EDITING REAL ESTATE VIDEOS in PREMIERE PRO (Real Client Video Breakdown)

1. Introduction: Hey, guys, My name is Dennis, and I'm a videographer based out of Hamburg, Germany. I have classes here in sculpture where I talk about different topics and video production, and today it's all about real estate videos, real estate. It's a great industry to start a video production business in clients are easy to find, the money, stare and all you have to do release, get the clients at film great footage and edited into a impressive real estate video that actually cells. So I have already made a class on how to find video production clients, and I'm currently working on a class on how to film. But today we will use one of my real life client videos as an example to show you my process of how to edit your footage into a video that real estate agents and companies will actually pay you 500 to $2000 each. You will have an over the shoulder. Look off exactly how I added. My videos start to finish with all the details so you can sit back and really just watch my edit cut by cut or just jump to the parts that are relevant to you. I divided the process into logical lessons so you could jump ahead at any point. I will show you how to find the right music tracks how to color grade, and I will show you how to make your video interesting with little tips and tricks. Basically, you will get my complete process. And at the end of the class, you will be ready to edit your own real estate video and really just create a product that you can sell to actual clients. So without further ado, I'm really excited to see you in the class. 2. Camera Gear: Okay, so first I want to talk about the gear. What did I use to film this? The camera used was the Sony A 73 with the Sony G Master 16 to 35 F 2.8. Now that it's a rather expensive set up, especially with the most air to gimble. But if you're just starting out or you have a lower budget in general, I prepared a gear list on Kit that CEO with a few different price ranges for cameras and lenses that I recommend. I think that in the class description, So I used this expensive lens, and actually the image of the lens is beautiful. But during the shoot, I noticed that it was a bit heavy for the Kimbell. It was not as easy to get smooth charts, and the balancing was not perfect. And since I didn't really need the Zoom Ranger since then changed to the Sam Yang 40 millimeter F 2.0, which is a little bit lighter, but also about 1500 years cheaper. How long does it take to shoot the whole property? Honestly, I usually spent between 2 to 3 hours in the property and that depends on how big it actually is and how many details I want to capture the time off. They really depends on the direction the houses facing and also just availability of the real estate nations. To be honest, my favorite time usually is to start about two hours before sunset so I can get some shots . During golden hour. I will go into more detail about how to shoot the videos, but for now, let's start the editing process. 3. Import footage and set up sequence: All right, so here we are in premiere Pro. And, like always, the first thing that we're gonna have to do is import our footage. So, as you can see, as you can see here on the right hand side, on the left hand side. Excuse me. I already have a little bit of a folder structure. Um, that's kind of like a like a small version of what I usually do. So in this case, I have just a media have been where I'm gonna drag in all the footage that we're going to use. And then I have a assets folder where later on we're gonna store the music that we're going to use and in the sequences folder like the name says and suggests That's where we're going to store our sequences and you will learn in a second why we need more than one sequence. But for now, let's just import the footage, and yeah, here again, there's a little bit of a structure not gonna go too much into this, as I have a class on that separately. But for now, that's unimportant. For now, I'm gonna drag this into media. I think that was drink into sequences. It's gonna take a little while. It was just speed that up for you. Actually, no, I'm not gonna speed that, because that's part of the process. And I really want you to ever behind the scenes look of how long everything takes. Um, And again, it's really important that you know that if anything gets boring, just feel free to skip to the next one. I really intentionally do that that way so people can see how long it actually takes from start to finish, because I think that might be a bit of, ah, room for confusion right there. Since this is a life recording, I already apologized for all my misspeaking and rambling in between. But it's important. Awesome. So the first thing we have to do here, or in this case, we don't usually what I do way, um, give it a different color. If I recorded it in different frame rates in this case, I didn't do that. Anyways, um, next thing, let's open up a sequence while this is generating peak files and all that, all the beautiful stuff, right, click new items sequence. And in this case, I'm gonna edit in a 10. 80 p sequence. Just because I'm screen grabbing at the same time, and that will be probably a little bit too much for the computer. Usually I do it in four K. So we got we're going to school. We're going to call that sculpture. Really, That state additives at it. 00 Okay, that 00 is important. If you want to edit along, I would suggest you do that. Put it into the sequence folded, and now we have it here. That's our timeline on. The first thing we're gonna do is obviously drag in our footage, keep existing settings. And so what happens here? As you can see, that's a bit of a tight shot for considering that it was in 14 or 18 millimeters or something like that. And that's the reason for that, is that this is a four K clip in a 10 80 p timeline, and it's still a 100% scale, and that obviously doesn't work. It's gonna be way too big. So what we do is remark. We select all of the clips and then we right click and go for, said the franchise. And there we go, That's it. So one thing that I quickly want to say, because you might be curious that this is only 10 minutes of footage so usually right? Usually what I do is I record Ah, way more than that. I have usually 40 50 60 minutes of footage and all kinds of different shots and different frame rates and all that. Just in this case, I actually tried on location. I tried to minimize what I shoot, because often what takes the longest is just sift through all the nonsense that you shot because you just wanted to shoot more than you maybe need, which is a good idea in the beginning. But I'm already at that stage right now where if you like, I can make decisions about what I need and what I don't need and don't have to be scared about missing out on some certain shot. Also, this this property, as you will see, was fairly small, fairly simple. So I think that's a good example for something that some of you might start out with us. Well, so that's the reason that that's only about 10 minutes on. We're gonna bring that down to like two minutes. So let's see how it goes. That's for a number. That's for the first video. And now I see you in the next flash where we talk more about the sequence. 4. Non-destructive editing: All right, so here we are. Let's talk a little bit about sequences. So what we are going to do here is something called nondestructive editing. OK, so this one sequence is called 00 at the end, right? And the reason I called 00 is because, you know, I wanted to suggest that that's the first off more to come and what I personally usually do this and 00 I just drag in all the clips with no editing. I don't change anything. I just dragged him in and chronological order. And then I leave it at that and the reason for that IHS Later on, if you, you know, progressing in your edit, you might be ending up in the situation where you will be like, Oh, yeah, I remember that was a clip in the beginning and I don't know, I deleted it accidentally or it's kind of gone and I don't find it anymore. And I don't know. You just want to go back to an older point in the edit without having to go Kamanzi Komachi Four billion times, which doesn't work anyway. So an easy way to achieve that is just to keep a the current stage of the edit in a sequence, save it in the sequence and then keep working in the duplicated sequence so you can always go back to certain stages of the edit without having to go back and one sequence, you know what I mean? So I'll show you want I mean, I already duplicated this one here. I renamed it to 01 And then what I do is I double click it to open it. I closed the old one to keep it safe, drag it into the archive folder, which is a sub folder of sequences. And then I'm gonna keep working in this one. All right, So then, for example, the next step would be to crop out to cut out all the bad stuff that we don't want to use. And as soon as that's done for the whole sequence for the whole time line, I'm going to do the same thing. I'm gonna go like, OK, right click duplicate 02 and then I work on the next thing, and you can always go back to the last stage in overtime when you kind of make for yourself a little bit off a framework off. What each number means you will already know. Yeah, right. Okay. And 00 There's the furnishings. You were one. There's are the, you know, they use useful clips and you're too. Maybe you added color grading and stuff like that Some. That's very smart way of doing that, which I have learned actually working in a video production company. I didn't come up with that myself, obviously, and I'm sure lots of people do that. I think that's probably someone of a common practice, but anyway, long story short, this is nondestructive editing, and it's very, very useful because you will make mistakes. You will lose clips. I don't care how experienced or how are smart or whatever you are. I thought the same thing about myself and I ran right into the wall. So, um, yeah, just do that. It's a very good idea. See you in the next class and we start editing 5. The editing process explained: usually the way shoot us. First, I go through every single room in the property and get the general wide shots that document every single room. That's what I need the white angle lens, for usually that's between 14 and 18 millimeter on a full frame sensor. I do pay attention to nice framing and things like that, but those shots are generally all pretty similar. There's a revealing foreground element and a forward movement in the shots, often combined with a slight pan, left or right. And then second, I go and get detailed shots off things that I might want to emphasize in the final video. So here's a tip. Make sure to always ask a real estate agent for any detail that are important to him, so you can get those shots for sure. And those details shots. I'd like to shoot with my 50 millimeter F 1.8 for the nice, shallow depth of field, but rarely I actually also used a 40 millimeter, so knowing that I know already what's coming, there will be 2 to 4 versions off the general wide shots for every single room and then usually 1 to 3, detailed shots per room as well, depending on the property. So basically, the task here is to make choices between different versions of the same shot. And how do I decide? Well, I look for the cleanest shot. Is the movement without checks the movement in the right speed? How's the framing? And after all those things are considered, I go with my gut feeling and I recommend you do the same. So I choose one of the basic shots for each room, and then I decide for the detail shots I like and I keep them all other things have to go, and I just delete them off the sequence. But remember, we still have an older sequence where they're all the clips in case we need to get back to it. All right, so let's do that with our footage. And then the next step, we will talk about sequencing and assembling video that flows well and makes an appealing and results. So listen, I will read it and comment this in real time now so you can get a realistic idea of how this actually works and how long it takes me to do that. If you don't want to watch all of it. Don't worry, because as soon as I go into a important, bigger topic, I will stop to create a new, less importance. Kosher. So watch as long as you want. If it gets boring for you, no problem. Just skip forward to the next lesson. I made this intentionally that way, so people who really want to follow along can watch the whole thing. But if you want to skip to the next point, just skip to the next point. 6. The Assignment!: All right. So this is the assignment. Did you notice how I talked about this? Really Typical shut that you get in real estate videos or four real estate videos. How you use some kind of revealing foreground to really make an interesting shot where you show the room that you want to show right, so revealing foreground, which, you know, then kind of like slides into showing the room So that Simon, for you, is to create the best looking, revealing foreground shot off a room that you can do Okay, create the best revealing foreground shot that you can do that. Why we all can't just really practice during the right shot, because that's something where you need a little bit of experience, a little bit of a creative I for so let's see what you can come up with. 7. REAL TIME EDIT: Wide Shots (1/2): All right, Here we are. Okay, So now, like we said, our task right now is to cut down to the good stuff. So what we will do is we just go through all the shots and see which parts of every shot we want to keep. Which ones are clean, Which ones are useful, and then we're gonna go to next one. So let's go. That's the first shot on just basically a okay, Yeah. Gotta messed up. Former time. By the way, this time we won't use the audio off all those clips, so I must watches to lead them. So we don't have to hear to me listen to myself like breathing and stuff like that. It's actually funny what you notice about yourself when you film yourself anyways. Okay. Yeah, that was good. Well, well, it's fast. You see, there was a good example, because usually what I would have done in this case, it would have taken, like, three shots of this or maybe four right in different frame rates, slightly different angles or whatever. Maybe I would have messed up one or two in terms of shakiness or something. And in this case, this was perhaps a tiny bit fast, although no, not even Itt's okay, and that's that's just really practice, you know, because otherwise that would have. What if f did up a few times? Yes, nice and slow, you know, almost looks like slow motion. Bless him. I almost wish I made a little mistake to see to show you what is wrong. This, for example. That's a good example. This is too fast. Okay, it's a tiny bit too hectic depends obviously on the edit you want to make. But if you wanna make something look quote unquote at a core cinematic or something, or just generally pleasing for the I am not hectic or something, then slow definitely helped you. But like I said, it's difficult to achieve that if you have a camera that doesn't record four K 60 p at four k 60 FPs 60 frames per second because with 60 you can slow down like 40% 2 40% off the speed, and that's already very much slow enough. In this case, it's just 24 frames, and it's a real time, so I have to really walk as slows. I wanted to look later So this is cool. This is OK. And that's already too rooms. Awesome. Now we go into the living room. Like I said already, this is a very easy, easy property. You know, there's nothing complicated in there. Sometimes you will have rooms that are that have, like, interesting corners everywhere, and you will have to decide. Okay, what do I focus on? Especially for the wide shot? In the beginning, In this case, there was fairly easy because it was pretty straightforward. So I always again revealing foreground element. And then I revealed the room, make a little pan into the room. Defend. This is clearly a little bit blown out here, which is also something you will kind of have to live with if you're not feeling filming those within area Lexa Cinema camera, which probably is not the case. Get the beautiful like your lamp here. That's a little clip. That's a nice live shot. Okay? No, I don't like this one. That's one of the things with Sam Yang. Like I said before, I changed the Sam Yang 14 millimeter. And one thing is that similar to the 16 millimeter from from Sony, though, is that there's quite a bit of distortion. So if you make movements from left to right or even from yet kind of diagonally, you will see that you know the those lines here in real life there straight up and you can see how they kind of go like like V almost. So for that you will. I will rather have to invest in some off the oh, I just noticed there was a little hair on the lens. Got them. But what you will have to do is invest in a zero distortion lens. For example, the one from I don't know if there's any other one than the one from LAWA cost about 1000 bucks. I think I might. I might do that. Actually, that's the balcony. As you can see, it's It's not like it's not like only amazing houses are possible to should read a state videos for, you know, like that's a very basic little house apartment, in this case, actually, and it's nothing fancy at all, which is almost more of a challenge because making this balcony look good. Thankfully, the furniture is looking OK, but it's not cool at all like it's not like something special. It's cool, but it's not something special. So which one do any better? That's the 1st 1 I don't really love that. There's too much shaken there and I don't like the angle. It's kind of too low. But this one starts too late. I'll keep the 1st 1 for now. Let's see how we how we progress with that later. So now I set the exposure for the inside again, which blows out the outside, obviously. But there's just gonna be a little bit off again, repeating foreground for that's okay, go inside. And by the way, all of that is not color grated yet, right? So we were going to It's gonna look something more like this later on. You know which you can see. The difference is bright enough. You would always have to work with what you have, you know. And in this case, it was quite dark in there and again, always like noticing. Afterwards, I could have positioned to slide a little bit back so it hits the building and not the building the picture a little bit better and doesn't like, illuminate the whole wall behind it so weirdly, I didn't notice that in the moment. So now again, framing is important. I could have in this case, I could have had the framing differently, right? I could have stepped a little bit to the left and then perhaps see more of the window and the bed already. But I did that like like this. I did it intentionally because first of all, you have a picture that is not blown out in the beginning because the window is not in the frame. You see the bad, obviously, but also, you see the working area, which is kind of nice, and I like how that looks. You know, it's with the picture up there and everything that looks, contracts, and then you could pan into it. 8. REAL TIME EDIT: Wide Shots (2/2): Well, yeah, I like that, Charlotte. Nice framing. You know, it's not too much up or too much down, which is also, by the way, a very bad idea. If you do it with a very wide angle lenses, because then this distortion is higher. You know, if you film on the same level on the same height as the subject that you're mainly filming , that's gonna have less distortion than when you film from up to down or something. And now we go to the Okay, that's kind of messed up. But the beginning of the show was beautiful. I really like that. Ah, Cut third starts getting weird. And let's see how we can fix that. No. Okay. In this case, I remember that I did one certain shot afterwards that I'm gonna cut too. I already know what I'm gonna do. I think it was with this one. Yeah, kind of. Let's see where this is going. I think it was this one. The 2nd 1 It's compared to two number one, which ended a limpet like I'm going to use the 1st 1 You know why? Because as a come in, I already have this movement coming from the door. So now if I cut to something more like this, that's more interesting. Shows a different perspective of the same room going with that. All right, Next room. Focus, Focus, Focus, focus. Where's the focus? There is no focus. Why not? Okay, focus was unimportant. Nice picture. Nothing else to see in the room. Ready? No, I have the couch on the detail shut afterwards. And now we go to the kitchen revealing foreground again. Not too much. So I'll start the show. When I'm shooting at location. I start the shot earlier than what I needed that right. So I have Ah, smooth coming in and I don't have I don't have to start the shot at the very moment where I started recording because then obviously, there might be a little bit of a shaken There are something like that. It's always good to leave it. Leave the camera rolling a little bit before you need it and a little bit after you need it so you can have some more room to edit. Okay, there we go. There was a nice little kitchen moment right there. Here we cut. I have another one of those. It's actually nice that the outside was not blown out like this. More nice gonna use 2nd 1 in the worst. That's gonna be That's nonsense. What did I try to do here? I like the speed of it. I might actually you know what? I'm just gonna keep that because I think it's a little bit cleaner and definitely slower than the 1st 1 Shorter, though. But I'll use that later. It's a good clip. I can use it. I mean, I would sort it out later if I use it or not. - This white balance is clearly not correctly set, but it's not that off. You can fix it. Let's see. No, we go. But we do that later. - Okay ? That's a little bit all over the place. I know also here that I have detailed shots later coming up that will give me more to cut, too. This room was also it's difficult. You know this room I'm on 14 millimeter or 18 in this case, and there's just no way that this room looks good. I wanted to keep the toilet and the vase in the shot at all times didn't work. This one definitely it's not gonna be used. I don't see it might cut after the sink, right to the details shot. I leave both of them to see which one I could use better for the specific shot I will have in the detail and the detail, you know. So now we are already out in the garden, which also doesn't look like extraordinarily like tidy or anything. But it's a nice thing to have for sure in the in the downtown area where this is actually located. It's not very common that you have such a big and comparably private garden in the background, which is shared with the other people living there. But it's nice. So we included that. And also it has a beautiful tree here. This tree was gorgeous. Yeah, it's clean, clean, clean, cut. Awesome. I like that already a little bit off the way backwards with this little, yeah, revealing foreground clean movement. That's an example of good shot nice framing, totally blown out. But that's you know, that's to be expected in some way. And also the sky was just gray or a little blue, actually not recite. But there was good. Let's see if we have a better one already, if we still have a better one a little bit closer, I guess I don't like it more. Nope. And that we go with the details shot. 9. Quick Tip: How to reach high production value: all right, So there's one thing I do want to talk about quickly, and that is that often the difference between an OK video and a really great video is the choice of shots you make, not necessarily what you shoot in the first place. Specifically, what I mean is that in order to reach a high production value and clean results if you want , you need to only use shots that are really clean, right? That makes sense. So what do I mean by clean, exactly Clean means? No camera shake. It means no weird pan tilt motion in the very end, which often happens. No irregular movement. So you want to keep the same speed when you move and just shots that are exactly the way you intended them. Basically, because often a simple shot with the good framing works really well. It's not about fancy transitions or something like that. Complicated camera movements is totally overrated. Those air common beginner mistakes actually, and make a video look cheap very fast if you do it the wrong way, so try to get down to the basics first and master them. They are actually basics for a reason, and if you maybe have to make a choice between an exciting shot with cool movements but not so super perfectly clean and a solid shot that is clean dropped the fancy one. If your goal is highest production quality, just keep it with the basics. If you didn't get the fancy movement in a clean shot, then you messed it up on the filming. Don't try to fix it in post rather than try to get it right in camera. Okay, the general idea here is Raise your standards of what is good enough if you have to. Okay, now, just for the ones who really need to hear it. Obviously, there's exceptions, like always use your common sense. If you have one critical shot, like the first establishing shot of the film or something, and there's a little shake in every version, obviously don't delete them all. Use the best one and try to fix it the best way possible. You get the idea 10. REAL TIME EDIT: Detail Shots: So what I'm gonna do is I'm going to put the detailed shuts, the B roll, so to speak, other. It's not really bureau, but I will put them on top off the off the basic shot. So we can, you know, have the rooms stay together. So it's more like a chronological, but not chronologically, but like a sense sensical said a word sensical order. So, for example, the bathroom here. Look at that as look so much better than the white shot. Such a nice ad. Um, addition to the, uh to the different rooms white shots. I'm gonna go ahead and now separate all the rooms from each other. So I know which ones are different rooms. That's the living room, Living room. Belkin the living room again. I'm gonna Am I gonna keep that like this? It's kind of the weight back, so it's kind of a new thing. Kitchen Still, kitchen that we have the main bathroom toilet and the outside. All right, so now we go ahead and at this to the bathroom here, and actually, I'm gonna mark all of those and put them in different colors. So I know it's beautiful in this case. Let's just use some magenta. There we go. That looks good. This is also the bathroom. Oh, that was dark Kenis. Until it gets junkie until it gets messed up. So now we have some of the artwork cut, and that's the living room. Where was that? Here. Yes, put it right on top. What's next? Cut? That's not cool. That's also boring. And that's it for the living room. Put that back up here. And then the next one was this room with the, I think was the main bedroom. Go back, Back, back. That's it. The Nets working area. Like I said before, I have to see if I can fix that shot with warp stabilizer later. Because if I can, then I want to use it. Cut. I'm gonna track them over there. Kitchen. That was a little bit of shake, and we have the foreground reveal, as always, show the plants is I think this property is actually right now rented out as an Airbnb, which is kind of the reason where there's others, all the stuff. All right, cut. And that's it with the bureau kitchen. Drag it on there. Uh, right. That's it for now. So now we're gonna go ahead and save. And like in the beginning, we duplicate the sequence and call it zero to click it open, close the old one, archive it and then again, safe. And then once you in the next, in the next lesson. All right, See you there. 11. Music in Real Estate Videos: all right, an important part of any real estate video and actually pretty much every type of video for that matter. It's the correct choice of music, because music has a huge impact on how your video works on the viewer and what it feels like watching. And, you know, the idea with this type of video that we're making here is to sell homes, to show what it would feel like living in this space and maybe even to make it feel a little bit better than it actually is. But honestly, in this case, don't overcomplicate it for the types of homes I am shooting now, which is relatively low and on the spectrum. Actually, let's say 500 to 3000 euros. I often don't get a specific request in terms of music. So so that being said, this is the general market and I'm limited to this experience. But what I do is I go by feeling as well, and often you will see what works and what doesn't. When you look at it, that's part of the job. And generally ago, for some calm, slow cinematic sounding track, it's helpful if it's not super monotonous but allows for some climax moment at some point, which you could use to accentuate certain parts of the home. Maybe for the grand finale Hero shut off the outdoor terrorist with great Sunset or something. Remember, music is one of those really subjective things that are hard to teach or to explain. You know, when you get to know your clients, you will also learn what kind of sounds they like and expect. And you can act accordingly because, especially after the first year videos, you know what they like. You know they will send back. They will send back the feedback, and you will notice if they like the music or not. So let's look at one part of the Finnish video and see how I use the dynamic nature of this music track to finish up strong and leave the video with the positive and somewhat epic feeling. Oh, so there you go. Did you get what I mean with a climax in the end, that high point and that is the type of musical look for and four transparency here. I'm not gonna lie There happen videos where spent just as much time looking for a song to use as during the actual editing, and that does not need to be the case. But in my experience, it sometimes takes a long time to find a track that I really like, especially in the beginning, though I think it's worth it to spend some time on things and allowed the process to take the time that it really needs. Because, you know, it's one of the first videos and you want to get it right, you know? So where do I actually find the music? Obviously, we cannot just choose our favorite recent movie score because we like how epic it sounds. We do professional video production here, so we should keep things clean and respect the copyright. Obviously, you need to license music and most likely pay for it, especially if you use it commercially like we do here. The good news, though, is that there several services that offered subscription based models where you can basically get unlimited music for like 10 to 20 bucks a month. I'm sure you heard of lots of them. I personally have used epidemic sound and art list, and I ended up sticking with our list because it gives me what I need. The search parameters that I can use to find my songs are not perfect, but generally they allow me to find what I need in a few minutes, and I like the quality of the music. Also, it's just free to use commercially or in any other way. And I don't have to worry about anything I paid about, I think, 200 euros for an annual subscription. And I've already earned that back a long time ago because every time I make a video I charged for the music lights and separately. So that way you can even make bed into an income in some sense. So in this case, I have already found the trick I want to use. I already told you guys what my criterias And then it's really just a matter of time. It's often boring to find music, but stick with it and just, you know, just get it done. It's just another part of the job that needs to get done. So basically, if it gets too boring, let's get just get over with it. So now it gets fun because most music tracks will provide you with some kind of pace and rhythm that you can follow with your edit. So apart from the visuals in your video, the choice of when to make a cut is strongly influenced by the music. You could say I cut to the beat. Remember the clips we have left already? The good stuff. It's the shots we want to include. So this part of the process is gonna be rather fast because we just choose the right moment to cut to the clip, not which could to cut. And don't worry about the length off the total thing that you're gonna end up with yet we will do another trimming round if we have to afterwards. All right, so I would go back into the RIA time edit again so you can see every single step off the edit. And if you want to jump ahead and it gets boring or anything, just click on the next lesson. See you there 12. Finding a music track in Artlist: all right, We are back. So I know I've said that I've already found the music track that we're about to use, but I thought it might be interesting anyway, to just dive into art list and, you know, show you the process. Get off anyone. Actually, right now, I'm gonna have to I will have to apologize. I'm not sure if that's audible in the recording right now, but apparently my neighbors right now feel the need. Teoh, start some kind off techno party. So if there's anything audible in the background in terms of techno beats, I apologize for that. But that's somewhat out of my control. Right now. I really want to keep recording, so I don't think that's too too loud. But, you know, I just want to address that. So anyways, we're right now in artless that I owe. Let me quickly delete that thing here. Yeah, so we're an artist right now, and so that's how it looks, What it looks like so and under on the left hand side, you have all those categories that you can choose from, you know, attributes, parameters if you want, and then you could go by mood where you have, like things like love, playful, peaceful, serious, those kinds of things. Video theme Where you can go, you know, is a technology video. Is it a food video education? So obviously lots of those are somewhat comparable in what you would expect in terms of sound. So that's not yeah, that's more like a feeling thing. You know? What do you feel is? It doesn't feel like lifestyle video. You just have to make guesses. In that sense, you can go by Java, where you genre how you say that in any genre where you can choose the types of music that you wanted to weaken, truce by instruments. And then you can go into spotlight where artists actually provide some kind off, um, some kind off overview over what's certain artists do, and they highlight things or whatever. That's not what I usually do. So what I do this I go to mood and then I use something like, Ah, definitely. Obviously we want something positive, right? So I'll go with something depending. If I wanted fast or not so fast, Let's try peaceful and then I'm gonna go into genre and go cinematic and video theme. I leave that open for now and just see what we have from the moment. So let's let's take a listen. Yeah, that's a little bit too. That's lived to, uh, classical. And sometimes I Sometimes I switch back to the premier window while it's playing and just, you know, play back a little bit and see if it fits at all. That's not this'll. One is not terrible. So I'm gonna go ahead and put that into my shopping card for the downloads. Also, one little trick for artless is you can look into the way form here. It did the sound way for Maw Recon. See, you will see if there's like some kind of beat in there, which you do want. Usually I like this, too. Let's find one more, and then we'll go back into the editing. Nope. No, actually, this looks interesting. Nope. That's two movie like in some senses to epic. We need something more light. Nope, that's also too dramatic. Oh, okay. Honestly, let's go with those two. I think one of them is gonna work. Go back to the to the, uh, download section and Peter download and save them in the folder that you want to save them in showing finder. Those ones are from today. Now you click open the assets folder and drag them in there. Not that didn't work. Former time assets. And there we go. So in the next lesson, we're going to start cutting the footage that we have to our music. See you there. 13. REAL TIME EDIT: Cut to the music (1/3): All right. So here we are, back again with the two songs that we found. And let's quickly just give them a listen and see which one we want to try first. - Okay . I really like this one. Let's just anyway, listen to the other one. Yeah, honestly, already, this is a little bit, too. How can I explain this? This is a little bit too, like epic sounding. You know, for this I would. I like the song. I think it works for real estate video. I don't think it works for this one specifically because it's kind of more like a sound that I would expect the night, sir. More impressive property to be with. You know, this is kind of an every day, you know, apartment, flat, whatever. And I think the other one just really fits better. I'm very curious what you think. Let me know in the comments. What you think about that. If that was the right choice, I'm really curious about that, but we are going to keep working with this one here. Um all right. So what I do then because you noticed that there was a bunch of, like stuff in the beginning here. Don't get this one here. You see those kinds off? Little a few strings in the beginning. They just make it too long, honestly. And they don't have the same rhythm like the rest of the track. So I just skip them and have ah, heart, so to speak. Start with this little that's actually again ignites thing to do is always look at the way for miniature. If you don't call this one here, wait for him. But audio away form. I guess you can look at the sounds. You can see them without hearing them. Um, and here, that's kind of a heart start. And you can see the beats. You know, here's one here's gonna be one here is gonna be one. So that's the rhythm that we're gonna edit to. And I'm gonna leave a little bit, um, a little bit before that cut comes This this heart start comes because that's perfect time that we can use to put things like logos or, you know, make a little fade in from a black screen so it doesn't start super hard. I like doing that. So this kids, we can leave it like that. And now we're going to start editing to this song. First thing I'm gonna do is obviously direct the song into the timeline in the right position, and then I'm gonna lock it. So that way it can edit the usual way. I edit pretty fast without him to worry that I accidentally cut off parts of the song. Obviously, that's not a good idea. Um, in this mode right now, Sorry. In this mode, I'm obviously gonna make the, um you know, the timeline part that shows the sound of Biggers. Like I said, So I can relate to the peaks and know where the beats are, but without feather do know already talked way too long. Let's get going and cut to the music I use, um, the ripple delete function here. Short case, I use a Q and W, And every time I had w everything right off the point where I'm at right now for some here everything right until the next cut gets deleted and rippled up. So as you watch book, right, that's an interesting thing. Very helpful. And that's the general process. Go in there and cut. Cut. In this case, I just leave it a little bit longer. Let's just see how that looks right here. Uh, 14. REAL TIME EDIT: Cut to the music (2/3): What do we do with this? Um, yeah, we can cut it a little bit earlier. That's fine. As long as it's in the rhythm. Okay, you can hear like, but I'm snapping in the rhythm of the song, right? It's not only the big breaks, there's also little breaks in between us, long as it fits to those that's gonna end up sounding right for the year's gonna sound pleasant, you know, and cut and cut on cut. Okay, so this is now the first where we have some kind of detail shot. Right. So let's see how it looks when we start with a basic one. No, that was not cleaning it. What's going on here? What is going on here and what happened there? - Okay , I'll start to see else. Keep Tried to see what this looks like when I make the the, uh, detail shot first. Uh, okay, that's good. So now again, decision. Which one comes first detail or, um, white shot. I'm gonna gonna drag him out. No, no, I kind of like the idea of details first. Honestly, let's see how that goes. Cut. Oh, there was some little black frame in there. I want to start a little later when the movement over starts? No. Earlier. It's the other clothes. Okay, that works. I don't know if you noticed. There's definitely some stabilization problem that we have here that we need to fix later. With warp stabilizer on, we have to see if that works. You know, shots like this are the ones that can get a little bit problem. And I guess you can see here you look at this distance between the the frame and and the painting on the wall. There's a little bluff like shakier, but we'll fix that later. Okay? Did that? 15. Quick Tip: Speed ramping tutorial: here. We can actually try some speed ramping. I feel like time remapping. So the way this works, my idea is basically that I kind of slide into this shot, like, go in here. They close up, OK, go a little faster and then slow again with the music offices. So I know what that Let's listen to a former time and it goes like that. Uh, and I want to go basically dead and bush, you know, And then then I'll just show you. At this point, we start. That would go to the point where we wanted to And then until the point where we wanted to get slow again. And what I'm gonna do is in the middle, you drag it up and sometimes you will have to do some kind of Yeah. Now we can see it faster. Let's see how that looks first. No. Okay, the idea works, but I feel like there's too much time in the beginning here. Like with relatively un interesting shot that keeps going for too long. Maybe. What? I can dio IHS do the whole speed ramping thing earlier and then cut here. I think that's better. Let's try that out. First groups. One thing that you always have to do is smooth out the Yeah, right. This people and make a little curve in there so it doesn't to apple up. That's good, right? And cut to the next one. 16. REAL TIME EDIT: Cut to the music (3/3): That's the kitchen already getting there. Uh, by the way, you might ask why I keep those, um, the B road, the detail shots, the buff, the other ones. I just like to have things a little bit organized like this. So I always know, with one view, not only the color is different, but also there are different layer. Doesn't make a difference in the end product, but it's just, um perhaps a little O c d or something. I don't know. Okay, maybe I use just this one here. That was the one where it comes from. The bottom, I think. Okay. And we are in the bathroom. Well, no, that's problematic. The shot is a little too short. Okay, we could stretch it out to the to the front side. That's okay. So that's a good example. So sometimes if a shot is just a little bit too slow, you can also again try to have a little speed rep in there and then get the footage that you need out of the clip without having cooked to be super long. Let's do that. - Oh , wait a second. This shot. It's way better that were used. This one computers getting slower. I'm noticing it again , That's what. Wait, So okay, what just happened right now here was totally unplanned and just fits perfectly. So this song goes on quite a bit more, right? There is a whole another. This goes like going for 4.5 minutes or something. But our video is a mirror one minute, 28 or one minute, 23. And it just so happens that at the very end of the footage, there's this beautiful, like pardon song that sounds like an ending. You know, I love those kinds of things in the end, that give a perfect that close it off in a nice and clean way. Doesn't sound like a song that's just cut off. It sounds like a song that was made for this video, almost in some sense, you know. And also a little, um, how would you call it a little like sound? In the end, that gives a place where the logo can pop up of the real estate agent. In the end, it's just awesome. So let's play that back one more time. Yeah, There you go. This them them, them, them. That's why I'm gonna put the logo. Awesome. That makes me really happy. So that's it. That's the edit that we have right now. It was pretty fast, actually. I don't think I've ever done it so fast and again. That's totally just because I'm sorry. That's told me just because I focused on the shots that I need while I was shooting. So usually this whole thing would have taken easily three times as long. Um, but you know the process. Now. I went through the whole thing, explained everything, including finding songs. And that's where we are at right now. So, like always, let's make it a good habit. Duplicate the layer. Oh, at the sequence ending 03 Now put the old one into the archives, Put 03 into the sequences, open it up close number two and saved the document. And now I'll see you in the next lesson. 17. Fixing the shaky footage (Warp Stabilizer Tutorial): I like using the premiere pro effect warp stabilizer on every single clip that might have the slightest shaking it, and that's just going to smooth it out perfectly. For that, I just go into the effects panel search warp stabilizer, drag it onto the clip that you want to stabilize and adjust the number according to how much stabilization you want. I recommend you stay between like, I don't know, five and 50 but I honestly have not noticed any strong difference in how that works but go as low as possible. Sometimes the results great, and sometimes it just seems to focus on the warp part rather than the stabilizing part. So the next thing that I like to do in my edits is take a little step back and see what we got so far, what we have got so far. So to do that I wanted to one quick thing before because there's one thing that I already know. I'm going to notice when export this and high quality and I look back on a big screen, I will notice all kinds of shakes in between, right? So the next thing I want to do is go through all the clips, clip by clip and see if I have to fix some kind of camera shakes that are in there. Even though I paid lots of attention on the shoe to not be shaky. And I used to stabilizer and everything, it always will happen that there is some kind of shaken there that you want to fix in. For that we're going to use the effect warp stabilizer. So in order to do that, I go to window. If it's not already open, I go to window click Effects so that effect penalty comes open. And I already have, um, my favorites right here and at the very bottom we see Warp stabilizer. So we are going to go again, clip by clip. And then as soon as we some kind of assume, has received some kind of camera shake, we're going to apply the effect and see if it works. Well, let's go. Okay. I don't know if you noticed that, but there was a tiny little shaking here. It was like an up and down shake. Let's see if we can see it. Uh, there waas again. Pay attention to the, uh to the distance between the end of the frame and the end of the picture in the frame. Yeah, that's already enough. Because that those little things can make if a film look unprofessional in some sense, you know? So we're going to fix that right now because we can, by dragging the effect into the onto the clip and then you can see now it's analyzing. So now what we're gonna do, we go to the effect controls, since this is and then we had cancer quickly because this is gonna you know, the basic function is the standard value in here, off smoothness is 50. So I don't really do anything with the rest of the settings in those cases because it's very simple. What we want to do. It doesn't require further changes in the settings, but the smoothness 50 is pretty high. And since in this case, the shake is pretty little pretty low. We're going to try five, Okay, 5%. And then we hit, analyze, and then we let it analyze it. In this case again, it's gonna It might take a little bit longer because I'm screen recording at the same time . What I do with him on my bigger computer? Um, stronger than I really go faster, clip by clip and just drag it on their quickly, given the value, go to the next clip. I'm not waiting. Usually for the effect to be completely done. Actually, I could do that the same right now. Yeah, that's that's a little bit. Yeah, There's a tiny bit of shake again. I honestly, you might rather want to use warp stabilizer a little bit too often meant a little bit too little as long as it doesn't deformed the image, which it sometimes does. And we're I'm sure we're gonna have an example of that in here to its own as soon as a zoo . Long as it doesn't do that, there's no problem with using it. Also in this case has received, we should be careful to not confuse camera shake with actually a Laghi computer. Yeah, Same thing again. If you pay attention to this corner here to the revealing foreground, not that there were Yeah, there's a little bit of shake in there, but again, very little 5% should be fine. In the meantime, I could go back to the 1st 1 25 seconds remaining. The 2nd 1 Okay, next clip. Yeah, same here. So that's really demanding for the computer. Obviously, you can see every single thing that's read. Every clip that has the red above means that there's some kind off thing going on. It's not rendered yet. It's not done calculating. Um, I think now we're gonna let it wait a little bit. By the way, guys, if you if you're watching this still right now, I'm really interested in feedback. It's totally an experiment. I can totally imagine that people are gonna be totally bored out of their minds watching something like this for several hours. But again, I think there is a value in that because looking at something like this, step by step, obviously, you can get the gist, and you can get the main tricks and tips if you just click to the to the lessons according to that. But if you, for those who really want toe, have a deep dive and see exactly literally like an over the shoulder look of how this works , I personally found that really valuable when I was working in the video production company to see Okay. How does that really work? Like step by step? How do they do it? You know. So anyways, um, the first clips done now I can take a look. So what does he hear this weird black frame in the middle? That's not gonna be like that in the end, actually, let's do a little test export t show you that. Continue. That's fine. I'll do a little test export to show you that as soon as you exported it shouldn't be in there anymore. Alright. Expert is done. Open it up on the desktop. And there you go. You could see relatively smooth and no weird black crop in there, So, um, that will be set. Sometimes you have to analyze former time, because if you do too many at the same time, it's not gonna be It's not gonna be working. Okay, What I'm gonna do is for the sake of really not being boring, I'm going to speed up the rendering process of the stabilizer. And then every time I'm going to show you a new nuclear berry, apply it. I show you why and how. But you don't have to wait for the rendering. So Let's skip that, too. Next one. All right. Rendering is done. Let's look at the result that looks good. Clean like that. Next one. Let's look here again, unless one more time. I see when it's done rendering stun. Let's take a look at the clip. Yeah, there was clean. Awesome. I honestly, I'm not quite sure why The black, The black bars on the left and under under top? I'm not sure. Let's look at this shot that was smooth, smooth, smooth. Now let's look at this one. We might want to try, but I can imagine that this is actually that's let's crop it to the little part that it needs warp stabilisers. So that way we can save some time. It's actually a good idea. I've never done that before. I think this time it's gonna be 10%. That's gonna be helpful, and that's rendered through okay. I just noticed one thing. Obviously, that doesn't work with the cropping thing with the cutting it out. Think because I'm busy. There's some kind of adjustment that happens with this. The clip, which then makes it not work smoothly with the other clips around it anymore. So that's the reason I've never done that before because it just plainly does not work. That makes sense. So warmer time analyzing this year when it's done all right, analyzing stunned Let's look at it. That's smooth. Very good. This one again, Same thing. And honestly, I'm just gonna go ahead. And honestly, I'm just gonna go ahead, and I think it's gonna be the same thing for most of the other clips. If there's any kind of clip that has a different kind of whatever shakiness or something that is something new and not like all the last five or six months, then I'm going to let you know. But other than that, I'm going to just speed forward right now and stabilize them one by one. And you don't have to go through all this because this is there is no value in this and it's just gonna be repetitive. So seal at the end. All right, guys. And there we are back. I have been going through all of the shots and now every single one to stabilize. There was nothing mawr interesting happening. It's just all kind of the same thing 18. First Test Export + Feedback Round: And so the next thing that we're going to do, like I mentioned in the beginning of this lesson, is that we are going to export the whole thing as it is right now, knowing that we didn't pay any attention to color grading or color correction yet, and we're going to export it. And just look, if everything is clean in terms of sequencing and in terms off the cleanliness of the shots and meaning, like if there's any camera shakes, any weird pants, anything like that. And if the effect warp stabilizer did a good job, or if it messed up some of the clips, so that's all that we're gonna pay attention to. Now. Afterwards, we're going to we are going to, ah, spend some time on color correction and color grading. And for now, let's just export the whole thing in the highest quality possible. That's gonna be four k. I used the video preset. That always does a good job. So let's go in and exported, and then we look at the video together. Okay, command em scarcer at a three match source. Oh, okay. In this case, all right. So in this case, since we are Put that into a 10. 80 p timeline. I don't want to just readjust everything now, so I'm going to export intended ADP. That's going to be enough for school share anyway, since that doesn't play back in four K. Anyway, um, going to go and use the video. Where is that video? 10. 80 p. Full HD preset maximum rent, equality, maximum rendered depth. And then I'm gonna export this right now. All right, The export is done. So now let's take a look at the video on DSI. If we can find something to improve, All right, pretty good. So there's one thing that I want to try to fix a little bit. I'm not sure how important that's gonna be, but it's annoying to me anyway. And that is, um, I don't know if I like this shut so much. That's one thing. But the other thing is that this shot you can see me, right? So that's a typical thing that whenever there is some kind of glass thing happening or some kind of reflection that that's a possibility. So I want to go ahead and try and fix that, Um, and the way we going to do? This is we have to first check after check five aftereffect installed on this thing here. So now let's take a step back and see where we are. We assembled all the clips to the music. We fixed the individual clips with warp stabilizer. We already identified one problem that we want to fix later on. And I decided that if I do the color grading now and fix the one clip where I have the reflection in the window later, it's broken and save some computer performance, and therefore it all goes a little smoother, so I do that later. 19. White Balance in mixed lighting situations: Okay, so let's talk about color correction and color grading. The first thing we're gonna want to do is make sure that white balance and exposure are correct in all the clips, especially if you film lots of rooms with different light sources, different amounts of daylight coming through the windows. It's often really, really hard to find the correct white balance, because you have to set it each time for each room. Usually in the end, there are shots of my video that I will have to correct a bit, so the color appears naturally in honestly, I have had shots in the past where wasn't able to get any good white balance because the daylight coming from outside was so different from the interior lighting. And if I switch off the interior lighting, it might have been way to wait too dark. And one technique that you can use is to set the white balance for the interior lighting, which is most often warmer than the outside lighting. And what happens then, is that the exterior lighting the day light coming in through the window? It's going to appear blue and cold in the video clips and that already looks better because you rather have, you know, the outside the windows kind of blue rather than you know the property, the inside of the room that you really want a film in, kind of a weird orange, and that's really hard to fix. But what's easier to fix is the blue coming from the outside because what we can do is we can go into the HS out settings, off loom entry color in Premiere Pro and just the saturate Everything that is blue by something like 50%. And it will make the outside appear kind of gray, but mostly will take out the blue cast out of the image, which was the really distracting element, if you think about it. And if there's one shot that maybe takes one second of the whole video, most people will not notice that there was something weird in the background that was maybe a little bit de saturated 20. REAL TIME: Color Correction (1/2): Okay, one more time. Let's jump into the real time, edit and fix the white balance in all the clips. As always, if it gets boring, skip to the next lesson. But now, now it's time for color correction in color grading, and I quickly want to have. I quickly want to just take a second and explain the difference. Right? Because color grading color correction is not the same thing. Color correction is making things appear or making things look like they actually looked in real life. So this video here this clip shows the room, and I was recording it at a certain color temperature. There was, in this case not quite exactly how the room really looked. So one thing that's difficult that's kind of impossible to solve, especially with more afford more affordable cameras and not really dedicated cinema or film cameras, is that it will be quite hard to get the natural look from different color temperatures at the same time. So as you can see here, the inside looks kind off warm, and it'll yellowish if you want, and on the outside here, you can see that the window appears a little bit blue And that's just because those are two different color temperatures. So inside lighting is very, very often in this tungsten color temperature around 3500 Kelvin and outside daylight. It's always 5600 Calvin, so around there. So that's why when I said my white balance, which we can use with this one here, it just my white balance to the to the inside here. Yeah, you can see it even becoming stronger. So that's obviously a little too blue. That's not how we gonna do it, but just to illustrate the challenge. Here in the problem is that ideally, you want to appear. You want the inside to appear natural and the outside, too. So the first thing you wanna have to do is actually fix the exposure, like making a brighter because then you can see better. What's the actual color? And there's a few things that I pretty much always do whenever there's some kind of window in the shot, especially is I raised the exposure because often it's a little bit too dark because we also have to remember, um, you know, we don't want to blow out things too much, so we kind of under exposed a little bit so we can get as many details as possible back in the windows. And if we raise the exposure by 1.5 stops or something in post, that's usually fine for the inside. So even to something like that, so that I bring the highlights down a little bit, maybe 30. And then I raised the contrast a little bit. And then also through the saturation at 105 Let's do like this. That's too much. Let's leave it like that. And now I'm going to play with the white bones. I'm gonna go. First of all, try out some natural white appearing, um, you know sections of the image and try to click on them. And also I just go by. I you know, like I go in for scream like, Okay, what's wrong with this? To me? This is a little bit too warm, and it's a little bit too green, so if you see there's a little green tend everywhere here, that's not natural. So I go back and I go a little bit into the magenta and then we see okay, also a little bit too much warm, we said. And now we're getting a little bit closer to what this actually look like. Also, one thing that you could do is raise the shadows a limpet. But what you have to do is there, in my experience, the contrast If you do something like that race, the shadows contrast should be always higher than the shadows. That way it doesn't look too flat, because if I take that back, it's like that looks a little, you know, there's no contrast. That's what it is. So bring that 40. Bring the shadows to 30 just to keep some clean numbers here. Minus 30. Okay? And that's kind of how like this one, All right, that looks good. So I'm gonna copy this now, Command command, see, copied attributes. And then I'm going to taste the attributes, and I'm only going to use the elementary cover effects and see how this looks. Um, it's often gonna be a little bit off because different rooms have different kind of settings that they need. But it's a nice starting point, you know, because you want things to look as as similar as possible without looking wrong. You know, So this one here Now, in comparison, it's a little bit to cope now. Gonna go a little bit to the warmer side. So it's right. So let's take a look at this. I think the shadows can be going up a little bit more 40 because especially this areas a little dark. And then the highlights go to minus 40 even minus 50 I would say, somewhere out there. Mm, yeah, somewhere like this. This looks good to me. The outside is still a little bit blown out, but that's OK, because that's because that's also just how it is. You know, like optimally. Of course, it wouldn't be the case, but if you film it this day of a two this time of day, which was around noon, I think because it was generally just a very great day and we didn't want it to be too dark outside. So we chose this time. If they Yeah, that's what it is. And that's fine. So same thing. Copy, right? Click. Oops. Right Click can go zoom in a little bit here, right click paste attributes. Right. And now disappears. Now that we saw the change like this kind of appeared a little bit too magenta red, So I'm gonna go and give this a five. That's two green eight. It looks good, but I want to go back and check here if maybe eight looks better. Not really. 12. 12. Looks better, I think. Yeah. This one I liked like this maybe a little brighter. 1.3. That looks good. So this is definitely just too dark, right? We're also going to select here. White balance, the white bones checker. This looks about accurate. Maybe a little darker. Raise the shadows again. Actually, that's copy again. If a process works. Oh, no. If a process works, then don't try to fix it. The lead again. The luminary color settings that we have so far. And then it can copy. Pace attributes only Loma tree. This is what that looks like. That's not accurate at all. Needs to be a little bit darker. Coat cooler. I mean, not darker. Mm. No, I'm not happen with this. I'll use this anyway. - Not sure for like this yet. Minus 40. No, that's too much. Minus 35. Okay, I leave it like this right now. I leave it at this and then, um well, look at the next one again. Copy, Andi paste, loom a tree. I like this. That was good Paced again. Boom! So this one needs a little bit more level. - Okay , A copy paste attributes also, analyze again. And now take out some of the level. Definitely lower the highlights minus 80. Let's go a little extreme. Let's see how extreme we can go without suffering. Image quality. Yeah, honestly, let's stay at minus 100. Because it doesn't look terrible to your 0.5. And then in this case, I want to add a little bit saturation because this gets lost easily. If you have just too much in the background going on too much front lighting. 21. REAL TIME: Color Correction (2/2): this room picker. All right. So, again, this is also pretty blown out. But the highlights already minus 100 shadows are pretty high. I like it like this. So this is outside. Same thing, basically, highlights a little bit down if I can, man, this kind of warp stabilising thing is kind of annoying. To be honest, next time I'm probably gonna do Kara grating first and then warp stabilizer. Maybe a little bit more contrast. Yeah, that's looking good. Although, is it a little bit? Oops. There was a mistake. Hard drive disconnected, and we open it back up again. The best thing, Honestly, the best thing you can do is just force quit. Close it, open it up again. And usually Then it suggests that you can that you can get back the last project and keep working where you ended up. Let's see if that's the case here too. Okay. Does not look like it. But since we saved before we left, which is always a good idea, we can keep working. Right. So again, now we're outside. And I was thinking, if I make it a little warmer Yeah, I'd like that. Looks like a nice friendly fall afternoon, which is actually what it waas All right, now ejected again. That's interesting, because it didn't actually do that. What's going on, Premier? Alright, guess I'm gonna just quickly restart the computer because I think a fresh restart fixes things like this the best. So see you guys when I'm back up, He So here we are. Back online again. Fresh restart. And let's see if it goes a little better now Premiere Pro on. Yeah, Let's see, This is the room that we had already. We also have been outside already, but it didn't save those settings, so let's go ahead into that. I know that we put the highlights way down. Little more contrast, A little bit more off exposure. And we made it a tiny bit more warm for that nice, warm fall afternoon Feel. All right? So here we are. We keep going and we're back inside. And for this I actually want to go back to the last thing that it did inside. There it was. Was it this one? Yes. Copy that setting and then go here. Right. Click paste attributes and only low metric color. And then we go and good morning here, Oshima. That's very blown out. We go back on the exposure a little bit to one. Lower the highlights. So this lamp here on the left side is not so crazy Blown out. Actually, 0.5 might do the trick to and then go up with shadows of it actually elected at one and see how the shot goes. Yeah, that's good. Ah, make it a little less warm, actually. Wait. You know what I like? Ah, the problems are those white areas. I'm gonna go down with the highlights of a moron. Actually, bring that back to two and look at the clip from the beginning. Yeah, the problem. Is this the lightest way too high? 1.5 one point. Oh, yeah. I'll have to keep it at that. That's fine. That's okay. All right, then we have this room starting out with a little bit more brightness. Not too much, though. Highlights down again. Contrast up. And then a tiny bit more cold. And you will notice that every time you go down with the temperature, you will have to counter balance that with the tent in the in the opposite direction So whenever you go to blue, it automatically Also somehow, for some reason I noticed, appears to be more green as well, so that you can balance with the 10 setting him on the lower side. I think that looks pretty good. Yes, I really like the shot for something that I think it's just because of the picture and the and the on the wall here. Beautiful shot. Love those sunset colors. I want some nice contrast in there. Yeah, this looks good. Epic copy. From here, it's the same room paste. Symmetry suck in this case that I want the shadows to be lifted and the exposure to be a little bit down because off the window that we have there and also yeah, that's looking good. Actually, that looks good too. But let's see if we can make it even better. Paced Elementary. Oops. That didn't work. Paced Elementary, Yes. Ah, that's looking good. Ah, kitchens, for some reason. Always look the best you could Tell me what you want, but that's just true with the sharp edges and everything is kind of shiny. And this looks really nice. Wanna have it? Maybe a tiny bit more warm. Yeah, that looks fantastic. Really nice. Last kitchen. I remember. Really like the kitchen, even though it's not, like the biggest or anything but beautiful little kitchen. Certainly my favorite room in the house. But that's always the case on the kitchen kind of guy. You see, that's does issued this blue tint here from the left. That's again, the daylight. Messing with us. This color is weird. This is where to when Something in the middle. Something like this. Down with the highlights up with shadows. More of with contrast. And that's how we get the look. Bit more orange. Copy paste. Oops. That did not work. Pace. Come on. Okay, right. Copy paste. That's a little too a nuclear nuclear. Yes, but also, it's the color of love. Bathrooms always look weird, man. Okay, one more time. Paste telemetry. Okay, there's a That's okay. Yes, that's okay. That's gonna get blue. Tiny, but much. Maybe Now we go in looking good. Some of those shots are just easy to great. You know, this is okay with the daylight balance. More contrast, A little bit less Highlights race. Two shadows. Tiny bit. Yeah, So that's gonna be shadows high contrast, higher highlights down. Typical thing. A tiny bit of saturation. One 105. Yep, that's looking good. And that's it. Awesome. So now we went through all the clips on took care of the color correction in term self exposure and in terms of white balance. 22. REAL TIME: Color Grading: What we're going to do next is put on a look, and that's what color grading. Basically, it's it's you can think about it like an instagram filter. You want to give your corrected image now a certain look and feel to it, right? So I have a very simple process of how I do that. It's very not at all anything special, and I don't think it should be anything special. I don't think it needs to be anything special. Um, let me correct that. Obviously, it can be something special if it's helpful, but if you don't need it, there's no point in coming up with some kind of fancy color. Great, because in the end of at the end of the day, this year is to be somewhat realistic and to sell a house. And obviously we don't want it to look like some kind of cinematic like I don't know the Martian or Black Hawk down or whatever like this is to be. There's gonna be very subtle. It's going to enhance the look off what it is already, and all in all I'm doing is I said, an adjustment layer, but above everything and what I'm going to do is I'm going to go into the creative tap. You can also important lots with the basic correction tap here. But you're gonna want to do it with the creative, because the benefit here is that for myself, and quickly is that as soon as you search for the love that you want to use, which is the look up table, which is this kind of pre mate design if you don't know what that is, um and you can change the intensity here, so that chance you don't have when you do it with basic controls, that's a little bit off a benefit. So what I do is I drag this window a little bigger and then I go through. I got this computer slow, go through the different lots that are available, and then I just look for the one that looks the best. And honestly, there has been many times there have been many times kind of like this one. There have been many times where I haven't used any lots because it was just fine. I was looking good the way waas, you know. So that's also something to consider. You do not need to have a lot or any kind off additional color. Great on it if you don't want to. Let's try this at 40%. Quickly looked through it. Yeah, I feel like that gives it a little bit more off a It's hard to explain the shiny look or something. Could you say it like that? Yeah, I like it. And also a tiny bit of fade. I want to give it a little fade in general because that yeah, maybe. What could he say? Maybe 10. Yeah, I think that looks good. Awesome. So that's it for now. Save the project. And again. One more time. As we already know. Copy paste to placate the layer. Changing the name. Number four. Change your number four. Closed the old one. Saving in the archives. Track this into strips. What's wrong? Like this in the sequence. And dragged adjustment into assets. Saved warmer time. And now we're ready for the next step. 23. Simple Masking and Retouching (1/2): so the next step is in this case, and that always depends on your specific edit. But at this point, I would recommend you exported one more time and take a look at what you have so far. But since we already know what's missing before we even want to look at, it is we're going to fix that thing and that, IHS, if you remember in the bathroom scene seeing this funny in the bathroom, there was one problem with the reflection that we had. And what we're going to do to fix that is we try to make my reflection disappear. Where is it? I think it's this one, right? There we go. And how to do that is you make sure you have downloaded adobe after effects and then you go and replace it with after effects composition. All right, that's what we do. Okay, so let's let's let's open up aftereffects and I'm gonna get back to you as soon as it's open. All right, so here we are. Let's give our project and then we're gonna call it skilled share. Ah, really? As state video bathroom reflection. That's a funny name. Save it in your space. Um, after effects on safe. All right, So one thing that I want to tell you before it's the method that we're going to use is going to create a considerable amount off a, uh, hard drive space. It's not going well. Rather, it will consume hard drive space because the process that we're going to use it's called content aware fill and basically what that stuff was doing. ISS. It would try to replace this kind of error that I'm trying to fix in a second frame by frame so each single frame will be will be inter changed with another computer generated frame, so to speak. And yeah, but let's let me just show you. So the first thing we're gonna do is we draw a mask around the around the thing we want to fix. Okay, Just like this on a What we're gonna do first is we are going to track this mask, so we're going to make sure none. So we're going to make sure that increase the feather and a little bit 25. So we're going to make sure that through the duration of this clip, Damascus always just surrounding Ah, the actual thing. We want to, um you know that we want to have disappeared, so we don't have any Any unnecessary amount of data that we need to handle. Everything is more smooth. It doesn't take so long. And yeah, so let's go. What we do is we go frame by frame and just make sure that I, in this case, I am always within the borders off the of the mess. Okay, so we go ahead frame by frame, then. Actually, it's not really frame by frame, because this is pretty simple. So I guess I don't need to do that. I can just go a little faster and skip a few frames. Yeah. So, actually, I just noticed right now that the whole thing kind of starts down here already. That's right. Okay, Dokey. Just keep going. Keep going. Do the same thing. Try to make it as tight as possible, but as broad as necessary. That's important. - Uh , keep masking around here a little bit more there and brought back here. Okay, So now we are at the edge of the of the window. We don't want to go beyond the window. The window, the glass. I mean, not the window. It's not a window. Okay, - so now we go to the very end. Just make sure that it's again, not really going in any wild direction that we don't want. Actually, this year are is pretty much all that's left down. Here's part of my arm or what? This is eternal. Okay, so, no, - that's gonna So let's let's look how let's see how it's gonna play out if we let it play through. Gonna render for one for one time, slowly, and we can just keep looking at it looking good. So far and again. Guys, this is going considerably slower than it would do on a bigger machine on a big computer and even way slower than it would go on this computer if I were not, if I would not record a screen capture at the very same time. So if you do this at home, chances are it's not gonna take so long. Yeah, that's looking good. I think we have done a good job here looking clean. I don't see anything leaking left or right. I don't see it overstepping any, like borders. Boundaries. Very nice mask. All right, there we go. That looks funny. That's kind of what it is. That's me. Looks kind of like a shadow anyway, So the next thing we do is ah, and I'm gonna do that in the very beginning is we're going to create a reference frame and what I mean, we could also try to fix it. Actually, maybe we should do that. We could fix it just like that surface. Let's try that. That could actually work, since this is actually just really easy. It's just a little reflection, but I'm not sure this is gonna play out since this Uncle ass, and it's supposed to look a certain way. But anyway, let's just see generate Phil Layer based on the surface that surrounded over the entire duration. Let's see how this is gonna play out. If this is not gonna work, we can always delete it and work with the reference rain where the process would be that we create a single frame in and corrected manually in a photo shop file. And then the software aftereffects is going to try to recreate the rest of the image based on the on the reference frame that we created manually and you can create several of those if one is not enough. But that's basically the idea which would obviously take longer than just let it analyze itself. So let's see, maybe we're lucky and it turns out perfectly happens sometimes. 88%. Guys. There we go. Here. You can see it. Oh, no. Oh, yeah. God, We made a little mistake, guys. Obviously we have to set. That thing is when you when you work with the reference room, you wanted to be a nun. The effect of the mess because you want to do it manually in this case, needs to be it. Subtract. So I guess we have to do that again. Sorry, but it's going fast. 89 10 11 12. - Okay , here we go. And before I even have to click anything, I can already see that this did not work because this looks kind of weird, and I don't like that at all. So what, We're going to do this? We gotta change to cut the the calculation basis from surface to edge blend and try it one more time. Let's see if this works. Okay? The first room doesn't look so bad. Let's play through guys. That's looking good. That's good enough. But one thing we have to fix is 24. Simple Masking and Retouching (2/2): this. There's something weird going on here, right. You can see that. I'm sure. Um, we might have to fix the What could we do? We might have to fix the distance from the mask to the edge of the shower curtain thing here. So let's see if we can do that. Because the only moment where became weird, it was when it was too close to the to the edge. So let's try to fix that here. It doesn't need to be that close. - Yeah . Okay, let's just try this. Subtract General Phil Air. All right, let's take a look. Guys, hopefully this time is gonna work. Looking good so far. Yeah, honestly, I want to save it for a second and close it and just see how it looks in here. Maybe export the front, the part. But actually, no, we don't even need to do that, okay? I do want to export it. We're not going to have as now. Okay, in an out point, just around the the specific thing you want to look at, that's actually nice. Little trick to when? Whenever your computer is like, for some reason, having problems and not working properly it's too slow or something like that, then you can. You can just export things that way and look at it clean. You know, Look it look at how it's going to look like when you're done with everything. So 15 seconds left, that's a fast export can already open where it's gonna be on the hard drive that the export . And here we are, three to one. Done, I think. Look, yes. So it's a little bit. I will have to stay away further from the from the I would have to stay away further from the from the edge again. And actually, maybe it might be OK if you can see parts off me at the very edge, because it won't be that noticeable because I'm going super slow and I'm going kind of at the same speed as the camera. So it's it's gonna I don't think it's gonna be too visible. So let's check out how that's gonna look like check out what that is going to look like. Sorry for my image. Sometimes, guys. All right, so here we are. That's kind of the first thing that I want to try working on is I don't want to get closer than this. And maybe the mask should be smaller. - How's that looking here? Good, good, good, good. Actually, it's looked through it once. That's too close to me to close. By the way, I'm totally, uh, going based on, you know, experience on assumption as well, because I have no idea that's actually too close or not. I just think that that's gonna work, which is, You know, a lot of this stuff is problem solving. It's not about Oh, I'm sure that that's gonna work. It's like you try it out. And if it works for the next time, you know, you know, you learn things and you can move on. That's very important. So don't be discouraged if you maybe don't know certain things. That's okay. Just learn them, you know? Move on. Oops. And get over with it, you know, get it done. Get the job done. All right. So that's looking good. That's what we're gonna do. Okay, Warmer time analyzing 31%. - All right, let's take a look. Yeah, - that's something I don't like here. We have a little problem here, and the edge is still, but that's you see, that's something to learn to is like, That's a pretty tedious process. And we already at this for quite a significant amount of time And in those situations you have to decide. Okay. Is that worth that? Is the effect gonna be worth the time investing in it? Do you maybe have not in a different shot that you can cut too? You know, things like that. And it may be just fine that you're visible in there, you know? That's all things to consider. I'm not saying it is fine. I'm just saying you have to make that decision for yourself because you will have obviously , always the chance to. You can always be improving, Maura. And like fixing the smallest, little tiny mistake in the end, where there's also something to be said for a little bit off pragmatism. Right? Can. There's something weird going on you in this frame. What is this all about? Why is that there? Same here. What is this? - All right. You know what I want to try? That's the last thing. Try IHS to do with object as a feel method and just generated for layer of one more time and then I'm gonna decide which one's the best result. I'm gonna go with that. I think the one with EJ plant that we have right now is acceptable. And we're going to see if object creates maybe even a better result. If not, then we're gonna go ahead with with the one that we have through edge blend. Yeah, we can already see. That's probably not gonna be a satisfying result. Take a look. Yeah, No. Nope. So we're going to go with EJ glint saved thing exit. And now what we're going to do is for the last time, actually, no. Before we do that, IHS, before we do that, we located over time, huh? So anyways, before we exported now to test watch it, I will actually import the logo off my client and already put that in there. Bent 25. Import Client Logo: All right, so we are back. I imported the logo off my client. And as you can see, this is not only a J pack, which is never good, because this means there's no transparent background. Um, it also has this white background, which is kind of annoying, but not a problem, because I've been working with this claim for a longer time. I know exactly what they want, and all I'm gonna do is create a white color met White and put it under that whole thing, right? And that way, we have a beautiful looking local gonna make it a little bit bigger. And that's what that's gonna look like. And I'm going to add a little bit off a scale up because that always makes for a nice feeling. It's almost not noticeable what is there? And maybe I'll put it. I think in this case, I actually will not put it in the beginning as well. I'll just end it, cut it right there. And what I will do is a fade in dip from white or maybe from black, because the screen starts from black. Actually, that's better. Yep. All right, so that's it safe that mark the end off the clip of the sequence locked adjustment layer. And now the last thing that's gonna be done is exported in the highest quality possible. 26. Correct Export Settings: All right, So let's go ahead and export the clip. Let's go in and export the video, and I'm just noticing right now. Here. Okay, That's the That's the thing that we did the artifacts. So go ahead, command em, commode em, and then we're going to do export. Okay, that's fine. 10. 80 p. Again, Like I said personally, when I do it for business, which I'm gonna do right afterwards. Actually, I'm gonna use that very video and send it to my client, but I'll do it in the four k version. Okay, so that's basically the very same process. Just in four K. And everything looks fine. Looks good. Render maximum depth maximum render quality. And our half the Yeah, it's already at the Samuel setting. So go ahead and export. And while that's exporting, I already want to say the last thing that we're gonna do is look at the whole video together, check one last time. If there's anything that's not clean that we have to fix, and then if we have to, we go back and fix that. But that's really it. So that's basically the complete process from start to finish, how you create professional real estate video four clients that will pay you. You know, something between 500 to 2000 euros or dollars. Four videos like that with a total amount off work being. You know, in this case, it was even lower because the video was pretty. The clips were pretty short. Already there were very few clips. So total amount of work, you know, maybe 56 hours, 45 hours, perhaps something like that, which is a pretty nice little income. So I hope you learn something. I hope you followed my advice to skip whenever it gets boring to the next club where you learn something. And I hope you gonna use that for your for your freelance business or for your video production business. And ah, make some nice progress. So please don't forget to give me a rating on the on the sculpture class. Leave some comments, tell me how you like to tell me what I should improve. And also tell me what kind of classes you would like to see in the future. So that's all from here. I'm gonna wait until this is exported, and then we're going to have a last look together at the video that we just created 27. Watch the final video!: 28. How to film Real Estate Video and Thank you!: All right. So before we finish this class, I want to give you a little heads up. So if you are interested in the filming part of one of those videos because that's for sure going to be one of the next classes I'm gonna produce because I'm really excited to show you, really? The behind the scenes and the details of how to film each shot, how to really get into the nitty gritty. I really want to go into the details about how to shoot those videos for you. So if you're interested at all in learning how to film those videos not only edit, but film those videos, then follow me in scale, share for the next class and and look forward to this class. Or at anyway. So thank you so much for watching. I hope I brought you a lot of value. I hope you learned something. Hope you're gonna go out and produce real estate videos for your clients and have a lot of success with it. All right, so I'm out. See you guys in the next school share class. And don't forget to follow me by