adjust your exposure using the EV or the exposure evaluation there. You can lower it negative three, negative seven, and negative one. And so you can put the sky at that 80% exposure, just a little under 80% exposure. And that's going to look really great for you. So I love the histogram. There's also the overexposure warning and that's just zebra stripes on parts your frame that are overexposed. I like having that on because it it gives me more information. It lets me know what I'm overexposing. So if I am in a situation where I'm seeing that the sky has a lot of zebra lines or there's a bright white building and has a lot of zebra lines I know that I need to expose accordingly. There's also three different grid lines. Basically the first one and the last one are a little bit more for drone navigation. I feel it really draws your eye to the center of the frame. And because of that, it's easier to fly. It's easier to avoid obstacles if you know what's in the exact center of your frame. And the middle one there, the middle grid lines. Those are just your basic rule of thirds for video. And so if you want help on framing and where subjects of focus should line up, good grid line to have. Next you have your white balance. And I like to keep this at manual so it doesn't shift in the middle of a shot. And if you don't know too much about white balance, you basically want to keep it set at just about 5600. Now, that's typical of 5600 is Daylight, however, some drones run a little cool. So I like to keep my in-between 5658 anywhere in there is good. Now if it's a cloudy day or I'm shooting in a lot of shade or there's a lot of overcast. You couldn't really go up to 7500 and it's still look good. So you just have to kind of gauge how cloudy your day is and adjust from 5600 to 7500. If somehow you're shooting indoors and you have enough light for that indoor tungsten Kelvin balance is at 3200. You can also auto sync your HD photos to the phone or iPad that you're using to control your drone. And that's really nice, especially for the panoramic photos because it auto stitches them together. Then it shows you there that it's filming to the SD card and also gives you the option to cash while recording. So that's basically 720 proxy video files will go straight to your phone from the drone while it's recording. And so you can set how much space you want on your phone to gigs, forgives eight, et cetera, of the smaller video files. So these are great for any kinda social media platform for your, your video footage to live. Because 720 is going to be good enough resolution. So you can go have your drone fly up in the air, the drunk and still be in the air and you can post a social from your phone. It's pretty cool. And then of course at the bottom you can reset all the settings to factory default.
9. Screen Controls: Let's dive into the screen that we're using to control our drone. So this is either our phone or tablet that we've connected into the controller. And we're watching the viewpoint of the drone on this screen. Now on the top left, it shows us what mode we're flying in. So whether this is Sydney normal or sport. Now for sport, it goes really fast and go upwards of 35 miles an hour. And this is a great way to get from 1 to another to save battery because you're doing it very fast. If you realize that your drone is maybe moving a little too fast or too slow, you can switch it between Sydney, normal and sport, and that's just on that little switch in the middle of your controller. Now to the right of the mode is your drone status. So while you're flying, everything's good. It'll say in-flight. It could say gimble stuck. If you've accidentally left the little safety guard on, it could say compass calibration required. It will just tell you the status of the Gimbal. And in the top right we have the battery. We also have the connection from the controller to the drone itself. And in the very top right, those little three dots or the menu that we can dive into in the middle of our screen all the way to the right, we have what type of media were taking, whether it be photo, video, a quick shot, or a panel. And we're in the video settings, we can switch between frames per second, 24-25 or 30, and we can switch between resolution 4K to 1080. In the photo mode, we can take a single photo, we can use an auto exposure bracket or we can use a timed photo if you're looking to switch between JPEG, JPEG and raw, That's actually found in the menu button in the top right. Once we dive in there, we can switch between JPEG rod. We can also switch between 16 by nine photos and four by three photos. Now in the middle of your screen to the right. We also have the quick shot. We have the drone ne, rocket circle helix and humoring, and we'll cover those extensively in another video. And then we have the panorama shot. Now it starts off with sphere, your camera. I'll take many photos that can stitch together into a spherical image that looks really cool. It looks like a mini world. Under sphere we have 180, which is your more traditional panorama shot. It's just a very elongated photo and then we have wide angle. Now, wide angle actually appears to be a normal photograph. Just add a wider angle lens so the camera takes a bunch of different pictures and then stitches them together and emulates what you would see if you use a wider angle lens. So the dimension is still four by three. Now under those options, you have big red and you press that to record. And to the left of the red button is the zoom button. You can go from one x to 2x. You can also pinch and squeeze the screen like a normal touchscreen. And it's important to note also that this is a digital zoom. This is not an optical zoom. And so you actually do lose a little bit of resolution when you punch in like that. And so if you are mastering to 4K, This is not the best option, but if you're mastering to 1080, it's not going to be that big of a difference. Under big red, we have a playback button. And in playback we can actually see photos and videos from the drone itself and then from the DJI fly app that's on the device. So you can clear up a little bit of space if you need to. And in the bottom right, we switch between auto exposure and manual exposure. And manual exposure, we want to set the ISO as low as possible to a 100 is good. And then we adjust the shutter to wherever it needs to land to make that exposure the MM, basically between 0 and negative one. These drones typically overexposed a little bit. So that's why we always want to adjust the evaluation a little bit under 0. So we go to auto exposed. We want to set that exposure evaluation the EV to somewhere between 0 and negative one. Once we've got that, whether we like it, we wanna press a0, which is the exposure lock. And that way while we're recording, the the footage doesn't brighten up or darken down while we're recording. It'll keep it a nice constant exposure and that just looks a little bit more professional. To the left of that, you have how much data is left on the card. If you can switch between how many gigs are left, and then you can look at how many images you could take, and then also how much footage you could take. In the bottom left-hand corner, you have the height from the ground and then you have the distance from the home point. So the big numbers are the actual distances. The little numbers are the velocity. So how fast are you going from the home point? How faster you're going up and down. And then in the bottom left corner, you have the map. Now the map actually traces your path where you've been in the blue, and then it has a red line from the drone straight to the home point. So that's the fastest way, the closest distance between the two. So if your batteries are low, you basically want to turn around and retrace that red line to go straight home. And if you click on the map, it'll maximize and you can see a little bit more of your surroundings. Now this is important to know what zones you are able to fly in and which ones you are not able to fly in. So if you zoom out, you can see here in San Antonio, There are many restrictions and basically they just don't want to fly in the red, black, or blue zones. Those are zones that need government authorization and then everything else. The oranges and the yellows are basically warning zones. So if you know what the warning is, if you know what you need to be aware of. Those are OK to fly in with caution. And then finally in the middle of the screen all the way to the left is your take-off button. You push it once and then it'll get large in the middle of the screen. You hold that down and then your aircraft will take off and you're ready to fly takeoff.
10. DJI Pre-Programmed QuickShots: Let's go over a quick shots real quick. When we click on the button above the red record button, we can switch between photo video and quick shot. Now, the list of quick shots are the journey, the rocket, the circle, the helix and the boomerang. And then you can adjust the distance that the drone flies as well away from the subject, which is really nice. One thing that's important to do also with these quick shots at the very first time you do them is that it defaults into filming the quick shots at 1080. And so if you do want that high resolution, the 4K footage, once you initiate quick shot, you want to go in your menu and make sure that it's switched from 1080 to 4K. So let's go ahead and start with the journey. The journey is a very simple, quick shot. It basically keeps the subject in the center of the frame and then slowly goes up and then slowly pulls away. So it's a very simple but effective way of revealing a landscape. Next you have the rocket, and the rocket is really nice. It goes straight up and the camera tilts down to keep the subject and the middle of the frame. And one thing that is good with all of these quick shots really, is if you keep your subject completely still, reversing the footage is actually really interesting. So the quick shot of this rocket will start bird's eye view and then come down to eye level. And that's a pretty cool one. Next we have the circle, and in my opinion, the circle is the most cinematic one of these quick shots. It's the one that doesn't necessarily scream, Hey, I'm filming from a drone like the helix or the rocket would. And so I believe that the circle is one of the more versatile quick shots. And one thing to note with any of these circular quick shots is these little arrows pop up at the bottom of the screen. And that's basically showing you, Do you want your a quick shot to rotate left or rotate right around the subject. So once we select that, the way to do the quick shot is you actually draw a circle on the touchscreen around the subjects you want. From there, the camera will center it. Now you are able to reframe before you start. And then once it's aligned, you can press start and it'll go. And then the camera will go ahead and initiate the quick shot. It's important to note that the further away the object is, the more subtle the quick shot is going to be, the smaller movements. It's going to seem that a takes, as you can see this video of me and my little brother and a field or closer to the subjects. And so we actually feel the camera moving faster. Do keep in mind at any point you can cancel the quick shot just by pushing the pause slash home button on the remote control on the left side. One thing that's interesting also is that when you have the quick shots selected, the camera actually recognize as people and it'll start showing you plus signs when you have a person in the frame, if you want to go ahead and click the plus sign, and it auto creates them as a subject. Kinda cool, but also a little weird maybe. And the helix is similar to the circle except it rises in altitude. The helix is a very cinematic shot, but it's also a very drone forward shot. So it's definitely showing off the fact that you, you have a drone with this interesting preset. So it's great for travel videos, it's great for showing off that you do have a drone and it's also really good for speed ramping. It's a great way to reveal a landscape, and those are your quick shots. It makes a lot of cinematic angles really easy for you. These are all great looking shot, so I would definitely recommend using them. It is important to keep in mind though, that everyone's drones are starting to come with these preset shots. And so you do want to make sure that when you're out there filming, you get a variety of footage. You get clips that look different and feel different. And so your, your footage doesn't end up looking just like everyone else's.
11. Plan the Location and Time of Day: So the very first thing to think about when it comes to the technique of flying a drone is actually the location that you're going to be filming in. So if you don't have a specific subject in mind, you're just trying to take really nice pretty Footage. The thing that I recommend doing is go ahead and Google day trips from whatever city you're living in. And you can typically find some great nature or any great attractions nearby. So Googling, day trips, things to do in attractions, entertainment, anything like that. We'll show you any interesting spots nearby where you live because beautiful footage of nice scenery is always going to be better than just suburban sprawl or neighborhood footage or anything like that. It's also very important to take into consideration the time of day. When you film mid day, the Sun is directly overhead and there's not a lot of contrast in the image and everything looks little bright and a little flat. And it's not terrible, but you can always get better footage either by filming near sunset or sunrise. So when deciding if you want to film in the morning or in the evening, it's important to note what your subject is and which direction you want to be filming him. Because if you go out in the morning, that means the sun will be rising in the east. And you have to keep in mind, do you want your subject to be front lit or backlit? If your subject will be silent, then that means you can pretty much either shoot in the morning or in the evening. Just depends on which side you want the PSTN end. And it's also extremely important to take into consideration the weather. If it's going to be overcast or foggy, that'll give your footage and interesting look, that's less common than most footage GC, and I'm just going to be sunny. That's great to just make sure you pack some sunscreen. And if it's going to rain, go ahead and wait for another day to fly is not worth risking the shot and destroying your drone in the process. And when it comes to whether also keep in mind the wind on very windy days, your drone can be pushed to the side five or ten feet. Now if you're way up in the sky and you don't have anything around you, that's not the end of the world. But if you're trying to do subtle drone movements closer to the ground, wind is a huge factor, so always double-check the wind as well. So the name of the game is always plan ahead, plan your location, what time of day you're filming and double-check on the weather.
12. Color Temperature: Just a quick reference for the color temperature. If you're filming inside, somehow, tungsten lights are a 3200 Kelvin. When you're outside, normally you're looking at 5600 Kelvin. And if you're in the shade or it's cloudy, you can go upwards of 7500 and still look natural. You just have to gauge how cloudy, how shaded is your image. If it's foggy or overcast, maybe you're looking at 7 thousand or 8 thousand. Most of the DJI drones film. A little cool. So it's okay to add two or 300 Kelvin into the image. So if you're outside, you could maybe be shooting at 5800, maybe 6 thousand. That's just a quick little reference for you guys to understand color, temperature.
13. How to Get Proper Exposure: So when you turn on auto exposure, the drones camera is going to put it at where it thinks proper exposure is going to be. Now depending on how much of the sky you haven't shot, there's going to be a decent amount of contrast in your image. And so there are situations, many situations where the drone thinks that it's properly exposed, but it's really not. And so because of that, I like to turn on my exposure warning. I like to have those zebras in the sky to know if I'm losing any detail in the sky. And when I see zebras, that's bad. So I want to decrease the exposure until those zebra's stripes go away. And to do that, I click on my exposure evaluation, the evi there, and then I adjust it. Usually about a stop under where it thinks it needs to be. So that's usually floating between negative three and negative 1.3 for me, for some shots, maybe it's okay to lose a little bit detail in the sky for others, you want to make sure you get everything. So once you've changed the EV to where you like it, go ahead and lock the exposure in there. And so as you tilt around and everything like that, the exposure will remain a constant. Now I have had issues with the drone unlocking this when it's not supposed to. And so because of that, I like to dive in to the manual exposure settings, which I'll show you now. So with manual exposure here, we have the ISO and we have the shutter. Now nine times out of ten, this is when it's not in a low light situation. The ISO should be at a 100, that's the lowest ISO they have. So the image will be as clean as possible. From there, I adjust my shutter speed until those zebras just barely go away. I'm also looking at my histogram to make sure everything's properly exposed. Again, I like the sky at usually a little less than 80%. Now for more advanced people, if you want to achieve a lower shutter speed, I recommend getting in filters. Nd filters will cut the light that's going to your lens and allow you to shoot at a more proper shutter speed. Typically, I'm using an AND of 16, which allows me to have a shutter speed of about 80, give or take. So those are the two ways to do exposure. I recommend the shutter speed method just because it doesn't accidentally unclick the lock when you want it to be clicked. When you go to the shutter speed, it keeps it more constant and it doesn't dip in and out of auto.
14. Basic Shots: So let's talk about your very standard move that everyone uses when they first get a drone. There's pretty much four of these, and these are not dynamic moves. These are very straightforward moves that anyone can do. And when you have a very interesting location, these moves will be just fine. When your location is not as interesting, you definitely want to change up some of the angles. So the first one is when the drone is going directly up looking forward, this is basically your take-off shot. The second one is the drone moving directly up while looking straight down. And this bird's eye view shot reveals a little bit more of the space. Another move is the drone moving directly forward while looking forward. Again, if you have an interesting landscape, this is perfectly acceptable. And then the final Basic shot is when the drone is moving directly forward while looking straight down. These are four of your very basic shots and they're good to practice, especially when you're trying to get used to the drone controls. But I definitely advise not sticking to just these types of clips because your footed is gonna look like everyone else's footage on the internet.
15. Stationary Shots: Let's talk about a couple of very simple moves that are actually very powerful depending on your subject. The first one is just your aerial tripod. This is a type of shot that many people neglect to use, but it's actually very interesting if you have a moving subject in frame or if you're trying to capture a very serene landscape. This could be used to establish the tone of a piece in collection with other different static shots. And another interesting static shot is a bird's eye view. Now again, these moves only work if you have an interesting subject in the frame. A moving subject in the frame, or you're establishing a calm tone in the piece. So don't neglect your static shots. That can be very powerful if you know what you're doing.
16. Cinematic Film Theory: We can all kind of intuitively feel when a shot is cinematic, but most of us wouldn't be able to articulate that into words. Well, to break it down very simply, the shots that are cinematic have dynamic movement. And what I mean by dynamic movement is that the drone is moving in one direction and the Gimbal is moving in another direction. So if you think about it very simply, the drone can move in three-dimensional space, which means it can move in three directions forward, back, left, right, up, down. Now the angle of the Gimbal itself, the little camera on the drone can move in three directions as well. It can turn left and right. It can tilt up and down, and then it can roll side to side, the top of the drone rolling side to side. Now with these DJI drones, we don't have to worry about the role. This is not an F pV drone. There is a setting in the controls where we can mimic that, but it's not a true role. So really we're left with just the Ya, which is the turn side to side of the Gimbal and the tilt the camera up and down. So try to separate those two things in your mind. The drone moving in space forward, back, left, right, up, down, and then the Gimbal turning to the right and left and tilting up and down. Now, I would say that most cinematic shots have these two moving in opposite directions. So if your drone is physically moving right, have your camera turning left. If your drone is physically moving up, tilt your camera down. That's the basic principle of a cinematic shot. And for the most dynamic, the most complicated shots, that's when you're moving your drone one-way. You're turning the camera and tilting the camera at the same time. That's the one that takes the most practice. And if you get to that point, it's always good to go in your settings and change it to cinema mode and make the smoothness very smooth, at least when you're starting out. That way, you can get those shots, those very dynamic shots without a lot of correction to them.
17. Dynamic shots: So let's take that theory of what a cinematic shot is, the drone and the Gimbal moving in opposite directions. And let's apply that. So a first cinematic shot is a pair relaxing shot. It's the drone moving right in the camera turning left. So that's the Ya, the turn left. And this is exactly one of our quick shots, the circle. As we do this, the camera will slowly circle around a subject. This is the Parallax effect. This is a great dynamic shot and it's a good one to learn initially. Now you also have a shot where you're flying over by keeping the focus on something. That's the rocket, that's the quick shot, right? So that's when the drones position is moving upward and the camera or Gimbel is tilting downward. So the movement and the tilt are opposite. So that's what makes this cinematic. Another nice shot is a reveal. Now a simple reveal that's less dynamic, but still looks very cinematic, is when the drone position is moving backwards. So the drones position is moving backwards and the camera is tilting from up to down. So especially on these drones where you can tilt upwards of 20 degrees if you start tilted way up and then come down to reveal a landscape as you're moving backwards. Technically, this is a more simple shot because they're not moving in opposite directions. However, if you allow the drone to raise up as well as it tilts down and moves back. That's more dynamic. And similarly, we can achieve a crane down shot. And that's when the drones position is moving downward as the angle of the Gimbal is tilting up. So this allows you to keep the camera on an object and almost allow it to grow in scale. So this is the basis of a dynamic shot. You have the position moving opposite the rotation. And when you really get confident, you can start adding other dimensions. So having the drone not only moving backwards but moving upwards, it can be moving backwards and backwards to the left. So you can add another dimension and do the opposite with the rotation of the Gimbal. And that will create more dynamic shots. Now different subjects call for different dynamic shots. The pair relaxing circle effect might be great for something that's loaded the ground. But a tilt up reveal might be better for something high in the sky.
18. Foreground Elements: One of the first lessons you learn in photography is adding foreground to your shot to make it more cinematic and drone photography is no exception. Now this starts to get a little bit dangerous, especially if you don't have sensors on the side of your drone. But be aware of foreground elements when you try and get some footage and when you're in the sky, trees and buildings make for great foreground elements. And it's also important to be very aware of your wind speed. If it's very windy that day, your drone could easily move up or down five or ten feet, just depending on the wind. So I don't recommend this technique when it's windy. Now another great thing about foreground elements, in addition to making your footage look more cinematic, it actually registers the movement better than if you don't have Foreground elements. So if you take off right above something, if you move out from besides something, you're gonna get a better sense of flying than you would just with a normal shot without any foreground at all. This technique is extremely interesting when moving at high speeds. But again, the higher the speed, the closer to a foreground element, the more dangerous it can be.
19. High Frame Rate: Another good technique is to shoot in the highest frame rate possible, whether that's 30 or 60, just so you can have different options later for how fast you want the footage to be. If my video is on a 24 frame timeline, that means my 30 frames per second footage can be slowed down to 80%. My 60 frames per second footage can be slowed down to 40%. So this is great for any kind of speed ramps or any kind of slow motion emphasis in a montage, you're really doing yourself no harm by filming and 30 frames per second and putting it into 24 frames per second timeline.
20. Follow a Subject: Shots are always going to be more interesting with a moving subject in the frame. Drone photography and videography is great for beautiful landscapes. But using it properly with a subject will make it even more impactful. Whether that's a car driving down the road, whether that's a person walking down a trail, having a moving human subject is more interesting. So when you're taking all these lessons together, when you have the moving subject and you're trying to create a dynamic shot, it's always good to play it on the safe side, especially if you're not controlling the subject necessarily. What if you are filming some sort of wildlife and you have no say over the path that they take. Even if you have simple moves on the wildlife. That's going to be more interesting than a dynamic shot of static subject. And a really helped yourself out. Make sure you go when the menu settings and change the smoothness. The higher the smoothness, the more likely you are to pull off a more complex dynamic move. So when you have the smoothness set high, then you can pull off a very complex dynamic move, LA, filming a moving subject. And that will be the best drone shot you've ever taken.
21. Smoothest Footage Possible: So here is a tip to get the smoothest footage you possibly can get an Adobe Premiere. Now obviously if you are the one going out and filming and this is your footage, you can do a whole lot in the camera settings to make smooth footage as well. For one, it would be great to get an image stable stabilizer, either in the camera or in the lens. And then also if you're shooting an object like a still object like this sign of this Piedmont Atlanta here, if you're shooting a still object, go ahead and fill in the highest frame rate possible with the best resolution. And that's just because if you're filming this sign at 24 frames a second, it's gonna look the same if you do use any kinda slow motion as if you're shooting in 60 frames a second and slow it down. So obviously slow motion is going to be smoother. So basically, let's go ahead and look at this clip real quick. This is just a stock footage shot that I got at this hospital in Atlanta. It's really nothing exciting about it. And I'm just going to try and find the time where it is the absolute smoothest. So right before, I was a little bit of shaking here at the front. But most most stock footage sites need six seconds worth of clip. Now this is 509, But I'm going to show you guys a little trick here. So I'm gonna go ahead and drag it into my select sequence. We're going to duplicate my select sequence. Now my select sequence is 2997, and this was actually shot in 2997 as well. But I can go ahead and duplicate and create a 24 frame, a 24 frames sequence. And what this allows me to do, I'm gonna go ahead and erase everything that's not this clip. What this allows me to do. This was shot and 4K, so it's a little larger. But what this allows me to do is that I can actually slow this clip down to match 24 frames. So I'm gonna right-click sequence settings. And the reason I'm choosing 24 or 2398 is that that's the slowest frame rate that your eyes register as normal. This is the filmic, the cinematic frame rate that people like. But if I go anything lower, like 1512 or ten, It's going to seem jittery. It's going to look like an old timey film from like the twenties or thirties or whatever. So I'm gonna go with 2398, going to hit OK. And now 24 frames or 2398 is just about 80% of 30 frames. 24 is 80% of 30. So if I right-click, go to speed duration, I can change this to 80%. And now I can, I can go along. I'm going frame by frame. And as you're seeing, each frame corresponds to a new frame, which means there's no duplicates, which means 80% is the good amount. And I'm going to hit play and we're gonna watch this. And it's smoother than it was, but it's still has a few jerks to it. And like I said before, stock photography sides want six seconds worth of footage. Well, I have six seconds and 15 here, so that's perfect. So now that I have another slowed down 80%, the second thing that I like to do is put the warped stabilizer, warped stabilizer on it. Now the thing is that you cannot put warped stabilizer and a speed effect on the same clip. So I'm gonna show you all drag. It's going to say stabilizer and speed can not be used on the same clips. So how do we fix that? We fixed that by nesting the sequence. So what that means is gonna right-click on this sequence. I'm gonna duplicate it again. I'm gonna name this Piedmont nest. And I'm going to actually put Piedmont nest in the nests folder. Great. So now I'm gonna go back to the selects 24 sequence. And I'm going to take the Piedmont nest and I'm just going to drag it into the timeline. And as you can see, it matches the clip perfectly. It comes with some audio that we don't need. So we're gonna go ahead and erase that. I'm going to right-click on the original footage and disable it. So now we just have the same exact clip. However, because this is nested, it's technically not using a speed effect. So go back to effects. I put on the warped stabilizer. And honestly the warped stabilizer, the settings that it uses just standardly are pretty good. Now, it will punch into your footage a slight amount depending on how shaky it is is it's very shaky. It'll probably punch it a whole lot. If it's just a little shaky, it only punch in a tiny bit. So the way that you adjust how much, let's watch it real quick. Ok, punch in just a little bit. If I thought that that was too much of a punch in, I can actually change the smoothness to something lower like 30. And so the, the less smooth, the less it's going to punch in all my footage. So that's something that I will adjust from time to time. But everything else is pretty good. And let's go ahead and play this. And as you can see, it is smooth, smooth, smooth. That's great. So just for comparison, let's go ahead. Let's just see what that original one look like. So normal speed enabled. So this was the original clip. Pretty shaky. And then this was with speed and warped stabilizer and it is just like butter. So those are the two things that I like to do to smooth out the footage. Again, make sure that you're shooting in a high frame rate. I could have shot this in 60 frames a second, and it would have been even smoother. So shoot in a high frame rate, slow it down, and then put on the warped stabilizer.
22. Color Correction: So let's go over some basic color correction for our footage. And I filmed this in the DJI mini two. And that grade of drone actually doesn't have a flat or cinematic log profile. So when I film, it's kind of what you see is what you get. But it's always a good idea to go into color and see what we can do. So most of the DJI, many to footage comes in a little bit like this. And the few things that you have to look for are one, when it looks at the sun, it ends up getting a little bit purple, kind of a purple hue around the Sun. I mean, obviously you see the orange here, but you see kind of general purple here. And then also the d Germany to, seems to run a little cool. Even though I, I shot this at either fifty six hundred and fifty eight hundred Kelvin. It's still a little bit cool. So right off the bat to add just a couple of those color things, I'm going to add a tiny bit of green. I hate adding green two images. But because of the purple we have to add just a little bit of green. Let's just see, you can see the extreme. And we're gonna land somewhere around here are so not much. And then we're going to add a little bit orange. And since we're basically seeing the sun, I mean, we can add as much oranges we want to really. But let's go ahead and make it warm but not outrageous or add a little bit more green. Let's just see this. On and off real quick. Yeah, so we've kinda warm it up. It's maybe a little too green for me, but we've warmed it up a little bit now with this footage, typically what you wanna do is you want to lower the mid tones and bring up the shadows. And so the best way to get the midtone is to go to the curves here and just grab right in the middle and just go straight down. Now, we don't want too much, we don't want it to be underexposed. But most of the DJI Mini too, you want to bring the mid tones down and bring the shadows up a little bit. So we can see this on and off. Makes it a little bit more pleasing to the eye. And let's go to our scopes right here. We can see that we want to bring her blacks down just a little bit. And then typically let's see what's going on with these highlights. I think we can bring these highlights down just a hair. Now we're still getting a bit of magenta in this image. And I would love to switch that magenta to orange to make it more sunsets. And so to do that, I'm going to go to the Hue versus whew. And I'm going to, I need to see, so this blue logo is important to keep blue. So we want to make sure that the blues are there. But basically all magenta and get, get into red a little bit. So all of this, I should be able to warm up by dragging this down. Let's just see the extremes. What we're grabbing here, okay, that's in the green. And this approach is not quite doing what I want. So I'm going to click on this, I drop here and just see exactly what color or grabbing. Okay, so that's actually a red here. So what that means is I'm going to keep this in mind, but I'm going to get out of here. I'm going to again start on the blue. And let's just see what happens if I do this here. So now let's grab that read and bringing all this. Okay, so that's too much, that's green here. And it's going to be subtle. Try to grab a little bit more and see what this looks like on an off. Yeah. So so that definitely did do something that it almost seems like a desaturated it a little bit, but that's okay. It made it a little bit more neutral. Which means that we can come back up to our temperature and add in just a little more orange. I don't wanna go overboard, but that's probably all right. So let's just see what this what we've done overall. Here's on, here's off. Yeah, so it's definitely gives it better of an evening feel to it. And added tiny vignette. I don't like vignettes to be obvious. I always feather them as much as I can. Tiny vignette. And let's see what else needs to be done. And we're just gonna see what it looks like to add a little bit of red into our highlights. Will do that with this guy here. Okay? So we've added some red into the highlights and now going to take away a little blue which adds yellow. And I'm just going to do that until I can find, hey, that kinda looks like a sunset, doesn't it? Started a really warm up. So let's just see on this is off. This is on. That seems a little nicer, doesn't it? And let's just see what our contrast is going on here. These images already really contrasty. So it doesn't look like I want to do much of anything there. Now these drones also shoot very sharp. So we're going to zoom all the way into a 100. And as you can see, this is a little crunchy and want to soften it just a little bit. Not so it's out of focus, but just so everything doesn't look quite as crunchy. So if this is negative five, this is, this is how it is to negative ten. We're going to do maybe negative seven, negative eight can't really see a definitive difference, which means we've probably put it in a good spot. If we really saw the difference, it would be a little too soft. So this is starting to come together, isn't it? So as you can see, this is right out of the camera. Yeah, just a little cool. And we definitely want a sunset mood. So I think we've done a really good job. So yeah, the main things to keep in mind with his camera are adding a little bit of warmth, adding a tiny bit of green. And then the main things are taking the mid tones down just a little bit and then boosting those shadows just a hair. Everything else is kind of your preference. What the clip demands, you know, time of day, that kinda thing. But those adjustments are are the big ones.
23. Best Export Settings: So let's go over a few export settings and Adobe Premiere for you to get the best looking footage possible, because this camera is really, really good. And if you go out there and take amazing footage and you color it properly, but you don't export it in the right manner. It's not going to live up to its full potential. So like any project will go up to File Export. And then from here, let's go ahead and start with H.264. Now I'm going to include a few different files for you guys to look at in the additional resources. And then that way you'll be able to compare the visuals of the different exports. So starting off, we're just gonna do the H.264, which is found here. And then we're going to match source high bit rate. So this is kind of a standard export that you do for a lot of different projects. This is actually how I export my classes because these sites required the file size to be smaller. So H.264 is kinda your best bang for your buck gets pretty good looking footage at a very small size. Now in the main differences in these exports, when you look at the shadows, a lot of times the lower sized files have a little noise and grain and lack a lot of detail in the shadows. So the shadows are really where the difference is stand out. So another way that's common to export is within the H.264. Instead of doing high bit rate, you can scroll down to YouTube 4K. This file size is about four times the last one. Now if you guys really want to preserve the quality of your footage, which you absolutely should, because you've spent all this money on a drone, you should, instead of going to H.264, which is a very common, let's go down to quick time. And within quick time, we're going to export as 4224 to two is a very, very high quality that has larger file sizes. This is still not the like, the perfect one-to-one exports. But this is a very good quality export that will keep the quality of your footage. And honestly, I can't tell too much of a difference between this one and then the other one that we're about to do. And this one is a little bit smaller on the final size. So let's go ahead and export this progress 4.2.2 version. And as you notice, this will take longer to export because it's the higher file size. Okay, so now let's take a look at the highest quality export you can do. And that's in the Quick Time setting. Instead of four to two, you get a 4444. Now, this perfectly captures the image, but the file size is going to be very large. This doesn't stream very well when it's placed online, but this is something that I would use if I'm taking someone's footage from a project and I need to color correct the footage, but I don't have the exact files from the camera. I can do it for, for, for, for export. And it's a perfect export. So let's export the progress for 444. So one little trick we can do to get the highest quality footage at the smallest size is we can do an export within an Export. Now this is time intensive, but it does yield some great results. Footage looks great and a very small size. So we can take our 4444, we can put it into our project. And we can basically create a new sequence with our 4444 by erasing Well, we had putting in the 4444. We don't have to change any sequence settings. And now we can export as an H.264. Now you can either do the high bit rate or you can do the YouTube here. The youtube is slightly larger size, so you'll probably get a better result. The export goes really fast because it's a small file and the quality will look great. So I encourage you guys to look at all of these clips and see which of them work for you. If you don't need the highest quality and you do need size, then use something like that. But if you need the highest quality possible, which I recommend, looking at one of the other options.
Marshall Rimmer, Filmmaker
