Transcripts
1. Course introduction : So before we get into the actual course, I just want to walk you through quickly what I've done and what you can expect. So I've structured the course easily for you to navigate. There are five main chapters in the course is divided into several lessons Now, during this course, I used to DJ I Medic errands An example. However, most E J drones have the exact same settings and menus, so you should be just fine. If you do have any questions, however, feel free to let us know. And for now, I just want to say good luck with the course and enjoy.
2. 1.1 Aspect Ratio: there are various aspect ratios that can be used, and this could be rather confusing, especially when you hear things like 16 by nine or four by three. Why would you change an aspect ratio on Why is it even important? Before we get into the various aspect ratios, let's first discuss what it actually is. To give it an example, take a look at this four by three aspect ratio, which is four units on the width and three units on the hype. Now let's look at various ratios and see in which situations that would be appropriate. The oldest form is four by three and then eventually 16 by nine and even 2.35 by one became popular and modern films. Most TVs, for instance, have a 16 by nine ratio, and 2.35 by one is what you see. Mostly in cinema films, this aspect ratio is generally thought off is looking more cinematic. This is also why I see many people using the Black letter books is on their videos. This is in order to convey the specific look. If they did not shoot in this 2.35 by one aspect ratio. A good example of a situation where aspect ratios are specifically used to convey a setting or feeling is the Grand Budapest Hotel. This film really pulls you right into the setting style and feel by using this specific aspect ratio. A common misconception, I hear is that the physical size of the image matters when talking about aspect ratio. This is not entirely true, as the aspect ratio covers with times. The height resolution, on the other hand, does have an effect on the physical size of an image. If you compare a 10 80 p image to four K resolution, the four K image will have far more pixels. But both resolutions can have an aspect ratio of 16 by nine or, let's say four by three. So there you have it. We now covered aspect ratios. Let us know if you have any questions
3. 1.2 White Balance: thin. This video will be talking about white balance. Now there are a couple of reasons why having a correct wide bounds for your drone footage is important. First and foremost, you'll get better and more cinematic looking footage shot straight ing camera. It is always important to get the best possible footage from the get go, because that means the footage is easier degrade, and it will save you a ton of time correcting in the editing room. But we'll get more in depth on this topic in another video. Secondly, this set your footage apart from all the other footage that is out there. It's fairly often that I see drone footage with constant color shift, especially with pan or tilt movements. This is simply because they did and set a custom white balance. It comes across as if they don't entirely understand or know how to operate their drone. Thus, a little amateur. Finally, Sometimes you can use your white balance to manipulate your footage in a desired way. If you've got some shots from during the day when the lighting situation is harsh and far from optimal by adjusting your wife on us to the warm end of the chart, you can convey that it was shot during sunset, when white balance basically means is that the drone is trying to figure out how to get across a true white color. This is all dependent on the time of day, and if you're indoors or outdoors to help you out a little, let's take a look at the color temperature chart. It ranges from 1000 all the way to 10,000 kelvin, with 2500 kelvin being super red. Think of sunrise read or even indoor colors, whereas 10,000 Calvin on the other end will represent a clear blue sky. You'll most likely want to die. Elena killed in that falls right in between this range. Most indoor light bulbs are right around 3200 Kelvin and outside daylight tens Ally around 5600 Calvin. It can also depend on the weather that day. For instance, if it's super cloudy out, you may not get the perfect white pounds with 5600 Calvin. Then you'll have to counterbalance it, basically compensating for the difference in Kelvin. Now there are auto features on the Medicare, but I really should just sticking to accustom setting. There are two options for this. One of the options. It's a dial in your own custom. Calvin on the mavi care. This could be done in the bottom of the white balance. Step here and ranges from 2000 all the way to 10,000. Calvin Option two is to choose one of the white balance presets that comes along with a Mavinga such as cloudy, sunny, tungsten, etcetera. These are already pre dialed in for you. Now, even after all these steps, I still hear people saying that their white balance isn't fully the way they would like it to be. This could be because of the tent which impacts the greens and the purples of your image. This can easily be adjusted imposed, so don't worry about this. This will also be discussed in the color grating section of the course. So there you have it. Start practicing and let us know if you need a hand
4. 1.3 Resolution: So, firstly, let's start off with answering the question. Why is Resolution important? I'll start off by giving you some examples. I resolutions conf future proof your footage as it is far superior quality. Some clients even require high end footage, further projects. So if you have the possibility to shoot in the higher resolution, then why wouldn't you? It's always nice to have it anyway. Usually, if you want to use your drone footage for stock, the higher the resolution, the more the clip will be worth. Please note, though, that this is not the only factor that decides how much your clip will eventually be worth. But it is good to know that stock sites make a clear distinction between the different resolutions. Besides, that, shooting and higher resolutions can give you more creative freedom. Think of digital assumes like I did Just hear This can easily be used to emphasize a certain subject or even to make your footage stand out from the others. So when we talk about resolution, we refer to the overall quality and detail of the image. The most common resolution for video nowadays is 10 80 p. This means a resolution of 10 80 vertical pixels and 9 20 horizontal pixels. Uhd resolution, on the other hand, is 2160 by 38 40 pixels. Now, to make this more visual, I'll show you that you could fit 4 10 80 p resolutions in Uhd four K. It's actually almost similar to Uhd, but it has a resolution of 2160 by 40 96. Now let's look into how you can adjust the settings on the maverick air. So there you have it. Everyone do. Let us know if you have any further questions.
5. 1.4 Frame Rate: Have you ever seen those cool little flip books where a pad of paper had an image on every page? On When you flip through those pages quickly, the image would appear to animate and move. This is pretty much how video works, whether it is digital or old. School film video is a Siris of still images that went feud in an order at a certain speed . Give the appearance of motion. Now, why is frame rate even important? You're asking. Well, frame rate can really impact the style and feel of a video. Different frame rates. You're different viewing experiences. Therefore, choosing a frame rate often means choosing between things such as how realistic you want your video to look. For example, movies air usually displayed at 24 frames a second as it creates a very cinematic look. 30 frames per second, however, is often used with life sports events as they will benefit from higher frame rates. This is simply because you will have less motion blur. Anything showed higher than 30 frames a second is often done to create slow motion video, so in theory, frame rate is the number of stills or still frames your camera captures within one second. This example shows you that the lower the frame rate with matching shutter speeds equal, lower motion blur. This also means that having a higher frame rate means having less motion blur. I shoot most of my work in four K at 30 FPs. The reason why I do this is because it allows me to slow down my footage by just a tad. This means that even if I didn't operate my drone perfectly, this may smooth out some jitter or uneven movements that I made. Whether you should use Paul or NTSC, this totally depends on your location. Check out what the standard is in your region and adjust your frame rate accordingly. And Europe. We use Paul, so 25 frames per second is what we would hope for also, although it's minor because I shoot in 30 FPs. It allows me to stretch of My foot is just a bit more, which is helpful when you need long and smooth shots for stock. For instance, in the editing section of the course, I will show you how to slow down your footage and post correctly common mistakes that I see people often do is that they try to slow down 24 or 25 frames per second. This will give you sloppy and jittery looking footage. So instead, if you want to shoot for slow motion tryout 60 or the even higher under 20 frames per second. So there you have it. Now that you know what frame rates are and what they can do for your footage, give it a go and let us know if you have any further questions.
6. 1.5 Drone Settings: Okay, So I wanted to show you in which picture profile I'm shooting right now. It's actually descending like I'm gonna show you which settings I'm using and why you would want to use it. I think it's super beneficial. Especially if you want Teoh use color grating to make your footage stand out a little bit more. This is something I would really, really recommend getting into. So first of all, when you open this up, make sure to go into the video settings so you can simply do that by hitting the video record button. As you can see, it switches what we then want to do is hit the manual settings right here. Then we click style. And I've set this custom. There's this guy on YouTube called film Poets. He did a really good analysis on why you would want to use the setting. So I pretty much used those. You can adjust these by hitting. It s o for sharpness. I'm using zero for contrast, minus three on for saturation minus two. I'm not going to go all too much in depth on why I'm using these settings. But basically what it does, is it allows you to have a flat picture profile on. Therefore, you have a little bit more room in the editing section, especially when you want to add colors or adjust them a little bit. This really helps out a lot. Now let's say, for instance, that you want to start with color grading, but you're not very good at the moment just yet. Then I would recommend having the sharpness also set to zero contrast to zero. And for a saturation minus one. This will give you a little bit of room not too much, but then straight. When you shot the footage, it looks pretty decent, so that's nice to use as well. Also, make sure that your color is set to decently like instead of normal. That's important in terms of video format. I just have MP four white balance. Make sure to set this to custom. Whatever your days. Right now, it's right around 6500 Kelvin, the video size I usually shoot and four k at 30 FPs. Like I said earlier, this allows me to slow it down to 25 frames per second, which is normal in my region here on if you have a bit of jitter orbit of shaky movement in your footage, it usually Smoothes out the jitter in the shape, so that's pretty helpful in my case. Something else that can really help you out, like I mentioned in the composition and cinematic movement section, is to use the rule of thirds on. There's actually a grid overlay on the up. So what you do is you hit the gear icon, you press grid, and you can either choose this one or used to diagonals. But I think this is a little bit too much. So I usually offer the grid line so you really can see clearly where the lines intersect and where you want your framing to be, so that can really help you with shooting. And then, finally, the last tip I would like to give you, even though I don't use it too often, I usually shoot manually because I love having their control myself. But what you can do if you want nice and smooth movements issue, press this and you're going to tribal Move now. This is not possible because I'm not flying at the moment, but what this will do? Is it will really smooth and slow down your movements. Like I mentioned, always be slow and steady. This really conveys a far more professional and subtle look in my opinion and the stripe old mode right here can really help you achieve that. Now, something important to note that earlier in the cinematic movements in composition section , the controller settings that I use are actually these ones. I use mo three. So my right stick is actually controlling the up and down movement, but also the turning left and right. Whereas my left stick is moving forward and backward and is moving the drone left and right . So that is the mode I'm using. I believe most people use mode one, but I actually learned in this way, and I stuck to it like that. A portion doesn't matter which one you use. Whatever floats your boat. Just make sure that you've got it dialed in, and you really know what you're doing. So you don't have to think about the movements when you start flying because you really want to be familiar with your flying, and you don't want to be thinking about that solely about which helps you want to get in which movements would be the best for that situation, so that pretty much sums it up for the settings. If you do have any questions, feel free to let me know on I'll see you in the next one.
7. 1.6 Exposure: exposing drone footage. The right way is crucial. As drones have a small sensor, it is harder to tweak and adjust exposure imposed when the footage is not exposed correctly , so to better the exposure. First, the easy will be to color, correct and grade your footage and, in turn, get more cinematic looking results. So exposure is the amount of light that reaches your sensor. You can also under expose being too dark or over exposed, being too light. It is better not toe eyeball exposure. So let's talk theory first. So how do I know how to expose certain things? Are my skin tones the right exposure? For instance, a famous landscape photographer called Ansel Adams created the Zone system. It's a chart with different exposure values, from zero being pure black to 10 being pure white, both containing no detail. This is all communicated through his chart. As you can see, the skin tones generally lie in between four and seven of the chart. This chart, in a way, it's similar to the way for scope and editing software. But we have a separate video discussing the different scopes and their function, so don't worry about that Now that we know the theory, let's talk about the tools that measure exposure on your drone. The Medicare has a light meter in the bottom. The aim is to get the arrow pointing toward zero to get appropriately exposed. Image. Now this tool reads out the light of the entire image. So let's say you have an image with a Bryce guy, but you're subject is under exposed It is them wise to check the image so you can purposely over or under exposed to get correct overall exposure for exposing your drone footage. There's also an automatic mode, but just like the white balance video, I would always recommend doing manually to prevent sudden changes in exposure. This is the most common mistake I see with beginners. There are three aspects that affect exposure, the first being shutter speed. Secondly, aperture. And finally we have eyes. So the higher the shutter speed, the darker your footage will turn out to be and the slow of the shutter speed, the lighter your footage will become. You should always aim to get your shutter speed to be double your frame rate, so let's say you shoot in 24 frames per second. Your shutter speed should be 1 48th But since you can dial in 1 48th try and set it to 1/50 the same goes for shutter speeds of 1 1/20 with a frame rate being 60 frames per second. This will make your footage look more cinematic because you will get more motion blur as farce aperture goes. This is set by the Mavica, so there's nothing to worry about here. What we can adjust is the I S O. This affects the overall light sensitivity of the image. Now the main goal is to keep your eye. So as Lois possible. Since the lawyer is so the cleaner and sharper, your image will look again as drone sensors are relatively small. Slight increases in I so tend to have a big impact on the image quality. So I recommend sticking 200 I so and if necessary, 200. But I wouldn't go much higher unless you know how to properly denies her footage. But that is also something will cover in a totally different topic. Now, sometimes I get people asking how they can get their shutter speed to be double their frame rate when it's super bright and sunny outside. This is where nd filters come in handy. Nd filters are basically like sunglasses for your drone. It blocks the amount of light from reaching the sensor. Therefore, being able to crank down your shutter speed, there are differences in the amount of light that nd filters let through. So Andy four, for instance, lets in more light than an ND 32. This is all dependent on your lighting situation, so just make sure to double check your lighting meter in this case. So there we go. You now know what exposure is. Let us know if you have any further questions and we'll see you in the next course.
8. 2.1 Data Management: Okay, so we're onto data management now. It may not be the most fun thing to learn about, but it's so essential that you keep your files organized. So whenever you need to go back to a certain project where you're looking for specific files that you want to upload for stock, you know whereabouts, it is on its no clutter. The earlier you begin to learn this, the easier it will be. I made the mistake that all the footage I showed in 2017 2018 it was so unorganized. And I spent weeks to get everything organized on separate hard drives from as D cards, drone footage, GoPro's Sony cameras. It was just a nightmare. So I'm gonna show you my workflow on why it works on. Hopefully you'll save a bunch of time doing so. So I've added my folder structure with this course it's called renamed Me. So please don't edit in this file. First, make a copy and then call it whatever the project is your doing them. So if you're on holiday to Sweden, call it sweetened holiday and keep the rename meat were extractor file. Keep that plane because that is something you want a copy on? Just rename it whatever your project is called. So as soon as you open the files, we have five separate files like so the 1st 1 is going to be the documents. So here you will add your phones or scripts. If you're working on that, if you're just making a holiday or travel video, this might be necessary. But it's always handy. Then the 2nd 1 is the assets here. You want to add your audio, maybe have sound effects you're using. Maybe you're using graphics or overlays. This one goes here and then finally logos is what you will hear. Number three is your actual footage. So maybe here you can ask extra folders, depending on which cameras you you. So you might be using. You can in. Obviously we're using a drone. Maybe you have used a GoPro. Then in between these folders, maybe you would make they one of your trip in that folder, you can even do a card one if you shoot a bunch of footage, see one I'm getting too. So you're gonna have a bunch of folders. But in this way, you keep it nice and organized. then the four folder is gonna be a project files. So here you will save your files. I'll show you later on how you can do that. Improve your pro on. Finally, we have the exports folder here you can have different versions. So if you're working with flying your B one b two b three etcetera goes here. Maybe if you want to use steals a lot of directors use this. If you want a share, Work on social media. Keep your skills here. A sport. Renner. So the sifting we did earlier. This is if you export all that sifted footage that was correct. You can at that hair on. Finally, we have the final full. So the final video wants his old done. That one goes here. So make use of these folders on. I'll now show you how I do that in Premiere Pro. So I started that up. So this is the screen that will open up hit new project, and this is what we want to do. So if we're still on holiday in Sweden, Sweden, then once you browse, you would want to select the right folder. So here we are, rename me and we got a project files and then you would save it here. I'll just cancel that now because I want to keep my forward clean. The same goes for the Project Auto Safe. Notice how I made the Fuller Project Auto C and also for video preview. So broad that and you would select that to be this polar. So start with doing this now it's going to save you so much headaches it's worked for me on . It's gonna keep you far more organized and eventually it'll save time. And I mean, who doesn't want to save time? So go at it. Let me know if you have any questions and we'll see you in the next one.
9. 2.2 Workflow: so learning some of these fundamental premiere pro keyboard shortcuts will really make your video editing experience far more efficient. So let's take a look at the shortcuts that I use and have provided with this course. I've done this because my main issue with standard premiere pro shortcuts is that they're all over the place. I don't want to look down on my keyboard constantly, but I mean, I also don't feel like lifting my hand up unnecessarily every single time on. Even though it may seem like I'm exaggerating just a bit. Just imagine if you're editing for several hours straight every day that these shortcuts could really save you a lot of time and what saved a lot of hassle to. So whether this is your first time attempting to add a drone videos or if you're actually a professional that is seeking a more efficient way to edit keyboard shortcuts generating from really help you improve your workflow. Now, at first it may seem a little intimidating, but it's just a matter of getting used to the shortcuts, but it's so worth it. In the long run, I mean, some editors even stick with so far they're familiar with because I really don't feel like spending the amount of time to learn how to navigate in a new one. But I can already tell you this will save you a bunch of time, and you're editing will go much, much smoother. So let's take a look first at how you can dial in these shortcuts. So we go to Premier Pro here on the top left and hit keyboard shortcuts. Now I've provided a screenshot, which will show you all my keyboard settings. Basically, what you do is, let's say, for instance, you fill in zoo, then you can find here, zoom in. You can either drag and drop. Put it there. I've already done it as you can see or you press the button and you can adjust it here. Here, you see what the commands are on that, but so make sure you get everything dialed in just like I did. So you're just in line for the tutorial. Everything makes sense. Once you're done, hit OK on. Let's drag in the clips. This clip does not match the sequence. A chain sequence, that much settings. No, we want to keep it. The reason it's displaying. This is because that's because the clips that I shot are in four K. But as you can see, this is a 10 80 p sequence. Now you may be asking why it is that I'm doing that on. The main reason is actually because I often combine this footage with my camera on the Sony I shoot with. I usually shoot in 10. 80 sometimes for K. Or it can ally from more creative freedom. Um, so but what you can see is that these clips are really zoomed in, like I really did not shoot the footage this way. So a way to fix this is to rightly on you hit, set the frame size boots and associates your This is the way I shot it. This looks way more accurate. Eso you can do it through this one as well, Right? Click set the frame size. But this takes way too long. It's too much hassle. So I assigned it to t. So when you hit teeth boom it soon that or it actually, um, skills it to the frame size. So instead of doing that individually, we're just gonna select everything we t on it should be all perfect now within just double check to tap team. That looks great. Okay, I'm glad this is over. None with Let's find the clip that we can edit, so I can show you what I usually do. This one looks nice. You got the orbit movement here. Eso generally what I do? I started beginning of the clip and I want to see what my in and out points we're gonna beat. So as we can see, I'm doing orbit movement, but it needs to get emotional bit so you can see this first part. I'm trying to figure out your figure and boom, this is right where you want to get it. So this is my first cut. Generally, what you would do is you would hope on over to the razor tool. Look it you would want to make a cut, Then you go back the selection tool. Well, this one is already selected to delete that. And now you wanna get rid of the space in between? So you hit the space and you feel it does work. And I got the two clips back together, but this again it takes way too much time and could be far more efficient. So what I did instead is assigned button cute. So right around here seems nice. And then just pressure. Cute. So now I got rid of the beginning of the clip and removed the gap in between those two clips at the same time. We could do the same at the end of the clip. So we want to end it right there, drift off one ended here, then press W. And it does the same for the inflict. In order for this to work, make sure that these air highlighted So the toggle toggle it on the track where you have all your place, lined up something else you could dio, which I like to dio when I add it to the music, for instance, is instead of grabbing the razor toe again on clicking, you have to be pretty precise because it's with your amounts. Instead, I just drank where I want to hit c driver want to see do it over and over again. So that is pretty helpful. Um, so you may notice that I'm zooming in and out a lot on a first. It is assigned to the minus on the plus button. But actually I changed to F being zooming in and G meaning Zoom up on. Why is this how we're asking? Well, now all of these buttons are signed really close next to each other, so I don't need to lift my hand up every single time on the other button that is right next to it. If you want to scroll forward, scrub through footage, you have deep hit it again and goes posture on. Hit it again. It goes ultra fussed on. Then space bar has stopped, and we could do the same thing for going back. Or so it a scrubbing backwards did it again. It goes faster and hit it once more goes uber fast space bar for Paul's again. Now something else that I'd like to use. So let's say, for instance, we want apply some effects to our clip. Maybe a time remapping. This will be disgusting. Of course, I don't worry too much. For now, I just want to show you so even example. This'll speed up boom. So we put one effect here, but let's say I want to add another effect warp stabilizer, Then it will say warp stabilizer and time remapping cannot be used on the same clip. This because we got to similar effects or two different effects. Apply to one. So if we want Teoh counter this, what you'll have to do is have to nest it. So in order to do that, you can right click and hit nest. Call it what you want. Time, time, time, rematch. Eso that's an option. But if you use this affect a lot, it's probably way easier to just hit and and boom, they have it. So go back. Hit the Cliff Press and time rate man. They have it, So that's helpful. I'm thinking of the other one on that is actually when you want to color corrected clip. So let's give that a shot. I'll go into the color works based on the top. I'll just do a really basic great for now because we're gonna go more in depth on a pullback. Black. What's may want a little tiny esseker into it. This is just for them for the video, so you can see what I'm doing now If I want to see the perform officers, which is really important when you do color grading, I would have to dial on and off all these different tabs. Maybe, for instance, if we added a vignette, I would have to go all of these through all these types individually, as opposed to just hitting zero. Hold it and you can see the before and after, which is really helpful. Soon out again with G. Let's go back to the editing tap. So sometimes if you wanna delete clips in between, I just hit X, which is right to see. So it's all still, uh, pretty much next to each other, which is nice to have zooming out again with G. And then finally, an interesting shortcut to use is if you want to driving, drop multiple clips. So let's say, for instance, I want from this clip all the way to the end. I want to drive to the right because I want to create space so I can, I don't know, fit something in between this cap here. So instead of selecting on after Zuma g selecting everything and then moving everything up , so now I can fit something in between here instead what you can dio if we assume back again . If you're hit B, then you see these two black arrows. So everything pointed towards the right of the arrows is what you'll direct. So if you just click and hold, you can drag booms and drop it right there. So that saves a lot of zooming and zooming out, selecting everything, moving it again. If I just want these three clips, zoom in press B. So that's pretty much it for the keyboard shortcuts. I hope you make good use of it because it got really, really up your workflow. If you do have any questions, feel free to let us know and we'll see you in the next one.
10. 2.3 Denoising: way. No drums and social, relatively small, which means when the lighting is great or footage will look great. But as soon as the lighting situation isn't optimal, drones really tend to struggle. Reproducing clean and sharp images. This can beat you to various things that can be a higher so it can be in this case, like I did, the highlights were really bright. This was shot during golden hour. So with the highlights, I mean, the sky had exposed for that so you can see all the detail. But it also meant that in my shadow areas right here, it tends to be a little darker, maybe under exposed, which will result in a lot of noise. So in order to get rid of that, we use no introduction. So basically what that does use a plug in which cans through your files on what it does. Is it polishes on remove the noise. In this case, I use plugging called neat video. I've tried various ones, but I found need video to be the easiest to work with on. Also for me has the best results. If you do plan on getting their plug in, please consider buying it through my link as it will support me. And it will allow me to make more videos like Thies. Thanks. And bones for that. No, let's get into the actual de noise in. So I have my clip here. Um, this is the row file. I'll just make a duplicate so we can compare later on. I hope you can see this. I'll just hit play so you can look at this area. That would be a lot of noise. Do that again right here. Okay, So what we're gonna do is we're gonna drying the effect on there, so go to effect and then need video. It says reduce noise. Dragon dropped that on the clip. Now, one thing you'll want to focus on is that your resolution is set to full not half, not 1/4. It's gonna be all the way on full on. You want to give it a couple of seconds to prepare or toe load? Because it's a really heavy plug in. Just wait a couple of seconds and we can get going. So hit, prepare. And then when it comes with a blower again and it built eso what you want to do. This is the screen that pops up drag books in the area that you know is gonna be noisy. So, like I said in this case, this is the shadow area which tend to have a lot of noise. So I'm just gonna drag a box here, like so on. Then you want to hit auto profile on, and we're gonna do auto, find you that basically does it for you. But you can also adjusted here in nice builder settings. Um, let's see. Special. So the luminous is set 40%. Maybe I can let me soon 100 groups here. You can see what it actually does. Let me just come down here, describe that box right here, like so. And now if you make these adjustments see, I put it all the way to 100% and it looks super, super muddy. So you wanna be a ride in between? So this is nothing. So maybe around 25 maybe we could go for 30. That looks to money. Let's up for 25 in this case, and then you have apply. It's gonna take a little while, but eventually the effects will be applied and you can see the difference by hitting the effects button here. Now, one thing to point out is that as soon as you denies your footage is gonna take away a lot of sharpness as well. So what I do is I add sharpness back in post. So now that we've done that, the noise in part, I'm gonna go back to the effects on I'm gonna look forward. The un sharp mosque. I'm gonna drive that on. And with these things, you want to be subtle. You don't want to go all out. You just want to do a small increments, because otherwise you will really mess up your footage on. We don't want that. So let's see what works. Maybe we should get it around. Well, that's ready. Too much generally 70 75 ish. Then again, see what the effect is. Well, you can see it. Really? See this area? Pope? Let me zoom in so you can see that a little bit better. Look at the difference in the snowy part here. This is without this is with that with see how that really pops back again. And also the noise reduction. The you know, that really is a big difference. So that is one clip. Maybe we should try another one to see how it works out. So let's go back to project footage. Let's try this way. Yeah, let's make that. I'm gonna just short in the clip down a bit because it's really, um, intense on the PC. Zoom in just a tad. Alright, Uh, see Presti again Toe. Make it skill. But maybe I should keep it zoomed in so you can see the effects even more of the with the noise. I'm just going to do that for now, folks, But always make sure your skill set right. It's kind of a bit shorter. I'm gonna drag on the need video player. Whoops. Neat. Just noise. So to drag it on resolution set to full wait a couple of seconds and then he prepare with another couple of seconds and we press built. All right, let's zoom in so we can see what we're working with here. Um, so if you in this case like me whole space bar and you can just move around the image So let's drawing a books that seems like a noisy area or a profile and then auto find June. I just do this because I can always tweak it later. Let's see how that war that IHS muddy. So this is zero. That's, um 52. Way too much. I think around 20 will do here. So we will hit, apply. Wait for it to look. And then let's hit the effects. See what it does. See how that all polish is it up a little bit? It looks a little cleaner. Less noise. That means you, man. We can see the effect it has again. So this is without, uh this is with noise reduction. Without with on again, we're gonna sharpening on sharp. See what the right amount is here. Maybe around. Well, that's a lot 70 77. Maybe a little bit less. 68. Let's zoom out. So we have a good overview of what it actually is doing on. Let's go back and forth. Yet that looks good. Yes, well, you can even hear my laptop going on my book. Don't know crazy. So that's pretty much it. Guys, if you want to export it, just know that is gonna take way longer than you expect, because it's a super heavy effect. But this can really up your production value cleans up your footage. It looks more professional. It seems like you did far more effort, even though course it takes time. But it's not that big of a deal. If you're planning on using your footage for stock, this is something you want to do to. So you deliver the highest possible quality and, um, yet go at it. If you have any questions, please do. Let us know and we'll see you in the next one. Thanks.
11. 2.4 Sifting: So this is the part where we'll be scanning through our footage to see what is useful or good for the edit that we will be making later on. Some footage is going toe stand out in a certain way. Eso How can I figure out in which way my foot it stands out. So if you compare several comparable clips, simply, just look at the difference in exposure or composition. Maybe one clip is more jittery than the other. How the reflections So on and so forth. So then you will be able to make a more educated decision on why're using a specific clip on where you're not using the other? Andi, this is all going to stand out in the edit. So to show you how I edit on CIF through the footage when you go back to the editing So we have a nice big timeline and what I dio there are several different ways to do it. But I'm going to show you why I do this one and why it works best for me. So we're gonna create a new sequence. We're going to call it sift, um, make sure it's 25 frames that's my standard. So we have a separate sequence here on the 10. 80 p is where we'll be editing. So what I do is I select all the clips on I dragged him on the timeline. Now, what I'm gonna do here is I'm going to scan through the footage on whatever part I like. Maybe I'll make a cut here on Don't make a cut there and I'm gonna drag it one track above . So all the correct clips at the end are gonna be on track to the other option is to double click it, scan through the file on make it In and an outpoint. But the issue with this is if I want to go back to look at those clips after scrub through , all these separate folders have to find this one specific file on. If we do this, I can just quickly switch from sequence, and I can still look back and find my work. So that is the reason why I'm choosing to do this. It works way better, in my opinion, on especially if you're working on documentaries or bigger projects. This is going to save you a lot of time so I'll just walk you through what I dio I'll just quickly scan through. There's a nice tilt there, so I'm gonna stop here. Um, here. That's a nice part. I'm just gonna drag this down. So we have this lift on that. I'm gonna continue this The same clips that we can move on. We have a little What is in house down there? I'm actually not liking the turn this way. Let me see if I go the other way. Yeah, that looks more like it. So carry on. Playing okay from Oh, no, that's a bit too fast. Maybe this is better now. Its center and the movement looks a little bit smoother than it was before. That looks about right. We don't want to do it too long because otherwise they get boring. I mean, drones are fun and all that, but more and more people are getting drones, so we need a beware that we don't bore the people too much. Actually, I don't like this short. I'm not sure what is going on here, but I don't like it, so I'll skip that. Let's see here. What are we doing? Yes, we're following the car. This is Ah, shut media in Switzerland for the jeep. So cut it here and we got some nice foreground going on. I'm slowly following on cut. Drank that above Anything else? Interesting. Not Not really. Let's see what we have here. Not there. It is trying to find the right angle. That looks like a pretty nice shot. So I cut it here, press play. So right around there, we have another carton coming. So I'm going to stop it right before you can see that right here. Drive it up. Let's see what else we have. That's like, I don't like this shot. It doesn't really do anything to be fair. What about this one? Paid enough to see what we dio. Well, I remember my drone freaking out here. That's road through that. That's a pretty decent part. Cut it there. See how it continues right around there. No, we go. Not ready. Like this show doesn't really have too much. No, this is pretty nice. I maybe prefer this composition to the one week did up here. This is pretty much too far away. And it's center. And this one is using one of the third, So I actually prefer this shot. So then what I would do is I would cut this to the piece. I would like to put it back up. And I was really easy to see what the previous clip, waas, which was this one. Because it's one track up and I would pull that back down again. What else? I think we have enough castle for now. Hmm. That could be cool. Let me see what we could use here. I like the moving forward on tilting down, makes it dynamic and focuses on the subject for that. Up next, I saw the Matterhorn, right. You can see my camera bag right here. You don't want to see that. So move up the frames that we go cut. That seems pretty good until I almost Yeah, right around there. Put it up and so on and so forth. So pretty much. What you do is you scan through the footage. That looks nice. Actually, I think this is good until the end of the flip on. Put it back up again. Let's just run through these last couple clips quickly so I can then show you how I bring it back to the other, um, sequence. What are we doing here? Nothing much. It's just interesting. No. How about this one? See, that's far more interesting is we're moving forward. We're using this rock or whatever it is to create death because we haven't for around here go through. That seems nice. What is this? That's another metric. Okay, I think we got it. Then what we do is I would select all the top clips, like so then command see or contra C depending on what system you're using. De select this because we don't want it to go over our adjustment layer. I just added this. So we have a little color Great going on on, then. All you have to do is come on, Fi or Contrave on. No, this is It's not a lot of footage from here. So what you could do is delete all the gaps independently, but we don't want to do too much effort. Right? We want to be efficient. So instead, we're gonna go to new item adjustment layer. Make sure this matches your sequence, but it usually doesn't automatically enter on what we'll do first. Look, this one So it doesn't miss up the color. Great. I dragged on empty adjustment layer and I put it all the way across over all the clips. Is that right? Yet then I select all the drone cliffs, zoom in a one clip and put it up in the adjustment layer, and then I put it back down again. On now comes the important part. We select all the adjustment layers that are being cut up right now, right click And then we go to ripple the leak. And as you'll see it will clear all the gaps. And now you have your best shots and touch together. See that? So that's pretty much how I would give my editing workflow going on. And even if I were to say like, Hey, I still like a little show or I missed this in that location. I could not really easily go back. Teoh, what was this? There was the Matterhorn. I have some other nice shots right in between. Then we check this one out or let me check that one out. So it's really easy to go back and forth in between these sequences and yeah, that will save you a bunch of time on. Hopefully, it would make your editing workflow a bit more efficient. So there we have it. If you have any questions, do let us know and we'll see you in the next one.
12. 2.5 Editing Techniques I: Okay, so now it's time to look at some editing techniques. To be fair, I don't mess about with my drone footage too much because I think if you edit them too much , do too crazy transitions. We've all seen that it might be trending the travel scene, but if you do some professional work, you want to avoid this. You want to keep it nice and clean, but just add enough to make it seem more interesting. So let's play this video so I can talk you through what I did, which techniques are used on for some shots. Why did not do anything? Let's play. So this shot, uhm, is a tracking shot of many. Let's just go back. I'm following it. I'm generally zooming out. This is a digital zoom for this shot. I wanted to keep it nice and clean. Nice and simple, super minimal. It's a dancer who's centered in friend. Nothing crazy here. Now this show is interesting for several reasons, so let's play that back again. It's interesting for a couple of reasons. The first boat. We have the foreground here, Um, we're showing the subject that is walking up on the mountain we're also doing is we're flying forwards and upwards so we can reveal the crazy scenery in the background. And at the same time, what we're doing is a digital zoom or parallax. So we're moving forward. But at the same time, I'm zooming out. So that's something I'll show you later on. And that Brady makes a shot pretty dynamic this show. Nothing too serious, you know. Here, this is a tracking shot. Hey, they look familiar. Uh, let's see. Oh, here's another one. So this is a culmination of the orbit move, and I'm zooming out at the same time as well, while keeping this in the exact same framing. So I want to keep this centered. So let's again see how it's moving, but also zooming out the same time. This next shot, I'm just going up because I thought it was framed beautifully. The composition is nice, and I didn't want Teoh do any damage to that. Here again, we have the orbit. We're focused on the windmill in the church in the back, and I'm gently zooming out digitally. So that's also one of the features of shooting four K. You get to scale in or out quite a bit, which is nice. This is just moving up, having the subject going into the center. It's also reinforced by these two big pillars. Nothing here. Also just a reveal. Let's see what else? This is a tracking shot. So you guys, it doesn't. You don't have to go all out with editing. It's also about how you shoot it. So here I perfectly send a framed it. And that's what you would want. Oh, there we go. That is a speed round. So what I was doing here was flying low, flying low through the mist, and I would gradually go up with the drone. But what I did is I speed Rempt it. So I sped it up in post. Otherwise, if you don't do that, it would take life 30 40 seconds for me to actually reveal the top part of the of the shot again, flying over, which is the foreground. It's a supercool bridge. We actually shot a part of the vocal commercial here, flying over and tilting up no techniques. It's all drone work here, here, doing the orbit and zooming out, revealing the crevice here. These were pretty straightforward to Let's see what else we have here. Um and I think this is the same to tracking Jimmy up. This was a pretty difficult shut to achieve, but hey, look pretty cool. I love how you see the light on the snow as well. Oh, and this was also done Wells droning. So what I did is I increased speed gently. So I started off slow, really low to the ground, and I continued going faster and faster, so you can really see the change in speed. So I noticed this and speed up once more. Slow, slow, slow and speed up. All right, so that's a couple of clips I wanted to show you. So now let's go back to these ones and see what we could do or how we could adjust that. So this is a tracking shot of the car. It's snowing. Eso What we could do here is the parallax. So in this case, you would a key frame the skill you might wanna do it. 225 ensure that the subject is still in frames on this case. It's perfectly fine. Also, I don't really like the sky here. So what we do since we're skilled in, I could crop a bit off notice the black bars Just ensure that you your frame is entirely filled. And now we could later reduce this back to 100. And then, of course, we would have to get that back as well. See what that does. Uh, I forgot to key frame the position. Well, let's do that again. Started beginning of the clip hit key frame. It is your in NY so we can crop a bit of the top. This 11 so and then we could bring that bath again. About 40 right? Let's see what it does. See how gentle that IHS. But it's pretty nice. And if you want to go more hectic or make it more noticeable, just increase this girl. Now you can really see the scene come to life. The snow entering the car seems to be going further and further away, which sells that you're moving. Did you have a sense of speed? Let's say 100 and 50. That's extreme. But just to show you what it does, they have it right next one up. What can we do to this flip to realize that wouldn't do too much. Um, here as well. Let's enter the skill. You could have it pretty soon then. And if you want to reveal more of what the location is and 200 again and then you will slowly see it moved backward like so on. Of course, we want to use the entire clip. Just make sure you dragged the key frame all the way to the end. So in this case, it's drank out over a longer period of time. So the zoom out will be slower. Obviously I'll show you this one. This is the time remapping shot I used. So let's play it first. So we see what we can work with. Lo Lo lo and I'm so leave slowly but steadily starting to increase the height. So I recon reveal what we're up to, so to do the time remapping you hit the clip on right click here on the effects time, remapping and speed. So this line generally is the average speed of your clip, so it's gonna be set to 100. Now if you don't see this, this is because you need to drag it out in order to see the line. So just increase the height groups. That's room weren't just increase this one. And there you can see this little line that represents a speed. So here, for instance, that's person here. I want to skip this part because it's not very interesting, but we want to show the reveal. So in between these two points, I wanted to speed up. So let's stick to 250. I'm not sure if that's way too fast or too slow. That's too slow. Let's go a little bit faster, Let's say 400. Still too slow, Let's say 800. You wanted to be nice and far, so you don't have to wait two. That seems better. Now drag these lines out and this these three blue dots, they make the transition a little smoother so that normal speed comes back more gente. But Sherman, here we want to pull this out, Greg, that right, so on again. Drag this so that blue dots make it smoother. And there you have your speed room so you can also do a combination of things. So now we have the speed round set. You can also decide to do the digital zoom. But then again, what we would have to do is nest pressing in on the keyboard. Um, I'll just call it zoom. So now we have a clean sheet. We can work with this and do whatever we want. So let's say we would skill this 235 and then right when it ends the speed round, I'm gonna head it back. 200. So let's see how that works out. So you know that makes it more dynamic. You could also do it the other way around. So started 100. I'll delete the other key friend we're about said we wanted to be, Let's say here. 135 right back. See what that does? That's pretty interesting. So they have it. These air, some editing techniques that I use. I wouldn't go too overboard with them, but just give him a go. Try it on your own cliff, See if it works. See what doesn't work. And if you do you have any questions. Please let us know and we'll see you in the next one
13. 2.6 Editing Techniques II: So now we'll discuss more editing techniques that I use on. Let's get it going. So one of the things I like to do is you cinematic bars. We discussed this earlier on, and actually this is a pretty good clip to use it own, because if you can tell, I can see the propellers in the top left hand corner right there. So there are multiple ways of doing this. You can download a PNG of cinematic bars on Google, or you can use a crop effect. I'll show you both of them. So here I haven't overlay. It's an adjustment. They just dragging on top. Now you can see it doesn't match it because it needs to be scared to the frame size. So now we're going that, and what this allows you to do is if, for instance, I would want to reframe this video, I could by doing so, because we have the extra space on the toe on the bottom of the cinematic bars. So right there. So this is one way of doing it. The other way is, let's say we were to delete this one. Then what you do is you go to effect type in crook. You dragged that onto your video Pleyel and what you would want to do it, She strolled down. See, her crop is the effects that his own on for the top and bottom. We select 12. Um, well, on now all we have to do is get this back in place. There we have it. So let's move on to the next clip, See what we have here. This would also be a good example. So just a gradual. It's a nice shot, nice and slow. That's also something I love doing with drones. Keep it nice and slow the movements. She don't want to get seasick. Just keep it nice. Slow, smooth. So the viewers ableto actually follow what's going on. It also depends on what kind of shots you're making. So 12 to the top and bottom and see how that looks super cinematic. All of a sudden that makes you reveal even more intense because you're waiting, waiting, waiting, seeing what's ahead and just absolute. I feel so this is one of the effects I like to use the crook or the cinematic bar said. You want to call it like that. We could also, of course, combined that with zoom technique like we did in the other video. So let's say, for instance, if we were to drag on the Crow, make sure it's fully aligned with the totality of your cliff skill, and then what we could do is use the key frame. So let's say we want to start with 130. And then what we could do is that we drank it all the way out. Go back to 100. Make sure to drag this key frame all the way to the end, and they see what that looks like. Nice. I like that. All right. Next one up. See what we have here this again. Could really help with some cinematic bars on talking bottom. Beautiful. Nothing to fence here. Compositions. Nice speed is good. Nice reveal that makes for a good drone shop. What do we have here? We're tracking the car. The tracking is OK, but I don't feel like the cars going very fast. So what you could do is increase the speed. Now, be gentle with this because we don't want it to look unrealistic. So let's try 150% and see what that looks like. If we want, we can drag the bars onto it as well. I don't like the framing yet because we can still see the bridge on. Let's try that. See what that looks like? See, that conveys far more speed. I actually prefer this. I think that's 150 is the right speech for this. So you have that absolute. So now, at normal speed. Yeah, I really prefer the foster one already do once more. Yes, moving on to the next one. So what do we have? We have a drone rise so sometimes what you could do, But you really have to pay attention that you don't have any moving objects or people, cause that will look a little bit on ISS if I were, for instance, to reverse this clip so I'll do that again, right? Flip speed, duration. And then reverse speed. Okay. And now what you'll see is that from a review, we go back to the truck and this could be a really good way to introduce or start this story. Reveal the setting the location where you're at, and then we're off to the cars. Maybe you'll start road trip or it's the beginning of a journey. See how that changes the feel of the clip? Also, what is good to know, if your fly your drone up, it's gonna be far smoother than flying your drone downwards. So you're better off like I did filming it, going upwards and then reversing it imposed. So this is the original flying up. And then all we have to do is right. Click speed duration, reverse beat on hit. Okay, so there's the final image. Another car tracking shot going through the mud. People there. Um, that seems rather slow. Let's see if we can add a bit of speed to this one. Rightfully speed duration. Uh, Y system 99.9, you know, no idea. Let's try 150 as well. See what that does. Yeah, that looks better. What about their? Well, that's also add the cinematic bars I might want to reframe. Adjust attacked. So it's centered just like so on. Maybe we'll also digital zoom now because we assumed and it's not entirely centered anymore . So I'm just gonna do that right now and then at the I. Usually when I want to do the digital zoom. I don't do it all the way into the end because usually end up going one for him too far. You have to do it again. So instead I stop with just a bit for the end, and I dragged the key frame to the end. So let's see what that looks like. Man, has that drone shot improved? Look at the repeal of the back. I like that. So we added the crowbars. We change the speed. We did a digital zoom. So seeing how you can combine them all to get a better overall show, what do we have here? Some boats and Switzerland. So I reckon we could change the speed that's 150 again, because that seems to work well. Yet they're going fast, but definitely not unrealistic, because if we were to bump it up to 250 this doesn't really look realistic in my pin, and you could just tell it was sped up. So let's not do that and go back to 150. We could add the bars and see again how that transform your shorts. So that's it. For the second part of editing techniques. Give them a go, see if they work for you. I've added the PNG with the core so you can add the crowbars yourself. And if you have any questions, do let us now see you in the next one.
14. 2.7 Sound Design: So now wrong to sound design. I've just opened up my project fell for the documentary that I made. I'm gonna walk you through just a little bit too. She what? I add it and how sound effects come really, really benefit Your film can really help Add to the Viper certain feeling you want to convey So I'll just play through a part of the documentary right now and then I'll go through the individual sound effects that add it. Food challenges. No way have that. So let's take a look at the intro to see what is going on here. So I have a couple of different tracks at it. This obviously is the main track. It's gonna be the audio of the clip, and we have some more at attracts here that are the actual sound design, the sound effects, if you will. So may. We should check out this one first. What's your press s? There will be the only truck you can hear. So let's play that as you can hear it. Those are the wind effect that I added simply because the drone doesn't record any audio if its own. Otherwise, you were just here, the propellers going on? Uh, this really added to the vibe, and I thought it was necessary, as during the day was actually super windy as well. Now let's check out this one to see what this adds. This is what you would call a riser, and it can really build up a certain moment. Um, this was specifically useful on yet That's why I decided to do it into the intro to grab attention. This is the track. Let's play that way. Okay, Now let's add in the riser to see what the difference is. So now added the riser, Listen to this. Okay, on now what we'll do is at the wind sound effects, which is this one on? Let's play that again, see what the difference is. Now you can see how the combination of those three really pieces together and really ties you into the story it conveys that were on top of this hill at Super Windy, which it actually waas. And the rise really adds to the tension. Now let's rub to a later part in the film. Do you notice how that sun ambush of the film enters as soon as a drone. Chuck begins. Listen to that once a man once more. Okay, so let's listen to this track. See what that does again. Also win because we want to convey the out door Cleo on. Let's add this riser back again, OK, and now let's add this sound effects. See what that does. That's the horse you can hear in the background. This one. I also added through epidemic sound. I've provided you with a link that will give you access to one month free trial. I love their stuff. If you hit the link, you'll be redirected to this page you hit. Try it for free, then the ad your future China or Facebook account press continue on. That's that. And then you will be redirected to this page. I'll go back to the home page and here on the top in the middle, you can see sound effects, and it's super easy. You can choose. Choose whatever you want, maybe whether you want snow impact where you can also search, and this is what I did. And if you feel in horse on the sound effects, these are all the effects you can choose. No, this goes on you want work? So this is really helped me during this sound effect process. So now let's get back to Premier Pro on what played out once more way. Now have the wind effect the riser on the horse sound effect. And now we're gonna add back in the trip to see how that transitions There we go again. Three To what? See how that more sound effect isn't that obvious? As soon as you add back in the audio track, listen to that once more way to make it more subtle is when you go to the effects tab on you feelin surround and you want to put on the surround reefer of effect, You just drag and drop it on the clip. In this case, I already did it and then here on the effects panel and you can see if you press edit. I added this preset somewhere. Not here on these are all different ones you can check out because the horses all the way in the background and I wanted to convey the same feeling. It shouldn't be too close, eh? So that's what I did. And then I added a faded beginning at the end, and that's why it sounds so natural. Let's hope into another plane in the documentary. So this is a later part in the documentary that I would like to show you. So this is an expedition adventure holiday, which means their goals. Those goals take precedent. I'll go back and again, we'll listen to the individual tracks to see what they do. So that's a riser building up to the moment that the driver jumps off the roof. So listen to that once again and then the 2nd 1 Let's see what that that's a bush that is being added to enforce the impact of him jumping off the roof. So once more so then later on, we hear this. The driver was closing the door on. That just reinforced the feeling. So let's add back in the soundtrack. So this expedition notice how that door slams on the beat of the song. You can also tell when I zoom in its on the exact same. Be so reinforces the movement again. 3 to 1 theme here when the car is driving away, I've added this sound effect. Let's listen to it starting the engine on the car driving away. Then as soon as it goes through the water, guess what? Add it. Then we see the eagles. So we go back one track to see when it added Here, cars in the distance, rain even a bit of thunder and notice how I faded out into the other shows Gold Gold Take precedent over any individuals, comforter interests on. Everyone knows that in our case, we're conducting research on for the largest glaciers in Central Asia. Now, what is important to know is that when you play music or when you add the sound effects, you don't want this to be peaking. So let me play you that once more on notice. My audio levels here on the right. There we go. See how their range between 12 and minus nine. This is the right around the red. You want to keep it? You don't want any of your audio peaking because otherwise you can tell it's it's gonna be overblown. So now that you know where to find your sound effects, just make sure you download a whole library that fits your film. And then eventually your timeline looks something like this. See how much I've added I've added more sounds than I've added video because sounds on a super duper important. And I hope this video shows you the importance of it. If you have any questions, please do. Let us know and we will see you in the next one.
15. 2.8 Export Settings: So you add it in great your video beautifully. We put in all the time and effort to make it as good as possible. So now is the time. We want to focus on maximizing the quality of our films and this happens with the export part. So there are some things to take into come when we export. Namely, is it going to be used for stock? Is it on online video? I'm gonna use it for clients. These are all things we want to consider with the exporting. So first of all, you have different types of files, so role would be the highest quality. But since most drones don't shoot raw video, we won't look at this too much. This is something you'll see with cinema. Great cameras, for instance, cameras like red or Arie's. Then you have progress which could be seen as a little bit less quality than raw, but still containing good quality. So if you have big projects, for instance, this is something you might want to use. And actually, drone footage can be hard to great visit because the Codex aren't perfect to work with, so something you would want to do is use pro rest for that, and you can convert that using media encoder. This actually comes with the adobe pack, so I will show you how to do that. So we open adobe media encoder on. What you want to do is create a new preset. So hit the plus button here, create encoding preset, and we'll just call this pro rez. Make sure this one is said to quick time and we want to use apple progress for two to suppress that. Make sure it says the same here on video. Kodak Max the source. We're going to go for render at maximum death and use maximum red inequality and then hit. Okay, so you condone. See it listed here as a preset. So in order to convert your footage, what you'll have to do is find the folder. I just made a copy. So it's a duplicate. Now you drag it onto the preset so you can see that it's now listed on top here, and you press the play button. So this might take a while because pro rest allows you to keep a lot of quality. So just fast forward here. So now we can see, we got the new file. It's 3.6 gigabytes as opposed to 600 megabytes. So it's gonna be far more superior in terms of quality in detail. And this is something new one to use for your master files. Now, what are monster files you may be asking? Monster files are basically the best quality you want to keep for your footage. So, for instance, if you want to use it for stock, you want to give the people that use your clips the highest possible quality. This is basically just maximizing the quality of your video fun. So if you don't have pro rest, you will most likely have shut your footage in H 264 That is why we are exporting in media encoder. So now if we go back here to Premier Pro, this is the culprit file. So this is Ace to 64 and this will be the progress fire. Now, this should be better with playback. So let's see if we can check that this is the H 264 file. You can see it. Jitters. Quiet a bit on. This is the progress file. Also generous, but you can see. It does go more smoothly than the other five, especially if you work on bigger projects. This is something you want to look out for. Eso. Let's export one file to see how we do that. So you get in and out point like so make sure they align with your clip. Also the work area, like so and then you hit. Come on them or control them now for online video, I would stick to H 264 You press that here on you Can Isay either use one of the presets or if you want to, you can click the high quality four k The name the father What you want in this case four k he met the source render its maximum depth and what we want to look out for is here the bit rate encoding. So you have V b r one pass and vi br to pass dbr two passes when we wanna up for right here on basically what dbr does, it analyzes your videos and it sees where they need a little bit more information. We're not so for drones. They generally need a lot of detail because if you shoot with drones, they have wide angle, so they capture a lot of detail big landscapes, but to compare, for instance, with normal cameras. If you have showed up, the field show the face is gonna be sharp and needs to contain a lot of detail. But everything that is blurred out needs less. And that is what baby are to past does analyzes footage and sees where it needs the most bit rate. So for 10 80 p, if you would be exporting what am for somewhere in between 25 or 35 for the target bit rate on the maximum bit rate between 35 45. So just do it like so In this case, we're doing four K so we could use more bit rate. And here I would up right around 50 and the maximum bit ready. I would up for 70 then all we have to do is use maximum render quality, and you can either added to the Q, which will add it to Adobe Media Encoder or we export and you'll see it started to encode plus one of two. That is because we're doing the V B R to power, so it's guns through twice. We'll just cancel that for now so I can show you how you can export a monster file. So the monster file, like we discussed earlier, is going to be an Apple Pro rest file. So go too quick. Time for the preset if you want to do it in Premiere Apple Progress for 22 Then again, we want to match the source. We're also going to offer rendering at the maximum depth. This time, the bit rate settings is limited because we're using the preset. Don't worry about that, and then you use maximum inequality and then again you hit export. So that's it for the exporting settings. Please do make use of it because it's gonna be so much better if you put in all the time and effort to make your videos look good, but then lashed the right export settings. If you do have any questions, please let us know and we'll see you in the next one
16. 3.1 Color Theory: Theo more. We know about the actual theory behind colors, the smoother our colleague rating process will go. So let's take a look at this color wheel. You can see how the colors flow into each other. If you look at the middle of the circle, there is little to no saturation, and the further you go towards the outside of the circle, the more saturated the colors become. We can also see which colors are opposite of each other. This is what we call complementary colors, a technique that is often used in Hollywood. Now you may have heard of the term teal and orange. These air also complementary colors, as you can see on the color wheel. So the more you experiment and learn about the color wheel, the more you'll know how to balance your colors later on. Now don't worry if you don't get it just yet. We'll cover some examples later on in the course to walk you through the most common way to make your videos come alive. Issues Color contrast. Color contrast makes use of complementary colors. Now skin tones generally lie between this area, so if you want to add color contrast we use the opposite color in this case, the blue area. This will make your footage look very pleasing to rise, and it makes your subject stand out, thus giving the viewers something to focus on. This is something we want as filmmakers. Some terms that often occur with color are hue, saturation and luminous. I'll just translate that for you real quickly. You meaning the actual color saturation. That means how vibrant or how saturated that us. And then finally we have luminous, which basically means how bright is the color or you. In that case, this can all be tweaked imposed.
17. 3.2 Color Correction & Color Grading: So, first of all, I want to cover some theory that we can use for the rest of the color grading section will keep it simple but tell you just enough so it will really help you out with the color grading and correction. So just make sure to listen carefully now. So later we can put it all into practice. So you may be thinking, What does color grading actually mean? It's described as the process of altering and enhancing the color of the motion picture video image or still image. Either Elektronik Lee photo mechanically or digitally. But what do we use it for? We really want to use color to set the tone and help us with telling this story. In our videos, there are basically two steps involved with color. First, you have the color correction step. This is where we want to check our colors, exposure and contrast and see if all our shots match. Also, your white balance is something that we want to check in the color correction process. Grading is really when we give it our own field and add character to our shots. This is what I would call the creative touch to your videos. Where's color correction can be seen as the technical aspect. Doing both will really help you up your production quality. It will make your drone videos, pope and really come alive. And this, in the end, is what makes your shell stand upright.
18. 3.3 Color Grade Example: Okay, so here we are, finally, at the color grading example, Um, I will quickly play through this clip that I made so you can see the before and afters of some drone shots. And then individually, I'll walk them through, and I'll show you what process I go through with the color grading. So let's play this one. Notice how I shoot fairly flat and I add all the color back in post. Okay, That was that, um, moving on the first clip. This one right here. Go back to the editing suite. Eso first. We want to go to them color workspace. If you don't see this here, you can Simply hoping over to the window workspaces and it color on what I like to do here is I want to make my screen is biggest possible. I don't care too much about the timeline because none of the rial editing is being done here because we're mainly focusing on the colors. And also, what I like to do is set my resolution to full so I can see what I'm working with here. So here you can see I've already applied to color grade. And if I told you this on and off. You can see the before and after, see how flat that is. So what I'll do is I will go through the individual taps and see what the difference is. So here is the basic correction. As you can see, I've added contrast the whites and the blacks, and I've even de saturated it just a bit. So what we taught you is to use the loo entry scopes. So let's enlarge this road quick, and I'll just reset this color grade so we can start from scratch. OK, so let's start off. As you can see, my exposure is done decently. There's no clipping clipping at the bottom, but not on top as well, because we want to stay in between the range, remember 0 to 100. So what I started doing is I want to add contrast back into the image. Let's say right around 35. That'll do for now. Then what I do is I start adding back in the whites. Now notice. When I do this, you can see the colors pop, but also note what the scope is doing Now, remember, if we have it lining up with the 100 line. That means the widest so pure white that it contains no t does. So we wanted right underneath the the line right around here and the same we do for blacks . Now you can see the scopes read the video from left to right, so noticed that the right part of the scope is clipping first. That's probably because of this area right here. And you can see how the snow pattern comes back into the scope. Do that right here. This is probably this part. So the blacks were gonna talk along and off. It's almost starting to clip here. Then what I'd like to do is apply a little esseker. So I just reset this double tap to do so. I like to add a point here at one point there on what you do is you drag this down just a tad, But be careful, not too much, because we don't want too much flipping right around there, and I do the same for this one. But then instead I go upwards, and this is when we control the highlights just a little bit like so the middle point, As you can tell is gonna be the mid tones. But be careful if you do this, especially with drums, because this come really open up to a world of noise and we want to keep that to a minimum . So I think I'm just gonna stick it right here because this scene was shot during the day. The lining seems just fine. I don't think it needs far more tweaking now. Notice are Fechter Scope. We wanna use this to check if our white balance is correct. So what you want is you want it, Teoh line out in the middle. So actually, this shot was done pretty nicely, which you can also do is use the eyedropper tool and you want to pick a wide point in the image. Let's say this one. See how that just adjusted the purple or magenta, if you will the tint. So once we've done that, I might want it week. A little bit of color here and there. So this is the part where we see the U saturation and luminous Come back now. I wouldn't do an awful lot to this because I think the images pretty good looking already. But if I double tap this. I'm not too fun of the blue color in the sky. So if you just want Teoh just the color. What you do is you go to Hugh versus you, meaning you want to change the color. This means changing the saturation of the color and Loomer Standford ruminants. And that means that you want to change the brightness of the color. In this case, I want to adjust the color of the sky. So what I do is I grew up this tool. I hit the sky and it gives you these three dots. This is right around the blue range that the sky falls in between. So notice if I pull this down or up just a color now. I don't want purple, but I don't want green issues. Well, I wanted to be a bit of a deeper blue, so maybe I need to adjust this one. But notice also I would also tweaks the ground in the grass underneath. Now I don't like the greens too much apartment up just a bit so we can get a bit of the teal and orange going on. Do you now see how I am creating color contrast. So I want this a bit marks of the orange side and I keep that blue. So we have a nice contrast between the foreground and background. So yeah, I'm pretty pleased with the shot. Let's do it before and after affection. Trust, luminary, color Boom! Look at that. It added. So much more life to the clip. Let's play that and move on to the next one. All right then we have this clip before and after notice here that added a mosque, this car so on top of the rock or on top of the hill. If you want to call it like that, I've added a mosque because I want that that is my subject. I want the subject to Pope. Notice the big difference now. If I didn't tell you this, you probably wouldn't have noticed that I added a mosque is just because I talk a lot on and off that you can clearly see the difference. So let's tuggle both of these off on walk you through what I do. So I've deleted the luminary color effects, so I want to add one back on I go to effect I type in luminary color. Now you want to get this one? The color correction, luminary color. What I said, just you do is you drag this to your favorites folder because if you just fill in looming tree, you'll get so many results all the different lutz and everything. So type in luminary color drag a T a Favorites folder So it's easy and accessible. So once we dragged it on here, you can see it here in your effects control. Now we want to go back to the basic correction so we start by adding a bit of fun Trust. Well, I think around 30 looks good here. Switch on over to the lone tree scopes. Now, can you see how this shot is already more equally divided? So I think their wives could use just a tad more Be careful that you don't clip the sky. Yes, the tad on the blacks Also bring it down just a little bit. Not too much. I think my wife balance just by looking at the images a little bit too much on the blue end . Eso I'm gonna tweak this and give it a bit more orange feel and see what that does to the vector scope. Also, um, I feel that the image is fairly green now. This may also be because we have a lot of lush green trees and Bush in the clip. So if I just drag this more to the right, see how the factor scope is moving more towards the center? That's where we wanted to be. Let's see what this did. Yeah, now, especially when I talk about back off, I can really see that it hasn't green tint to it. I actually prefer this look. All right, so next up is the curves. The reason why I don't use creative because I think that's just a short cut to color grating on you don't really learn how to do it. Later on, I'll show you an example how you can use this to import. Let's, for example, So let's carry on. So the curves again. Nothing super fancy. I just add an s curve. Drag this down, notice what it does to the scopes, this one back up, and sometimes you may want to drag this top. Don't just down a bit See how that pulls down your highlights in the scope. Look at that going on in this case is not near. In this case, it's not really necessary because it doesn't clip at 100. Then welcome. We do. Um, I think them the river compose a little bit more. I think it's not bright enough on also, the same goes for the bushes. I think it could be a little bit brighter, and I'm not ready to phone of this color. So let's change the colors first, and then we can adjust the brightness. So we want to change the colors, not the saturation. And again, I grabbed this tool. Click the river on. We make small adjustments. Notice how that is super green. I don't like that. I wanted more towards the blue end. Let's see what this one does up and down. Yeah, I think this is more accurate to what it was in real life. See, it's only minor, but it can really change your field. Then we do the same for the bushy part. But run there. Let's see how this makes it different again. We might want to use a little bit of color contrast, so it's total it up and down and carefully see what it does no notice if I pull this one off. Look at the roofs on the houses. It really adjust the color. And that's why you really have to be careful and gentle with this tool because you can really make a cliff look funky. We don't want any simple Loompas in our shot. Nor do we want Purple Houses. I mean, it's not a cartoon. We said that May we should try this one. Yeah, that makes better adjustments and doesn't affect the image. So let's keep it right around there, see what that did to our image? Yeah, that's pretty nice. All right. And the same we do for Luminant. So we're going to do the luminous of the colors again. Use the eyedropper tool. I wanted to pump just a bit more, so we pull it up. Same goes for the bushes. I want a little bit more pope in there. Yeah, right around there. Chocolate on enough. Boom. That is very nice looking. Maybe we can add a vignette. Now. The reason why you would want to use a vignette is to draw attention to a specific subject in this case, being the cost on the rope Let's just do it slightly. Maybe minus 0.3. Finally, what I like to do is I like to drag a mosque on my clips. So by doing so, we need a new luminary color effect. Notice how it's still in my favorites. I dragged that on and then you want to go back to your fixed controls on If you want to check or you're not sure which one is the newer one? You could just tuggle it on so you can see this one is the color great. And this is the new one. So if I want to, um, accentuate the subject, what I could do IHS hit the free draw Busy A. Or I can also get the the clips mosque or the four point pulling going on. Doesn't really matter. Um, you might want to increase the feather just a bit, so it's not so obvious that you added something. So then let's say we were to drag a line just right around the castle, like so, And if we were to increase the exposure, see what that does So again, with this, you want to be gentle, maybe behave more contrast, and then Also, what you want to do is start at the beginning and you can track it by hitting the play button. So I just hit that for now so you can see what they would do. Okay, so we fast forward. And here we are. See how the mosque stays in place and is sort of locked on. The only casal now notice the effect it has again. It's minor, but for the people that don't know, it will really make a big difference. So this is a second flip done before and after and with the use of a mosque. Now notice that I didn't graded exactly the same as the previous clips. This is Justin example To show you what I could do, then the next one off here is sort of similar. Let's delete the luminary color daily the mosque on. We'll drag it back on again. Again. We started basic correction. Grab the scope Now immediately, I comptel Aiken, drag way more of the Blackstone. But I'll start with a contrast first, maybe 20. In this case, Um, I can see in this case that the highlights air clipping and this is something what we want to avoid. So I'll drag back the white so it's not clipping any longer like so. And I'll drag the blacks way back down right around here then, in terms of the wide balance. Let's see. Actually, it was pretty a pretty moody, like dark and gloomy day. So this is something I want to show in the video as well. I wanted to be as accurate as possible. Then add a bit more purple because we wanted center. Then again, if you doubt if you're white, balance is correct. You can also use the eyedropper, hit a white point in the clip and then just toggle on enough to see what difference it made , right? That's that for the basic correction. Now onto the curves again, we make an s curve track the bundle one down for the shadow areas. Tough one up, Just a tad for the highlights. And in this case, I might want to drag this point down. So we have no clipping. See the difference? This is made already. Also, I was here during autumn, so the colors pope just a bit more and the green isn't as accurate as I would think it is. so again change the color because we want to use color contrast up makes it really, really green, which is no what I want. I want a more yellow we kind of feel Remember the opposite colors yellow and blue. So guess what I would want to add in the highlights You guess right blue And in this case, it maps out the blue as well. So this is to purple for my taste Maybe see what this does Sometimes if I don't really see a big change. I, like Teoh do big increments so I can see what is actually happening. This doesn't do too much for me. There's too much on the purple and maybe I'll just leave it here and then instead, if I don't get the field that I want to um, what I could do is hoping over so the color wheels. And here you can specifically address the colors you want to add to idea shadows, mid tones or highlights. In this case, I want to add blue to the highlights because we're looking for a Taliban trust and the shadow areas. We just decided we wanted a bit more of a yellow field mid tones again, we will go for yellow and maybe just a tad more on the blue. And now if we do a before and after here again, it may seem minor but all these small little adjustments really make a big difference. Now I still feel that it's a bit, um de saturated So maybe we can bump the contrast of just a bit and with just a bit I actually mean doubling it. Um And I think this is looking pretty neat already. If you want, you can add a vignette. You're slightly maybe like so I don't want to adjust the midpoint. No, not really. Maybe, like here on then I think in this case you could also use a mosque because we want to accentuate the church in the center of the frame. Notice My composition is fully focused on this church. So then again we add another loom. ITRI color effect Dragon Drop Go Teoh. The effect controls Togo to see which one, but it's usually the bottom one. Um, in this case, I think we can use this tool that's way too large. Drank that down, get the silencing closer. Maybe just a little bit smaller again. You can also zoom in right here to see if your more accurate or not I'm not gonna be super accurate right here cause it's just a example. But if you're doing this for a client, you want to make sure to take the time to do this properly, then always make sure that your feather is a little bit higher, because then you won't see the change to be too drastic and then maybe add a bit more exposure. So it pumps just out a bit more, and I think that can actually do it already. So let's go back to that normal view. We can toggle it on enough to see what the difference is. That's it on. I think that's a pretty nice shot. I'll delete the effects. Notice how I use mosque a lot. Also in this clip. All right, drag on the luminary color. Let's take a look of the scopes. It doesn't matter if you start with contrast. Very whites and blacks, Um, but I would always adjust them both blacks down a bit. What's up a bit? The reason that I don't adjust the shadows is because thes drone centers air. Really so small. Um, and you really need to focus on getting your exposure right in camera instead of doing this afterwards. Highlights. You could you could, um, the highlights. You could drag down a bit, but shadows. So I really wouldn't mess without too much, because you're gonna be in a world of noise. And that is something we really don't want. Saturation again. I don't feel that it's super necessary, especially if you add a bit of contrast. You work with the currents, you should be just fine. So this is the basic correction to the curves. That s curve going on here. Now, notice that this is not popping just yet and then is because of your mid tones. So notice if I do this, it really makes your midtown stand out. You can also see one side, just this them. You can actually see the middle part of the scope moving. Therefore, it's cold. Your mid tones on one of the reasons I don't like adjusting exposure is because it adjust the entire image like sometimes it could be possible. Actually, in this case, in works just fine, but I would be careful. No notice that it's almost clipping here. So what I could do is track down these highlights Just attack. Just also, take a look at your highlights, like if you see them in the clouds to be fully blown out. You know you've gone too far like here. There's no detail anymore on the scope also confirms it. May we want to make some slight color adjustments again. I want to see a bit more of the autumn colors that I saw when I was there. Like so the water actually looks pretty fine, as is a little more blue. Just minor adjustment guys. Minor adjustments on Let's Add Another mosque Notice again. How I used the composition. The rule of thirds on this falls exactly on one of the thirds. And I want that to pulp because that is our subject in this case. Get that just the size again. This is just an example, So I do. It quickly increased that feather increase exposure. Maybe better contrast. And that's that in this case, I wouldn't have to track the mosque too much because you can see it stays in the exact same place. So this really depends on the movement you're making with the drone. Talked about this on and off on this one. And that's another shot done. Okay, guy. So I think you may get the hang of it. This is the example I wanted to show you. If you do have any questions, please do. Let me know on. I'll see you in the next one.
19. 3.3 Using LUTS: Okay, so I know many people really fond of Lutz. It can be seen as a one click solution, even though I really recommend not to use it like that. Instead, I would first begin with your color correction. This is essential because that's not something a lot can fix. But then use the luck for your styling, so use it in terms of your color grading. Use it to advise at character and make your videos come alive. So in order to use lunch and premier pro first, show you how you can import them. So we go to the creative tap. This is usually where your lots will display in order to install the Let's. I've used my own nuts as an example. What you want to do is go to applications and then hit right click on Adobe Premiere Pro Show package contents. Then you want to scroll here to limit tree. That will clear Let's Onda creative time. Simply select all the lunch that you want to install, drag and drop. I need to authenticate. I'll just skip through this part, and here they are. Now we have to reboot Premiere pro in orderto load the Lutz. So I'll just quickly do that now and we're back. So I've, um rebooted Premiere pro on. Let's first start with the color correction. The blacks are already flipping right there. It's gonna be this bottom left part here on just a bit of whites on. We definitely want to add some contrast around 20 maybe. Andi, I think that the white balance is already pretty neat. Right around. So before and after, Right. So this is our baseline. No. If we want to add the let we go to the creative tab Now you click here on if we scroll down , we can see that all the let's have been loaded. Um, in order to get an example of what it would look like you just hit this tab or in case that my lateral the way at the bottom, I scroll like so, and you can see a small little preview here of what it would look like. I actually like boost quite a bit. So I press it and notice that you'll never want to have 100% intensity of the let That is just too much. Maybe in this case, I would use run 66 thing that'll dio. And now if we toggle the effect on enough, we can see the difference. Now notice again that I didn't say it was a one click solution. You would really want to add a bit yourself. Maybe in this case we could, for instance, add a vignette to draw the attention to the Matterhorn, which has sent a frame and in this case, are subject. We want people to focus on this subject, and then finally, you. Maybe we could at a musk, no country color, just a quick little musk right here. May we want the reflection to pop just a bit as well. That's a feather increase. The exposure in this case maybe wanted to be a bit more orange, too. Stress the effect that it was at sunrise. Contrast. And there's that that some of that on enough on that. Let's move on to here. We want to color correct. First, the blacks are already clipping, so let's increase that just a tad. The white could definitely use a bit more. Um, and something I don't like Here. It is way too blue for my taste because this was also shot during sunset almost on. I want to reinforce that by bringing back a bit of the sunny colors. Now, this is a a choice of taste. Like my white balance seems to be off here. But this is something I'm opting for right now. The greens on the other end are a bit too green, in my opinion. Ah, dragged that just a bit. Like so there we have the basic correction. Okay, so next up is choosing which let I would want to use. So we hope onto the creative. Have, uh, let's see what we have here. Let's try Middle Earth Could be nice, but let's try another one. Um maybe fainted field. Uh, yeah, I prefer that, To be honest, let's keep it right around 75. Yeah, that looks nice. And we Kentucky lit on on off. Uh huh. And then the last clip What? Just run this through little gyroscopes. We wanna add the what's right around here and make that pup. The blacks are already flipping, um, in this case as well. This is just a bit of taste, but called I usually associate with the blue colors, so I want to drag this just a bit to the blue end. We want to make sure that it's still the white balance is still not off too much like if it's a bit more to the blue and that's fine. But we don't want green or Purple Snow. Let's get it right around here. And then we had a lot. Maybe Montceau. Well, that's a bit too much, but it could be really cool here. Ryan around there. That looks really nice, really nice and before and after real quick before, after before and after. So that's pretty much it. Guys in terms of Lutz, in case you do want to use, um, let's I have a discount code for my lets. You can get 25% off if you want to use those that I use. Look at the link in the folder and it will give you the discount code. Go to the website added to the card, and it's easy as that, you know, know how to install on how to use lunch. Be gentle with them. Make sure to use color correction first. But then, hey, you can make really stunning images, and that's what we all want to learn so good luck. If you do have any questions, feel free to hit me up and I'll make sure to answer all of them. All right. Thank you, guys.
20. 4.1 Composition & Cinematic Movement: All right, let's get it going. So and this video will be discussing composition and cinematic movement. Now the reason why I decided to do them both in one video is because they have quite a lot of similarities, and they really complement each other. So let's get started in this first clip. As you can see, I'm sent a frame and I'm really focused on the reflection. I like the symmetry it has there, and all I'm doing in terms of movement is that I'm pulling in. So that means the drone is simply moving forward, and that's about it. So let's take a look at that. All I'm doing here is I'm pushing the left thumb stick for on That's about it Now. This is really effective and could be really easy and simple. Just try to keep it subtle, cause we don't want to be racing. Also, as we can see here, we can reverse it so pulling up, we're going the opposite direction, in this case, backwards on Gus, revealing the landscape. So this is also pretty effective now these air the two basic moves, but we can also, of course, combine them or make them more cinematic using different techniques. In this case, I'm really, really low to the water on dis conveys far more motion. Then if you're high in the air So look how this turns out. This is also just pulling in. Just going forward. See how the foreground really gives you a sense of death there and the same in the second shot. Let me just play this for you real quick. Notice how close I am to the RUK and it really pulls you into the experience, thus revealing the Matterhorn in the background. No, in this case, in terms of composition. So I have foreground and background. That is really important because we want to create depth. And the more you have on the foreground, same goes for here, the more actually the background will be revealed and creates more depth in your image for this next one. It's a combination of two things I'm pushing in like so, and I'm tilting the camera at the same time. On example of this clip is I'm moving forward on going up at the same time. So notice how you can use a combination of these several things and really make your footage Look cinematic on total that I'm going forward going up. And I introduced a speed ramp here so we can fast forward the effect again. Notice how I have foreground here in this clip. So I have depth and I'm actually sliding over something or flying over something. So let's play that once more. I'm pulling in on I'm tilting up and I'm using this bridge as foreground. So again I'm creating depth of my shots and with these technique guys, you want to make sure that you're flying subtly. Don't go too fast unless you're really experienced, but try to keep their movement smooth. In this case, I'm just pulling in and I'm using this rock here on the left as foreground to convey the rest of the glacier. Same goes for this notice how I'm super low on the ground and use these little branches that are sticking up as foreground. So start here and I gradually increase my speed to convey movement even more. See that this is well, I'm pulling in on I'm generally tilting the camera up. So it's a combination of two things again. I like to use reflections cause in terms of symmetry and composition That is really, really beautiful. And then again with the sun said that enforces it even more and notice how I'm really slowly but steadily moving forwards. I'm pulling in. I'm not brushing here. Look at this next clip. So this is interesting to show you, um, the rule of thirds. Let me total this on. As you can see, we have 1234 adults intersecting here on The beautiful thing about the leading lines is that you want to use one of these intersecting points to put your subject on because the eyes actually drawn to one of these poor points. So notice how this church on top of the rock is positioned on this intersection right here . And that just brings out far more beautiful composition. I notice how I'm starting Teoh push in and going up at the same time and notice how this is still on the same intersection. So that's really important. Now we've seen the tilt up, but here I'm doing the opposite. So I'm pulling in, I'm going forward and I'm tilting down to show you this little house in the middle of the lake. So let's play that again. This is another good example of me being really low to the water on pushing in and gently tilting up the camera. So let's play that. See how you can convey a lot of movement if you're close to the water, I'm not going super faster, but it looks like I'm going fast because the water is moving right underneath. Here is well, I'm following the car. I'm tracking it. Andi, I used this grass here the field as foreground just before we hit the road here. So what? This showed. I'm actually using three movements. So let me play to your first, and then I'll break it down. What I actually did in terms of composition I've sent to framed it because I love the symmetry here with the trees on both sides and the road in the middle on in terms of movement, I'm going forward. The push in, I'm moving the controller stick down so that drones actually going forward and down at the same time. And lastly, on top of that, I'm tilting the camera up, So notice how I'm going forward. The drone is gently going down and I'm tilting the camera upwards. So one is forward to is going downwards and three is a tilted. The camera, I think this showed is pretty cinematic, and it's simply because I've used a combination of the three cinematic movements. It is harder to pull off, so only do it when you're super certain. Like these shots we couldn't do over and over again. So is actually risking it. But it turned out to be a super cool show. So let's take a look at these ones again. Let me talk on and off the rule of thirds. So see how I am using this intersection here. Teoh, Line it up with the rule of thirds. So I'm really making use of composition here to make it look nice and cinematic. All I'm doing here in terms of movement is I'm going down on I'm tilting up. So basically, it's almost similar to what I did in the previous shot. So this is an example of a orbit move. They're both going in the same direction. Um, and what it basically means is that my drone is gone left, but I'm turning the camera inwards to the right. So you're basically orbiting. Same goes for this one. But as you can see, I also used a other factor. And that's the digital Zoom out. So my drone is flying to the left, my cameras moving into the right, and I'm zooming out at the same time. Notice how, in this case, I have sent to frame my subject. So it's right in the center, so we're not distracted by anything else that's going on. So we know actually what the main focus is, and that is really important to know. As viewers, we don't want to be distracted too much. Same goes for the shot. I'm moving. Left the drone cameras moving right, so the group is center framed and I'm zooming up. Let's look at this shot using the role thirds The mill is on this intersection. This case I'm moving the drone to the right and pointing the camera towards the left to get the orbit move going and I'm zooming out using the digital soon. Notice how I use the rule of thirds Teoh. Use one of the intersecting points in this case, the mill still that off so you can see the entire image again. Smooth and steady. Schultz is what we want here, guys, we don't want anything crazy in that sense. Keep it nice and smooth and try to take note on the composition here, using the rule of thirds these air, they're tracking shots. Another cinematic movement. In this case, I'm just tracking from left to right this horse rider here. Notice how he keeps on centre frame. Now, this was all short manually. It was difficult. But as soon as you get the speed right, you just gotta hold it. So all I'm doing here is moving from left to right. But I'm making sure my subject to send a friend. Same goes for this car tracking shot. Also from left to right. This is a tracking shot. Moving forward. Of course, that's also a possibility. Same goes for this car. Next up. Another cinematic movement is simply flying up or down. Notice how it's super subtle, but because his Dantzscher is taken away all the action, we don't want anything to crazier. We have our center framed at first and then she goes all over the place because you're spinning around. But it would really take away if we do anything different. It's almost abstract in this sense, and it's really good to get cinematic shots in this way. So I'm either moving up or down. And that's pretty much all you need notice here as well that this shot is mainly revolved around the landscape. I've taken different shots, but I really like the look of this shot on. All I'm doing is I'm going upwards. Then, of course, we also have the cinematic move from, or simply rise to drone up. So all it's doing here, I'm flying upwards again. Keep it nice and smooth. The main focus here is the pedestrian walking on the bridge. Look at the composition, the pedestrians walking to the centre frame. What is that? Nice and simple. Same here. Just going up looking. The car entered the village just up. But of course, we can also use that going backwards. In this case, I didn't do that because I wanted to reveal more of the location instead of less. But if you go downwards, that is also a cinematic movement, obviously, so that pretty much wraps it up in terms of cinematic movement and composition. If you do have any questions, feel free to let me know and I'll see you in the next one
21. 5.1 5 Steps to Earning Money With Drone Video: okay, We have now discussed everything you need to know In order to start earning money with your drone work. Step one is actually mustering the skills that have been told during this course. Have you must have the color grading skills? Do you fully understand how to operate your drone on? Are you creating the most stunning possible videos? You can make sure the skills add value on ensure that people are eventually willing to pay for those skills. Eventually, clients should hire you because your quality is far superior to anything that they would be able to produce themselves. Then Step two is working on a portfolio, But everything you were told in this course of practice create stunning work that you show to your new potential clients. Now you may be asking, What should I feel? I would first figure out in which area you would like to start filming on. In turn, earn money from If you want to create drone videos in the real estate industry, then obviously don't start filming weddings. It's common sense, but obviously you want to start creating engaging and exciting real estate videos. You can even start filming your own house. If you don't have any existing material already, maybe you have a friend or a relative that has a nice house that can be filmed. Try and look within your own network. If you don't already have a good looking portfolio and see how these people might be able to help you up, it's good to keep in mind that eventually you'll most likely be hired on the kind of work that you share with people. Which leads into the next step, which is marketing. Now. How do you market yourself? I mean, this is key. We put a lot of time and effort in our videos, and we want to market ourselves properly, right. Where do you distribute your content? Isn't actually visible for people on? Do people even know that I'm making drone videos at all? Think of the platform that you can utilize to share your work with as many people as possible. Instagram is being used more and more often for video, but it's not the only platform you'll be wanted to use. Create a huge account if you haven't already. Have you thought of sharing your work on Langton? Perhaps remember your new potential clients can be anywhere. So really, try and make use of the power of social media. Also, if you're doing drone work in one specific area, make sure that this is clearly communicated through your marketing. I mean, you could feel like you're a drone filmmaker that have specialized in weddings, but make sure that your marketing and communication also deliver that same message. That means the people that are actually looking to get their weddings filmed we'll actually be able to find you. Besides that, you want to go the extra mile, so make sure that you have an exciting title. Get some new on. It just has to look fancy and good from the very get go. So scrub through footage and look for the most exciting shot and use this as your thumb. You can add text if you want, but it's not necessary. At the end of the day, we want as many people to view our work. But if the thumb now or the title isn't exciting enough, people just simply scroll right posture. Videos on. We leave out on a huge opportunity, so we really want to prevent that. I mean getting your films to look great. Takes a lot of time and effort. So why skip out on marketing it properly? Step four is getting our first plan. We want to make sure that once that happens, we're a pleasure to work with. I mean, how do you cope with feedback on? Are you willing to work overtime? Most people hire me. No, because my drone work is good, but mainly because I'm a tree to work. But keep in mind that you're probably not the only person that can produce stunning drone visuals. So the personal aspect of your client relationship is definitely something you want to take into account. Then, finally, step five. Work on your pricing now. This may be difficult as most video gates will differ based on the amount of shooting days the shoot location delivery day. But these were also questions you can ask your client before you actually send your quote. Once you have this information, try and use it to further specify your price. If you're not sure about pricing, just try and look at what your competitors rates are. This will give you more for reference. Now you may be thinking two things. One could be that you don't have any material yet to show your customers, or what could also be possible is that you feel insecure about asking a big amount of money for your work. What you could do in this situation is work from one free pilot video and then charging for the next ones. It will give you as the creator less stress as this is the first pilot video for your new client on at the same time, you will build up confidence to have already work for this person or plan. Besides, it adds value to your customer on it gives you time to grow and learn at the same time. But with that being said, I would really keep it to one video on Lee. So there are my steps and making money with drums. Make sure that you must your drone skills work on a good portfolio and should definitely market yourself and get your very first line and be a treat to work with. Finally, you can build up your pricing if you apply these steps. I can already tell you that it helps you tremendously in becoming a well paid thrown pilot . So get going. And if you have any questions, feel free to let me know
22. 5.2 Earning Money With Stock Video: So once you gather more and more cinematic drone footage, you'll find yourself backing up your work. Andi, maybe not even using all of your videos that you've shot. This is when stock video might be interesting for you. I had this realization a little while ago. I figured I've been to countries such as Mongolia that learned Switzerland, Norway with stunning drone footage that's just sitting on my hard drive. I mean, why not use this material to make money? Right? In this video, I'll give you five tips on how you can earn money through stuck with your drone material Now, firstly, it might be helpful to know what sells well when it comes to stock video. Keeping your films relevant and terrible is key. For instance, with the Olympics in Tokyo going on, you can imagine that there's far more demand for Stoke video shot in and about Tokyo. These are things that you really want to keep in mind. Other popular industries are real estate, travel, construction, agriculture and nature. So try and figure out how you can incorporate your drone work around these industries. The second tip is to get the highest possible quality video you can. When you shoot for stock. Four K will generally generate more revenue than 10 80 p clit. Also make sure that your drone footage is stable and you use smooth movement. Your composition, obviously should be great, and on average, clip should be at least five seconds. However, this is also dependent on the various platform to use to upload your footage to now. Color grading might be the most important aspect. What is key here is not to overdo it. Keep in mind that people will want to add their creative touch once they've purchased your videos. So make sure that you add back a little bit of life. But you keep it natural to saturated or to creatively color. Graded clips will generally be less likely to sell now. Tip three. Once you've got this all dial down, you want to export your films properly. To retain the most amount of detail, I usually export the files. This Apple Pro rest H Q. The four step I would like to give you is to be smart and wish platforms you want to use. I know Black Box, for instance, is a platform where you can upload once, and they'll distribute your work to the most popular stock sides. However, this also means that they're cut or the percentage they Aaron from your videos will be higher. So figure out how much time you have and which popular platforms you would like to use. And finally, I would say Think outside the books, Be creative. You don't necessarily need the highest possible quality camera. I know people that can earn money through footage shot on their iPhones. You can also help on Google and see what the latest trends are and try and create your work around those topics. Hopefully, now you've seen the power of footage that might already be sitting on your hard drives, but can really still we turn into revenue stream if shot and edited properly? That's it for this one. If you have any questions, feel free to let us now
Tom In 't Veld, Helping you create cinematic drone vids
