Film & Video Editing with Adobe Premiere Pro - The Art of Film Editing

1. Film & Video Editing with Adobe Premiere Pro The Art of Film Editing: Hello, my name is Badillo Perez. I am a film director, actor and screenwriter. I have been writing, shooting, and editing my stories for over ten years, working for film and advertisement. During that time, I have used everything I learned from the best film school in Spain, working in front of and behind the camera. But above all, spending thousands of hours in front of my computer trying to craft each of my works in many editing software, film and video editing has allowed me to fulfill all my dreams so far from editing my own music videos, to editing each of my stories a step by step, I have created this course to share everything I know about video and film editing. This course is not just about learning to use Adolph Premiere Software, but to learn essential fundamentals of editing that you are going to use from now on, regardless of the software you have in front of you. So by the end of this course, you will have a comprehensive understanding of how to edit video and audio using ado premiere to work on any film project. Let's see the contents of the Atelier and Film Editing. This course is designed for you to learn theoretical and practical knowledge. In the first module, you will learn the fundamental tools of a V Premier, which will allow you to master the software so that you can start editing as soon as possible. All those tools to make automations at text, change the size of the video, stabilize shots, everything you need to master premiere at its best. But in this same module, you're going to learn the fundamentals of editing, so you can learn how to sample shots professionally in a fiction project. You need to know the figure ground concept. You need to know what ellipsis is, the importance of timing a shot, the importance of color in sin. You need to know how the rhythm of the cut in a music video is determined. And you are going to learn all these topics step by step from the stage of understanding a film script during the editing process until the moment you will improve the visual quality of the images. In the second model, we're going to address the color correction and color grading. Dynamic range is a concept that goes beyond the technical aspects of a format. It's actually an optical illusion that can be achieved beyond the resolution of an image. And I will show you this step by step from the point of view of a painter, since I've spent my whole life developing sensitivity to colors through painting. Additionally, you will learn to add visual effects a step by step. And I will leave you downloadable material so that you can add these visual effects to your videos. In the third module, we will work on the sound design in depth. Step by step, we will build the sound design of sin from scratch. In this way, you will have knowledge that most editors are unaware of. This knowledge will give you an advantage over the rest. All this is much more in this cinematic experience. You must remember that as a project for this course, you must create advantage of a very simple scene where you wake up and get ready in your room. All you need is to record yourself with a smartphone and then edit on your computer using all the knowledge of this course. My name is Valles and this is my Atelier in Fom editing. 2. Introduction Main Concetps Ellipsis, Time & Color in Editing First Approach: Hello everyone. Welcome to this great chance to learn about film editing. We are going to start with this first model in which we are going to see in detail the fundamental narrative tools that you must know to start editing. Additionally, this is of course in which we are going to learn how to use Adobe Premier. It's necessary to address those main tools that, from my point of view, are the ones necessary to tackle any editing project, any film project. Film editing and video editing is not a mere technical issue. So as we learn to use Adobe Premiere software, we will learn important things related to editing and filmmaking. In this same model, we're going to learn about the process of assembling shots. I think that for fiction is fundamental. During this first model, we're going to see several lessons related to this. Where we will review the same concept but in different examples. I mean professional examples that we will be editing in the premiere software and other professional examples on the screen. All this knowledge is part of what I learned in my script writing Masters degree as the best film school in Spain. Scag, don't miss the chance to learn this. Let's start once and for all with this theoretical lesson. The first thing you should know is that in editing process, there are three fundamental concepts or narrative tools that you should use when editing. When dealing with a film project. With a fiction project, basically, film editing is one more stage of screenwriting because it happens that a script is written to be able to record all the shots that represent that script or at least come close to that script. But in the editing process, we are going to join the shots to tell what is in the script. In that process, problems and chal***ges will arise that were not possible to see during filming. During writing additionally, is the last stage of writing, because the script is not the movie, but the editing is the movie. So pay attention to how important it is. So these three concepts are ellipses, time and color. Let's start then. The ellipsis is a narrative tool that allows you to summarize information in a story. I mean omitted moments in a chain of events to shorten the duration of the film. It allows you to skip certain moments that do not interfere with the understanding of the story. This is going to happen for a very simple reason. The audience sees a scene and already understands what could have happened between the time jumps. I mean, what could have happened in that information that I'm not showing you because it's understood. So let's see this example that is a very good one in the movie 12 Years Slave. There is a moment where Solomon asks for help from a man who is working as a carpenter. The actors? Brad Bet. Indeed, let's watch the scene and then I will tell you, I originate from Canada. I guess where that is, I know where Canada is. I've been there myself, Montreal, and Kingston, and Queenston, a great many places well traveled for a slave. How came you here, Master Bash? If justice had been done, I never would have been here. How's this tell me all I'm afraid to tell you. Every word you speak is profound. Secret your story. It is amazing and in no good way Do you believe, sir, in justice as you've said, I do. Slavery is an evil, it should befall none. As you could see, by that time the movie is almost over, I think there are minutes left to finish. I mean, there is no case in telling the Solomon's story again. So Solomon is supposed to tell his story to that man. That story that we already knew. That is everything that we saw in the movie until that moment. And that is why there is a direct narrative jump from the moment Solomon asks for help to the moment where Brad Pitt's character tells him. That is an amazing story, not in a good way that jump is ellipses. We don't need to show Solomon telling the other character the story. But since we as audience know the story, we can imagine what he told the other character. So this narrative strategy allows you to reduce the ***gth of the montage. In any case, we will see another practical example later on. The other important element is time. The ***gth of a shot changes the meaning of a shot in itself. This is a very important, we're going to see a very quick, small example in one of my works, 2012. In this scene, which is actually a flashback, I mean a memory, we notice that the character is staring at the family, the indigenous family, but especially the character stares at the family's in the scene lasts a long time. The change of glances lasts a long time. But it happens that this process of looking for seconds generates expectations in the audience. Because the character is not simply looking at something to recognize it, but rather that he is looking at the child for a long time for maybe two reasons. The first is that maybe the character is moved by what he is looking at. I mean, the family with his daughter seems really tender to him. But on the other hand, maybe he wants to have a family or maybe it's his daughter. I don't know. So many things you can imagine just from the fact that he is looking at something for a long time. Because the more time the audience passes, the more questions will be asked. The other element is the color. The color result is important in the same scene. You can notice that since they are flashbacks, in order that those scenes were taken as a flashback, it's necessary to use a different color correction in those moments to give more information to the audience. I mean, they must be aware of the fact that those scenes are a different moment from the ones they were watching before. Here, there is another example of a flashback. It's supposed that the character is remembering a past moment with that native with whom he has come across. As you can see, the memory has another color correction, another color grading. Additionally, the color is also related to the motions and lighting in the color correction. You are not supposed to select a color for scene that could be detrimental to the motion of the scene. As you could see, these are very important elements when it comes to telling stories by editing. It doesn't matter if it's a movie or a commercial. It doesn't matter if it's a Youtube video. All these tools are used to tell a story properly. Later on, we will see another important element related to the assembly of the shots, which is the ordering of the shots. But we will see that in another lesson until the next time. 3. Recommended Equipment: The purpose of this lesson is to give you my recommendations regarding the equipment. You should have to professionally edit video from home. First of all, you need a good computer. This computer should stand out in three main characteristics. Firstly, a good graphic processing unit, which allows you to have a good workflow when working with current formats. Additionally, you must have a solid high speed hard drive. This kind of hard drive will allow the computer to transmit information between the hard drive and the software quickly, instantly. And that is something that's really going to speed up your workflow. And finally, a good CPU that is essential in editing too, that would be the most important thing in terms of computer performance. So let's go to the color correction part. I know that most of you have laptops. There is a problem when it comes to editing colors on a laptop. Laptop screens are adapted to work even outdoors. I mean, the screen can be seen even in the presence of sun light. Therefore, almost all screens have more light than any monitor usually has. So when it comes to doing color correction, I highly recommend having an extra monitor that you can connect to your laptop. It doesn't matter if it's not a high end monitor. It will simply be your reference for editing colors and lighting properly. After all, you only need to compare the colors of those works that you will use as a reference with the colors of your work. The laptop screen will give you trouble when it comes to adding the appropriate amount of light to your videos. For the audio editing part, you will need three fundamental things, Mainly headphones that allow you to work the audio correctly properly, for example, The same is 280 are very good to be successful editing audio. However, you should know that headphones do not reproduce the lowest frequencies. If you want to make a sound design that sounds completely professional, I highly recommend you having a pair of monitors like the ones you're looking at right now. These are prosonous monitors. They are not that expensive. But it happens that in order to work with audio monitors, you need an audio interface, which is a device that allows you to process the audio or not using too many computer resources. Additionally, it allows you to connect microphones to record, and obviously that is where you should connect the monitors that I mentioned before. This would be all my recommendations regarding the equipment you should have when it comes to video and film editing. Now we are ready to start learning about Adobe Premier. 4. The Beginning Setting up a project in Adobe Premiere: Perfect, we are, here. We are going to open our editing software, which is in this case, premiere. So I'm going to go to my folder to click on the icon on the shortcut. I remind you that regardless of the software you use, once you master one, it will be much easier to master the rest of the video editing softwares. This welcome window will open in which we will find the recent projects we had work done, but also the possibility of creating a new project. We click on New Project and immediately this new window will be displayed. What is this about? In this window, you will find the general settings of the project. Mainly the name of the project, especially the folder in which the software will save all the temporary files that will create so that the workflow is better for us. We can click on Browse and choose the folder where you want all the information to be saved. Which is going to be very important because eventually we are going to have to delete files or also recover files. By default, the software saves all these in the Windows or Mac Documents folder. First of all, we're going to name our project over here. We're going to write down video editing for example. You can see that here below, there are three taps. The most important is this first general. The first thing we're going to find is this box related to video rendering and playback. Where we can change the video hardware that the computer will use to work on the project, either in the general monitor of the software as well as when creating the final files. Remember that the software is constantly creating files so that we can see a review of what we are editing here. In this little tab, we will be able to choose either the computer's GPU card, especially for video, or the computer's integrated video card. This is very important because obviously when using the GPU, everything is faster but also less stable. For example, this error could appear while you are exporting the final file, which means that the GPU card failed because it got too hot or because it doesn't have enough power to create that file. That is depending on the type of project you're editing. When you support the final file or make the renders files, you will be able to use one or the other. However, if you have the latest generation computer, I don't think you have a minor problem. So in that case, you should always have the computers DPU selected. In this next box, you're going to set how you want the time to be measured by frames or by time. At this moment, you won't understand this. I'm going to explain it to you when we are learning about the time line because it's easier to see it and we explain how to prepare a project first. It's worth mentioning that you will be able to change this anytime in this audio parameter. We will be able to choose how we want the time line to measure the time for the audio. To do this, we must understand what the sample rate is. The sample rate is the resolution of the audio, that is the number of record samples that an audio file has. The timeline can measure the time for each of those recordings, as well as for milliseconds, which would be the continuous time. The following box works to set the type of video capture format. There are still some cameras on the market that work with tape and also with film roles. This capture box allows us to set what resolution we want the capture to be in order to connect the software to the hardware TR, which is the device that is used for that, but in reality that is something that is really no longer used. This last box is related to a possibility that has been given to users to improve color editing, especially when we use film cameras which have a high dynamic range of colors. So this allows us to have a better configuration between the software and our physical monitor. But in reality, personally since I dedicate myself to making fiction, I think that the image quality is not only related to the dynamic range, but rather to the photographic quality in lighting. But however, if it's the case of animation works, for example, where you have to really respect the color of the landscapes or characters to get the best out of them. We can change the setting to the highest values to have a better reference. Let's move on to the second tap. This second tap that we see here, scratch this. It's very important. In this tab, we're going to indicate to the software where it's going to save the temporary files of the project. These temporary files that the software is going to create to improve the workflow in these folders, not only the temporary files will be saved, but also the capture files. Additionally, the audio recording files will also be saved there in these folders. In the case that we do a Davin for example, we must pay close attention to this folder. Obviously, we choose the main folder where the project will be saved. But in this case, in that same folder, sub folders will be created that will contain all these temporary files and non temporary files. I highly recommend you not to change the location of these folders because all the files of the same project are supposed to be in the same place. Not only to maintain order and prevent errors from happening on the computer, but also because it's possible that our computer crashes unexpectedly. Then we will have to move the entire project to another computer, so we must know where all the files related to one project are. On the other hand, also in many occasions we are going to need to delete temporary files related to the renders. I mean, to free up space on the hard disk. This third tab we have here is the ingest settings. What is this for? It turns out that at some point we are going to work on projects where they are going to use film cameras. Those files generated in the film camera are going to have a high resolution and are going to be quite heavy. Therefore, we are going to have to transfer them to a external hard drive before they reach our computer. This Ingest tool allows me to move those files that are on the external hard drive to the internal hard drive of the computer more easily. How are we going to do this? We must select this small box that we see here and the adopt premiere will automatically connect with another software from the same adopt suite called Medi Encoder. That software will do the transfer while we continue to work on Premier. It's a very useful tool, but in reality, it requires that we have a computer powerful enough to do both processes at the same time. Additionally, we can select a place where we want the hard drive files to be copied. It's interesting because we can even save in the audio Creative Cloud or in the folder that we want on the computer, we have the option to copy the files with verification or without verification. What is this for? Because sometimes the files that come from the camera, some of them have errors. So that the software allows us to verify which of them have errors, either to correct them or to skip the transfer of those files. But we also have the option to copy without verification, but on the other hand, we can switch to the transcode option. This allows me to copy the files, but converting them to a high resolution compressed format, which allows me to edit almost as if it were the original files. However, we have the option at the end of the editing to export both using those files and using the original files in maximum resolution. In the same way, the medi encoder will copy the files in the background while we work on the premiere. Here there are several formats, some heavier than others, but in general they all have good resolution. They are compressed files, but they have great resolution and information so that we can edit with them and even export using them without losing so much information. The next option is to create proxies and what is a proxy? The same way as we can create the previous compressed files, we can create the proxies that are even more compressed files that allow me to work with files without compression in high resolution. It happens that sometimes we work with film cameras which generate four key or six key or eight key files which are very large. The proxies are a low resolution twin files that Premier uses to do this greatly improve the workflow as if we were editing with a super powerful computer. We will be able to do as we were working with the original files, but when exporting the software will connect with the original files. Proxies are going to be your best friends. From now on, we are actually going to use them in examples later on. It's important to pay attention to the lessons where I talk about this topic of proxy files. In the same way we can choose in which folder we want the software to save the file, the proxy files, there are the same options. Save the files in the same project folder in the Creative Cloud, and also the option to choose the folder. We can change the proxy parameters, that is from very low resolution to once with more resolution. It's very similar to the case of transcoding compressed files. With the difference that in the case of transcoded files, almost all the options have high quality. It's important to understand that in both proxy and transcode cases, these parameters are used to improve the workflow. That is their main objective. It's just that sometimes we have a movie camera and we want to jobs quickly that don't require super resolution. Transcoded files are perfect. The last option is to copy and create proxies. This function allows me to create two separate folders. On the one hand the original files that are on the external hard drive. On the other hand, in another folder, the proxies. Remember that the met coder will transfer all those files in the background, but in reality, as I told you, it also consumes computers run memory. Anyway, we are going to continue talking about the proxy files later on as I will show you how to connect the proxies to the editing in the program monitor. But it's important to know about this subject of proxies because most of you don't have a supercomputer. Even those computers that we think are super powerful, last generation Mac for example, even those need to use proxies. Once we have finished the general configuration of the project, we simply have to click Okay, and our project will open immediately. Since I already have a project created precisely to teach you how to use the software, I will simply click on Cancel, and I will select one of the last recent projects where we are going to work. So this would be the most important when it comes to creating a new project. So this first lesson is up to here, and we will continue learning about this adult premier software in the next lesson. 5. Creating a sequence Knowing the video formats and aspect ratio : Perfect. We are here again in Adobe Premiere. In this lesson, you're going to see how to create a sequence, which I think is the most important thing to start working in Adobe Premiere. Before we begin, I wanted to mention something related to the distribution of the folders. When we are in a project, we must know what the general folder is in order to identify it. We simply observe that the name of the project appears underlined, as you can see here, while we are in that folder. Additionally, the return button is not enabled. This button here is not enabled. If I click on this folder automatically, the return button is enabled. And of course, in this case, this folder is identified with another name which is in. But remember that you can identify the folders as you want, that is, put the name you want. I will write folder one. Knowing this, we can now move on to what is important, how to create a sequence. First of all, by clicking the right mouse button, either inside the folder or in this space up here, the option to create a new element will be enabled. It can be a new folder and new folder search, which is in the case that we have many folders, or it can also be a new item. In this last option, a long set of items will appear. But for now, we're going to focus mainly on the first one in the sequence. Immediately, when creating the sequence, this window opens where these folders with different presets will appear. Each of these presets are related to the configurations of the different types of cameras with which we could have shot the scenes. I don't recommend using any of these presets because we are supposed to learn to configure our sequence by understanding each of the parameters that this sequence will have. In the end, we have to be able to configure the sequence as we really want. Not to mention that many of these presets are related to formats for wave television broadcast that almost no longer exist. We must go directly to settings right here. We're going to be able to choose the specific parameters for the sequence. The first is the editing mode. Here we are going to find all the presets that we saw previously but all displayed on a list. But as I told you, it will always be better to do it ourselves, to choose the specific parameters for our sequence. I recommend you select custom. Selecting custom enables the configuration of all the parameters, so pay attention to the difference. If I select any of the other presets, notice how I cannot modify the frame size, nor the visualization field, nor the video reviews. As I told you, when you select custom, all the parameters you can modify as you want. So make sure then that the sequence is in custom. The first parameter is the frames per second. Remember that moving images are made up of frames that are photos that when passing quickly one after another generate defect of motion. In the case of cinema, it's 24 frames per second. 23 comma 976 is exactly the same. There are other configurations, such as those of television that have 30 frames or 60 frames per second, but we must always set it to 24 frames per second. After this, we must go to the video box. In this box, we are going to find five important parameters we're going to pay attention to the first two, the frame size and the pixel aspect ratio. Let's start with the frame size. This parameter will allow us to set the resolution of the frame. That is, the number of pixels that each frame will have. Remember that each format, HD two K, et cetera, has a specific number of pixels. The next parameter, pixel aspect ratio, is related to the type of deformation that each of these pixels will have to adapt to a specific type of screen. Remember that there are different types of screens, those elongated movie screens. Also the screens of the digital televisions and even the television screens of the last century that are more square, the pixel aspect ratio distorts the pixels to achieve this adaptation. And I will give you an example. Here it reads 14, 40 by 1080, but here on one side it also reads 169. And that means that with the distortion that the pixel aspect ratio of 1.3 is generating the screen would look 169 because the pixels are stretched to the size to achieve it. But this is not the correct way to do it in a video editing of this time. 2023. Because today almost all devices everywhere have a high resolution and many screens that adapt to the original size of the video. Knowing this, we must go back to the settings and select the square pixels. Pay attention that in the tab there are several deformation options, but I highly recommend you always use square pixels so that the shape of the image is really related to the number of pixels that we have set in the frame size. Pay attention now to the actual size related to this resolution and a square pixel aspect ratio. The image now looks square, like an old television because it's respecting the square aspect of the pixels. So if I want to change the size of the image so that it looks like a digital television screen in any home that is 169, then I will have to take it to 1920 by 1080. In that way, the image would be 199 with the square pixels like a digital television, and we would be doing it the right way. That means that if I wanted to create a much more stretched look to the sites as in the case of movie screens, I would have to add many more pixels to the horizontal line to get to that size. On the other hand, it's important to know this. If it's the case of a video for Instagram or Tiktok, I mean with a vertical appearance, you must invert the proportion of the size of the image. We must reside first, 1080, then 1920, for example. In this way, our program monitor will have the appearance of a video for reals. But doing this, you must pay close attention to something it happens that when you're editing later on you're going to have to adapt the videos to this aspect. You're going to have to sum in, in the image enough in order to adapt to the aspect, but we are going to lose resolution. I have two reminders. First of all is that you record with a camera with enough resolution so that even by summing in that way you don't lose much resolution. The other solution is to turn the camera vertically so that it records vertically. The problem is that you're going to be able to do this only with a DSLR camera. With a film camera is not that easy. But let's continue with another important thing about the pixel aspect, radio. Because there are still cameras on the market that record, for example, in 1920 by 1080. But they gave us the possibility of having a cinematic look that is elongated to the site. The file generated by the camera would come with distorted pixels by default. In those cases, the Pixel Aspect radio tool is useful so that the image is not distorted if it's the case that we're working with the camera whose files are HD but distorted to 1.3 to have a cinematic look. Our sequence cannot be set in square pixels because the image will look squeeze. In the example you are looking at, you can see how an image originally recorded with a pixel aspect ratio of 1.3 would look like in a sequence with a square pixels. Now, particularly in the opposite case, it works differently. I mean, if the video file I am using originally has a pixel aspect ratio of one, that is its square. If I changed the configuration of the sequence to 1.3 the video image would not be distorted simply that when the file is supported, the file will have the pixels stretched to the site. It's important to note that almost all movie cameras today do not distort the pixel aspect ratio. They simply bring configurations with more pixels, of fewer pixels to adapt the number of pixels to the wide aspect of the movie screen or the aspect squared of old televisions. In any case, you can play with this parameter. I will always recommend using the square pixels. If it's the case that you need the image to look wider, simply modify the number of pixels to the necessary point. In fact, you don't even have to respect traditional aspect of Ratius. You can make the image as wide or square as you want this. Here is the traditional look of digital screens 169. It's important to mention that even after creating the sequence, you can continue modifying the parameters of the sequence by simply clicking on the sequence with the right mouse button and then going to the sequence settings. The next parameter is the fields. What does this consist of? Long ago when there were only analog televisions and analog television broadcast. One thing was to play a movie in a movie theater in quite another. To broadcast it by open signal transmitting frames per second to an open signal was very difficult. They had to resort to another technology so that the human eye could perceive the frames per second, as in a movie theater. Then a technology was invented that allowed the frames to be duplicated by using horizontal bars that displayed the image fast enough. So that the human, I would not detect the frames passing one after another. One of those technologies is NTSC that is used throughout the American continent. In the other is Pol Technology that is used in Europe. We have these two options to choose from here, upper and lower field. First, that belong to those two technologies. But this exists in Nado Premier, because even today there is an open signal television. It's necessary that we have the possibility of setting up our project under that configuration. But the truth is that you must always set the sequence in progressive scan. That is, those bars don't appear, the frame flow is continuous as in a digital television. That way you can have the best video quality in your sequence. Then later in the export, if you want or it's necessary for you, you can adapt the final file to NTSC or pile format when necessary. But always remember to set the sequence in progressive so that the image is as clean as possible. Actually, if you forget to set this to progressive, you will notice some horizontal bars on the image. The next parameter that we have here is the time measurement mode in the timeline display format. I already told you about it when we were creating the project. There are several options. The first is to tell the software to follow the frames per second while viewing continuous time. This second option, non drop frame time code, is a mode that allows us to adapt to the errors that the capture may have as a result of the data transmission process from the tape to the computer. This option allows me to skip those errors and follow continuous time. We are not going to use this. We should always use the time code, which is the way adapted to real time in the editing. And you, yourself will realize this when you are measuring the duration of sine over and over again. There is also the feed plus frames, 16 millimeters and 35 millimeters mode. This is for film role cameras with this analog format. Then the software measures the amount of film Led in its relation to the frames per second. And finally, there is the frames mode, in which only the frames will be displayed and not the time. What is the difference visually on the time line we're going to use, for example, the continuous time code. Now look at the time line where you can see the time directly and have the general time. Or not only on the timeline, but also on the program monitor. But you can change these in the settings, for example, to frames. Now pay attention to the time codes shift to frames. Now it shows each of the frames. Here on the monitor, it reads zero because there's not any video selected in the timeline. But also in the same time line work space, we can change the time display as we want. I mean, it's a feature that is not exclusive to the sequence settings. In the same way, you can also change it in the program Monitor. The next parameter is the working color space that I had mentioned when we were creating the project. We have several options to work with high dynamic range of colors, but as I told you, I will explain them later. The important thing is that we can change all these settings when we want. The next parameter is the audio parameter, where we are going to find the sample rate. That is the resolution that I had mentioned in the previous lessons. We will be able to choose several resolutions and this will depend on the audio interface you have. I mean, if you have one or also on the computer's resources, of course, the higher resolution, the better the audio will be, but it also consumes many more resources. We can not only modify the sample rate, but also how the audio time will be measured in the time line. But don't get too hung up on this. This doesn't really change anything important, it's just a visual feature on the timeline that we will see later on. This last box we have here below is the video previewed. The first parameter of this box has to do with the program monitor. That is what type of format the sequence will be displayed on the monitor. I highly recommend you choosing quick time. They are simply pre view formats. In fact, they are all compressed. To have a better workflow, I always leave it in the animation codec. But there are also other pro rest compressed formats. There are many different ones. There are some with more quality than others, and in fact it's something that you can also change at any time. This has nothing to do with export, it's simply the parameters that the program monitor will have while we are editing. Let me mention that not only quick time is useful, also frame only and P is very good. In fact, the difference in performance between one and the other is not much. On the other hand, it's important to mention that the more information the video files have, those files that you use in the sequence. The computer will also use more resources. On the other hand, these boxes that are here below have to do with the video preview. Pay attention that is very well specified. They are right inside the video preview box. The linear color composite help us to have a video color in the preview, but consumes more computer resources. There are also the other options of maximum bit depth and maximum render quality. The important thing to know is that all these details are for the video preview, for the sequence itself, or the file to be exported. Something that I usually do while I'm editing is turn these parameters on to see an approximation of the final quality of the work, then I turn them off. On the other hand, when creating the sequence, we also have the possibility of creating as many ad tracks we want in the format we want. It can be a stereo Surround 5.1 it can be multichannel and also in module as I told you, you can add as many tracks as you want. Adding a new track will automatically open the same number of tracks to the mixer in the audio preset. For example, here I had added six tracks. If I click okay, six tracks will automatically be added to the sequence. But if we wanted to add even more audio tracks, for example, in this other sequence I created when it was explaining to you, we simply had to go to the sequence tab up here and click on a track. This way I can add more audio or video tracks to the sequence, and I can even indicate where I wanted to appear in relation to the other tracks. In fact, I can modify all those same parameters related to the audio tracks that we could select when we were creating the sequence. In fact, as you can see, you can also select the format, whether it's a stereo or mono, or surround. For example, The mono tracks are very important because they are the tracks where we are going to do the Bing. When we add a mono track, a small symbol will automatically be added to identify that track. It's a small speaker. It's necessary that the track where we do the diving is mono because it's a single microphone which will capture the voice. We will also see this later because it's something that we will surely have to do as editors. Finally, after the audio tracks tab, we have the virtual reality tab. Obviously, in this course we are not going to touch on this topic because neither you nor I have the appropriate hardware at this time to explain this to you, but I'm very motivated to do it. It's something that I plan to add to this course once I have all the devices related to this technology. But it's important to know that Adobe Premier allows us to work with virtual reality, and this is the parameter that allows me to work with those devices. This comes with the latest editions of Ado Premier. Then we press okay, and our sequence is created. I know I hit cancel, because during the explanation process, the sequence was created automatically. Remember that by right clicking on the sequence and then going to the sequence settings, you can still modify the sequence settings as many times as you want. That would be everything with respect to creating a sequence. As I told you, the sequence will be connected to the program monitor. Once we have our sequence created, we can start adding videos to the time line. That is the fragment of the video we want. When we do it, the software will ask us if we want to keep the existing settings in the sequence or if we want to change the settings to those of the video file and we must click on Keep Existing Settings. That would be all important when it comes to creating a sequence. From now on, we are going to start to dive deeper into editing and understand what are those fundamental tools that will allow you to truly become an editor for film. I see you in the next lesson. 6. Sensitivity to images, balance and lighting: Hello people. I really want to give you some important piece of advice, not only as a video editor or film director, but as an artist himself. I know that many of you also shoot videos, or at least a large part of you are interested in one way or another in shooting stories or whatever. Obviously, editing is part of that process. But the truth is that the tools that you need to know to edit professionally or well enough to carry out an audio visual project are not too many. The rest of the knowledge doesn't come from itself. From learning all the buttons, shortcuts, or functions of a software. It doesn't matter which one it is. Premier, Sony Vegas or Da Vinci. I mean, the rest of the knowledge comes from how used you are to consuming quality art in terms of image audio and his stories. If there are not quality references in your mind, it's impossible for you to have a quality result editing as simple as that. For example, you cannot expect to be a great heir cinematographer if you only consume Marvel movies. I'm not trying to say that you cannot learn technical things from a superhero movie. But you have to learn, first of all, to be fully aware of what you are watching on the screen in order to have a good visual culture. I always talk about this with my colleagues and I use as an example the movie Spider Man and Forest Camp. I mean the way they shoot at the scene, on the boss in the movie Spider Man. And I compare it with the want in the movie Forest Camp, for example. Pay attention to this first shot of the sine. Are you aware, for example, that the colors of the customs were specifically chosen to match the range of colors of the grass? That is very important because video editors can change or modify the colors of any element in a sine. For example, look at this Manet's painting. It's the same selection of colors in the composition. The blue of the shirts is representing that blue color of the sky. This other painting by Monet is the same blue and shades of green are colors that match that green of the grass. So what I'm trying to say is that this scene is not like that because a color palette downloaded from the Internet. I mean, it's the byproduct of having a great visual culture. On the other hand, pay attention to the duration of this first shot. That shot lasts long enough on the screen to detail that there is a dirt road and they live far from the city or town. Now pay attention to the green color of the ceiling inside the Os. That was also deliberately done to match the whole country vibe because that is the road the 0 is traveling on. I'm Forrest Forrest. Got I'm Dorothy Harry. Well now we ain't strangers anymore. Now pay attention to the close shots are only reserved for the main character and that no one else has the same color in their clothes that Forrest has in the shirt. And I would say that even the color of the children's clothing is selected so that no one stands out. And also b***ds with the color of the seats. I can't sit here. You know, it's funny what a young man recollects because I don't remember. Pay attention also that even the shirt that Forrest has as an adult is blue also. Not only so we connect it with the child directly but also matches the trees around. On the other hand, just at the moment that the girls appears on the screen for the first time in the film, the most powerful lamotif of the soundtrack plays. I had never seen anything so beautiful in my life. She was like an angel. Have you noticed that exactly the same thing has been repeated as when Forrest was with his mother. The girl has a light green dress. All this that I'm telling you is to try to awaken the artistic flame in you. Artistic sensibility is what will lead you to make better decisions. As editors pay attention to the lighting of the scene to create depth in the faces, one half of the girl's face is shaded and the other is illuminated. And there is even a small tray of light hitting the window frame. May be as a stupid Dos Jane, I'm forest forest. From that day on, we was always together. Judy. Now let's move on to the Spider Man scene, which also happens on a school bus where the love of the main character is introduced. But let me assure you this, like any story worth telling is all about a girl. That girl, the girl next door, Mary Jane Watson, the woman I've loved since before I even liked girls. Pay attention that in the editing that is closely related to the script, they introduced you to the girl at the beginning without any surprises in the forest scene. You're surprised that he finds the love of his life on the bus. And here, there is no surprise, neither by editing nor by script son, the woman I've loved since before I even liked girls. I'd like to tell you that's me next to her. I had told you that the closed shots are used for the main characters. I don't know why there is a closed shot for this guy. He has no importance in the story. I tell you this because in film editing, we can craft a shot to create a more closed one. A close up for example. Here they do it again and they do it randomly. And that cannot be done that way. It has an importance and the importance is called the cinematographic point of view. In the case of the girl, it's important because we are talking about the lot of his life. But the rest of the characters on boss, they are not that important for the story. Pay attention that the customs here have no importance in the statics of the scene nor the colors in the space. So knowing exactly why things are done in a movie or scene is extremely important to be able to make correct decisions as editors. Additionally, the editing stage is the last writing stage of a film. It's the last chance that the film project has to repair the weaknesses. This is a perfect example about it. Imagine that you only see movies of that kind of quality. I don't really hate that Spider Man movie, In fact, I find it quite entertaining. But if you only see movies of that nature, and one day you want to shoot one story in which there is a scene, a bus. What do you think will be your point of reference to create a scene? That will be your reference, it will not be another. The same happens if you are a musician or if you are a painter or a photographer. It's the same. When you see the quality of someone's work, I immediately ask what their customs are. What do they usually do in free time? What kind of things do they enjoy? I mean, everything we do in free time will feed our creativity. I mean, editing is part of the filmmaking, and filmmaking is like speaking a language. You cannot fully learn a language overnight. And it's full of so many things. Music, theater, painting, sound art, sound escapes, et cetera. So over the years working in editing, I have come across many editors and videographers who approach Audi list of work in a very superficial way. Because many of them focus all their knowledge on knowing which are the best plug ins to improve the quality of the image. What is the best camera with the best dynamic range? Which camera has the highest resolution? Which is the most advanced software, for example, in the years go by and their work continues with the same quality, the same commonplaces, the same lack of visual culture. All of this is something that no teacher is going to teach you in one single lesson. It's something that takes years to cultivate for you. It should become a habit that you go to a museum, to an exhibition that you contemplate quality art. I'm not trying to say that the technical elements are not important, but in reality, if there is something I don't want for you, it's for you to become that kind of videographers or editors who only cares about technical things. I wish you could really be the best you can be. So what many people call ta***t is actually the right product of a lifestyle. All these are very important for the video editor, because when you are giving the data of a project, I mean the film footage of a project, you are supposed to learn to choose which are the best shots of the scene. So for example, what is the criteria you're going to use to choose the best take or to correct a shot? Sometimes you have to crap shots, for example, or reframe the image to create a new shot and you must have good visual reference to do that. Determining the balance of an image is essential for the editor because you will be cropping images all the time. The valance comes from the vernacular sight of human beings. And this vernacular sight doesn't focus attention on both eyes at the same time. But one is always the one that concentrates the most and the other complements. And that is the reason why the law of theirs in an image must be respected to center the main elements of a composition in any of those four points you see there. In this case, it's the girl's face that is close to the upper right point. This was used for the balance of rock paintings and drawings and it's a fundamental use today for cinematography. Being aware of this knowledge is part of what makes us better editors. There are lots of ideas that will come to your mind when you have a great audio visual culture. Those ideas are the ones that will help you to create a better advantage, a better editing, a better job. Take all of this into account and let's continue learning in this film editing course. 7. Effects Control Panel Learn about Keyframes and automations: Perfect. We are here again in the premiere, and it's time to learn how to use the Fx control panel and why? Because every time we add a video clip to the timeline, that in fact can also be a photo or an animation, et cetera, We're going to be able to edit certain parameters in that clip and above all, give instructions to the software to automate changes in those clips. The purpose of this lesson is to be able to teach you how to use defect control panel, which in fact is the same place where you will be able to add different effects that the software has to use. This time we're going to work with this photo, so I'm going to add to the timeline. This photo that I have here is a photo of the space. You know that once we add an element to the timeline, and this line is over that element, we're going to see that video clip on the program's monitor. But it happens that usually the clips don't share the same size as the sequence. I mean, most of the time the video or photo has a different resolution and appearance than the sequence. For example, this photo is bigger than the size of the sequence. How do we check it? Simply by double clicking on the monitor, a frame will be activated that indicates the actual size of the image we are using. This frame is a tool that allows us to modify the size of the image on the monitor, for example. In this case, we could make the space image match as much as possible with the sequence. But it could be the case that we want a certain parts of the image to be seen in the sequence. This frame allows me to play with that, because by moving these different points that we see in the lines of the frame, we can change the position and the size of the image. But we can also modify the image rotation. But when we are modifying the position and size that this clip will have with respect to the sequence, we are modifying the parameters that are in the fax control panel. One of the most important places in the premiere when it comes to editing anything. For example, while we are moving the frame a few moments ago, the position and scale parameter was changing in the motion section. In this effect control panel. Pay attention. I'm going to move the image again so you can see how the numbers move in the position parameter. In the same way if I assume in or assume out the image changes the scale parameter. In fact, we can go even deeper because these parameters allow me to change if I want, for example, the scale to be uniform or not. If I disable the uniform scale option, I can modify how wide or long I want the image to look. Of course, we are distorting the original nature of the image. Basically, you can modify the size of the image either by using the frame in the program's monitor or by changing the values in the Fx control panel. Of course, you will always have the option to, under any of the changes, pay attention that also with the issue of rotation, the values change in the panel. And additionally, remember that whenever you want to modify the rotation using the program's monitor, you must position the cursor in the corners of the frame until you see that small curved arrow indicating that we are unable to change the rotation. But the next tool after the rotation one is the anchor point, which is very important. The anchor point allows me to tell the software the reference point it will have as we scale and rotate the image. For example, you can notice that when I sum in and out, that is when I change the scale. This happens towards the center of the program's monitor. In the same way when I change the image rotation, the image rotates using the center of the image as axis. But it happens that if I change the anchor point to the lower left corner, for example, when I modify the scale of the image, this image will not assume in or sum out towards the center, but to that point below and to the left. The same will happen for the rotation parameter. But why I am explaining all this to you, because from now on you're going to know something very important that we are going to use all the time when it comes to editing the key frame. What is the key frame used for? The key frame allows us to give an instruction to the software to make a change any of the parameters that we find in effect control panel, not only in the parameters that are already come by the fold, but also the parameters of the different effects that we can add to the eclipse and which will also appear in this effect control panel. We're going to use the scale as an example. You know that when you click on any video clip, the corresponding effect control is immediately enabled. Where we can modify many things. I mean, all that we had just seen and many other things that we will continue to see and learn throughout the course. The idea is to go a step by step, but you may also notice that next to the defect control panel, it's displayed on the right. A sort of time line. But this small time line corresponds to the space of time occupied by that small video clip that we have selected. Obviously, we can modify that duration simply by stretching or squeezing the clip. So it's important to know this, because this space is where we are going to place the key frames. We must be aware that this small time line corresponds to the duration of the clip. It's important to know this because sometimes we are going to place key frames in the Fx control timeline. And then we're going to change the duration of the clip in the main timeline. And then when we return to defect control timeline, we will not see the key frames anymore because they were hidden head or back. But we're going to see all these using one of the parameters. For example, the scale here in the motion panel. The first thing we must do is activate this little clock that we have here. Notice that all parameters have their respective clock. It's simply what allows us to activate the key frames. Once we activated the first key frame appears in the timeline of this effect control panel, which is indicating to the software that right at that point the images are going to have that specific scale, that specific size. We are going to automate this image about the universe from scratch. We're going to make it move its size in time. By automating these parameters using the key frames, I mean that the values change as the montage progresses. We simply position the courser at the beginning of the clip, then activate the clock corresponding to the scale, and the first key frame will automatically appear and the automation will be activated. Also, a few seconds later, we make a change in size. We can do it directly in the scale parameter in the fax control panel. Or we can do it by moving the size of the image with the frame, the program monitor. In other words, changing the parameters in any of the ways is exactly the same. The important thing is to be aware that the key frames are in the place that we want. Notice now that when I play the montage, the image changes size. Obviously, all this procedure works for any of the parameters and even for many other effects that the premier brings. For example, we could do this automation to change the effect of the anchor point, I simply activate the clock in the anchor point parameter and move the anchor point to this lower left corner, for example, since we also automate the scale. Now when the image scales, instead of going to the center, it will now go to that lower left corner. But you must be careful with the key frames. Notice that I'm going to add another one here, but this time without changing the parameters. And pay attention that it will not change at all because I didn't change the parameter. Let's move on to another parameter, for example, the image position. Then we simply have to look for the position parameter and click on the clock to activate the automation. And the first key frame will be created. From there, we must advance a few seconds the ones we want, of course, and change the image position. We can do it using the frame on the program's monitor. Pay attention that even the software will create a guide for the root that the image will have up to that position. We can check all the changes by simply going back to the beginning of the clip and playing the montage to see how the automation behaves. It's something quite simple. Once we understand that we are ready to use all the premier effects because Deal will allow us to automate any of the effects that the premier has. I'm telling you all these because a large part of you want to learn how to dig videos for Youtube or for your Instagram or Tik Talk channels, whatever, I mean create content. It's necessary to know these in order to add elements that enrich the videos, turning them into a dynamic and fun. We can use another example. For instance, using this logo that I have here below, we can add it on the top of the picture of the universe. Let me mention that in this case it's a PNG that is one that contains only the part of the logo, letting everything that is below pass through. So I'm going to delete all the key frames and the automations that we made in the photo of the universe. We just have to click on these curved arrows that are to the right to return to the initial state. What I'm going to do for you is something typical of the videos. I'm going to make this logo appear suddenly, that is, say it enters the image. In order to do this, we must automate the logo position because it's what will allow me to remove the logo from the frame in the image whenever I want. Then we simply have to click on the logo clip and we have to activate the automation of the position in the Vex control. Clicking on the clock, of course. So we need to set how long I want the logo to take to appear, and then we need to create another key frame at that position. In this case, we need two positions to tell the software where the logo should be at the beginning and where it should go. You should always pay attention to being right over the key frames to make sure you are on the key frame, you should make sure the little blue dot blacks up. Let me mention that you can add other key frames using that little button to win. On the first key frame, we change the horizontal position of the logo to a point where it's not visible on the screen. Remember that you can do it by changing these numbers here directly in the horizontal parameter, which would be the one on the left. The vertical one is the one on the right. But you can also change it using the frame in the program's monitor. But in this case, I highly recommend changing it directly to the horizontal value so that the logo moves only horizontally. As you can see, it's quite simple. If you want, for example, the logo to appear much faster, you simply have to decrease the distance between the first and the second key frames that the change is faster. Then we could even change another parameter like the scale. For example, if we wanted the logo to sum in slowly after appearing on the screen, we make a first keyframe just when it finishes appearing, and then later we make another key frame where the logo is supposed to be closer. In this case, for example, we can use the frame on the screen to put the logo just the size we want at the end, remember that once the automation is activated, any change we make to the parameters will automatically generate a new key frame. Obviously, throughout the course, we are going to use many key frames. But I wanted you to know the fax control panel, at least this first part of motion. In this lesson, other lessons, we will see the other parts. But it's a good start to know the key frames perfectly. Try to practice with photos, with videos, with anything, while we continue advancing and deepening in the content of the course until the next lesson. 8. Effects Control Panel Learn how to use opacity and blend modes: Perfect. We're going to continue learning to use the fax control panel. In this time you're going to review the opacity parameter, which is not as simple as it seems. However, it's one of the most useful because from here we're going to learn to create transitions. We're going to start with one of the most important things to highlight about opacity. This is the first of the general parameters that allows us to make mask. This is one of the features we're going to find in the rest of the premiere. A mask is nothing more than a tool that allows me to create a specific selection within the image, which effect will be applied in any case. We are going to see this throughout the course, but basically these three buttons allow me to create three types of mask. A circular one, a square one, and a customizable one, in which I can create the shape I want. For example, if I choose the first option, the circle, the mask will be a circle. Since I am in the capacity, which is the parameter that controls the transparency of the image, it automatically creates this effect. Obviously, I can modify the type of circle, but I also have the second option, the square shape. Here, I can also modify the structure of the square, turning it into a different polygon. Well, the third option would be the one that allows us to make the shape by joining points as if it were a constellation. And that is the one I use the most because the masks almost always have irregular shapes. And there are other features that we can modify such that the edges are softened and no so sharp. For example, if I move the feather, we can blur the edges actually. We can also modify the mask opacity. I mean the mask itself can have transparency. And we can also expand mask ages to enlarge the size. But anyway, we will understand all these features better as we progress throughout the course. And although we are not going to talk mainly about the masks on this specific lesson, it's important that you already know them. Because I believe that knowledge is like. That you have to see different points of view of the same tool and above all, lose the fear of using the over premier tools. Let's talk about opacity then. What is opacity? Opacity is that feature that allows us to make an image transparent, to make visible any image below it. The top premiere time line works in layers in the same way as the photo shop. That is, the video clips that are on top will be the ones that will be seen on the monitor. Here you can see an example. I have put another photo of the universe on top of the one that I already had. I mean, I overlapped the clip and notice how this one looks first. It has priority. But notice that if modify the opacity percentage in that clip that I just added, the image below immediately begins to be seen. The less percentage it has, the more visible the image below will be. But what I really want to show you is that a double premiere, like Photoshop allows me to modify the nature of that opacity. I mean that the way in which that transparency mixes with the image below has special and unique characteristics. This b***d mode allows me not only to use a normal opacity, but all these options that you can see here and try. But the interesting thing is that when using any of the b***d modes, even having the opacity value at 100% a type of transparency will be generated with the image below it. Actually, it's a tool that allows us to experiment with the video layers because that effect that we are going to see on the program's monitor is the byproduct of that b***d mode in the specific characteristics of the images in terms of light and colors. For example, here we can see that when we isolate the clip, I mean that the clip doesn't have any other clip below it. The b***d mode doesn't work. It will only work when the images are overlapped, when there is one below. As I told you, opacity is important because it will allow us to make creative and professional transitions. This b***d mode exists to improve the transitions between one clip and another. One of the most common transitions are dissolves when one image dissolves so that the other appears there by mixing the two images. In a previous lesson, I was talking about the pen tool in opacity automation. So if we automate a kind of fade in in the opacity line at the beginning of a clip, that in turn is overlapping another one, we will do a cross dissolve. If in addition to this we use different b***d modes. We make that transition more special because the images will have visual characteristics that will adapt aesthetically to each of those modes. If you use Photoshop, this will be very familiar to you because These b***d modes also exist on image layers in Photoshop. On the other hand, there is an important element to take into account when we make this type of transitions. That is that since the b***d modes mix the images, even when the asit value is at 100% it's necessary that there is not only fade in in the clip that is above, but also in the clip that is below. There is a fade out because otherwise, you will notice an abrupt change when you reach the end of the clip that is below. For instance, you can notice it here when I hover the timeline cursor over, right at the end of the clip below, right there at the end, you will notice a change in transparency that will not be soft, but like a cut, we must automate a fade out in the opacity line of the clip below so that this is not noticeable. Pay attention now how the transition is completely smooth. Another important thing is that we can make that transition as long as we want. We're going to do another example of using video. We're going to use the same short film that we were working with and I'm going to select a part of scene to make a transition with another scene. Here we have this image of the girl looking back. And I'm going to mix it with the scene of the character on the raft. If we want to make a special transition between these two scenes, we simply click on the video clip above and choose the b***d mode we want. Remember that to check the b***d mode, you must be right at the point where the two clips video are overlapping. Then you can try any of the modes using video. Images is much more interesting because in fact, it's the most cinematic way of doing the solves. For example, look how good this mode looks. Soft light. The first thing is to automate with pen tool the fade in in the clip above that clip of the character on the raft. But I also have to do the fade out in the clip below where the girl is. Remember that if you don't fade out the clip below, you will notice an abrupt change in the b***d mode. The reason why it's more professional this way is because the original way of doing fades when cinema was analog was adding filters directly to film reels in the analog editor use the b***d mode in normal. Always is not that professional. Pay attention how interesting the colors are mixed in this mode, it looks very professional. Check out this other mode called darken that only affects the plate. This is another cold light burn that is interesting to. This is another called light color, for example. This other is called hard light. This other one is called vivid light. It's very nice pay attention to this with dark mode, for example, With this mode, you could play with a mask so that the transparency only affects the plate. We could use a circular mask that only selects the plate. For example, we try to make the circle match the plate, but it doesn't have to be perfect, just an approximation. And then we modify the edges with the father parameter, softening the edges of the mask. Notice how the opacity now only affects the plate. It's a very creative resource, you know, because it really allows you to create effects and enrich your videos a lot. The important thing is that you experiment so that you can discover things. Remember that each video has a specific color features that will result in a specific and unique b***ding with the other clips. Put all these into practice until the next lesson. 9. Effects control panel Time remapping: Perfect. Now we are going to address the last parameter of the Ax control panel, which is the time bram mapping and we're going to use this example to explain it. I'm going to select a part of this video where there is a slow motion shot. Actually, it's one of my music videos. And well, in this case, this shot was recorded at 60 frames per second, which means we can slow it down without losing any fluency in the video. I have added this part of the video to the timeline and we can check it in the program monitor. Slow motion shots are very attractive. Remember that the slower you wanted to look, the VD should have many more frames per second. But anyway, what I want to do right now is to teach you the time remapping. If we click on the video clip and go to the fix control panel, we're going to find this parameter at the end. It's the last of the parameters of the ones that come by default. If you remember, I had told you that the line that you see by default in the video clips belongs to the opacity parameter. That using the pen tool, we can precisely automate the opacity in the clip. But the truth is that this is not the only parameter that we can automate directly on the clip. If we wanted to change that parameter, there are two ways. The first is to click on the right mouse button and we go to show clip key frames. We can change it, for example, to time remapping, and we click on speed. The other way is by clicking on this small box where it reads Effects, We can change the parameters of this automation line. But what is time remapping for this parameter allows me to modify the speed of the video clip automatically. What does that mean? Just as you see the image in slow motion right now, you could make the image speed up at a specific time or slow it down. Of course, everything will also appear automated in the Fx control panel. What we must do is select the pen tool and draw on the line the points where we want a speed change to start. In end, I mean we will be able to change like time gaps. I'm going to draw the first point and the second point over here. And I'm going to draw also a third point. These three points have generated four different gaps in which I will be able to speed up and slow down the speed of the clip. We must select the arrow tool again. The first one. Now we're going to raise or lower the line we want of the automation. For example, if I move up this specific line, I'm going to speed up at that moment. But pay close attention to how the clip is quizzed. Because by doing this, I am accelerating the passage of the frames. Now look at the image as just at that moment the video increases the speed. I'm going to increase the speed even more. So you can notice it also in the same way you can move the other gaps, the other lines between the points. You can do it also in the opposite direction. I'm going to slow down the video so you can see how it looks like. Obviously, when you slow it down and the video clip expands. Obviously when we slow down the image, the frames per second begin to be noticed, obviously, when they are not enough. On the other hand, pay attention that these same points that I made in the automation line were also created automatically in the timeline of defects. Control panel above, you can speed up or down like this as long as you take into account that the midpoint of the line is the actual speed of the clip app is faster and down is slower. If you want to clear all the automation, just go to the time mapping in the defect control panel and turn it off on the blue clock. But pay close attention to this. When you do that, the clip is going to get completely squeezed. You have stretched it again to make it normal. Try to remember it because you might even think that the clip was lit. But there is another way to modify the speed of the clip. We simply press the right mouse button and go to the speed duration parameter. For example, in this first feature percentage, if I set it to 200% the speed of the clip will be multiplied by two. I mean, in the case of this clip, it will run at the real speed because the look of this video is the byproduct of setting the video recorded at 60 frames to 24 frames. On the other hand, in this same tool, you can reverse the speed of the clip. I mean, make it go backwards. This is very useful as well. You only have to select the reverse speed box and the clip will go backwards. On the other hand, what you should pay close attention to in this tool is the last parameter, time interpolation. This parameter allows me to modify the way in which the frames will appear while the video is displayed. I'm going to deactivate the reverse to explain it to you. You can see that this video is in slow motion, but maybe we want the video to go slower. We go to the speed tool and select, for example, 60% But when you do this, the video will stretch and therefore the frames will start to show, I mean, as if the image had some small jumps. Because in fact, it's jumping from one frame to another. Because there are not enough frames to make the movement look smooth, you will have three options. The first frame sampling that is selected by default, allows you to show the frames that the video has, no matter if the video is slow or fast. The second option, frame b***ding, allows you to mix the frames a bit. I mean, when you slow down the image, the movement is smoother. But the last option, optical flow, will create more frames per second to compensate for that lack of frames. But the truth is that it will never look like you have the video with more frames. I highly recommend you not to make an excessive use of this tool. Do not force it. This would be the most important characteristics of this speed parameter of this speed tool. This rippled feature is very simple simply that sometimes the clip to which we are modifying the speed is next to another clip. Obviously, sometimes when we modify the speed, the video is squeezed. That tool allows me to make the next clip attached to the clip. We are changing the speed of simple as that It doesn't have match complication. But the most important features are the ones I mentioned before. Let's recap. So you don't forget, we go to the speed tool and the first thing we will find is the percentage of speed we want the clip to have. The second option is the reverse, so that the video goes backwards. The ripple so that the clips stay attached to each other even when we change their speed. I don't think you guys use this too much. And the one you're going to use the most is the time interpolation. It's a way in which the frames will appear to make the video smoother and more fluid. Remember that there are three options. The first one that shows exactly the frames the video has. The second one that mixes the frames to make the video more fluid and smoother. And the other one, the last one, to create the necessary frames to make it look more fluid. But let's talk about this option that is deactivated. It's important to mention that when the video has audio and you modify the speed, the speed of the audio will also be modified. Therefore, it will be heard lower when the audio is slower and faster, like a squirrel voice when it's faster. But this option called Maintain Audio Pitch here, it's disabled because the video doesn't have audio. But it allows me that even though the speed of the audio changes, the tone of the audio doesn't change. I mean, the voices do not sound like squirrel or very slow. But well, you already know how to modify the speed of any clip. And this is the most important thing related to this lesson until the next time. 10. Timeline Toolbars Vertical Bar: Perfect. We are here again in the adopted premiere. In this lesson, we're going to learn to use this toolbar over here. This bar next to the time line contains the main tools that we will use when editing. I would say that the main purpose of this lesson, the main objective, is to give you a powerful insight on these buttons over here, the buttons in the tool bar. We are going to look for the sequence we have already created in the previous lessons. And we are going to add a video fragment to the time line, that is to say to this sequence. Here I have selected a piece of video. Remember that you must use the I and to set the beginning and the end of that piece of video. For example, the video fragment could be app to. Here we press to select the end, we are going to drag the video to the timeline. Holding down the right mouse button, we pull the video to the timeline and we're going to click on Keep Existing Settings. Remember that it's to maintain the sequence configuration. We already have our piece of video on the timeline. But before digging to the timeline toolbar, I want to address this yellow line over here that appears here on the timeline. This yellow line indicates that the computer's dedicated video card, that is the GPU, is generating temporary previews. So we can see what we are editing on the program monitor. That yellow line represents a partial render. If you have a powerful computer, the preview will look good enough on the programs monitor. However, depending on the complexity of what we are editing or how heavy the files we are working with are, we will have to advance in the render, that is, convert that yellow line into a green line. I mean that the computer makes a complete render so that what we see on the program's monitor looks completely continuous, without interruptions, without delays. You will need this, especially if you don't have a sufficiently powerful computer. What you have to do is select the input and output of the section you want to render by pressing And 0 on the keyboard. Once you have the section selected, you are going to go to the Sequence tab, and then you are going to click on Render In to Out. And then immediately, a final render of the entire montage of what is between the in and the out will begin to be made. Of course, you will have to wait a bit, especially depending on how many effects each of those video clips have. Additionally, that render will also have a higher quality, regardless of whether our computer is powerful or not. If we want to see what we have edited with a higher quality, we must do that render. Now look at the line, It's now green indicating that the render is finished. A, that guy, this is very important when it comes to editing music videos because we are supposed to match the video with the music to perfection. So let's start then with the first button on the tool bar, this arrow over here. This arrow is like the most general tool that allows me to select anything in the, especially in the timeline of what I want. As in any software, it's the default selection tool of the software. There's no mayor thing to be confused with. This is simply the program's default settings to move the mouse in the software and use all the functions. Right below the arrow tool, we will find the Track Select Forward tool. This tool allows me to select all video clips that are in front or behind the position where I am with the mouse. Basically, it allows me to select several clips at the same time when necessary, thereby making it easier for us to work. If we press the old key on the keyboard, we can change the direction of the selection. That is, if we want it to be forward backward. I'm going to give you an example. I'm going to add a portion of video from the short film in order to overlap the clips. I'm going to drag the video along and I'm going to drop the video just over here. I'm going to press the Track select forward button, making sure it's in the right direction, which would be forward. When I have this tool activated and click on the timeline, it will select all the clips that are to the right, that is those that are forward. It doesn't matter how many they are, they will all be selected. I'm going to do it again and notice that it's even going to select the respective audio clips that are connected to those video clips. Now I'm going to press the old key on the keyword to flip the direction of the tool. I mean, select everything that is behind the mouse courser. Try to notice the difference. Pay attention that when it's activated, select backwards and I click on the time line over here. As there is not click behind the mouse courser, it will not select anything because there is nothing to the left that is backwards. But conversely, if I click to the right of the clips, the clips will be on the left. The tool will select them because they are in the back. The tool is very simple, simply with the old key on the keyboard. We change the direction of the selection when it comes to selecting many clips at the same time. Let's go now with the third button of the time line tool bar, which is a bit more complicated, but there is an important detail to highlight before moving onto the third tool, which is that while the arrow tool is selected, we can stretch and squeeze the clips. I mean to travel in old extension of the original video file. For instance, although we add this portion of the short film, if we stretch the video clip backwards, we will travel backwards in the short film adding more of the short film, obviously. Let me explain this, because the third button has to do with this. The third button is the Ripple Edit tool, but actually pressing Alt on the keyboard, we have Rolling Edit Tool and red stretch tool. So what is the first one for the ripple edit tool? This function allows me to move the transition between two clips that are next to each other. For example, here we have two video clips that are together and I have this function activated. This allows me that when I stretch the video clip or exquisite the next video clip will not change. Its beginning or its exit is like pushing or pulling the next clip. Pay attention to the clip. I'm stretching ends right on the character's face and immediately the next clip starts when the character is on the raft with his back visible. The ripple edit tool allows me to stretch this clip by pushing the next one without changing the beginning of the next one. It's a very useful tool for not changing the beginning of the next clip. The next function in this same third button is the rolling edited tool, which we can switch to by pressing out the rolling edited tool function allows me to stretch the clip as well, but this time it will not push the next one, it will advance its extension. It's as if it were biting the next clip. Pay attention to the fact that the part where the character's back is seen no longer appears but rather the clip advanced farther forward. It's as if I had moved the transition forward as if I had made a cut in the clips it forward. You already know the difference between the first and the second function. The first one, the rippled edit tool, allows me to stretch a clip by pushing the next one, I mean without changing its beginning in the second option to which we change, pressing Alt on the keyboard allows me to stretch a clip, but this time I do bite the next clip. I mean, the beginning of the next clip is not preserved. The third option of this third button is the red stretch tool. This option is related to the speed the video clip will have, which is something that we are going to see later on. But basically this tool allows me to stretch, squeeze the video clip altering its speed. In other words, when I stretch it, I make it slower. And when I squeeze it, I make it faster. Look how I stretch the clip, and now the video looks slower. When I stretch the video, obviously the frames separate and run at a slower speed, thereby slowing down the movement of the video. That is the function of that rate stretch tool. I'm going to press Contrast, which is under to put the clip back like before and keep moving forward in the tools. The next tool is the Rasor tool. The razor tool is the tool that we are going to use the most. It allows me to cut the clips as I want and where I want. Using this tool, I will be able to cut a portion of the video from any clip on the time line to be able to move it to where I want. Remember that you must cut the beginning and the end to be able to separate it from the clip as if it were a cake. I mean, to cut a piece of cake, you must make to cut. So as I told you, it's the tool that we're going to use the most in the editing and it's not too complicated. We simply select it and cut where I want. Of course, once we cut to move that piece that we cut, we must be in the arrow tool. Obviously, you can also use the razor tool in the audio clips. Now we go to the fourth button, the fourth tool. This tool is very useful. In fact, it has two options that we can change with the old key on the keyboard, slip tool and slide tool. Let's review the first option. This tool allows me to modify the input and output of one video clip that is between two other clips. For example, when clicking on this small portion of video, these four screens will appear on the program's monitor. The image above and to the left belongs to the end of the clip that is before it. And the image to the right and above belongs to the beginning of the clip that is after it. The two images below belong to the beginning and the end of the clip that we have selected. This slip tool allows me to change the entrance and exit of the clip that I have selected without altering the position of the clip with respect to the other two clips that are before and after respectively holding down the left mouse button, and at the same time moving to the right or left. I change the start and the end of that clip. Moving in the short film, it allows me to move where I want that little clip to start and the end without having to go to the reference monitor and separately edit the clip and then put it right there. It's useful because sometimes we want to change little things, but it's tricky to get the clip out where it is and put it back in its place. The truth is that I don't use that too much. But it's important to know that this tool exists so that the workflow is as pleasant as possible. The second option, which would be slight tool, works differently. This tool allows me to move the position that the clip will have with respect to the other two clips. I mean the one that is after and the one that is before. But without altering the beginning and the end of that clip that I have selected, pay attention to the time line. Notice that I am moving the clip and now its position is moved with respect to the other two clips. Look how I am moving the clip to the place where I want. Now in the program monitor, the small images above now belong to the beginning and the end of the clip that I have selected. Both images below belong to the clips that are before and after respectively. So it's a very useful tool because it allows me to edit clips without having to separate them in another part of the time line, which would be more work for us. So let's move on to the next button on the tool, which would be the Pen. The Pen tool allows me to modify the automation line on the clips that by default are volume for audio and capacity for video. By making these points called key frames, we can instruct the software to change both volume and opacity automatically as the time line progresses. But I don't want to go into this right now because there's going to be a separate lesson regarding editing audio and also editing opacity, as well as a lesson where we are going to explain what a key frame is. The important thing for now is that you know that the Pen tool allows me to alter these automations simply by making points on those horizontal lines that have both the audio and video clips. The last button on the timeline tool bar is the text tool, which of course we will also see in detail in a specific lesson for that. Because obviously I have to explain the parameters in detail and how you're going to be able to use the letters and place and move them on the video. For now, the important thing to know is that when this option is selected, we simply click anywhere on the program monitor. And immediately the option to write opens. And at the same time a graphic clip is created on the time line. And I will be able to modify that clip as I want as if it were one more video clip. I mean, I can change how long it will last and move it exactly the same as if it were a video clip. In fact, I can show you a little bit at once simply when I have selected that graphic clip, the Fx control will open all the parameters to move that clip. As I told you, if it were one more video clip here, we are going to be able to obviously move the characteristics of the typography as well. There are quite a few features, but since I want to go step by step, I need to first explain what the fat control is like before tackling how to edit the text in the premiere. This would be all about the time line toolbar buttons. You already have a general notion of those buttons that are going to be very useful for you from now on. Try to review all the content again, and I see you in the next lesson. 11. Timeline Toolbars Horizontal Bar: Perfect. We are here again. Another important elements related to this tool bar are those buttons that are over here. I take these buttons as an extension of this tool bar and we are going to start by this magnet symbol snapped to timeline. What is this used for? This magnet is directly connected to the razor tool because it's very difficult to be precise in the cuts. Sometimes we need the cut matches the blue guide line When activated, the magnet help us that the cut sticks the line. But the magnet not only sticks the guide line but also the borders of the clips. For example, for example, when we need a clip to get closer to other clip, for example, I'm going to add a cross section of this short film to the time line. And I'm going to get it closer to the other clip that is in the timeline. It happens that since we usually sum in and sum out the timeline in order to work comfortably, and sometimes we need to join two clips not biting any clip. In those cases, the magnet help us that the clip sticks the border. If this wasn't enabled, we might be biting off a bit of the other clip. On the other hand, when we need to move the clip to the precise place we want, for example, when we really sum in the timeline, it's better for us that is not activated. You already know how it works. It's not that complicated and is one of the most useful tools for us. You know that when activated, the magnet helps us to stick the guideline, to stick the orders to be more precise and have a better work flow. On the other hand, there is an important detail regarding the cuts and it's related to the cuts in the audio section. I have already told you about the time code in the time line, and I was talking about that when I was creating the sequence. And it was related to how the time will be displayed in the time line. And you can follow the time code or follow the frames per second. But it happens that when you sum in the time line completely and you move the blue line guide, that line is moving from one frame to another. And that's a problem when it comes to editing audio because the audio itself is more continuous than that frame rhythm. I mean, you can notice the audio jumps and this is very tricky when it comes to cutting Odeo clips. In order to solve this, you must click on the ruler of the timeline with the right mouse button, and select Show Audio Time Units. By doing this, you can move the blue guide line, not jumping from one frame to another, but following the continuous audio time. Therefore, you're going to be more precise when cutting ado clips, you must remember that the audio is more accurate. I mean, when you are using a 48 K resolution, that means that there will be a 48,000 recordings per second. You can notice this in the time matter that at this moment is displaying the audio samples. I mean, every single second is counting 88,000 hers. But as you know, you can also change these to milliseconds, but this is a good reminder for you when it comes to cutting audio clips. The following button, is this the link selection button? It happens that sometimes when we drag a cross section of a video from the reference monitor to the timeline, we rack that section with its respective audio, as in this case. For example, this portion of this short film. When we activate the link section, when we click on the video clip, we're going to select the audio clip as well. I mean, it's important when it comes to being TD, we editing when we deactivate that tool. If I click on the clip, I'm going to select only the video clip. As simple as that, I'm going to do it again. I'm going to activate the button. I'm going to select the video clip. And I select both the video and audio at the same time. The following button is the tool for inserting sequences. This tool allows me to do that in two ways. I'm going to use as an example, this another sequence that I have here. You can notice that inside that sequence, I have selected this clip, but putting in and out, we go back to the sequence we are working with. And I'm going to drag that sequence into this one. When this button is deactivated and we are going to drag a sequence into this one, it will happen that all the files inside that sequence will appear in the time line. I mean, as if it we're moving all the clips inside that sequence into the sequence we are working with. Of course, we are moving also the editing, but with the clips separately. But on the other hand, if I activated this button, it will work differently. So I'm going to drag the sequence again into this sequence we are working with. And you can notice that I'm moving a kind of nested clip. And this nested clip contains everything inside that sequence, regardless if you have marked an in or an out. The entire sequence will be moved. So it's a very useful tool when it comes to creating a huge project. For example, you are able to insert as many sequences as you want into a sequence. So I'm going to open this sequence again. You can notice that there is an out a selection. So I'm going to go back to the sequence we are working with. And I'm going to drag the other sequence into this one. Since the button is activated, the entire sequence is inserted. And you are able to select the portion you want of that sequence as if it were another clip. And actually if you click on that clip, you're going to return to the other sequence. So I'm going to deactivate the button again and I'm going to drag the sequence into this one. And you can notice that only the selection was taken into account. I mean, everything that was between the in and out in. Additionally, I'm moving the clips inside the sequence. So the following button is the marker tool. Basically, they are reminders that you are able to add to the editing to remind you something important. I mean, when you are editing a huge project or a sequence that is too long, you are likely to miss things in the editing. Most of all, when you are working day after day, back to back, you are doing many changes in the editing, in the sequences. These reminders are very useful, so you can add reminders, you click on them, and you can put a name if you want. And actually you have a common section below when you are able to type comments related to the sequence or changes. And also you are able to change the color of the marker. I use this a lot because huge projects involves many hours of work. The next tool is the spanner here. And this tool allows you to select what do you want to be displayed in the timeline. I mean, the time line has several features and you are able to select which one you want to be displayed. As simple as that, you can deactivate, for example, to show audio waves or the audio key frames, for example, whatever you want in the timeline. I would like to stress something important related to the shortcuts, because I have never been keen on using shortcuts. Because most of the editors that I know that use shortcuts are not that good. But if you want to know the premier shortcuts, go to the edit tab and then keyboard shortcuts. Just right here. The software provides you all information about the shortcuts. I don't like shortcuts at all because the brain has limitations, the brain has boundaries, and I'm not keen on spending my memory in that kind of information. I mean, when you are a professional editor, when you are a professional filmmaker, a professional artist, you're going to have to remind a lot of things related to general culture, to art, to philosophy, et cetera, et cetera. And you're supposed to do that in order to bring out the best of, the best of your artistic references. And that is a complicated process in your mind, in your brain. So I'm not spending my time on reminding that you can activate this razor tool by pressing C on the keyboard, for example. I mean, I simply click on the razor and I'm going to use the razor. But anyway, try to remember what is this magnet tool used for. And also this linked tool that allows you to select either the video clip or the video ad eclipsing together. Remember this tool for inserting sequences that allows you to insert an aesthetic clip or the clips separately. Remember also the markers and this last on the spanner that allows you to display the timeline features. This lesson is up to here and until the next one. 12. Video projecto para skillshare: We are going to talk about a project of the course. As a final project, you must create a montage following the example of the lessons, screenplay, and ellipses, and time and contemplation. Just using a smartphone or a simple camera. You should record yourself in your room getting ready to leave your house, or simply getting up from your bed and getting ready to go out. The lessons that I mentioned, I explained how to order the images to create different audio visual messages. I mean to transmit different information to the audience. This is one of the most valuable knowledge in discourse. And I want you to really learn it so that you can edit stories in any video editing software. It's important to mention that you can add your voice to this small montage to further change the message behind your montage itself. Of course, you will learn in this program all the technical knowledge to make sound. I see you in the first lesson. 13. Time and the contemplation of a cinematic shot: Hello, people. One of the most important chal***ges when it comes to editing movies, or editing any other visual work, is to understand the true meaning of the images. In my Filmmaking course, I talked about this in that semiotic lessons, where I explain how important it is. The figure ground concept, I mean, that concept that tells us that not only the characters tell us about the story, but also everything that surrounds them. But there is a crucial element when it comes to understanding this. This element is time, time and image time and contemplation. The problem today is out of the visual world, is that everything is too fast. We want to communicate as fast as possible. And perhaps on some platforms, this works very well. By the very nature of these platforms, I mean Instagram, Youtube, Tiktok. The problem is that cinema works differently, especially when it comes to making quality cinema. That kind of movies in which we want to tell deep things. And to be able to tell deep things, it's necessary that the communication process between the author and the audience is accurate and correct. We must always ask the following question to ourselves. The audience is really understanding what the script means. In this sense, the process of editing is fundamental because in that process, we are going to determine not only the order, but also the duration that every single shot will have. In the story, I always use as an example the action of checking the time on any clock. How long it takes you to check the time on any clock? I mean, when you see the time in your clock, I would say that no more than 3 seconds are taken to see the time. But if we see the same clock, the same shot of the clock for a longer time, it starts something else in our mind, we begin to question what we see on the screen to ask ourselves questions about the meaning of what we are watching on the screen. That is where things begin to happen in our minds. That is where we start using the image for another type of reading. I mean, the amount of time that an image is on the screen changes the meaning of the image in itself. Since determining the duration of an image on the screen will be our job, we must be prepared to understand when necessary or not, when it's convenient or not, stretch or squeeze a shot. I will show you a short film in which I work at my film school. I worked specifically doing the music, But the thing is that this work has problems related to the duration of the shots. But at the same time, there are valuable shots, precisely due to its duration. So let me give you a little context of the story in this short film. This story is about a girl who is an actress and who was sexually abused by someone, but she doesn't want to say anything to her mother. The girl behaves strangely. She's always in a bad mood. But at some point in the story, the girl's mother finds a sweater of her data with a blood stain. And finally, the mother understands that the girl suffered some kind of abuse and manages to understand her door. At the end of the story. This short film has evident screenwriting problems, including that, for example, the girl is an actress and the spectator, the audience fails to know that she is an actress actually, because the director and screenwriter of this work simply uses a shot, where there is a ca***dar as a mechanism to inform the audience that the girl has a shooting on a specific date. That is not enough information to understand that she is an actress. But pay attention to the shot in the first place. The shot doesn't last enough time to see it in detail. Secondly, the word shooting, which in the ca***dar says the rode in Spanish is not close enough to be properly read. An editor could have perfectly solved this. For example, if the shot had been recorded with enough resolution, simply by zooming in on the shot would have been enough to read the word shooting, the word rode in. Additionally, if the shot doesn't last long enough, simply by taking a screenshot of the last frame of the shot, we could ***gthen that shot using that photo as if it were part of the video. On the other hand, at the beginning of the shot film a shot where we see some flowers with cars on a table. It's the first shot after seeing the girl in the bath at the top. I must confess that the first time I saw that shot, I thought it was a coffin with some flowers above. I mean, that memorial flowers arrangement, it turns out that they are congratulation gift for the girl for having acted in a play. But actually even the traveling of the shot to the left, plus the fact that we don't see the table in itself before. The first things that comes to your mind is that it's a coffin. In addition, the order of the shot in the assembly fails. I mean, the short films begins with the worried girl at the beginning as if she were thinking about something deeply. When you see the image of an elongated wood object with flowers above, what do you think? What can you think you as editor had to realize that kind of things? Because if in the data there is another shot of the same table from a more distant point of view, for example, where it's clear that it's a table to the naked eye, you are supposed to choose that take. Mm hmm. But not everything is failing in this short film. For example, the last great shot of the last scene where the mother enters the room and lies in front of her data and observes her for a long time, both the director and the editor were able to take another decision, such as use another shot or make cuts to summarize the scene, for example. But they didn't do that. Simply, the scene is long enough to allow us to contemplate the two characters for a long time. To immerse ourselves in the emotions, in their emotions in a deeper way. Try to see all this as an example because it's like the fact of contemplating a painting. Let's use as an example. This is Manet's painting. Let's suppose this is a shot. If the duration of this take were 4 seconds, for example, would that time be enough to contemplate the background? For example, to notice that in the background there is another woman who obviously is with them. It's enough time, 4 seconds to detail that there is even a small wooden boat in the background. That is surely the means of transport by which they arrived at that place. Surely a magical place where they wanted to escape, to be alone. Those to friends with their lovers. Do you realize that that is the only way to deepen the audio visual language, try to contemplate art, to become a real gifted artist, until the next lesson. 14. The screenplay and film editing How a screenplay looks on the screen: Perfect, we are here in the Dove premiere. In this lesson, we're going to store learning how to interpret a movie script when it comes to film editing. I mean how a screenplay looks on the screen in turn. How a script page that represents 60 seconds in a movie also looks like. The optive is that we learn to interpret a film script when it comes to editing, or at least have an idea of what a script wants to convey. I'm going to divide a screen and I'm going to show you this scene in this wide shot where everything is going to happen in one single shot. And at the same time, I'm going to read the script page corresponding to this scene. You must also know that screenplay page represents 60 seconds on a screen. But pay close attention to this lesson, because in fact, it will not always be like that. And we must be aware, even when a script is badly written, as filmmakers or editors, we are supposed to know how long the actions in a film script really last. Let's start then in caving ship day, novecento arm hangs over the edge of the bed. As he sleeps, an open suitcase lies on the floor. A music book is in the suitcase. A soft light illuminates the young skin of Navicent arm. Navicent sleeps soundly on the bottom of a bank. He wears a green shirt and pants that are not comfortable for sleeping. The sheets and pillow are very wide. Sound of some eagles is heard in the distance. They seem to get closer, but novecento sleep seems not to be disturbed. The noise of the eagles increases and wakes up. Novecento. Novecento wipes his eyes to try to wake up. He seems to want to go back to sleep, but he makes the effort to take his eyes off. The morning light indicates that he must get up. Navicent sits on the edge of the bed. He still feels tired. Novecento wipes his eyes. He seems to be somewhat worried, but he makes the effort to master the strength to finish standing up. The morning light enters through the small round window, typical of a ship from the early 20th century. Novecento finishes closing his suitcase, has already put on his shoes, and then walks slowly towards the cabin windows. Novecento approaches the cabin windows while he fixes his braces. Novecento watches through one of the cabin windows. He seems very thoughtful. There are cut outs of the walls of the cabin like someone who has been there for quite some time. The cabin lights turn on, indicating that the ship is about to dock at the dock, Novecento realizes that it's time to leave. He begins to look around to see if he has nothing left in the cabin. Novecento sees every detail and turns to a bench where there are some loose sheets. Navicent observes the sheets and reflects deeply. Navicent approaches the bench and sits down. He then takes the sheets and goes through them one after another. The sheets seems to remind him of something. Novecento is nostalgic, he turns into infinity, very thoughtful. Obviously what we see on the screen is always an interpretation of a movie script. An interpretation that can come from a script writer or can come from the film director himself. In this context, a question arises. Does this script page really belong to this scene? The truth is that in general terms, that is, reading the units of actions, it seems to be the script that corresponds to this shot. However, the first thing we should take into account is that this is in the take lasts almost 2.5 minutes. We have just read a script page which only represents 60 seconds. So pay attention to the importance of this knowledge because we can already see deficiencies in the writing. This knowledge allows us to know the real duration of the actions that are happening in the script page. It allows us to know how long the actions of a character in Cene last. This knowledge is priceless and it's only possible to understand it through practice because in fact we read the scene. And reading it took me more or less the lapse time, that is 2.5 minutes. But try to imagine that we were editing a 90 page script that has this problem, then the movie would not last an hour and a half, but 3 hours, in that it really is a problem in terms of production. On the other hand, there is an element that stands out above of all in terms of this written version of the script. And that is that a large number of details are described that it's not possible to portray them, or at least it's difficult to represent them from the point of view of this take, the shot is a shot, a kind of open shot. And what does this mean? It means that in reality. The shot that we must use to tell what is happening in the cave, in our odors, for example. Pay attention to this line from the script. A soft light illuminates the young skin of Novecento arm. It's not possible to see this detail in the distance as well as the detail of the book on the suitcase, the line where it's read, that novecento is worried about something in the distance. It's also difficult to see the details of the Novecento phase. What I'm trying to say is that all these details are essential to be able to determine which are the shots that we're going to use from the data that the production team gave us. Unless there are specific instructions for choosing which takes to use, we should be able to use the script as a guide and the scripts suggests in its writing which are the most appropriate takes. For example, the detail of novecento arm and the book on the suitcase that could be in a single closed shot, if in the data that we have that there is a shot that portrays those lines in the best way, For example, this closed shot, we are supposed to choose that shot. What we have to do is select the part of the video clip. Remember that I told you how to do it earlier using the I and the entrance and the exit, and drag the video fragment to the time line. It's important to note that we are always building our point of view of the script, but we are supposed to professionally read the script in order to best represent it. Let's pay attention to how this shot is read. Although here, it's not exactly noticeable that the book is in fact a music book. The book looks much closer, in the same way the skin on the arm of Novecento. Additionally, we can see in this shot what Novecento clothes are like, as well as how soundly asleep he is. We can even better notice the specific white color of the pillow. In fact, by combining this close shot with a meeting shot of novecento on the bed, for example, on this shot we can see in more detail how Novecento is dressed. Remember, the descript tells that Novecento wears clothes that are not that comfortable at all for sleeping. Additionally, we can see in more detail the paper cuts that are stuck on the wall. So this shot is quite useful. So we can then select the video fragment that we want using the I and 0, and add it to the time line. There is something very important to take into account when it comes to mixing different shots, different takes of the same action. We must pay close attention to the cutting actions. Cutting actions are those where we are going to go from one take to another so that it feels like you're having multiple cameras set at the same time. For example, here the character turns towards the light. In fact, it's the light in the sound of the vehicles that wakes up novecento. So this action is repeated in different shots and it's perfect to generate that sensation in the montage. If we don't respect these consecutive elements when it comes to moving from one take to another, we will generate another narrative meaning. In video editing, we are going to create an ellipsis. The ellipsis is a narrative leap of time in the editing. Those time jams can be short time or long time. In any case, we will see that specific element later in another lesson. But since this is not the case, we must find those cutting actions that allow me to properly join one shot with another. Now I'm going to look for another take to continue building the scene. In this case, I'm going to use the action of putting on the boots as I cut action to be able to properly combine the two takes. As I told you, we're going to select the video fragment that we want with the I and and then drag that video to the time line. Look at how the cutting action looks, creating the sensation that there are several cameras in the scene. It's very important. That is, to the extent that we advance in the editing of a specific script, we're going to discover things from the data. Things that in the end, will allow us to reach the editing. For example, in the script there is an important description. The morning light enters through small round windows, typical of a ship from the early 20th century. Despite the fact that this detail can be seen in the general shot in the script that is written separately in a small paragraph, which suggests that this shot is a specific shot for that or that some details of that element must be seen. I'm going to create a space here between the shots that we have added to the timeline to try to add a shot of the windows. Pay attention now to this. In one of the shots that was recorded, Novecento is sitting, reflecting on the music sheets that he is reviewing. But if we realize at the end of the shot, Novecento stands up and practically leaves the windows exposed as if it were a shot of the windows. So we can use those seconds where navigant does not seen as if it were a take. I call this taking shots of the shots themselves. The interesting thing about this is that it forces us to also create a connection with the other shots. That we must also find a cut in action that helps us to combine the shot with the others. For example, there is a moment where navigant turns towards the windows. That could be the cut action. Perfectly. Remember that in natural action of the character, he turns towards the light because the light is what walking up. Besides that, it's the connection of the character with the outside. This detail window shot is crucial. It allows me to describe the space in more detail. It's necessary that we compare all the information that we perceive in a closed shot with respect to that first general shot that we saw at the beginning. The reading of the shot is very important, and only by comparing them can we feel how the information reaches us in a better way. Pay attention that even though it's the same action, that is the action units are contained both in the closed shot and in this general shot, the reading is different. This is very important to take into account when it comes to editing because there are details that cannot be shown in an open shot. But the most important thing is that there's not one single way to do it, simply that we must be open to finding created possibilities within the data that the production team gives us. Especially since many of you come from my screenwriting course, and this is another great example to see what screenplay really looks like on a screen. I would say that it's one of the most difficult chal***ges for screenwriter. The most valuable thing about this knowledge is that many times they will give us projects that don't even have a formally written script. But instead they recorded a story with some bag, a guide. And we must build the story in the editing. So we would practically be writing the story ourselves. Well, let's continue with this example. Let's pay attention to the last paragraph, where the following is read. Novecento approaches the bench and sits down. He then takes the sheets and goes through them one after another. The music sheet seems to remind him of something. Novecento is nostalgic, he turns into infinity, very thoughtful. So, in this wide shot, Novecento is seen looking at the music sheets. But can we really see that Novecento is thinking deeply about what he is seeing? The truth is that in the open shot we only see the character reading the pages, but we don't see his face in detail. But look now at this shot. Here we can see the face close enough to represent what is written in the script. Here we are seeing the face up close, and there is no doubt that Novecento is thoughtful and affected by what he sees on the pages. We can do exactly the same. We are going to select the cross section video that we want to add it to the timeline and be able to better describe that emotion that is read in the script. In the same way we must find the cut actions that it looks very well mixed with the other shot. Pay attention to each of the movements in the performance that ellipsis doesn't occur in the editing. Remember that the ellipsis is something that we will see later on. For example, we can use any of the moments where navigant or relaxes is head back. As you edit works of this nature over and over again, you will develop a sensitivity to editing because your brain will automatically read the shots in this way. Now we can notice that the character is thinking about something. He is leaving something because we are seeing him on the screen. What is not seen on the screen doesn't exist. This is a basic principle of film writing. If you are not seeing or hearing something doesn't exist. But let's suppose that we wanted to represent this script with a single sequence shot. The camera would have to travel through each of the details in a kind of traveling with a steady cam that would allow us to see the details that are written in the script. That would be something very different from the general shot that I showed you at the beginning where we cannot see closed details. Let's see it one more time to analyze it. You already realized that, first of all, the small details are not visible. Secondly, it's important that we know what a script belonging to this shot would be like. I mean, in order to have chosen this shot instead of the composition with different shots that describe the details, et cetera, the script had to have another nature. First of all, the first thing is that the paragraphs would be much longer. When the paragraphs are long, the writer is suggesting us to make a few cuts as possible. On the other hand, obviously there would be no detailed descriptions of the objects, but a general description of the actions in time. On the other hand, scripts are written in actions unit. Each period in continued is a different action or a different element to describe. Additionally, although the lips is almost always occurs in that jump from one paragraph to another with a full stop, there are not always time jumps in full stops. Sometimes these poses are simply made to consume pages in the script and indicate to the production team that the scene lasts for a specific time. Especially when they are expert writers who really know how long human actions last. Take this into account so that you know how to interpret the scripts that are presented to you. Unless the director himself has other instructions, we must follow what the script is suggesting to us. On the other hand, film directors generally make a new version of the script, especially when the film director is not the writer. But even if the same director is the writer, there are always modifications because the scripts are always in a constant process of improvement until the end, until the last editing stage. It's important to be prepared so that there is an effective communication process between the film director and the editor of the film or the short film. I'm going to leave you the two versions of these scenes in two PDF files so that you can review them and get to know what a movie script page really looks like. That is for this lesson and until the next one. 15. How to edit Texts: Perfect what we are going to do in this lesson. We're going to learn to use the text tool from the time line tool bar. But additionally, we're going to learn to make underlines over the text, which is something very useful for Youtube verse and for videos for social networks, and even titles for movies and short films. On the other hand, you're going to embellish those underlines with an action essential that I know is something that you're going to love, a. It should be noted that although we're going to use action essentials in this lesson, we are going to use action essentials in much more detail later on. Let's start with the text tool. We simply have to select the text tool, the in the time line tool bar, and then go to the program monitor and click where we want the text to be. I'm going to type all immediately after we finish writing the text we want a graphic clip is created on the timeline. We can stretch or squeeze this clip as we want. It's exactly the same as if it were a video clip. Obviously, the only thing visible in this clip is the text. And the text will be seen on the screen. As long as it is on top of any other clip, we can click on this and it will automatically open the general parameters in the Ax control panel if it were any other video clip. And obviously, we can add the facts we want and they will only affect the texts that we have here, but pay attention. In reality, the text that we had written is not the only one that can be in this clip. I mean, we could add other texts that are inside this graphic clip and the individual parameters of each text will appear in the fax control panel. The graphic clip would be a general clip that can contain all the texts that we want. This is very important because we can add effects to the text and the clip separately. For example, if I keep the graphic clip selected and also the timeline guide is on the graphic clip. If I select the text tool again and I write anything, a new text will be created within the same clip. Pay attention that I have typed my name and no new clip was created in the timeline. But if we review the graphic clip that we have already created, we will find the individual configuration tab of that new text. But you have to pay close attention to a detail that has to do with this. You have to be careful because you can't get confused. It happened to me at the beginning. If you change the position parameters of the clip, it will affect the position of all the texts that are inside. It may seem logical, but if you add a text first and you give movement to the clip in the parameters of the clip and not of the text, then when you add another text, you will be quite confused. Look how these parameters affect the two texts that I have in the clip. I'm going to delete this automation that I just did on the clip. If I wanted to give movement to one of the specific texts, I would have to go to the individual parameters of the text that I want so that it only moves that one. We can check the parameters so you can notice it and realize that they are exactly the same. Obviously, this also allows us to a defects that only affect a specific text. For example, we are going to move this text. All I'm going to do exactly the same one key frame at the beginning and another little later with two different positions respectively. Now you can see how only the text where it reads, Ali, moves. Additionally, as you can see here, you can change the font parameters. You will find all those parameters that you usually changing. Word office here, the separation between the letters if it's old or not, et cetera, et cetera. Obviously, all the criteria of the letters already has to do with your style, with the project that you're want to do. And on the other hand, you can activate or deactivate the text that you have in the graphic clip. But pay attention to this, it's very important. It's not the same that I scale the text using the clip parameter. I mean, if I want to sum in on a specific letter, for example, to make it look bigger. If I do it with the parameters of a clip, I will expose the pixels of the text and you won't notice it in the program monitor. You will notice it when you export the sequence at the end of the editing. The correct way to make the letter big without pixelating it's to increase the font size in the text parameters. I mean, make them big enough that even approaching it with the parameter of the clip or the text itself, it doesn't get pixilated. I always recommend putting the font as weak as we can and summing in or out using the scale so that it always has enough resolution and doesn't get pixilated when you export it. On the other hand, there is a very interesting effect that I wanted to show you for the letters. Text. We must go to the V defect folder and then to generate and then choose four color gradient with rag defect. And place it before the text we want it to affect. Pay attention that if I put it below the text, it doesn't affect it, it must be above the text. This effect allows me to modify each of those mixed colors that are appearing in the text. There are four different ones, and the software will generate a whole range between the colors. I find this effect very nice because you can actually automate all that change and it gives our text a modern look match with backgrounds. Now we're going to move on to the underline and the action essential to underline the text in an animated way, which is how I usually do it. We must create a solid background. Later we must go to the general being, We click on the right mouse button, we go to New Item and then to Color Matt, this small window opens that tells us the size of the clip that will be created by default. It always adapts to the size of the sequence in which we are working. So we click on Okay, and then we must choose the color that the matt color will have. We click on Okay again, and we put a name if we want. Actually, I have already created a color Matt, but I just wanted to teach you how to do it. We must drag that clip to the timeline. That color Matt clip will be like any other video clip. It's like a photo with the difference that we can change the color of that photo whenever we want. The next thing to do is to add a crop effect to that color mat clip. We go to Transform folder, and we select crop, and we drag that effect to the clip. Once we add effect, we must try to create a lined by using these parameters over here. Since we want to do a horizontal line, we can modify the top and bottom parameters, I mean until the line is as thick as we want. But we must also modify the left and right parameters to adapt to the ***gth of the text. What I want to do is not a simple line. What I want to do is make a line appears as if it were being drawn on the screen as if it were animated. We move the right parameter until the line disappears, And then we add the first key frame. Now we must choose the moment or point where we want the line to end up appearing. Now the line appears by itself, fully animated. And now we can change if we want it to appear faster. For example, we simply have to bring the second key frame closer to the first. I mean that the space between them is shorter. In fact, you could play with this, the line could be another way, or you could make elements appear or disappear in the composition in this way. But what I really wanted to teach you guys was to combine an action essential with this underline. But what is an action essential? Is a video recorded with a green screen, but with that green background already removed from the video. I mean, what remains in the video is only the element that we want to use. There are action essentials of all kinds. Fire, sparks, shoots, blood. In fact, action essentials is the brand. Actually, they are perforated videos. So I'm going to add, in this case, this spark that you are seeing right now. So look at how the sparks look on the video. Just the sparks as if it were a PNG file. So imagine everything you can do by using this. In fact, later on I'm going to teach you how to use it, a video, as a visual effect in a lesson dedicated exclusively to this. In this example, what we want to do is make the spark appear at the tip of the line. As the line appears, the first thing we must do is adapt the ***gth of the spark clip to the moment where the line begins and ends. Now what we have to do is change the size of the spark and then automate its movement so that it follows the tip of the line to the end. We go to the beginning of the clip and we modify the scale parameter and the position parameter to chip what I already mentioned. Then the spark matches the line. I mean, the most important thing is to have the initial position. Once we have the initial position, what we had to do is automate the horizontal movement of the spark until the end of the line. There's something very important to know regarding key frames. Sometimes we place key frames and then we modify the duration of the clip. I mean we exquisite. And then the key frame is hidden from the time line of defect control panel. And then we don't know where it is and we have to delete all automation to start from scratch. What we need to do is stretch the clip again until the key frame appears again. Perfect. We already have our spark adapted to the line, but we could also add a background image to test how everything would look with a background that wasn't black. We can select, for example, the picture of the universe. We can darken the universe of it. We can do it by modifying the opacity parameter. For example, I'm going to do a little preview render. Well you know how to make animated underlines and add an effect to this. You can use all these in your videos, for presentations, for movies, for videos on Youtube, for whatever you want, and it will look very professional. Always remember to adapt degrading colors of the letters to the background colors. In this case, they combined the colors of the letters are within the range of the background and it looks very good. But in any case, later on, we will go in greater depth with the action essentials. And I will leave you some perforated videos to use in your videos. I mean, sparks, fire, et cetera. So this lesson is up to here and until the next one. 16. The Export: Perfect. We are here again, almost finishing the module. In this lesson, we're going to talk about the exportation process. This stage is quite simple, I would say. It is the most simple of all. Obviously, since you have come this far, you have already seen that there are much more complicated things when it comes to editing. So the first thing we must do is to mark the in and out in our sequence. You already know how to do it, but trying to make sure that you are doing this properly. The following step is to go to the File Tab, and then you go to Export. And then you click on Media. And this window will be displayed in this window. You can modify the export settings. Mainly, you have two ways to export files. I mean two profiles. A compressed profile and uncompressed profile. Let's start with this H 264. This is the most famous, well known and used format. It's a compressed format and you will have two main profiles to choose, the high bit rate profile and the medium bit rate profile. The bit rate is the amount of information per second that the video will have. Even though there are these two mainly options, you will have all these options over here. This list which are other profiles completely adapted to different platforms. There are profiles adapted to smartphones, to Youtube, even Vimeo profiles. And basically those profiles help the video to have a better performance in the players. And the most interesting thing is that, for example, in this mobile profile, the system adapts your sequence to this format. Not spoiling the nature of your video in terms of aspect to radio, for example. But basically, these two main options are the most important of all. But there is an important factor when it comes to sport, which is the file size. You are able to check an estimated file size over here with this profile is 365 megabytes, and with this other profile is a gigabyte. But actually, if we check the profile settings, we can modify the bit rate. That is the most important of all. We will have these two faders here, horizontal faders. By moving the faders, we can choose how much information per second the video will have. When we are talking about compressed formats, I highly recommend you to keep these numbers, this bit rate, under ten because you are creating a compressed format. In that format, it's supposed to have a great quality. But also you want it to be light also and light for the players. This is the reason why I highly recommend you to keep the bit rate under ten. You can play with that, but you must know also that the compression will be noticed in the dark areas of the image. Additionally, by checking these boxes over here, you can modify any of the rest of the parameters. But I know that you will not modify this because you have created a sequence with a specific settings. And those settings are not supposed to be modified in the export, but you can modify the ad quality, for example. That is very important because there is also a bit rate related to the audio. And then once you finish selecting the settings, you must click on a Sport, and an MP four file will be created. As simple as that is not that complicated, but let's move on to the uncompressed format. I'm going to choose the quick time, for example. And in this case, it's one of the best known formats for exporting in high resolution. So in this format, you will have all these presets. Actually, they are not completely uncompressed because the very process of creating the final file involves a kind of compression. To some extent, I'm going to choose this Apple Progress 44, 44. It's one of the most used presets. In the export settings, you will have almost the same features you find in the compressed format, but you will be able to choose features like these render at maximum depth. And you can also change the depth in terms of color. You can choose eight or 16 that has more quality. But let's talk about this export color space. This option is related to the ability to transmit information related to color in the format. It happens that nowadays people are likely to work with formats like K or Six K, and the video players on platforms that works with those formats work with another technology, a specific technology adapted to that resolution. Uhd formats, for example, not only work with more resolution, with more pixels, but also with another kind of technology related to the distribution of colors in the image. Over here, you will have three options related to the transmission of information in terms of color. The first one, the 79, is the most used profile for HD videos, like the sequences we were working with on this course. But the other two options is for working in projects. In set key eight key resolution. Additionally, these two other options allows you to reach a higher dynamic range. But don't get confused with this a higher dynamic range. When you are using a high end camera, you are not able to bring out more colors of what the format of a DSLR can generate. It's very important to take this into account because people think that these options are like a magic wand. I highly recommend you if you have a DSLR camera, and I know that most of you are more likely to afford a DSLR camera. I highly recommend you pay attention, close attention to the color grading and color correction lessons of this course. Because if you want to make your video look like it was recorded with a high end camera, you must start by modifying the colors of the image, and you are supposed to modify them creatively. I mean, the high dynamic range effect is an optical illusion, not a statement. Try to make sure you have a good cinematography, a good lighting to try to bring out the best of the best from your videos. Additionally, I recommend you to check this sumption, Use maximum render quality. Actually, this option can be used for both the M before and the quick time format. This is another option over here where it reads, Use Preview. It's very useful when it comes to creating the file as quick as possible because the system will use all the render files that you have created throughout the editing to create that final file, thereby reducing dramatically the export time. There's a friendly reminder I can give you when it comes to exporting the file, and it's related to the compressed format, the H 264, in the hardware of your computer. Over here, you are able to choose what do you want to use to create that file, if you want to use the integrated Card of your computer or if you want to use the GPU. And this is very important because crashes are likely to happen while exporting. If you find many problems exporting, I highly recommend you to choose software encoding, but if you don't, you can choose hardware encoding. It will depend on your computer performance. Another important reminder related to this compressed format is the bitrate encoding. These options over here are to verify the codification of the file where it reads to pass means that the software will carry out two verifications in order to ensure that the file is properly created. Obviously, it will take more time, but it's safer. Also, coding errors are not very common, but they do happen. When you reach this stage, you will be ready to create your file by clicking on Expert. This would be the most important format and the ones that you should use when trying to make an expert until the next lesson. 17. Rhythm and cuts in a Music Video: Hello, people. One of the biggest chal***ges when it comes to video editing is space in your footage, especially when it comes to music videos. One of the elements most related to rhythm in editing are the cuts. I mean, determining at what moment we go from one take to another, Depending on the rhythm of the music, these cuts will be more frequent or less frequent. But this is not the only important factor to take into account when it comes to knowing where to position the cuts. It turns out that we must have certain musical notions of time to be able to do it correctly, and that is what we are going to see in this lesson. Chilly. Perfect. I'm here in a software called As. This doesn't mean that you're going to need it, but I am in Ka because this software has a tool that will work for me to explain what I want to explain to you. First of all, you have to understand that in music videos, the cuts are going to come for two reasons. By time or by action. Let's start with time. What does it mean for a cut to be of time? So it means that we must make the cuts in different subdivisions of time that the rhythm of the song we are working with has. I know that this may sound like you need to know music to do this, but it really isn't because anyone who goes to a concert, that person can keep up with the song they like. I mean, people can dance. People do many things that involve following a rhythm. Following a rhythm is not a task that only a musician can do. So I'm going to use this music video of mine as an example and I'm going to follow the rhythm with my voice marking 1.2 So for example, in this case would be 121-212-1212 and this is the rhythm that even the timer of this software follows up here. The numbers that look bigger would be when I say one, and the number that is between the small numbers would be when I say two. I'm going to activate the metronom of the software so that it follows the rhythm. Pay attention that it's the same. 121212. So we must know how to recognize the time and rhythm of the song to be able to position the cats both in mark one or mark two, or in any musical time mark that can contain the rhythm of the song. But however, it doesn't have to be exact, but an approximation. In other words, you are supposed to do everything possible to make it match. But not necessarily 100% of the shots must match. So pay attention to, for example, this part. See how it changes from one shot to another almost perfectly. Did you notice that is almost perfect? One, et cetera, et cetera. The cuts are following the rhythm. Pay attention to the numbers that I mentioned in the small line that belongs to the number and field. The cuts of the assembly pay attention that is not perfect. It's always an approximation, especially in the important parts of the song in terms of rhythm. But also the cuts are irregular, but always following the rhythm. For example, here is a cut, but then the next stake continues, for example, here, 12. On the other hand, something interesting happens here, because despite the fact that the chorus is the most important thing, and you could say that the cut must match exactly with the bar, it doesn't happen here. I mean, the first stake of the chorus doesn't start on one, but on two before that one. And that happens because the action that I'm doing there, it's necessary to see it complete and that would be a cut by action. But let's move on to another example, another music video. I'm going to count and follow the music, and you're going to pay attention to the cuts. 12121222. Most of the cuts can sit with that mark, but there may even be moments where the music is louder and you can make mini cuts with the rhythm, like this example. So those three cuts completely followed the rhythmic arrangement of the music, which is something also very useful. And pay attention to the fact that the girl's hug matches the beat of the snare drum because it's an important gesture visually. But the cuts in movies or short films work differently. They are not determined by the rhythm of the music, but by the time a shot needs to be read properly, it's the music that adapts to the editing. Only in some sections, when it's a very musical sequence, we could try to adapt the shots to the rhythm of the music. But let's pay attention to this is, this is a proof that communication is the most important factor when it comes to cuts and pasting. In this is scene, the cuts are very fast and the reason why this is so is because Benjamin's voice is exactly explaining everything that is happening on the screen. So the information communication is double visual and through the voice of the character. Now a taxi driver had dropped off a fair earlier and it stopped to get a cup of coffee. And all the wild days he was rehearsals cab driver who dropped off the earlier affair and had stopped to get a cup of coffee. It picked up the lady was going shopping and missed getting the earlier cab. The taxi had to stop for a man crossing the street who had left for work 5 minutes later than he normally did because he forgot to long while that man late for work was crossing the street, Daisy had finished rehearse and was taking a shower. And while Daisy was showering, the taxi was waiting outside of boutique for the woman to pick up a package which hadn't been wrapped yet. Because the girl who was supposed to wrap it had broken up with her boyfriend the night before and forgot. When the package was wrapped, the woman who was back in the cabin was blocked by a delivery truck. All the while Daisy was getting dressed, the delivery truck pulled away and the taxi was able to move. While Daisy, the last to be dressed, waited for want of friends who had broken the shoe lace. While the taxi was stopped, waiting for a traffic light, Daisy and her friend came out the back of the theater. And if only one thing had happened differently, if that shoe lace hadn't broken or that delivery truck had moved moments earlier, or that package had been wrapped in ready because the girl hadn't broken up with a boyfriend or that man had set his alarm and got up 5 minutes earlier. That taxi driver, I hadn't stopped for a cup of coffee or that woman had remembered her coat. He got into an earlier cab. Daisy and her friend would have crossed the street and the taxi would have driven by 11. So we but life being what it is a series of intersecting lives and incidents out of anyone's control. That taxi did not go by and that driver was momentarily distracted and that taxi hit daisy and her leg was crushed. It's important to note that sometimes when the composers acquire the editing adapts to the music because there is a musical arrangement that is impossible to modify to adapt it to the editing. So in those cases, it's the editor who is supposed to adapt to the music at those precise moments. But in general rules, it's the communication process and the evolution of emotions in the film that determines the rhythm of the editing that you are going to do. Well, this lesson is up to here, and I wait for you to continue on the next one. 18. Introduction Color correction in a scene : Hello people. In this model, we are going to work on color correction. First, we're going to learn how to make masks because in fact, masks are the tool that will allow us not only to do color correction, but also to apply an effect to an image. Try to be patient. I mean, there are several lessons and I explain everything step by step so that you can do it yourself. There is something important to take into account in terms of dynamic range. The dynamic range of colors in an image is the number of color tones and gradients in an image mentioned in a previous lesson. An image with a higher resolution will have greater amounts of dynamic range. But remember that resolution doesn't necessarily mean a larger image size, but a greater amount of information for each pixel. There are now strategies to make the viewer feel that an image they are watching on the screen has more dynamic range. For example, if in an image we change the color of certain objects within the frame, we're going to create a look or a sensation that the camera was able to detect those colors. Those color variations, thereby improving the appearance of our video substantially will not only make the image look better in terms of dynamic range, but also in terms of cinematography. I mean the aesthetic quality of an image itself. Take a look at this example, which in my opinion is excel***t. In fact, I highly recommend this film is this kind of films whose cinematography seems magnificent to me. As you can see, this scene was shot in a beach, which is one of the main factors that makes the image look good, because the scene was shot at best time of day. But it happens that even in perfect conditions, the gap to record is never too long. Therefore, the production team will prioritize the scenes that need the presence of the direct sunset light. But what about the other shots? Those that are necessary for the scene, but in which the sky is not directly visible? Look at this example. This shot, the Ur is climbing a hill near the beach, but even when the sky is not there, we must give information in the shot that the place is close to that beach and that the action is taking place at the very moment of the sunset. How we can do it? Pay attention to the bottom rocks. You can see the bottom rocks are pink as if the evening light is projected on them. But the truth is that in the original shot, surely the pink color was not there. Okay, You may think, well, maybe it's a big red lamp that is illuminating the rocks, but it would be much more expensive to do that today. In this age that is no longer necessary. That red color on the rocks can perfectly be done in color correction. In reality, it's much easier than you think if the movie was recorded in high resolution. Much easier still. Obviously, in the case of a film like this, it's evident that everything was recorded in a maximum resolution. The most difficult thing is not to change the color of the rocks. The most difficult thing is to know when it's necessary to change the color of the rocks to match the sunset. Now to be able to know this, you must have a great visual culture. You must feel the visual need to add something to an image to make it complete. I tell you, I tell you all of this because today's editor has multiple jobs. Many of you take many courses because you want to learn how to do everything yourself. But where do I want to go with this? For example, if you are giving a data, I mean the video files of ASM recorded a beach like these. In the data, there are, for example, ten shots, but only three of them show the afternoon light. You should be capable of modifying elements in the image to suggest that all the shots was recorded at the same time. That is your job. Even if you are just someone who does color correction, you should be prepared not only to get the image corrected, but to know when the image needs to be corrected. I always insist on this, try to watch good movies so that you can have good references when it comes to doing color correction. Let's start then. 19. Color Correction Part 1 Lumetri Scopes The Pool's Example Cool Colors: Perfect. We are here in the first lesson about color grading and color correction. But is the first thing you must know to have a powerful insight on color correction and color grading. The first thing is that what I'm going to teach you on this lesson, in this module, in the following lessons, it's my point of view of this past production stage. I mean, every single teacher you're going to find around, they will have their own point of view about color grading, color correction, because actually that point of view is the byproduct of their experiences. So I would say that is like painting or drawing, everyone is able to develop his own style. And why I am telling you this, because I'm focused on creating art, creating stories. I am an artist, It's what I love to do, it's what I dedicate myself to. And so from my point of view, there are certain technical elements that we should not follow completely or we cannot respect for complete. In other words, we must be able to break the rules a little or bend the arm of the rules a little. And I'm going to start this by differentiating between color correction and color grading. What is the difference From a technical point of view, color correction is to fix the video colors or the image colors to make the image match the original idea that the cinematographer had in the shooting. I mean, the director of photography or cinematographer was carrying out that job in the shooting and he had a purpose. I mean, he had an objective objective in terms of color and illumination, and lighting. When you are shooting, you are supposed to look over the images in the monitor. That monitor provides information about what is passing through the camera sensor. It's possible that in the day of the shooting, you as a cinematographer, or film director, or videographer, you are pretty confident about, you are watching on the camera monitor. But it happens that by the time you will be reviewing the futage, you realize that the futage doesn't match what you were watching on the monitor. And so for example, in this image about this girl on the pool, you can notice that there is a kind of veil, a white veil upon the image. But it happens that that veil that you can notice is a kind of configuration that the file has in order to be modified in terms of color. So it's a kind of default configuration. So going back to knowing what is the color correction. Color correction would be to return that image to that look, to that appearance that the cinematographer was watching on the camera monitor or the external monitor in the date of the shooting. But just at this point, confusions come out because maybe the initial idea of the original idea that the cinematographer had was to modify the color of the image, the color of the video in the past production stage. So in this sense, when you are talking about distorting the original colors of the image in order to enhance its appearance, you are talking about color grading. So sometimes these borders between color correction and color grading are very closed, are crossed, and mixed. For me, everything all the time is a color grading because your purpose, your objective, is to enhance the image as well as possible. So let's start then. The first thing we must do is to change to color preset. I personally always use the editing preset not only because it's the more efficient, but also because it's the better in terms of performance and computer resources. But this time you're going to need to resort the Lumetri scopes in this color preset. And what is the Lumetri scopes to the naked eye? It seems very complicated because you are watching a kind of strange color waves. But I really tell you that it's not that complicated at all. The lumetri scopes is a tool to ensure that your image is filling the entire spectrum of color gamuts. You can notice that in this panel, in the left side of this panel, there is a ruler, or a kind of a matter that goes 0-100 And you can notice also this wave of three colors that is located in a specific section of this panel. For example, pay attention to this blue stripe. Why this blue stripe is above. It happens that the 100 value represents the maximum amount of light in the image. And on the other hand, the zero represents the minimum amount of light. So pay attention to the program's monitor. You can notice that the blue color stands out because the pool is blue and the water has the maximum amount of light. And on the other hand, the skin has less amounts of light. And you can notice in the center of the panel that there is a kind of fold in terms of light in the center of the image. In that fold is representing the hair, for example, in the girl's swimsuit that is black actually. But the problem is that at this moment, this wave that you're watching on the panel is just feeling a small section of the spectrum. A section closer to the light than to the shadow. So we are supposed to expand and stretch that color range of the image to feel as much as possible this spectrum of colors. But pay attention to this, because I don't mean to say that it's imperative to feel the entire spectrum of colors. Because maybe your artistic purpose is not to do that. And let me tell you this, because maybe your objective is to reach a enough vintage look in the video. And that look is inspired by a time where there were not that sophisticated TVs or cameras. I mean, there were cameras that were not able to portray a great deal of colors and gamuts. If it's the case that you want to match that look, maybe that appearance that you're watching at this moment is the most suitable for you. But let's suppose that this is not the case. Let's suppose that you want to kind of equalize in the colors of this video to come out this video as quick as possible. So we're going to need to add some video effects in terms of color. So we need to go to the effect folder. It's important to stress that there are a great deal of tools in terms of color, but I'm going to show you those that I used the most. We go to the effects folder, we go to video effects. This time we're going to add levels as we are going to add a lumetri color, also a color balance, RGB. I've already added these effects, but they are all deactivated. I'm going to do it from scratch. The levels effect is located in the adjusted folder. We direct effect to the effect control panel, then we go to the color correction folder and we pick the Lumetri color effect. Lastly, the color balance. We are going to find it in the image control folder over here. What is the level effects used for? I usually use this effect to stress the black tones in the image for me is the first step in order to banish that default veil in the footage. In the levels parameters, you're going to find in several color correctors that are focused on adding more light or remove lights from the image. Either modifying the whole range of colors or a specific range of color in the image. That is the reason why you can see different tracks in terms of range, black input or white input, not only in terms of RGB, but also for the red, or green or blue separately, I told you I use this level effect to enhance and strengthen the black tones in the image. By moving this first track, you can enhance the black tones. I'm going to move this parameter to the right and you're going to notice the difference. In the program monitor, you can notice the difference and you can notice how the image is going back to the original state. Now we're going to go back to the Lumetri scopes to review the spectrum. You can notice how the color wave is expanding to the downside of the spectrum. I'm going to deactivate effect so you can notice the difference. Pay attention where are located, the red tones. I'm going to activate it again and pay attention to the lumetri scopes. So by moving this first parameter, this first track, I'm adding almost 20 points in terms of black tones to the entire image, thereby increasing dramatically its range of colors. And pay attention that since the gears swimsuit is reaching the black tones completely in the heir. Also you can notice in the center of the panel that the color wave is reaching zero in the spectrum. And you know that zero represents the minimum amounts of light. But you can also modify another tracks of the levels. I mean, in order to fix the tones and return the appearance to the original state. I mean, you can add, for example, light to the whites that sometimes are necessary because maybe the video lacks of light. And you can fix that problem by moving that parameter that track. But pay attention to the lumetri scopes in this time. Since I moved the white input, the color wave reaches the maximum amount of light. But summarizing, I use this effect, this level effect, to equalize the tones. It's the first step in terms of color correction and color grading. But let's move on to the following effect. That is the lumitry color here. I'm going to add some contrast the entire image. And another very important thing, saturation. The first reason I'm adding saturation is because the image is cold. Even though you can notice the sun light reflected on the pool. I mean, it's an outdoor shooting. There were a of clouds in the sky and the clouds were preventing the light reaches the objects directly. I mean, light is filtered by clouds. When it happens, everything around loses color immediately. But I'm going to modify a little bit the highlights in order to decrease the amount of highlight a bit. And I'm going to level the highlights with the whites to this point, just right here. Now you're going to go back to the lumetri scopes to review the spectrum. Now you can notice how the red stripe in the color wave is reaching almost 30 in the spectrum. But pay close attention to this. You don't need that the color wave reaches the zero or the 100 level, actually, that is not good. Just like it's well enough to come out a video, but it also depends on what you want or your style. But additionally, we can add another effect, this color balance effect. Color balance, RGV. This effect allows you to add a extra veil of color that covers the entire image, not altering its own nature. I mean its nature in terms of light and tones. So you can notice that I'm enhancing the blue tones and removing also the red tones in the image. Actually, it looks very nice. It looks like the shooting was in an indoor pool that had some windows where the light is coming through. And pay attention to this, I'm turning the image blue and you can notice that blue veil. But let's go back to the lumetri scopes now you can notice how powerful was this color correction? I mean, the color wave is filling almost the entire spectrum. But in this case, we shouldn't allow the blue reach the 100 level. We must try to level the red tones and blue tones, nor reaching the limits. Reaching the limits means that you are saturating the image in terms of color. I'm going to move the blue track a little bit and the red track also. Now pay attention to how the lumetri scopes behaves. You can notice now how the blue stripe is next to 100, but it's not reaching 100 and that means that it's not saturating well, that would be what I usually do in terms of color correction, the first steps. But pay attention. Reaching the limit doesn't mean that the image is run. Maybe your creative purpose is to do that, your aesthetic purposes. So feel free to experiment and to play with these parameters and tools. So I'm going to leave you the shot on full screen, and I see you in the next lesson. 20. Color Correction Part 2 Pool's Example Warm Colors: Perfect. We are here again. This time you're going to use this another example. It's the same film setting with the same actress, but this time you can notice that the sunlight is not filtered. This is a perfect example to make you understand that even under the same conditions in terms of production and film setting, just the fact that the sun light is filtered by clouds brings about another different look. And that feature is noticeable in the hair. For example, you can notice that the highlights reveals the brown tones in the hair. For example, this time I'm not using the levels. I'm using only the lumetri color and the color balance, RGB. But additionally, I'm using another effect called sharpen to add definition to the image. We are going to go to the folders to look for those effects. To do this from scratch, of course, we are going to continue analyzing the lumetri scopes while doing this color correction. Let's go to the lumetri scopes to analyze the spectrum. Here you can notice that the color wave looks differently. I mean, differently than the previous lesson. The first you can notice in the Lumetri scopes is that there is a white color covering the color wave. What does it mean? That means that the image is burned. I mean, the footage is burned. I mean that the camera settings were not the more suitable for those light conditions. And the reason why that did happen was due to the weather conditions. I mean, clouds were moving quickly. I mean, the camera was set to work with the light filtered by the clouds, But that weather conditions were not stable. But even though the video is a little bit burned, is not spoiled at all. But we must try to adapt the color correction to these conditions. Since the sunlight is reaching the objects directly, we must try to create that effect of the afternoon light. I'm moving the temperature to the warm tones, and at the same time, I'm adding some contrast to the video. In this case, we must try to focus on the black tones and shadows to compensate that overexposure of light. Pay attention that you can notice that this black track is almost exactly the same as the first track in the levels effect. I mean, remember that the first track in the levels effect was the black input you are supposed to make, the black tones of the image to reach completely the black level. Most of all in the tones of the girls swimsuit. On the other hand, you must differentiate between high light and white, or between shadows and black. When you are modifying highlights, you are modifying the highest levels in terms of light, but not touching the whites in the lowest level of light. I mean, you can modify some objects that are illuminated but are not white at all. But when you are modifying the white, you are going to modify the white whole range of stones in terms of light, for shadows and black. It works the same. Pay attention that since I'm moving the black track, only the black swimsuit is changing. But if you modify the shadows, you are going to modify the whole range of shades in the image. Once you make this first step, you are ready to move on to the color balance. What we are going to do, it's supposed that the sun light is reaching the objects directly. I mean, like the afternoon light, I'm going to decrease the blue tones. But additionally, you must know that the sun light produces more saturation in the image and enhancing the color of the objects. We are supposed to increase the color saturation in the lumetri effect. We go back to the lumetri color and we look for the last parameter in. The basic correction is the saturation. And we increase the values, attention to the lips color and also to the hair color. We can go back to the color balance and try to level the amount of blue and removing blue, actually thereby increasing the red tones. You can add more or less as you want. Remember that it depends on your creativity Also, now we are going to go back to the lumtroscopes to review the image. First of all, pay attention to the color wave is filling the entire spectrum. But additionally, you can notice that every single color strap is located in a specific section of the spectrum. But you can continue modifying the color parameters, I mean, in order not to reach the limits, but even though you are reaching the limits but you like what you are watching on the program monitoring, try to be confident with that. Additionally, in this specific case, I already told you that the video was burned. I mean, in terms of lighting. Anyway, even though you can notice that the image look very well, the color look very well. You can increase the reds. For example, I'm increasing the reds by removing blue. For me, the video looks better. And you can notice also that even adding more red to the image, the color wave is feeling more of that spectrum. Now we're going to move on to the next effect of this lesson that is sharpen. The sharpen is used for adding more definition to the image. You can add as much sharpen as you want. The reason why I use this is because in most of the platforms, the users are going to watch your video. The common user is going to use the less amount of resolution in the player. By adding this sharpen effect, we can create that effect of more resolution even though the video is displayed in a player with a low resolution setting. So it's a trick very useful for Youtube and those kind of platforms. But you must pay close attention that when you're working with high end cameras, you will be able to add a greater amount of sharpen to the image. I mean, the video is going to reach more image quality. It's exponentially actually, And it's related also to the amount of information per pixel. But on the other hand, if it's the case of DS LR camera, you cannot play with this in that way because it will be noticeable that you are forcing and the sharpen perfect. This lesson is up to here. Remember to review all the contents to digest all the information better. I see you in the next lesson. 21. Color Correction Part 3 Changing the color of elements in a shot: Perfect. We're here again. We're going to work with these two last takes. On the one hand we are going to work on this take that is this horse galloping. Let me stress that this footage belong to one of my music videos. On the other hand, we're going to work on this other take which is the same actress getting out of the car. What are we going to do? We're going to start with this horse. In this case, we're going to change the color of the horse. We are able to change the color of some objects, not using Azure Effect or Da Vinci, for example. I mean, it's not necessary always to use those software to change the color of objects. But additionally, we are going to use other effects. Also, we go to the video fx folder to look for those effects we need change the color effect is located in the color correction folder and also brightness and contrast. But we are going to use also the lumetri color. We can check the lumetri scopes to review the image. To review the color wave, you can notice that in this case, the wave is located in the middle section of the spectrum, but the color width is still too small. I mean, we still need to stretch the color wave to the whole spectrum. But we're going to address first the change to color effect. We open effect and we must go where it reads from. We must click on the dropper, And we're going to select on the screen the exact color we want to change. And we are going to select a color that is noticeable in a greater amount of sections in the horsehair. Then over here in two, we're going to click on the dropper and we are going to select the color we want. You can notice that automatically the color has changed immediately. But we must try to level that by modifying this parameter. I mean, to the right is a more deal of color and to the left is to decrease the level. I'm going to change the specific tone in the front parameter. I mean, we are supposed to select the specific tone with precision. Additionally, I'm going to set the other color more red so that the change is noticeable. We can increase the hue as we want, but I'm going to increase it a little more, just right here. Then we move on to the brightness and contrast. Here we are going to allow the brightness a little bit. The following effect is the lumetri color. And we must go to the basic color correction. Then we go to the saturation parameter. We are going to increase the amount of color dramatically. We can move the temperature parameter to the warmer color, but also you can move the contrast to level the amount of black tones in the image. We can modify also the black track a little bit to bring out all those black tones. And now you can notice how the horse hair color looks like this. It's completely red. And you can notice the difference by deactivating those effects. That is the original, take the original look. We can go back to the lumetri scopes to review the spectrum. You can notice that the color wave is stretched to the spectrum. But in the case of this video of this take, we cannot reach the highest amount of light because this take is also burned. I mean, a little bit burned. And that is the reason why. The better the direction of photography, the better the quality of the image. Because if the image is burned, it doesn't matter how much resolution the camera has. The sensor is not detecting all the fold colors of the spectrum. You won't be able to expand the color wave throughout the spectrum. In this case, I'm going to try to find the specific setting to try to fill the spectrum as much as possible. I'm going to add a color balance effect. I'm going to decrease the blue range, thereby increasing the other two ranges. You can notice now that the color wave is more expanded, but that would be to change the color. Some objects in the image, you can notice the difference and deactivating the change, the color effect. You can notice the change. I think it's very nice. But let's move on to another example, the girl in the car, which is a very interesting shot because the image of the girl is filtered by the window. There is not only a veil, which is the byproduct of the file settings of the camera, but a veil upon the object. In terms of production, you can notice that veil in the lumetri scopes. You can notice that even in the darker tones of the spectrum, there is a wide stripe crossing the panel. But that doesn't mean that the cinematography is run actually is quite well. I mean that is the look of a window under those conditions of that nature. Because those stains that you can notice on the window would be the byproduct of the time and actually it could be dust, for example, or maybe that the window is not clean at all. I'm telling you this in order not to force the camera to detect something that is not noticeable to the naked eye. Motile to the naked eye for the human site. So for the moment, I'm going to use a lumetri color to correct this video. We go to the video effect folder and we go to Color Correction And select Lumetri Color. We go to Basic Correction, and we are going to modify only the black tones, the shadow tones, and the contrast to bring out the girl's face. We must try not to exaggerate the black tones. We can have as a reference point the black frame on the window. I mean the black zones on the car. We can play with these parameters until we reach look we like. But I highly recommend you to experiment, to move all the parameters with a lot of patience. Additionally, you can notice also that I modified the temperature to the cold tones and also the saturation. Now we can check the lumetri scopes and you can notice how the color wave is more expanded. Obviously the image is not reaching the brighter tones because it's cold and it also has a dark vibe. I mean, it's not necessary to reach the most illuminated sections of the spectrum and we can notice the difference. I'm going to deactivate effects, it's completely different, it looks more professional. For me, this is color grading because even though I'm not adding an extra color to the image, I'm modifying the lumetri color parameters to reach another look. But I highly recommend you to experiment with your futae and with your recordings in order to have more chances to modify the colors. I mean, if you have a better cinematography, you will have more chances to reach a more professional color grading. This lesson is up to here and until the next one. 22. Color Grading Creating a mask : Perfect. We are here again at the Adobe premiere. But we are going to address, in this lesson, we're going to learn how to create a mask for a color correction of colorbating of a moving object. A mask with motion tracking and what is this word? This allows me to correct the color of an object that is moving or that space that is around that object. I mean, I am able to correct the color of both elements. So we're going to use an example. This is in where this character is moving in this room, the ship cabin. What I want is to be able to correct the color of the character without altering the color of the room, or vice versa. To be able to correct the color of the room without altering the character. And why do I teach you with a moving object? Because once you learn to do it this way, it will be easier to master a mask of an element that is static without moving, which is much easier. Obviously, I find it much more useful to teach you guys the hard way at once. Pay attention, because at first it may seem a bit tricky, but in reality it's not. So let's start. We already know that this is our scene and we must make a mask to isolate the character from the point where he is walking until the moment he opens the court chain on the window. So the first thing we are supposed to do is that we need to add a color correction effect from the premier ex bank to defect control panel. Corresponding to this clip, we click on this small tab and then we click on Effects. And then we must look for the video Fx folder and then the color correction folder. Once there, we must click on the color lumetri effect and pull it to the fax control panel of the clip in which we are working. Once you add that effect, it will be as if it were one more effect than those that come in the fax control panel by default. Once we add that effect, we must pay attention to the mask buttons that we saw in one of the past lessons. If you don't remember it, I'm going to remind you again. Remember that there is a circle, a square, and there is also a feather. And this later is used to create customizable masks. Let's check the first one, the circle. Remember that you can modify the nature of that circle to make it more or less oval. All the changes you make in that effect will affect everything that is inside that circle or what is outside that circle. We will be able to choose that. On the other hand, once we click on the circle, for example, it automatically creates a first mask that we are going to see right here in the fax control panel. Notice that if I now click on the square, a second mask is created. This time, we can modify the nature of that square however we want. Finally, we have the third option that is customizable. Here we will be able to create the shape we want by joining these points as if it were a constellation. And this is a method we have to use to create masks for irregularly shaped objects. We simply have to make as many points as we think are necessary to match the shape of the object we want to isolate. Not only you will be able to make the shape you want, but even rotate the mask and change its position. I'm going to delete the three masks I have created so far to make the one we need from scratch. I'm going to try to better define the video fragment that I want to edit. I'm not going to use the whole clip. I'm going to use from this point until the moment the character reaches the window. I'm going to cut a bit of video at the beginning to work more comfortably. Once we have defined the exact clip in which we are going to work, we go back to the fax control panel and position the courser. At the beginning of the clip, we're going to select the customizable mask called free draw baser automatically. When I click on that little feather, the mask is created as we already saw. And there's something very important to take into account before starting to create a mask. And that is that we must zoom out a bit in the program's monitor. Two allows us to make the points freely. I mean that it's far enough away so that we can even make points outside the monitor's frame. So I'm using the monitor at 25% and I'm going to start making points. Don't worry that it's perfect, it's just an approximation. And remember that you can get out of the frame of the monitor. I mean, the mask can be outside the screen as well. Obviously, when you have to draw points in smaller areas, you can zoom in to try to be more precise. But remember that no matter how precise you are, an approximation is more than enough for the mask to work. We are supposed to create the necessary points to create a mask that must be closed. I mean, the shape that we create, mass enclosed space. It doesn't matter if it's regular or not, we must close the shape. After finishing closing the mask shape, we must go to this parameter that is here, which is the mask path here. We're going to activate the mask automation. When I click on this little clock, it automatically creates a frame corresponding to the mask in that specific frame. From now on, what we have to do is to move the mask as the shot progresses. Obviously, the mask belongs to the character shape, but the character is going to get out of the mask. As the shot progresses, we are supposed to change the shape and position of the mask every few seconds so that it matches the character as the shot progresses. But let me mention that this process, for many people, causes anxiety, fear, they think it's very complicated. But the truth is that it's not. The only thing I can tell you is that depending on the shot, it may take more or less time. But actually try to think how long it take can be for this to be really impossible. Shots always last seconds. So approximately every 2 seconds you're going to change the mask to match the character. You must do point by point, but do not get stuck in too many details. Remember that the mask is always an approximation. So the mask will follow a path of changes, a type of traveling where it will adapt from one key frame to another. But if in that gap between one key frame and another, there is a moment where the mask loses too much of the character's shape. We must add an intermediate key frame so that we make the mask continue to match the character. For example, here due to the movement of the arm, there are some frames where the mask loses the shape of the character, leaving that extra space. Those moments must be corrected because they will be very noticeable. When we do the color correction, we position the line between the two key frames and correct the mask. And automatically another key frame will be created. We should continue like this. I would say adding a change every half a second. Actually I think it's less than a half a second. But creating the necessary key frames so that the mask follows the character as well as possible. You should take into account that you have the possibility of creating more points as many as you want. Especially for those parts where there are curves and very irregular shapes. On the other hand, remember that it doesn't matter if the mask goes out of the screen frame, that will not affect the image. But additionally, this mask path parameter gives us the possibility of tracking movement. I mean by using artificial intelligence, the software will create a mask approximately adapted to the shape we create in each of the frames. But the problem is that this is never exact, so sometimes it causes problems. So what I recommend is to use this tool partially. In other words, we press play in the tracking tool and immediately that matter of the creation process will appear. So we shouldn't let the process finish. But as soon as we see the blue stripe starts to advance, we stop it because the whole process belongs to the whole clip. But what we need is that in some moments it does the tracking, but not in the whole clip. As you can see, the software created a key frame for each frame. But as you can see, the mask is not perfect, so we have to correct it anyway. I recommend using it, but deleting all those key frames where the mask doesn't match. This is the reason why I don't use it too much because it's a lot of work. I mean, I had to delete the key frames that are not correct. I would say that this tool is useful when the shape of the mask is regular. I mean, when throughout the whole clip, the shape of the mask is not going to change much. But anyway, I think that combining the two tools, I mean tracking and doing it manually would be a good option. I'm going to leave this lesson here. I'm going to finish the mask until the character reaches the window. We continue in the next lesson to start with the color correction. 23. Color Grading Changing the background color: We are going to continue knowing the mask parameters. One of the most important parameters is the button that allows us to invert the selection made by the mask. I mean, if we want the fact to change what is inside the mask or what is outside, by default, the mask will affect what is inside. But if you check this box where it's inverted, you can change that. And now the mask will affect everything that is not inside a mask. Before we continue, let me remind you again that you can create a mask for any premier effect. I mean, in any of the effects that are down here in the folders, you can add masks. For example, if I choose the brightness and contrast, notice how I can also create a mask for that effect. It's important to know this because obviously there are hundreds of effects. Knowing that you can create a mask on any of them is very important. Let's continue with the lumetri color effect. We had activated the selection inversion when we do this and change, for example, the exposure of the image. Pay attention to what happens. I'm going to hide the mask so that the blue guide is not noticeable. And we can see the change in lighting more clearly. Now you realize how important the mask is. Look how the light in the room changed without affecting the character. Then you can imagine everything you could do and change with this procedure. In this case, I'm modifying the exposure, which allows me to change the range of the light in a more general way. The exposure is a parameter that mixes the brightness and contrast at the same time. Pay attention to the fact that the mask is not perfect. And errors are noticeable and we must correct them, of course. But in general, what we should do after creating the mask is to try to blur the edges of the mask. The facts look convincing. That is crucial when it comes to creating masks. So once we create the mask, we must modify that important parameter, that is the feather. That parameter allows you to soften the edges of the mask so that the mask is not noticeable and b***ds more with the background. Pay attention, I'm going to hide the blue guide of the mask so you can see better how it works. Pay attention that at the edges it expands an extra guide that widens the edges of the mask. That is the bluer area. So we are kind of the sharpening the edges. And that is the reason why we don't need the mask to be perfect. Because when we bluer the edges, it softens the whole shape of the mask, thereby b***ding better with the background. Now the edges are going to be a lot less noticeable. I'm going to hide the blue guide again and I'm going to modify the exposure. Look how much better it looks. It's also important not to exaggerate. I mean, we must develop a sensitivity to lighting. We cannot modify the background lighting in a way that is not convincing. We must be subtle and aesthetic. We must rate above all that the modifications in the lighting are convincing during the whole shot from the beginning to the end. The next parameter we can modify in the mask is the opacity. I mean, it's as if we were activating the mask or deactivating it, but with transparency actually, there is nothing complicated about that parameter. The next parameter is the expansion, which is similar to the feather. This parameter allows us to enlarge the mask and also make it smaller. It's not very complicated either. It simply helps us to better b***d the mask with the background. Now you can see more of the difference in terms of lighting in the room using the mask. This tool is really useful for refining the image. Another very important feature when it comes to creating masks is that we can copy and baste the same mask and use it in other effects. For example, I can add another lumetri color effect to the clip. Then I select a mask of the first lumetri color, and then we press on the keyboard control C, or common C. Then we go to the other lumetri color and press control Z. Then we will have, in this new effect, the same mask as above. But for example, in this case we could disselect the box for inverting the selection. By doing this, we can now correct only the color in light of the character. We can modify, for example, the saturation. So you can see more or less how the colors change in the character. The saturation is to strengthen colors in an image. Pay attention to how the color of the skin changes. For example, it looks more ten with more color. Whenever you make a change, you can check how it looks with respect to the original video. By turning the effect of, or you only had to click on that effect symbol, I'm going to modify the color temperature of the character to notice the difference much more. In the same way that we are able to change the color of the character and the background, we could also modify the color of that window. That is there. All we have to do is add another lumetri color to the clip. This time, since the window is at the end of the clip, we go to the last frame of the clip and we are going to create a mask for the window, but whose automation is going to be created in the opposite direction we draw the mask. This time it's easier because the window is a much more regular object than others. It's static, it doesn't move. Once created, we activate the automation in the path parameter. Then we go to the time line of defect control panel and we are going to create the automation. But this time backwards, I'm going to hide in the blue guide so it can be seen. Pay attention. That is much easier. Simply as we go backwards, we must make the mask always stay in the window. Remember that it doesn't matter if the mask leaves the screen frame, because the window also leaves the frame, then the mask must also do it. We are ready to modify the color of the window as we want. Then we return to the parameters of the lumetri color. It's important to highlight that we don't need to invert the selection because we want to modify the window alone. We go to the basic correction, then we go, for example, to temperature. For example, we can make the light cooler, for example, if we want the light outside the ship to be morning or to have a cold environment. Here we already have the window with cold lighting, we can compare it with the original color of the image. It's important to always make that comparison, to see the difference. But to the extent that we are modifying colors such as that of the window, we must be aware that light with that temperature should affect the objects that are inside the room. In this case, the character we are supposed to go to the character's mask and modify its color and even the contrast so that it would also be embellished with cold colors And also with a type of contrast that matches all the lighting that is in the place. Pay attention that since the colors are colder and we have darkened the entire room, the contrast suits the character very well. We can make the comparison once again. We deactivate all the lumitry effects and we activate them one by one, so you can see the difference. Look at the first lumetri for the background, look at the difference. The whole room is darkened. The can now look at the second lumitry, that of the character. It's very good. It makes it b***d very well with the cabin lighting. And finally, that lumetri of the window. We can even exaggerate the cold light from the window so that it's much more noticeable. It's very important to see good movies and paintings with good lighting to inspire us and try to do this work in more detail. Notice that, in fact, it seems that inside the cabin, there is some artificial warm light. And the cold light of the morning enters through the window, try to practice creative masks. And we will continue to delve into color correction in the next lesson. 24. Color Grading final step Secondary HSL Precision masks : Perfect. Now we go with a more detailed process of color grading, HL color correction. This tool allows you to modify the color in a much more precise way within the same mask. I mean that the changes we make to the colors will not only happen in the mask, but within a specific range of colors within the mask. That would be a more professional step of this same process. For example, here you see the mask selects the character and what we're going to do now is correct the colors or light of specific areas within the mask. The result is much more professional. It's one more step in everything we had been doing up to now in terms of color grading. In the previous lessons, we had created some mask to correct different parts of the image. But this time we're going to focus on the mask that selects the character. Because what we are going to correct is the skin and the illuminated areas of the character only. So I have received everything we changed in terms of color and light to use this method. So let's start then. Once we have created our mask in the lumetri color effect, we must go to the following parameter, HSL secondary. So this parameter is located a little below the basic correction parameter. So at first sight it looks complex, but in reality it's not because in fact we don't have to use all the buttons. So I'm going to hide the blue guide before continuing. So once we are at that parameter, we're going to try to find a neutral point in the video clip to correct the skin. I mean, you're supposed to find the moment in the clipped where the character's skin is noticed well enough to correct it. Once this is done, we go to where it reads, Set Color and we click on that little dropper that is there. In this case, I'm going to click on the cheek, which is the area I want to correct. Then automatically, the defect will select the color ranges of the cheek. In order to check it, we go down here in the small tab and we must select white, black. And then we're going to check the little box that reads Show Mask. As you can see, the softwares only selecting the area that looks white. But in turn, the selection parameter is only take into account everything that is inside that mask we did previously. So since we can automate all the parameters in the premiere, we could also automate the selection ranges using these three selection lines that belong to the light saturation and color range. For example, remember that the light changes as the character walks. So the selection could also change if we automate it. For example, pay attention to the third line, The lighting line. Look at how the selection changes in the character selecting the illuminated areas of the face and the shirt. So this is interesting for two reasons. On the one hand, we realize that both the shirt and the face have similar colors, even though it doesn't seem that way to the naked eye. And on the other hand, it's interesting because in the end, it's that same light that enters through the window that is illuminating the entire character. And these are the kind of things you should learn in terms of lighting, beyond knowing how to use the software or not. So once we have made the selection, I mean that we are sure that the selection we had made is correct. We uncheck the show mask box and we go a little further down where we are going to find the tools to make the color grading. We're going to find, for example, the same parameters of the basic color correction, such as temperature, contrast, saturation, et cetera. But there's also this wheel here which is very useful because by moving the center point to either side, the software will change the color of those selected areas towards those colors that are on the wheel. And of course, we can combine the parameters to achieve a better result. For example, I'm going to move the temperature. I'm going to increase it enough for you to notice the difference. Look at how the light that illuminates the character has a warm color. In fact, if we go back in the clip, we realize that as the character advances, the light becomes warmer. If, for example we combined this technique with what we saw in the previous lessons, the result is much better. For example, we could change the temperature of that light in the window to match what we just did in the character by doing the color correction. In this way, it looks much better because notice that it really seems that the light from the window is illuminating the character because we are doing grading. Color grading, but as I told you, is not enough to learn to use the software. We had to be aware of the behavior of light. We will only achieve that by consuming quality art. I mean, you are supposed to go to galleries to see good paintings, good photographs, qualified exhibitions, and of course, good movies. So I'm going to deactivate the effects so that we can make the comparison. And we can see the difference from what we have done so far. So this is what the original image looks like. Then we, dark in the background, then the characters color layer, and then the window layer. So from here we can add one more effect layer. I mean another lumetri color. And in this last effect, we can add a contrast that affects the entire combination of layers to combine them much more and make them look better integrated. This contrast is perfect because it even reinforces the shadows that are projected on the wall. And it really seems that the light that is coming through the window is real. We can do one last comparison to see the difference. I'm going to turn off all defect layers again. So pay attention to the nature of the original image. I would say that there is a much more constant range of colors. Now I'm going to activate all the layers again, one by one. I think the difference is amazing since the video is of high quality. Because it's a good camera. Actually, we have the chance that this will turn out very well. On the other hand, we must pay attention to correct those small frames where the general mask doesn't match the character. Because remember that the HSL mask works inside that blue mask. This is a possible color grading, but this could be totally different as it was in the original color grading of the project. But you should always take into account that the better the resolution of the camera, the more possibilities there are to correct the lighting and the colors of the image. Let's move on to this another example of how the color grading was done in the following scene of this short film. Pay attention that mainly a mask was used to illuminate the character in the same way as we did in the previous exercises. If the camera has a good resolution and dynamic range, this will be possible to do without Mayor problem. But pay attention to this other layer that is almost imperceptible. This mask is adding a warm morning color to the shield. Remember that the quality of the color grading is the byproduct of a set of small details that in turn make the image look better. In this case, the morning light is warm, the shield should adapt as much as possible to that. Here we can see the difference of how it looks with the mask and without the masks. Another important detail of this shot was the lighting in the place. This detail is quite similar to that of the movie Portrait of a Lady on Fire. I mean, the color of AS specific parts of the image had to be modified so the whole image would match with a previously seen shot. In this case, they are those parts that you are looking at where you can see the valley in the background peeking through the trees. And those parts were led to match a previous shot. And that previous take was this, this open shot that tells us that the actions are happening in the morning. Here you can see how I deactivate and activate the mask so you can see how it looked before and how it looks with defect. This was all using the exact same color grading that we saw with the catacre in the cabin. Take a look at this other shot here. We had to do more or less the same thing that selected part of the sky, that part that picks out from the trees. We had to change the color so that somehow it seems that the sun was peaking out there. So we made a mask and then we selected just illuminated area with the secondary HSL. Then we added the red color so that the color would look warmer, not cold Here you can see the difference between the original shot and with the mask. But pay attention to the other, more advanced example here. As you can see in the different shots of the forest, the sun light manages to pass through the trees and reach the ground. Like in this shot for example. The problem was that since the sky conditions are never perfect and stable, that lasts for a very short time. So in one take, it was necessary to directly create the light on the ground. Because at that precise moment of the shooting, the light on the ground had almost disappeared. So we created a mask on the little trail of light that was barely visible in the shot, and we increased the light from that part. This example is excel***t because precisely in cases like this, visual culture is necessary. I mean that you know about painting, for example, pay attention to this important detail. The mask doesn't change place, even the camera moves forward. Because the camera traveling has nothing to do with the sunlight. The light is supposed to be in the same place. So we automated the mask to stay in the same place on the ground. Taking any part of the ground as a reference point. Here you can see what the image looked like before the original image. Without the light on the ground. I think the difference is fantastic. It's a proof of how far you can go using this technique. In this other example, you can see how we can use exactly the same technique to enhance the color of something in the image. The blood that the character has on his arm. During shooting, the blood on the arm was not completely perfect. I mean, it was not red enough. This had to be corrected with color grading. We created a mask that selects just the red color that was barely visible on the shirt. And then we enhanced that red color. Here you can see what it looked like before. Here you can see it in more detail. Look at how the color changes as I move the color on the gamut. Well, but you must pay close attention to the changes. Must be saddle, all these are examples of everything you can do using the color grading technique that I teach you in these lessons. But as I told you, you must practice and have good references to achieve it until the next lesson. 25. Recognizing Formats: Hello people. In this lesson we're going to talk about formats and cameras. But above all, I'm going to show you on the screen videos recorded with different cameras and different ***ses. You can learn to recognize the difference when it comes to seeing the quality of an image. On the other hand, although in this lesson I'm going to talk about technical aspects, I highly recommend you to consume movies with a good cinematography. You can recognize when one image is better than another in terms of lighting or cinematography. And I tell you this because it's our task to improve the image quality. And we must know what are the weaknesses of an image in order to correct them and to improve the appearance of a video. Let's start then. This is the Sun in X five. This is a medium, low quality DSLR with also medium quality ***ses. The image looks good because the cinematography was good. I mean, it was recorded at the best time of day. However, if we freeze the image, we can realize the weaknesses of this format. First of all, everything is synthesized in general shapes and colors. Maybe you don't realize it with the naked eye, but when you see a high quality image, later on, you will see the difference. This synthesis has to do with both the dynamic range of the sensor and the resolution of the camera. And in addition to the fact that the ***s doesn't allow a large number of light points to reach the sensor. We can notice this in the small details and especially in the dark areas that lack information because they are completely compressed by the fold. This is the typical image in which the technique of modifying the colors of some objects or elements like the sky, for example, is one of the best ways to improve experienced and quality. This next example is a little better. Here a Canon five camera with L series ***ses was used. Additionally, the aerial footage belong to a phantom for drone. However, from my point of view, although it looks better than the previous video, we can still notice signs of compression in the image. Like the compression, we can notice in the hair details. In the case of the drone images, there is flickering in the water areas that have complex reflections. This flickering can often be cleaned up using this tool in the fax control panel. But the problem is that it doesn't usually remove the flicker completely. In the case of the Canon five D, it does exactly the same as the previous camera. I mean, it compresses the colors that are apparently flat. Additionally, you can notice on the edge of the mountains, the lack of detail captured by both the camera and the ***s. My take on is for a video to look really good with a five D camera, it's necessary to use very high end ***ses to compensate for the lack of dynamics in the sensor. And finally, in the same way, changing the color of some elements in the image or improving them will help improve the quality of the image. Now we are going to move on to the following example, a black magic four key with Canon L series ***ses. Here the appearance begins to look more professional. I don't mean to say that the previous works do not look professional, I mean that the raw image looks more professional. Pay attention to the girl's hair, looks, how each strand of hair is noticeable on the screen. However, even under these conditions, I mean that the black magic sensor is better. The kind of ***s blur in the background is not the best of all because it synthesizes too much. In the following example, which is in fact the same work, we used a red scarlet with a cannon L series ***ses. The most noticeable difference is the dynamic range. It's better than the black magic. Pay attention to the rough color, the neck arrangement. It's a kind of pearly white that you can only notice with a good sensor like that. Obviously, there is a great lighting in the place as well. But even under these conditions, the red helps to improve the blurred background to look really professional. This is another example with the black magic, but with other ***ses rocking and ***ses that I personally don't like so much because they are not very bright. But even though it looks professional because of the lighting and the color correction. For example, that green color you see in the grass in the branches below was modified in the color correction to make it look greener than normal. In this way, it appears that the image has a higher dynamic range. The same with those faint blue lights in the background. They weren't original like that, but were turned blue in the color correction. Not to mention that the color of the skies was also modified to make them look like this. Look at this other example. Here, the quality of the image becomes completely professional. But this is not because of the quality of the camera that because the ***ses that were used were completely professional. Carl's sized ***ses. Look at the way the background is out of focus. Look at the distance in which those horses are even out of focus. At that distance you can see that they are horses. And not only that, but you can notice the strengths of the horse's hair. Additionally, pay attention to the outlines of all the shapes. They don't look like that outline of the mountains. In the first example with the Canon five D, pay attention to this frame. Look at the drops of water on the gear's arm and look how good the blurred background looks. In this last example is the work we are going to use in the color correction lessons. Another camera was used here which has the best dynamic range of all the ones I have shown you so far. But nevertheless, the ***ses used here are not half as good as the ones in the previous music video. However, we will use this video because it's the camera with the best dynamic range. There's something important to take into account when trying to discover how anything was shot or what was the format used in a short film or a movie or a music video. Take a look at the next example, this du alias music video. If you pay attention, you can notice that since the video is shot in France. In Paris. In France, there is an obsession, a kind of obsession with the independent look. I mean that independent movie type look, the video of Dulipa is inspired by that. Those images of Dualipa sharing a night with another girl, another singer, as if she were her friend. It seems that they are totally spontaneous. Random as if it were a simple camera and they are recording random moments on one single night. But it turns out that despite the fact that the music video is representing almost a kind of documentary product of that night, the camera they are using is not as cheap as most of you believe. In fact, suffice it to say that they are shooting at night and the ***ses are so good that they capture details of the blurred background. And I tell you this because there are naive filmmakers and naive videographers who think they can take any camera and record the same video and it will look the same and it doesn't work like that. And in the same way, there are also video editors who think there is a plug in filter that can replace a car sized ***s, for example. And I tell you this, not to discourage you, but because one of the most important things in terms of film production is to note and recognize the nature of a film production. This is necessary to be sure of how far the color correction can go to have a quality result that a client requires in an advertisement, for example. So, independent films in Europe are very expensive. Not as expensive as Hollywood ones, but obviously not. But they are more expensive than most believe. Believe me what I tell you. I studied cinema here and I tell you with certain neutered. The same thing happens when in a production we use a cheap camera, but with a super expensive, very high and ***ses. For example, this video of 30 seconds desperate broken the sound of five. Many people will be shocked to realize that many of the shots were recorded with a Canon five DLR camera. But what is the reason why the image looks so good? Because it's evident that they used a high end ***s which cost thousands and thousands of dollars. No matter how old the cannery is, the image coming through the ***s, sensors will be beautiful. Try to be aware of all of this. And above all, don't get fooled by supposed plugins that are supposed to give your videos a completely cinematic look. That is it possible? Well, thank you very much and until the next lesson. 26. Cinematic Blurs: Hello people. In a previous lesson, I was talking about the blurred black grounds. Since that feature is related to the quality of the ***ses, obviously the ideal scenario would be to work with the best ***ses. But if this is not the case, we must be able to improve this feature on the videos when it comes to improving the visual quality of the project. Let's start then. Perfect. We're here again in the premier. What are we going to do this time? First of all, I want you to see a comparison between a shot recorded with an iphone and one with a cinema camera. Obviously they are shots of the same object under the same conditions. It's an exercise. So the objective of showing you this and the goal of this lesson is that by using the premiere camera blue effect, we can try to approximate the cinematic look of a movie camera. So I'm going to start by showing you the shot recorded with the iphone. Here we have the shot of this bust recorded with an iphone 14. That I would say that using a DSLR camera with average ***ses, I mean, normal ***ses would look more or less the same. Of course, the deception will be that we were using scene ***ses with a DSLR camera, but this is not the case. An average DSLR looks more or less like a last generation iphone. But anyway, in this shot, you can notice relevant details, like for example, that there is a slight blurring of the background. But pay attention now to an image recorded with a movie camera of the same object with more or less the same conditions. Okay? Obviously it looks much better, especially for the dynamic range. I mean, the amount of tones in the white and grays. But look at the nature of the blur in the background. As I get closer to the background changes in a more cinematic way. Obviously it's more out of focus than in the previous image because the ***ses allow more light to enter the camera sensor. And this is one of the reasons why I have always said that it's very difficult to try to imitate this quality with a plug in effect because it will never look the same. But nevertheless, we can get closer, we can get closer to that look. We are going to do it using the blur, because that parameter, that characteristic tells us about the depth of field in the ***ses as well as the sensitivity they have to light. We're going to click on our clip and we are going to look for the defect folder. In that folder, we are going to look for the blur and sharpen. Here we are going to choose the camera blur. This effect allows me to imitate that look of a cinema ***s. Pay attention that it not only blurs the image, but also stretches the image slightly to the sites. We must go to the defect parameters and we are going to decrease the zero, the blur percentage in the percent blur parameter. Now we're going to look for a midpoint of the clip. I mean, not at the beginning or at the end, more or less in the middle. Now we must create a mask to select the region that should be more out focused. And what would the region be? Well, the entire area of the canvas in the background and everything that is at that distance. We choose the option to create customizable mask. And we create a mask that selects all of that with great care and patience. As always, point by point, we create it. Remember that the mask can get out of the frame and nothing happens. You can sum in or out the program monitor as you want. Perfect. We already have our mask ready. Now we have to do is activate the automation of the mask so that the first key frame is created, then we complete the mask. In the other parts of the clip, it's not necessary to make many key frames. As the forward movement of the shot is not very strong, the mask will not get too out of the shape of the bust. Therefore, we just have to adapt what has changed, especially in the bust, in the candle on the right. So we're going to try to make some more key frames, but it's not necessary to make too many, as I told you, just do a few throughout the entire clip. Paying attention, above all, to the main objects. Perfect, we already have our mask made throughout the entire clip. Now we simply have to go to the blur effect. We must determine which is the appropriate touch for each part of the clip, because at the beginning of the clip, the background should be less blurred. So pay attention that only raising three points in the blur parameter is more than enough to improve the blur and make it more cinematic, right at this point at this moment in the clip, we can see how it looks with effect and without effect. Here at the end, you can notice the difference. Now it's not activated. I'm going to activate it again and look at the difference. Since the clip continues a little further forward, we must be aware that at the end it must be more out of focus. I think that raising three more blur points would be good. Reaching six, it's important to note that when it comes to improving the blowers, we must be very delicate and precise. I mean, not exaggerate with the blur because it looks unreal. I mean, slight changes are perfect. You should also remember to bring the feather up a bit to soften the edges of the mask. We can automate the blur percentage. Now if we already know what the final point of maximum blur is, which is at the first one, at the beginning, we should be less blurred. And that's it. We decrease the blur a bit, just right here. And that is enough. Now we render the clip to see it more fluently. Here we have our shot with a blurred background. It looks more cinematic because as the shot advances, the background becomes more blurred. You can notice it in the ages of that canvas, that in canvas. Obviously this shot is just an example. If you were working on a similar one with a person in the middle. The closer you get to the person, the more blurred the background will be. Obviously, we cannot blur it like in the example with a movie camera. Because although there are different ***ses in terms of quality, they are also different in terms of millimeters, depth of field. So you have to take that into account. Now pay attention this blur background, we can combine it with a slide, blow in the front part of the chair, making that slide blower noticeable. When the camera approaches a chair, we simply have to add another camera blur effect to that clip. Obviously at the beginning, you must decrease the percent blur to zero. You are supposed to create a mask that only occupies the front area of the chair, but we must find the maximum approach point of the camera towards the chair. We must create the mask right at that point. Now the mask is supposed to only affect the front part of the chair because that part is the one closest to the camera. We can make a polygon that only focuses on that part of the chair. So we must raise the feather to soften the edges. And then we add the Lar. We can use the expansion if we want it, always trying to not over use defect, try to make it real. From now on we can create the key frame. I mean to activate the automation line in the blo, we already have the key frame. We only have to create the first key frame. You must know that at the beginning the Bl shouldn't be noticeable. I would say that before the beginning, simply when the chair moves away from the camera, you should no longer be out of focus. So I'm going to render it again. You already have the image with more blur both in the background and in the front part of the chair. Although it doesn't look like a film ***s, it looks more professional in. Additionally, if we were working with two cameras, for example, a film camera in a DSLR or a film camera in an iphone, We could combine the two formats in the same work and it would look pretty good. But obviously, the idea is to also be aware of the differences between the formats to understand why one format looks better than the other. Especially when it comes to working with ***ses that are slightly better than others. And I think that this is the most difficult thing to be aware of. That of course, in this example, I don't think the difference is difficult to note, is evident. Well, you know how to blur the backgrounds and let's move on to the next lesson. 27. Creating a take from another take: Hello everyone, and what are we going to do in this lesson? In this lesson, we're going to learn how to create a shot out of another shot. Because eventually you're going to have to reframe a shot in order to fix it. I mean, in terms of cinematography and the byproduct of that process brings about the creation of another shot. This is going to happen to you when you don't have enough footage for your editing. For me, it's a very common thing in terms of editing. We're going to use the stake of the Camaro. You can notice that it has a color correction. A color correction. Let's make a quick review. There is a level of effect, limiter, color, and also sharpen. But before addressing the creation of another shot, we are going to talk about something first. When you are an editor, you are supposed to become sensitive with the changes. And those changes could be in terms of color balance, et cetera, for example. In this shot, there is a kind of weakness in terms of balance. I mean, you can notice that when the car approaches the camera, there is more space in that gap between the car and the frame in the right side. And we must try to fix that to level that we consume in the image, modifying the scale, and then move the take slightly to the right. When I was talking about being sensitive, I mean to be aware that the take needs to be fixed, in other words, you are supposed to detect that imbalance. You must also be aware that that imbalance could be related to a specific point of the take. Maybe there is a traveling movement. For example here there is a tilt up. But once the shot reveals the windshield, the take seems to be moving too much to the left. In order to solve that, we can create a K automation in the position to fix that. Movement in the take in this example seems to be not that complicated because the camera is on a tripod. Just by automating the movement in the position parameter is enough to fix that problem. But anyway, as I told you, you must have a great deal of references in order to know if a shot is balanced or not. But let's move on into the decoration of the other shot. First of all, we must select a photographic moment in the take. For example, that moment could be when the car stops. Once we have selected that moment, we are ready to focus on one single object in the picture. I'm going to clear these changes here in the automation, for example, this head light on the right, we are able to sum in the image moving the scale in order to find that balance, taking into account that head light, for example. Because actually the traveling are a constellations. But even though this is not a traveling itself, there is a movement throughout the passage of time. And that movement has moments where the picture, the image, is balanced. I talk about this in a lesson of my filmmaking course. It's called the Anchor Point. You can notice that from the moment the car stops, I'm moving the take to the left, right to the left head light to create a artificial movement in the take. I haven't automated the movement yet. I'm trying to discover those moments, those anchor points that I can use to create entire movement. Let's go back again to the first anchor point. I mean, at the beginning of the shot. Once we find that moment, we can create a key frame in the position parameter. We must create a key frame for the scale to. But just right here comes a problem. And it happens that when the car stops and the camera stops, also that movement created by editing will be more noticeable. We are supposed to place the key frame, that key frame related to the position just before the camera stops. I mean, in this way you will be creating an effect that the camera has a longer movement because the take will be in motion just before the camera stops, thereby deceiving the viewer a little bit. There you are, you have another take out of the original take. It looks great because it seems that that movement to the left is part of the entire take movement. Now I'm going to show you how you are not supposed to do it. Pay attention to this. The take movement begins. And just right here, the movement created in the software begins. The audience will notice that the movement is strange. You can notice just right here, the artificial movement begins. You already know what is the difference. I'm going to show you again the right wave. You can notice that just at this moment, that movement to the left is softer. And you are supposed to place that key frame related to the position just before the camera stops. On the other hand, I wanted to mention something important related to the scale. And that is that when you want to create that sensation of interest in the audience. But the shot you are working with is static. You can add a slight summing or sum out to create that effect. But in cinematic terms, the summing or sum out has two functions. First of all, when you have a sequence which has several shots and most of the shots have traveling in. Additionally, the shots are passing one after another very quickly. In those cases, they recommend you to add a little summing to the shots to match with the rest of the shots. I mean, it's a visual feature, the audience feel comfort while watching the sequence. On the screen, you can see an example. The general shot has a slight zoom in. And the other function is when you want to represent the interest that the character is experiencing about an object or something that he is looking at carefully. In general terms, that interest is represented by zooming in on the character's face to represent deep thought. Generally, this is one set, I mean with a doll in for example. But additionally, you also have to add a slight zoom in to the object or thin landscape that the character is looking at. Here on the screen, you can watch an example. The character is looking at that arrow stick on the tree, but there is a zooming into the arrow, but is an artificial sum in created in editing. That zooming is representing that the character is thinking deeply about that arrow that he is looking at. This is another example. There is a slight zooming into the landscape because this scene is a flashback out of the previous scene, and he was remembering when he saw that family on the farm that day. But this also works for dialogue scenes. To finish the lesson, I'm going to leave you a complete scene where two characters are interacting in dialogue. And the sum in works to get into the thoughts, all the subtle sum ends of this scene were created in editing. So I'm going to leave you this scene and until the next lesson when not tell me when, when it goes. It, it my look. 28. Stabilizing a shot: Perfect. We are here again at the premiere. What we are going to do now, we are going to stabilize an image. A shot take in this case is a sequence shot, but I'm going to tell you this from scratch, from the beginning. A stabilization is not that magic at all. Stabilization can help us a lot to fix a shaky image. But if the sequence is really shaky, we are not going to be able to fix that. If that were possible, steady camps would not continue to be used today. As simple as that. I think that with this example, you're going to learn how to do it and get to understand the stabilization tool. This is the take we are going to fix It was shot with a steady cam, but due to the nature of the ground where the systems were, it was impossible for the shot to be completely stable. Just at that moment where the camera slowly approaches the character, the camera shakes, spoiling the sequence. The destabilization could be even higher, but this example is quite good. In fact, the image shakes during the whole sequence shot. We're going to repair all these with the tool that the premier gives us. I'm going to select a portion of the sequence shot to fix it. I would say that this part, where the camera gets closer to the character is the best. And I'm going to tell you why. I'm going to drag the video portion to the timeline as always. And I'm going to open the programs monitor here. We already have the take on the timeline, the shot. The problem is that sometimes we as editors are going to have to crop the frame to get closer to the character. We are going to have to do this either by the decision of the director or by ourselves, because we think that the cinematography looks better like this. But pay attention now how the destabilization in the sequence is much more noticeable. Since many of you are videographers or filmmakers, I will tell you something. This is the reason why it's not recommended to use a ***s larger than 50 million meters on aesthetic cam. Because this kind of ***ses so on the image and the camera still remains a long away from what we are capturing, then each millimeters of movement will be much more noticeable. But anyway, we must go to the video Fx folder, and then we open the stored folder. So here we are going to find the rap stabilizer, so we're going to drag this effect to our clip, and that's it. So now the software will automatically begin to analyze the shot frame by frame to try to fix it. Here we can see in defect control panel how the analysis process is displayed depending on the ***gth of the shot. This analysis will take more or less time, but the software will do it automatically in the background. Once this is done, defect will automatically stabilize the shot. But now we must pay close attention to some fundamental parameters so as not to fail stabilizing the shots. First of all, it's the smoothness of the stabilization. We will be able to modify it with this percentage. It can be higher or lower. It's important to mention that defect will not analyze the image again unless we stretch or squeeze the clip we are working with. But the right below, we are going to have the method parameter which is by far the most important of all in this effect. Here we are going to find four methods, Position, position, scale, and rotation, perspective and deformation. There is something you have to know from the beginning. I don't know why these last to exist. Perspective and deformation. In my opinion, they should not exist. They are completely useless when it comes to stabilizing a professional shot for a movie, or commercial, or short film, because no one would like to see a shot work like a jelly as an option to stabilize that shot. So if it's an Instagram or Tiktok real, it's fine. You could use it, but I wouldn't use it anyway. Even smart phones nowadays stabilize the image enough so you didn't have to use these two options. Obviously, these last two options are often used when the image is too shaken. But if this were the case, then the software would leave the character stabilized, but the entire background that we see of that forest would be deformed like a jelly, which is actually terrible. Position scale and rotation is the best option to stabilize this option instead of distorting the image, this will change the rotation. It will um, in and out, it will change the position, all this automatically until the shot is stabilized as well as possible. For me, it's the best option to stabilize without altering the nature of the shot. Pay attention to how it looks like. The most interesting thing is that I can even sum in on the image much more as if it were a median shot and it will look perfect. Let's do a comparison. I'm going to deactivate in effect to see the original shot again. We can notice that it was enough vibration to spoil the scene. I'm going to activate defect again and we are going to check the take again. Pay attention below In the parameters of defect, we will have the possibility to make a detailed analysis. In other words, instruct the program to do everything possible to stabilize the shot, spoiling the image as little as possible. In this case, it's not necessary to do it, but we can do it. The only thing that will happen is that it will consume more computer resources. Also, in turn, it will most likely crop the image more. If we check that little box, it will start the analysis again, which will take a little longer. Just below, you will find this parameter that allows stitches between two options. To the right the image will be more stabilized and to the left less stabilized, but will crop the frame less. We can play with that parameter however we want. On the other hand, I think that this issue of stabilization, using premiere is a last resort. To solve this, I mean as videographers or filmmakers, we should do everything possible so as not to need to stabilize the image. And those begins by choosing the most appropriate ***s to record. With the camera in hand and with a steadicam, generally, that ***s cannot be more than 35 millimeters if we are shooting camera in hand, even less, because in fact, even under perfect conditions, we are going to need to stabilize the image. I mean, sometimes we are using a doll, for example. For some reason, at some point the image shakes due to some small operator error, et cetera. For those cases, this stabilizer is used. Pay attention how long it took to do the detailed analysis much more. But the result will be the same because in reality, the first analysis was more than enough to repair the image. I'm going to get the monitor rigor to see the shot better and I'm going to increase the resolution of the monitor To in summary, you can use the stabilizer, but remember that if the image cannot be fixed with the parameters position, scale, and rotation, the image doesn't qualify to be stabilized professionally. Take all these into account and until the next lesson. 29. Presentation VIsual Effects: Hello, people. In this model, I'm going to show you the technique that I used to add visual effects to my latest works, to my stories. Effects like sparks, fire, et cetera. I basically made it by using videos recorded on green screen. These consists of recording videos in a studio or outdoors of any elements such as fire, sparks and fake blood, et cetera, but using green background that is later removed with the Ado Fema key tool. In this context, there are packs that are sold on Internet. Already recorded videos that include these elements. The Action Essential pack is a good example. What is the advantage of these packs? That they make our work easier when it comes to creating a short film or a video for you. To the downside is that when it comes to producing a movie whose goal is to be the best movie, these packs aren't going to be good enough to win you an award for special effects, for example. Not because they don't look good enough, but because they are going to recognize that you are using those effects. I'm going to use two very simple videos to explain how the action essentials work. You can use them in the future in whatever videos you want. An example of this was the sparks which we used in the lesson about how to add letters. The other more professional example would be how I use it in my last short film, Pay attention. It's not very complex, but you need to pay close attention. On the other hand, I'm going to leave you some videos of sparks and fire previously recorded with green screen. So that you can do load them and use them as you wish. Let's start then. 30. Adding fire to a shot Automation : Perfect. What we are going to do now in the Adobe Premiere, we're going to learn to use the fire element by using action essentials. This is a very useful tool to make really entertaining videos. But actually, it is the same technique I used to create visual effects for my short films. In order to teach you how to use the fire action essential. We're going to start with this video. In this video, I'm supposed to set my hand on fire. So what we're going to do is add the action essential to make it look like I actually set fire to the hand. So the first thing we're going to do is look for the most appropriate fire action. Essential video. I mean, for this hand, obviously one of the factors that affect the result is that the size of the fire resembles that of the hand. Here you can see that there are many types of fire and you will be able to use whatever you want editing them under the same principle that I'm going to teach you at this moment. So pay attention that there are fires of different sizes and even with different winds, these fires were recorded in a type of studio with a green screen in the background. I'm going to choose this one that is like a torch, and I would say that is a size similar to that of the hand, but there aren't many types of fires anyway. It also depends on your own creativity to choose the most appropriate. I mean, it doesn't have to be exactly the one I choose, the one that will look better. However, I'm going to choose this specific one and I'm going to add this video above the video clip we're working on. Pay attention, that is a perforated video. It's as if it were a PNG file. Only the fire is seen because the process of removing the background was already done. I mean, this was recorded on a green screen and the background was removed. So the first thing we are supposed to do is to place the fire video just when the candle makes contact with the hand. And that would be the first step here. It seems to me that it's fine. So once we have done this, we must proceed to move the fire to the exact point where the hand is. For that, we must click on the fire clip and go to the fact control panel and use the position parameter to move it to the hand. We simply try to put the fire on the hand at the beginning, but obviously, once we find the right place, we must adjust the size of the fire to really make a match with the size of the hand. Then we must use the scale to adjust the size. And here we can continue adjusting the exact moment in which the candle makes contact with the hand, so that it looks more convincing. But obviously, this is not enough because the hand will have a movement, a kind of movement. So what we should do is automate the movement of the fire to make match with the movement of the hand throughout the video clip. This is interesting because it's much easier to put a fire in a house or anywhere. It's more complicated to place it in a place that moves or a moving object. And that is why I showed you this way. We are supposed to go back to the defect control panel. We go to the position parameter, then we go to the beginning of the clip, and we activate the automation by clicking on the little clock. As you know, the first key frame will appear. That key frame belongs to the first position. But as you may notice, there is a moment where the hand begins to move. I'm going to sum in the program's monitor a bit. Perfect. Now we are going to look for the exact moment before the hand begins to move. I would say that is right here. I create a new key frame. As the hand moves to the right, I will move the horizontal value of the position parameter to follow the hand. Obviously, I'm doing this a little later to create a new key frame. Of course, pay attention that I also moved the vertical position. Pay attention to the fact that in the gap between the two key frames, there is a point where the fire doesn't match. Then we must adjust that moment too. In another key frame will be created with a lot of patience. We are going to continue creating key frames throughout the entire clip. The fire mats follow all the movements of the hand, and all these must be automated. So at this point we realize that the clip is longer than the fire is. We must duplicate the fire clip so that the fire follows the hand all the way. We select the clip and we press on our keyboard, common C or control C. Here we have the fire clip again, but we must delete all the automation of the new one, because we must create a new automation. But we are supposed to leave only the last keyframe that belongs to the last position that the fire had in the previous clip. We're going to move that key frame to the beginning of this new clip. From here, we're going to continue making the fire match the movement of the hand from key frame to key frame, little by little, perfect. Despite the fact that the fire follows the movements of the hand, there are still things to fix. We must fix the perspective of the fire, because when I bring the hand closer to my body, the fire must move away a little. There are several moments where the fire approaches the body. Its size must change at those moments. Because even though if the fire gets just a little bit closer to my body, those small details of perspective that change in perspective are what make the visual effect convincing, or at least look good. Therefore, we are supposed to go to the effect control panel again, and we go to the scale parameter. In that parameter, we are supposed to activate the automation line. But we must pay close attention that in those moments where we change the scale, the position will also move a little. We must continue correcting all those details a little by little. For example, here we can activate the automation line by adding a key frame, and we can add another key frame just before the hand starts to approach my body. We can create another key frame when the hand is done approaching the body. And then we can move the scale in the values of the scale parameter or directly in the program's monitor. As we have already learned, I'm going to hide the blue guides simply when we dislect the parameter, the guide lines disappear. Look at how good the fire looks like now in terms of perspective and movement. But since I have moved the sides of the fire, the position is always a bit out of adjustment. So we must correct those moments. Pay attention that here, the fire moves away from my body again. Therefore, it's necessary to increase its size again a little because it's closer to the camera. Once we have adjusted the scale and the position, we can then see what we have so far. The process of making it look real is about going forward and forward. Correcting those small details with a lot of patience. This requires seeing it several times, many times, until we realize that the movement looks real. I mean, if you pay attention, there are still details that need to be corrected to make it look perfect. For example, when the hand goes up, there are some moments where the fire gets out of the hand. But I think the biggest problem is the transition between the two fire clips That shouldn't be noticeable, or at least we should try to hide as much as possible. We can fix that transition by making an automated transition between the two clips. By using the opacity parameter, we overlap the fire clips to make that transition as we learned in a previous lesson. Then we must adjust the movement of the fire in the rest of the clip that we moved, so we can delete all the automation that we have in the clip that we moved, and do it again after overlapping the eclipse. Perfect. Now we do have all our fire configured in terms of position and scale. We're going to move on to the next lesson, where we are going to make the color of the fire look like a real fire in the next lesson. 31. Adding fire to a shot Final Steps & Professional Examples: Perfect. We are here again. Now the chal***ge is to make the fire in my hand look like the candle fire. This has to do with the color correction. I mean, using the candle fire as a reference, it's clearly the best. So the first thing we're going to do is nest the fire clips. To join them into one single clip type, we must select all of them. We click on the right mouse button, and then we click on Nest. We had to type a name over here. We press okay. And this kind of clip will automatically be created, which will contain the two fire clips inside. Now this new nested clip will be clickable and we can add effects just like any other video clip. But you have to be careful because if you guys will click on the nested clip, it's going to take you inside where the two clips that we previously nested will be. Here we can check them, They are isolated, but we are going to work on the nested clip. We do a single click on this clip and we're going to add a lumetri color to that clip. This is going to be very easy. We're simply going to the basic correction. If you can notice the candle fire, you can realize that the color is more saturated. I mean, it has less color. Then we must modify the saturation of the fire that is in the hand so that it matches the fire of the candle. We can also move the other parameters related to light and the amount of white to get much closer. There is no criteria to move each of these parameters. I mean, what works for one image may not work for another. If someone tells you that the white parameter must always be in only one way, they are wrong, that is not possible. We must develop sensitivity to notice what is necessary or not. You can already see how the fire color looks much better. It resembles that of the candle. I'm going to add a little more saturation. I think it's better that way. Always try to take the time to get the right color. But on the other hand, there is another element that is crucial to make this fire look real. And that is that we must make this fire interact in some way with the environment. For example, when I bring the fire close to my face, the fire is supposed to light up my face. Somehow this type of detail takes effect to the next level. I mean, it's the sum of visual factors that gives rise to a good visual effect. The light of the fire has to interact with the face. We must go to the video clip below and we must create a mask that illuminates the face. At the specific moment the fire approaches my body, we must add a lumetri color and create a customizable mask. The mask is supposed to illuminate a part of the pace and torso. In this case, it wouldn't be very difficult to automate it because the face practically doesn't move or hardly move. We simply have to check if the face moves while the fire is close and adjust the mask position. Here you can see the mask and you can notice that at this moment, at this point, the face moves away from the mask. In the previous frames, we also have to check that the mask is in the right position. Additionally, we must create the fact that the mask is only noticeable when the fire approaches the face. What we must do is use the capacity parameter. To achieve this, we must automate the capacity so that when the fire approaches the faces at 100% just when the fire is moving away, it's at 0% At this point we have the capacity at 100% But just at this moment before, we're going to set the capacity at 0% But it's necessary to do it, not only in the moment before, but also after. I'm going to set again the opacity parameter to the minimum level. But obviously, since what we are doing is a light, we must modify the father parameter a bit to soften the edges of the mask. From here, we can modify the color temperature. We could start with another parameter, but we are going to start with this one, so that you can notice the difference. Now the face color looks warmer. We can check the full video, and you can see when the fire gets closer to the face, the color of the face changes. I have increased exposure a bit too. Here the light is much more noticeable, right? It looks good. I'm going to exaggerate all the parameters a little more, in case you don't notice it. Well, I'm going to raise the temperature and also the exposure. And let's check it out again, I think it's a bit exaggerated. But I do it like this, you can notice the difference. This is a principle that you should use when creating visual effects with action essentials. The first factor is that the action essential follows the movement we want. Secondly, that it has the correct color. And thirdly, the defect that in this case it's the fire, interacts in some way with environment. Just like we did here. That the fire lights my face when it approaches. But as I always tell you, try to experiment because in this experimentation, we can improve all these visual effects. In fact, you can combine different types of fire to have more random reactions of the same effect. Well, since you know how to add the fire by using the action essential, we can move on to this other example, more professional example. And we are going to do a dissection of what we did here. First of all, you may notice that the shot in itself has a blurred background due to the nature of the ***s. So we were supposed to match that look that experienced by adding a blur to the fires. The Sobre is in Spanish because that is the original project. But anyway, that is the blur. And you can notice that I am deactivating the blur. And you can notice how different it looks. But that blur is interesting because since the blur is diffusing the image, that blur make us take the fire for real, because we are not able to look at the fire in detail. So that strategy really pays off in terms of filmmaking. If you're supposed to add some visual effects to your shots, anything that prevents the audience to detect that those effects are artificial, are not real will be your best ally. We also modify the saturation parameter and the lumetri color to make the fire match with the lighting of the scene. Because you can notice that the scene is almost in the night and the colors are supposed to be saturated. It's also the nature of the short film look, but you can also take into account that to make an effect pass for real, you're supposed to add masks to the nearby zones. I mean that ground, that grass is supposed to be illuminated by the fire. This mask works for that. You can notice I'm turning off the effect and you can notice the difference. It's an essential feature in terms of lighting. Remember that we did it in the example of the hand with the fire. We illuminated the face when the fire was approaching it. Obviously, this effect, this mask, is on the clip of the shot. These are the depths of color grading and they are not related to how powerful it is your computer, but rather that to be sensitive to these changes to the nature of the lighting, to the nature of the picture, et cetera, et cetera. On the other hand, you must also take into account that when it comes to creating visual effects, it's crucial that stage of color grading, I'm going to deactivate the fire to check the color grading. I'm going to deactivate the lumetri color. There are several layers. They are in Spanish color. The lumetri, that is the lumetri color. In this shot, we did applied everything I have taught you so far in every single layer is a very subtle detail. I'm looking for The most important layer I think is that is the following. Pay attention how different it looks. This is the raw look of the image, the original lighting of the shot. But due to the high dynamic range of the camera, we were able to modify the colors in this way. So we did modified exposure, we did read exposicion, it's exposure in Spanish. And just by moving that parameter, the image looks so interesting. But obviously the illumination, the lighting upon the character is decreasing to. In this another layer, we added another mask that was compensating that absence of light. I mean, we did just the same process we did in that previous lesson in the ship cabin. And you must pay close attention that we not only modified the lighting of the character, but also the temperature. Because since the light was different and it was representing a, a cold night, the temperature was supposed to match that. We did move the temperature to the cold tones a little bit. You can notice here that I'm exaggerating the temperature, but it's for you to notice the difference. That was all for the character. Additionally, we did also modify the grass color. I mean, in order to bring out more colors of the shot, thereby increasing its dynamic range. You can notice the difference when I deactivate the lumetri color. I think it's not that subtle, but it increases the color of the entire picture. I think that detail makes the image looks beautiful. That was created by using the HSL secondary effect. You can notice the selection when I check the box, only the grass is selected. And since the grass is only selected, we were able to modify the color of the grass in detail. We did raise the temperature. Actually here I'm moving the temperature to the cold tones. You can notice that set of details that makes the shot be prepared for the visual effects. The last lumetri color layer was to decrease the light dramatically. You can notice that it looks amazing. With it modified all these parameters that you already know to reach that kind of lighting. I'm going to activate again, the light produced by the fire. You can notice them over there on the background. I'm going to activate again the fires. I would say that the most important thing when it comes to creating visual effects is the lighting. Because lighting will help you to deceive the audience all the time, even though you don't have the vast visual effects, Even in the cases that you are using animations and treaty objects, for example, the lighting is fundamental because you are supposed to make those elements b***d with the background or b***d with the shot in. The audience is supposed to take those elements as one more part of the environment and the scene. This lesson is up to here. I hope you enjoy it and until the next lesson. 32. Adding sparkles to a take: Perfect. We are here again. This time we are going to use a spark action essential in this object, that is actually a sword. What I want to do is to create that effect of a spark along the ***gth of the sword while sharpening the sword with the object. We are going to use the sparks again. Last time we used it with the letters, but this time we will do it with the sword. I'm going to look for the spark video. I'm not going to focus too much on that. I will just choose one that I already had in mind, and I'm going to add it to the timeline. It's basically the same spark we used the last time. But this time we must take a good look at the nature of the spark. But above all, we must see in the video the place where the sparks come from, in the direction in which they come out. Because we had to make the spark come from the contact, and also the sparks go downwards or forwards. But I insist you can experiment. It doesn't have to be exactly as I told you. Maybe it doesn't make sense that the sparks come out like this, but I think in that way, they could look good for the exercise we are doing. The first thing to do is place the spark in the right place on the time line. In this case, the spark should start just when I start to rub the object against the sword. Then in the effect control panel, we must change the scale of the spark and also the position so that it's right in the contact one. But additionally, we must change the rotation because as we know, the spark originally goes to the right. We must change that. But we have two ways to do that. We have the option to change the rotation in the effect control panel or also add a horizontal flip effect. This time I'm going to use the effect. We go to the Videox folder and then to the transform folder, and then we choose flip Horizontal. We add that effect to the spark clip. Now the spark will come out to the left side, but since the direction is not completely perfect, we are going to modify the rotation a bit that the spark goes exactly where we want it. The idea is that you can use the two tools, the horizontal flip and the rotation, To achieve it, we just go to the defect control panel and change the rotation a bit. That the spark is not completely horizontal to the left but slightly tilted downwards. We can correct again the position of the starting point. The next thing is to determine how far the spark will be seen in the clip. I mean to cut the spark clip when the object finishes touching the sword. I think it's right at this moment. Then right after here, it disappears. But you know that the spark must move towards the tip of the sword. Little by little. We're going to look for a point in the path where we can make another key frame of this automation. We go on and on and on. And I think that over here, it's okay. We move the mask towards the tip, placing it just right here at the beginning. It will not be perfect. We must go on correcting it. Here you can already see the spark moving, but it's moving faster than the hand. We must adjust that by creating other key frames in between. Remember that you can create as many key frames as necessary. So I think it's ready. Let's remove the blue guides. It happens that also because of the position of the sword, the spark must also be affected by the perspective. We must correct that too. When the spark starts near the hilt, it should look slightly smaller in this case, In order not to exaggerate with the size of the spark, the best option is to keep the size of the spark. At the end of the clip, we simply reduce the size of the spark at the beginning of the clip. Near the grip, I'm going to reduce the size of the spark at the beginning by at least three points or whatever it's necessary As we modify the scale. I think the position of the spark was misaligned a bit during the traveling, so we must correct it. So you had to be very patient and correct everything until it looks perfect, but there is still something else missing. And that would be the color correction. So we must add the lumetri color to the clip. And here we changed the color saturation to make it a spark look more real. So you could perfectly combine this effect with a source sound effect that is part of this process. The sound also makes the picture look more real. Now you know how to add the spark effect to a sword, and now you can try it in other contexts. Guns or the letters we did in the previous lessons. Thank you very much, and until next lesson. 33. Bonus Lesson Cursive Letters in Motion: For this lesson, I used a digital drawing tablet. You could get one if you want to achieve what I did in this lesson. Digital drawing tablets are not that expensive. But the result of what I'm going to teach you in this lesson is really worth it. Once you already have your drawing tablet connected to the computer, you simply have to record the computer screen while you're writing what you want. I mean, specifically that phrase, signature, or title that you would like to appear in your video. Here at the premiere, I the video where I recorded the screen while writing on the tablet, the only thing that can be a little difficult is the calligraphy, the handwriting. But in fact, you don't have to be the one to write. You could ask someone who has a good handwriting to help you write for you what you want, what you need, or simply you make your signature. For example, all these drawing tablets come with a default software that you can use. But there are graphic designers who use drawing tablets directly in the photo shop. I mean, that's not a problem because these tablets are all blue and play. So I recorded the screen and I spent some time writing. I confess that it cost me a bit because every time I was run. But since the screen was being recorded, I recorded all the attempts. But among all these attempts, evidently some of them stand out and work. I was writing atelier. Something very important to remember is that in writing software, you must choose dark colors for the background and white for the letters or whatever you are writing or drawing. Try to make the background always black, blue, or green. But just being black or dark is enough. We already have our video portion on the time line. The part where we write our best on the time line. What we have to start doing is that the video clip only shows what we wrote. We must start by cropping the '80s of all that, part of the upper section of the software types and also below where the tool bar is, there are two ways to do it. The first is incapacity parameter, we simply make a mask and that it, we have cropped the whole section above and below. I think this is the most suitable way because you can crop just the way you want. It's simpler and easier. It all depends also on what you have written or if it's a drawing or a relatively irregular shape in which you need to isolate that irregular shape. But there's also another way to do it. You had to go to the defect folder and then to video effect, and then to transform. And there you will select crop. You must add defect to the clip. I'm going to deactivate what we did in the opacity in the crop effect. We are going to modify, in this case, the top and bottom parameters. I mean to be able to cut all those sections that I don't need in the image. As I told you, you can cut the image however you want. It all depends on what you need. But well, the opacity tool is more free, more useful. I think once the edges of the video has been cropped, the next step is to delete the background color, in this case, that gray color. To be able to do it, we must go to the chroma key effect. We go to the video folder, then we click on Key folder, and then we choose the color key effect. We add defect to the video clip and the first parameter you're going to find is the key color. Here you will find this small dropper where you're going to select the color that we want to eliminate. In this case, we are going to select the gray background. Basically, this is the same way we do a chroma key in which we remove the green backgrounds or someone dressed in green to pierce the video and show what is under that video. Here we already have the perforated video. I mean the by Atia signature is the only thing visible in the video. Now I can add that signature above any other video or image and put it wherever I want. This is very useful if you want to make a Youtube channel, or you are editors for a tuber or any brand. You can embellish the videos a lot using this technique. Now I'm going to add a background image so that you can see what the signature looks like on that background. Obviously, at first it will not always look perfect, so we must modify these parameters over here and play with them and especially thing edge feather. Both parameters allow me to soften the G in the case of the feather is directly to soften the theme is to increase or reduce the size of the Ge. Pay attention to how well I move it. The edges are seen more, I mean they are more noticeable obviously. The objective is that these edges disappear. I'm going to render the now pay attention to how the letters appear as if they were an animation. Animation. Actually making an animation of letters like this is complicated. Not to mention that if you get a software that makes animated letters of this type, they are not going to be unique. And if there is something unique in social network or to identify a personal brand or whatever you want is that this element is unique. The only way you can do something unique is to do it yourself. I mean, drawing it or writing it yourself is the best way. Additionally, since these letters are also one more clip, we can move it as we want and increases movement and improve its animation. Also, I'm going to do an example of what it would look like if we added movement to those letters. For example, we can make the letters leave the screen once they finish appearing. In the position parameter, we put a key frame when the letters finish appearing. And maybe half a second later, we put another key frame in which we change the position. Now look how interesting it looks like. I mean, as if it were all an animation made in a special software. For this, it really is quite useful because it's cheap In the end, there are very cheap drawing tablets out there. Additionally, you don't need a advanced software or a very powerful computer to make animations. I think the only difficult thing is having the ability to draw or. Right, well, but in fact, I think that the letters don't need to be beautiful, to be unique. Everything will depend on the style you have. Take all these into account, and until the next lesson. 34. Audio Editing: Hello people. In this model, we are going to work on sound design. Sound design is one of the most important stages of the editing process, but at the same time, it's also one of the most underrated stages for a large part of the filmmakers I have met during my career. It seems that it's not important to create with detail and creativity the sound dimension of a story of any audio visual work. But the truth is that the half of what we are feeling and information we are receiving from any movie or any short film enters through our ears. Additionally, in many current films, the immersed capacity is related to sound design. On the other hand, in the same way that there are video editors who only focus on technical aspects, there are also sound engineers and sound designers who only focus on technical aspects related to mixing, for example, which we are going to see also in this model. But the truth is that nowadays tools give us many possibilities when it comes to solving technical problems. But it's precisely the creative part that we had to address, especially generally in the projects you're working on. At the beginning, there will not be good sound designers. You had to be able to do that job yourself. But above of all, show the producer or the director of the project that you are really capable of doing that job saving production costs. Of course, all of this would mean that you are worthwhile professional for the production team. I'm going to show you an example of how important it is to use sound design creatively in ASN. I'm going to show you ASM from the movie Here in this scene, the main character is finishing up divorcing his wife. But the truth is that deep down, he didn't want to get divorced. So they are sharing one last cafe where she's finishing signing her divorce papers. But pay attention to the sound design of the story, to the sound design of the scene. Hi, how are you? Can't have. Wow, here we are. I'm glad we could do this in person. I know you've been traveling a lot. No, I'm I'm really glad you suggested it. I signed all the papers for them for you to sign. What's the rush? Yeah, I know. I'm I'm a really slow signer. I realize it took me three months just to write the letter anyways. It's um, marked here in the red where you need to sign. You know, you don't, you don't have to it right now. I can just, I can just get it out of the way. It'll be easier. Did you realize how important the sound design was in the emotional structure of the scene? Basically in the scene, they show us the memories of the protagonist. Those memories about when he was happy with his ex wife. But actually the scene shows us those memories without sound in si***ce, only leaving the sound of the restaurant, of the cafeteria. Just like memories are in real life, we usually see the images in our minds. But we continue to hear what we are hearing wherever we are. Even if we did remember the sound, the sound that we remember in our mind is not louder than the sound that we are hearing at the moment. This decision is not something that has to do with technical aspects. It's something completely creative that goes by knowing how to equalize the ad mix or adding sound effects to the mix. It's something that serves as a storytelling, it's a sound narrative element. Another important element is the music selection. In filmmaking, this stage is done by the music editor, but the music editor is that person who works with the composer and the director of the film to select those musical pieces that best represent the idea the film director has in mind. To be able to know what is the most appropriate music for our work, we must ask ourselves the right questions. First of all, what is the target audience of our project if it is a commercial film or is it an independent film, for example, if it's the case of an independent short film or an independent film, you have to be aware that you should use as little music as possible. Because the target audience is not common people. It's a group of critics who need to see the cinematographic language in its purest level without anything that can deceive our emotions. I mean that according to them, Music often does that job that the story cannot do, which I don't always agree with that. But well, that is the vision of critics specializing in independent cinema. On the other hand, if it is an advertising or commercial, or the target audience is also important. I mean, how old is the target audience? That is important to know. If it's a video for Instagram, you could ask ourselves the question of whether or not the music you are listening to is trending. Try to take all this into account, and let's move on to working on the sound design at the premiere. 35. Sound design of a scene Adding the sounds of a scenes: Perfect. We are here again at the Adobe Premiere. The purpose of this lesson is to be able to do professional audio editing, regardless of whether we are in a do or not. I mean a professional digital audio work station in the Adobe premiere, we can do it because in terms of audio editing, we have all the tools to make it. This time I'm going to use from one of my best short films, so the idea is to all the sound of Zen. I mean, to create the sound design, I'm going to start choosing only the video of Zine to add it to the time line. Let's check the scene on the program's monitor. The scene starts right here. The character is running for a very long way. And in fact, in that part there is no sound but a soundtrack. But where we are going to create the sound design is right from the moment the character crosses the river. And then he crawls and crawls until he comes across the corpse of another character in the story. So we are supposed to add every single sound effect of that environment. Obviously, most people are very afraid of this because generally we are filmmakers who know how to use the camera and we are interested in video editing. But when it comes to sound, it seems that it's a completely different world. But the truth is that this knowledge is very important. And since the tools to sound are available at the premiere, we must know how to do it. The following thing we must know is that we need some sound sources. I mean, we must find each of the sounds that should be playing in the scene and we must find them separately. There are two ways to get them. The first and the most difficult way is recording them directly, either on set using a portable recording device like the one you see on the screen, and the other way is looking for the sounds on the Internet. So this later process would be the cheapest. But that doesn't mean that it's the worst, it's simply the cheapest. I mean, it turns out that there are many sound effects of anything on the Internet. We can find them on sound pages or on Youtube itself. So we simply put the name of the sound we are looking for in the Youtube search engine and many of them will appear. Then we simply have to down load them and use them in the editing. Another important thing to know is that we are going to have to change the premier layout several times. I mean that preset layout for audio because we are going to have to add effects to the tracks and mix them. Remember that the mixer will appear in the audio preset, the mixer console, which corresponds to each of the audio tracks that we have on the timeline. Remember that the timeline is divided into sections, one section for video tracks above and the section for audio tracks below. So pay attention to the fact that each one of the failures of the mixing console are identified, the 123 and below. In the Audi tracks we see 1283. Of course, there is also a master track where the general mix comes out. The most interesting thing is that we are going to need to change from one percet to another because actually the editing percet is much more suitable to create the sound composition. And we are going to use the audio Pset only when we go through the mixing stage. Everything will also depend on how comfortable you feel with each percet. But personally, from my experience, the audio percet consumes more computer resources than the editing percet. I think that this is an important variable when it comes to choosing one or another. On the other hand, returning to the issue of sounds, sound sources, it's important to create a sound bank, a sound back cap that we can resort to when it comes to doing sound design. For example, here I have all these folders organized for different types of sounds. There are environments, footsteps, sounds of water, fire, sounds, shots, et cetera, et cetera, et cetera. And the most important thing is that some of the sounds were recorded by me or by my production team with a portable recording device. And others were downloaded from the Internet. As I told you from Youtube or other pages. Knowing all this, what do we need for this scene? Obviously, the scene takes place near a stream of a small river. We need to add that background sound to the whole sequence. Anyway, it's important to know when it comes to recording a river. The sound of that river, for example, what we record doesn't have to be exactly that river. It could be a little louder, for example. That doesn't matter because we can correct that imperfection in the sound design. But in any case, this time I'm going to use a river sound that I downloaded from the Internet. You can convince yourself that it can be done with sounds from Internet. On this folder I'm going to pick. Sound that I have here called Distant River Ambience. I'm going to drag the file to the premiere. Additionally, since it was a short film produced by my team, I have the sound of the actor who was myself actually, but that sound was recorded later. A dubbing was done to have the acting of the scene, because during the shooting of the scene, it was impossible to record the sound because the steady cam was generating noise and it came through the microphone. So we had to double the performance later. But what else do we need in terms of sound? We need the sound of the contact of the hands with the grass, for example. The sound of crawling on the ground is also important, but we also need the sound of contact with the water splash sounds. That sound is important for the scene, just when the character crosses the river. I already have that sound in my sound backup, so I'm going to use it. I'm going to drag that sound all at once into the project When it comes to selecting the sounds to make it the sound design of the character crawling through the grass. We don't necessarily need the sound of some hands in the grass. We could use other sounds that could represent that. For example, I'm going to use some sounds of footsteps on wet Earth and also steps on sand. Create the sound of hands on the grass. And I tell you this to motivate you to unleash your creativity when it comes to creating sound environments. In other words, don't let limitations prevent you from developing a project of this nature. I have always come across this. I have come across good filmmakers who are afraid to get involved with sound design just because they don't know what it's really about. I'm going to add the sounds that I told you I have done in their respective folders. The first thing I'm going to do is add the sound of the distant river to the time line, which would be like the sound background. I'm going to select a piece of audio from the river and drag it onto the time line. You can modify the volume of the clip on this line here. You can also automate that volume on that line using the pen tool on the tool bar. I mean, you can automate the volume in the same way as we did the opacity in those previous lessons. We already have that distant river Sound next to the image. We can start contemplating the image next to the sound to see if it starts too much. Pay attention that with that ambient sound, the scene begins to come to life. Obviously, the rest of the sounds are missing. But that ambient sound helps me to have a point of reference regarding the volumes that each of the sounds in the scene should have. Because it's not just about choosing the sounds well, but about knowing the exact volume they should have the exact reverberation and the exact panning. So I'm going to start by adding the splash sound to create the moment when the character comes out of the water. So I'm going to search for the sound and I'm going to select a splash of water, good enough for that moment. We have to take into account that the character comes running. I think this part sounds interesting. Remember that not only the splash sound is necessary but also what comes after. I mean a bit of the water movement so that the sound we choose must have all of that. I'm going to drag it to the track under the river. Now we have to position it right at the moment where the character comes out of the water. Note that here I have automated the beginning of the sound with the pen. I have created a fade in because the character crosses the river and then steps into the deeper water. Another important element of this scene is that if you look at the scene, the scene starts with an overhead shot from above, where the character looks very small. And then we see a closer shot of the character crossing the river. That visual difference should also be noticeable in terms of sound. In fact, this shouldn't only be noted in terms of the splash sound, but we should also turn up the volume of the distant river. That difference is felt. Also, you can turn up the amount of volume you want. Try to fill the scene until you feel it matches. These elements are too important. At first glance, it seems that it's something that the audience is not going to notice. But believe me, that they will notice it. They will have the feeling that the scene is more real then the scene is better. But pay close attention to this. If you look at here in the splash sound here in the corner, there is an effect, a symbol. If you click here, you will be able to change the automation line to another parameter. Like for example, panting. In this saying the character moves from the left to the right. He comes from the left and that sensation must be created in the sound dimension. Even though we are watching the character from the front on the screen, in our mind, his movement, his traveling is being understood in 360 degrees. We need to represent that the splash sound should also play from the left. Pay attention that afterwards the camera follows the movement of the character and turns to the right precisely to create that sensation. I highly recommend never panting completely to one side. This is a recommendation from my experience recording with my band in studio. I mean, if we pant completely to one side, the stir sensation of the sound is lost. Because every single Audioclip must always sound on both sides. Simply that when we pan it to the place we want, the Audioclip will sound on that side to a greater extent. Perfect. This lesson is up to here. We're going to move on to the next one, where we are going to it. The sound produced by the contact of the hands and the body with the grass. 36. Sound design of a scene Another sound of a scene & Actor performance: Perfect. We are here again. We are going to diet. The sound of the contact of the character with the ground, with the grass. We are going to use the sound running on the sand. Let's check it out. But we're also going to use this other one, walking on the sand. The sound is very interesting because you can feel the water a little, every single step. Perfect. We are going to start with the sound about walking on the sand. We're going to cut a portion of the sound and we are going to drag it to the time line down here. First of all, we must level the volume. We're going to increase the volume. Then we're going to zoom in on the timeline until we see in detail that sound. You're going to do it. Pay attention what I'm going to do, I'm going to separate each of the steps with the Sor tool 1234 to have each step separately. In this way, we will be able to place each of these cuts where we want to create that effect of contact on the grass. This is very important, trust me. I know a lot of good film directors who don't know this. And it's really useful and it's not as complicated as it seems. We need to make each cut match the movement of the character on the screen. If while we're editing we feel that those sounds need more volume, for example, we simply have to select them all and then click with the right button. And then click all again and raise the gain of the clips. Here we can raise the amount of decibels we want with a lot of patients. Little by little, we are going to place each of the cuts. Take into account that if at some times we see that some of the characters movements are stronger than others, we can increase the volume of the clips in that specific moment. Pay attention here to how I am increasing the volume little by little until it matches the image. I personally love it when the scene starts to come alive, this really takes the scene to the next level. Additionally, remember that we can also pan every single cut that we are adding here. I mean in the same way as the river, also the sounds of the character come from the left. The most interesting thing about this is that in vase or Pro tools for example, which are professional sound editing software, this is done exactly the same way, but pay attention to this. When the camera turns to the right, the characters leaps the frame, but his foot steps have to continue to be heard somehow because we are still close to the character. I'm going to advance this work a bit. I'm going to add the rest of the sound cats, so the lesson is know so long. And we continue in the process of creating the sound design in this same lesson. Perfect. I have already made each of the sound cats match each of the characters movements. And this is the result. We can add more volume to these last steps of the character even more because we are seeing the character from much closer. What we're going to do is mix the sounds of the footsteps that we have already added with the other sound effect that we had, the one of running on the sand, because that sound is slower, the byproduct of the union of the two sound effects will be of better quality. We select a portion of this audio and then we drag it to the timeline. But pay attention that I have run out of audio tracks in the timeline. I can add another track in two ways. The first is that we can add a track by simply going to the sequence tab and then add track. But there is another easier way. We can simply drag the audio portion to the space below the last sequence. Automatically, the software will create a new sequence. I'm going to put the audio clip here on this track that we already have. Pay attention that if I drag it to the space below, look how the new sequence is created. What we are going to do is separate each of the sound heats to have the cut separated as with the other sound. And then we put them right where the ones we added previously are, they are mixed. It's important that while you're doing this whole process, you can experiment with the sounds. I mean, try them. I mean change their place to see how they sound because sometimes we discover random things that we never imagined would sound good. You can now hear how each contact with the grass has body in terms of sound. Now we're finally going to add the sound of the actors suppressions, which were recorded separately. So we search for it in the folder and drag it to the timeline. The same way as with the other sounds. Obviously, the sounds of the actor's expressions belongs to the part where we already see him up close. We must make it match the image of the character. If it's necessary to increase the old gain, we simply do it. Ideally, each panting should match each movement of the arms. We can even add panting as well to the character's panting. We can make a curve. I mean, at the beginning it starts from the left, and at a certain moments we automate the change towards the center. So it's heard that the sound moves with the character. For example, here the character enters the frame. Again, we can move the pan to the center. You realize how good everything sounds, right? So we're going to lead this lesson here and we're going to move on to the next one. 37. Scene Sound Design Adding Reverb and Spatiality to Tracks: The first thing we're supposed to do is to check the reverberation of each track. Because we must make all the sounds, seems as if they were in the same place. Sometimes this is something almost imperceptible, but those small details make the difference. For example, we could start by recognizing that the base sound here is the river. I mean, the rest of the sounds should be congruent with the reverberation of that river. For example, let's start with the splash sound. Not only does it have to match the reverberation of the river, the action of colliding with the water is happening a certain distance from the camera. The reverb can generate that distance for us. We're supposed to go to the mixing console at the top of the tracks. We're going to find this panel right here. We are going to be able to add defects to each of the tracks. In this case, the splash sound is on the second track. Pay attention that there is a very thin gray line that divides the panel above the line. We will be able to add defects below the line. We can root the tracks to play on group tracks. But I would say the most important thing is above where you can add defects to the tracks. We must click on these small taps and there we will look for the reverb effect. You can notice that there are three types of reverberation. I'm going to select the surround reverb here. You're going to find several parameters. I know it seems complicated, but it's much easier than you think. In this tap, you're going to find several presets. It's like the reverb style that we are going to use, but we will also be able to change all the parameters to customize those presets. For example, I'm going to use this cathedral presets of all the parameters we are going to find here. The most important is this one where it reads Mix. This literal failure indicates that it's at 100% The sound will be completely affected by the reverb, but as we lower the percentage, it will sound like the original audio without reverberation. This is the main tool where you're going to add more or less reverb to the track. Keep in mind that this reverberation on the track will affect all the audio clips that are on that track. But there is something important regarding reverb and that is that as we add defect to any audio gain is lost. That is the reason why this other failure is next to it where it reads Gain. That is very important to take into account. We also have another failure that belongs to the feedback and another one that belongs to the balance. We can make the reverse sound more to the right or to the left. There is also the first failure that is to increase the wetness of the effect, which is like the intensity. Basically, these are the most important feature of this output panel. But pay attention that over here, there are other parameters that you can change. You can modify, for example, the room size. You can modify the reverberation bounces over here in pre delay and also the width of the reverberation. In fact, these last two parameters are to control that, how the reverberation expands to the sites. But I highly recommend you try the effects, try to experiment. I'm just giving you an overview of the main parameters of the reverberation. The splash starts to sound better. I'm going to isolate the track to test the reverberation better. I'm going to add even more reverse but also increasing the gain. Remember how to do it by raising the percentage and also raising the gain father. Now it sounds much better because now the splash can be heard at the distance that the scene suggests because obviously nothing is happening next to the camera. I mean, there are meters away. Let's listen to how it sounds together with the rest of the sounds. Once we had added the reverberation to the tracks, mostly we are ready to move on to the music. Because this scene goes with music, I mean at least one part of the scene. Additionally, adding music will allow me to explain to you something important related to audio editing. In order to do this, I'm going to use two files. On one hand, there is an audio that contains the music with the sound design at the same time, but you know that we are doing the sound design. Therefore, there is another audio that only contains the music. First of all, what I'm going to do is to extract a cross section in the file that contains both the sound design and the music. A cross section where only plays the music. And I'm going to try to mix this portion of audio with the other audio that contains only the music. Obviously it's the same music. This part of the scene where there is a overhead shot, only the music plays originally. I mean, that was the original idea, but once we get closer to the character, the sound design starts to play. What I'm doing here is trying to cut that part where the sound design starts to play. Obviously in that part I'm going to add the other file that only contains the music. I'm doing this because I'm using the original audio mix of the short film. This audio clip that I'm moving at this moment trying to get it closer to the Oder only contains the music. Of course, since it's the same music, I'm trying to match the correct points of union. The purpose of teaching you this is for you to learn that you can add all defects to the clips and also audio transitions to the clips. They are all exactly the same effects that we can add to the tracks. I mean those that we are able to add to the tracks, we just go to the effects folder and we look for the ads. This folder contains all defects you can try. For example, there is amplitude and compression. There is also the delay modulation, Noise, et cetera, et cetera. For example, Compression is very useful for voices. For example, those acting expressions that we added to the sound design are likely to sound better with compression. My purpose is also encourage you to lose the fear of using these old effects. For example, you must know that for voices and also voice over the single band compressor is the most suitable compressor. When we are talking about a voice that is playing in a monotric, for example. We can also add equalizers to stress the most suitable frequencies for a specific type of voice. But this time for the music, we are going to use audio transitions in the premiere. There are three kind of transitions. Constant gain, constant power, and exponential fate. They're all almost the same. I would say that the only difference is the b***ding mode, but it will depend on the nature of the audio with the nature of that specific part of the audio clip that you want to mix with another clip, I'm going to use the constant gain that is the most neutral of all. You have noticed that they have added this transition just right in the union. For me it sounds perfect. That transition, I have to match this heat that sounds here. With that action of raising the face. Of course, that heat was representing that impact of coming across a D, D girl. So I'm going to mute the track where the sound design is playing the rest of the sound of the scene. I'm going to fix a little bit the volume of the music, and I'm going to try it again. I'm going to raise the volume a little more. Now I'm going to add that compressor that I have mentioned before to the actors performance. We just go to the of folder and we look for that and we look for the single band compressor. I have already mentioned that it was the most suitable when the voice is playing in a T. It's over here. Once we have added that effect, we can go to defect control panel and we are going to find that effect over there. We must click on custom set up and then edit the parameters window opens. You can notice that defect control panel works the same for audio. Under the same principle, you can automate any feature in the audio clips. Actually you can notice that since I have automated the volume, the automation line in the volume is activated. But let's continue with the compressor. In the preset tab, we must select the voice over over here, and let's check it out. And you can notice that it has more presence and more definition in general. But actually we can improve that sound quality by using an equalizer. So we go to the old defect folder and we pick a graphic echos of 20 bands. You must remember that ecozers go always on top of the compressors. We open the custom setup and since it's a voice panting mozo, we are supposed to raise the mid high zones on the ecolizer. This is very important not only for this case, but also in dialogues for example. But do not exaggerate with these changes. You are supposed to be subtle modifying the frequencies. It sounds so much better actually, and it was not necessary to raise the volume of the clip or the track, for example. You can notice how far you can go by doing sound design in the Adobe Premier, because actually Adobe Premier provides all the tools to create a sound design, to create a professional mix, not using Pro Tools or was even though I have another course related to sound design in a focus on how to use professionally. But I could say that it's almost the same process. Try to remember everything, the transitions, the equalizers, the compress source. You must also take into account that when it comes to audio mixing in the final track, in the general track, you can also add effects. I mean, you can add multiband compressors and equalizers to create that effect of mastering. As a friendly reminder, you must also take into account that when adding tracks, you are able to add as many video tracks you want and audio tracks you want. You can select the placement where you want, the track is located, and also the track configuration. If it's mono, for example, this little symbol will appear on the mono track. It's a very small speaker that you can notice over here. If you are using an interface audio interface, the microphone will be connected to one single line, one single input line. The track where you are supposed to record that voice or wherever you want, must have also one track. Just by clicking on that microphone symbol, you can start recording. As simple as that. I'm not able to record anything at this moment because the software is connected to another software in order to record the lesson. My interface is connected to that, another software. So it doesn't work at this moment. But since you aren't going to be recording a lesson, you will be able to record the voice as you want so far. The good, I highly recommend you to take that another course of sound design because I really teach you there about how to master an audio mix. I'm talking about round mixing many subjects related to sound design. Most of all, always from the point of view of a filmmaker, that is the most important of all because most of the courses related to sound design are related to sound mixing rather than the creative process behind crafting a sound design. This lesson is up to here, and until the next lesson. 38. Sound design of a scene Adding effects to audio clips Compressors & equalizersSound design of a sc: Perfect. After having learned on the subject of reverberation, I want to teach you how to add effects and transitions to the audio eclipse. Because not only we are going to be able to add effects to the tracks as in the last lesson, but we're also going to be able to add them to each one of the clips we are using. After all, they work like video clips in which we can add effects. I'm going to start explaining this by adding music to this and the peculiarity of this Ode file that I'm going to use, which is in fact the music that the scene originally has, is that this audio contains not only the music, but also the original sound design of the short film. So I need to extract from this audio only the part where the music sounds alone, which is the part where we see the character running from the shot overhead. But since I also have another file with the music alone, I'm going to mix it with that audio so that only the music sounds all the way. Because we have already made the sound of the scene here. I'm trying to join the two ado clips just at the moment where the sounds of the scene start to play. And obviously I have to match the same part of the music in both Audioclip. Here we are pretty close almost matching the two audio clips. But obviously it's not perfect. I mean, it's noticeable that there is a cut and we must delete that cut. We must smooth the transition between one clip and the other by using this. At that we already know, we go to the Premier Effects folder. Here we will be able to add to the Audioclip those same effects that we can add to the tracks. It will be exactly the same as when we add an effect to a video clip. For example, here there are noise reducers that are very useful for cleaning up the voices. You can also add a compressor to the voices. They sound more clearly on the rest of the mix. In fact, there is a very useful one in this folder, which is the single band compressor, which works just for that. There are also equalizers which are very useful too, but what we need right now are audio transitions. In this folder, we will find three types of transitions, game power and exponential in reality, more than a technical issue. To choose the right one, you simply have to listen at it. And listen to which one sounds more similar to what you need. I'm going to choose the game transition. I use selected and drag it to the junction of the two clips. This allows me to smooth out that change from one clip to another so that you don't notice that cut that we did. Now it sounds like the original music complete without the sounds of the scene. I'm going to move the music a bit because when this low bit plays in the music, the character is supposed to be facing forward. Now pay attention how it all sounds together. I'm going to unmute the rest of the sound of the scene to listen to it. Together with the music and feel the magic, we can turn up the gain of the music in general. I think I exaggerate it a bit. I'm going to lower it a bit. Perfect. Now we can add a compressor and an equalizer to the voice. I mean to the performance to improve its sound. Actually, we could add this directly to the track where the voice is playing. But I want to show you directly in the clip. We go to the audio effects folder and look for the single band compressor. We select it and drag it to the voice audio clip. Now when you click on the audio clip, it will appear in the effect control here. We will be able to modify its parameters. Then we click on Edit, and the compressor parameters panel opens. Pay attention to this important detail. I almost forget this. Notice that up here, the volume and panning parameters have the automation clock activated, precisely because we had modified the automation line in the clips. I mean, I tell you this, that you can see that it works the same as with video clips. So going back to the compressor here in this small tab. We must select the preset that the compressor will have. In this case, we are going to select the voice over. Listen to how the character's voice sounds now with more presence. But we can even improve the voice with an equalizer. We can add a 20 band equalizer. You should always pay attention to the equalizer always goes before the compressor. This must be so because the compressor must work on the frequencies that we are going to reinforce with the equalizer. We add it and we click and edit. And we must raise the frequencies of it where the voice is playing. For example, this gap, 1000-5 thousand hers. It's generally where these voices sound. You listen to how the voice sounds. Now, with more clarity and presence, I'm not increasing the voice volume, only improving its equalization. Basically, this is what making a sound design is about. The same thing I have done in the voice, for example, you could do it in the general output track in the mixing console. I mean, you can add an equalizer and then for example, a multiband compressor to give more volume to the whole sound design. On the other hand, remember, well, that you can download a sound from the Internet and make a completely professional sound design without any problem. Also, remember the issue of transitions that in fact you are going to have to use it a lot, especially with voices. On the other hand, there is another very useful and important tool when it comes to sound design, and that is that you can record directly on the timeline, record audio if you go to the sequence stuff. And then add track. And then you add a mono track, for example, actually here in this panel, you can also add a video track or an audio track of any nature. I mean, if you want it to be stereo or mono, if we add a mono track, we will be able to record what comes in through the input line where the microphone is connected to your interface in the case that you are using an audio interface, of course. So this little white dot you see here is what identifies the mono tracks on the timeline. And those mono tracks are where you should record when you are using a microphone with the interface. This is great because we don't need any audio editing software to record anything. But anyway, you must record on the mono tracks because the audio input is mono as well. If you did it on the stereo track, it would be recorded badly on one side. I mean, it wouldn't make sense. You simply had to press this little microphone that is here and the software will start recording immediately. At this moment, I can record anything because everything is connected to the software that allows me to record the lesson. But this is not too complicated. Just press there and it will record. Well, I think the most important thing is that you lose your fear of editing audio. Don't limit yourself. It's not as complicated as it seems. Just try it. This is very useful for videos on Youtube and obviously to create fiction projects, short films, movies, et cetera. But I think that today is useful for everything, including some documentary video. You could improve the audio using this entire procedure. Do not forget that important detail of the reverbs that work very well to create soundscapes. Well, this lesson is up to here and until the next one. 39. ENDING: Well, this video editing course comes to this hand. The most important thing is that I'm going to update it eventually with moral lessons, especially concerning the understanding of cinematographic language. I believe that this is essential to become better editors, better filmmakers, better videographers also. So put everything into practice. As I told you, consume quality art, develop your own sensitivity to moving images, and also the sound dimension. Well, if you like this course, you can leave me a review, because it will help me a lot to create even better courses than this one, until the next time.